Shadows_For_Breakfast

Otto Dix

Dr. Mayer-Hermann

Berlin 1926

Medium

Oil and tempera on wood

Dimensions

58 3/4 x 39" (149.2 x 99.1 cm)

Credit

Gift of Philip Johnson

Object number

3.1932

Memories of Dad

Karen Schaaf

Josef May, 1926

Oil, egg tempera, and other media on board

Otto Dix (German, 1891-1969)

He was meant for all things to meet, 2022

Oil on linen

Amy Sherald

(American, born 1973)

Solicitudo Rustica (Rustic Cares), about

1555-58

Engraving and etching

Attributed to Jan van Doetechum the

Elder

(Netherlandish, active about 1554-1600)

Attributed to Lucas van Doetechum (Netherlandish, active about 1554-1584)

After Pieter Bruegel

(Netherlandish, 1527/8-1569)

In the Netherlands, Pieter Bruegel's designs for a series of large landscape prints may have relied on sketches (now lost) he made passing through the Alps in the early 1550s.

This view is more a compendium of various visual characteristics of the Alps, rather than a specific place. The elevated point of view and massive, powerful cliffs and crags in the distance give way to a river valley and flat plains akin to Bruegel's Low Countries homeland. The figures include peasants whose mundane activities reinforce the landscape as a container for "rustic cares" (solicitudo rustica).

River Landscape with Large Tree at

Left, 1546

River Landscape with Five Bare Spruce

Trees in the Foreground, 1549

River Landscape with Three Bare Willow Trees at Right and a Long Winding Wooden Bridge at Center

Leading to a Village, 1546

River Landscape with Rocks at Left and

Right, 1546

Etching

Augustin Hirschvogel

German, 1503-1555)

Within a decade, Augustin Hirschvogel and Hanns Lautensack (nearby) were aware of the landscapes by Wolfgang Huber and Albrecht Altdorfer and began to expand their artistic vocabulary. Hirschvogel probably made the group of etchings on view here after traveling down the Danube from Nuremberg, through Regensburg and Passau, to his residence in Vienna. The many buildings, cultivated fields, and roads emphasize human activity and its mark on the landscape but always in the service of articulating a particular topography.

Hirschvogel's etchings found an international audience, informing the development of the landscape genre as far away as Italy and the Netherlands.

Gift of the Print Club of Cleveland 1923.745; John L. Severance Fund 1951.491; Dudley P. Allen Fund 1953.157; John L.

Saint John on the Island of Patmos, about 1545-55

Woodcut

Virgilius Solis

(German, 1514-1562)

Christian tradition says that after Christ's death, John the Evangelist was exiled to Aegean island Patmos, where he composed the Book of Revelation based on a series of prophetic visions. Here, Saint John gazes upward toward a vision of the woman of the apocalypse (traditionally interpreted as the Virgin Mary) in the top left corner. The artist's composition implies that John's vision was partially inspired by his isolation within nature-portrayed in a wide expanse featuring dramatic peaks and fir trees, castles, farms, shepherds, and even a merchant's ship on a vast harbor.

The Flight into Egypt, 1470-74

Engraving

Martin Schongauer (German, about 1450-1491)

In the Gospel of Matthew, Joseph and Mary flee to Egypt with the newborn Christ to escape the wrath of King Herod. The subject inspired artists to portray various symbolic botanical motifs. Plants in this image refer to the coming trials of Christ. A thistle with prickly leaves symbolizes the pain of Christ's Passion (his arrest, torture, and death. An Aaron's rod, the tall plant left of center, was believed a shield against evil. Salamanders, thought impervious to fire, symbolize Christ's invulnerability to the devil. The emphasis on warding off evil aligns with the circumstances of the family's flight.

The Flight into Egypt, 1470-74

Engraving

Martin Schongauer (German, about 1450-1491)

In the Gospel of Matthew, Joseph and Mary flee to Egypt with the newborn Christ to escape the wrath of King Herod. The subject inspired artists to portray various symbolic botanical motifs. Plants in this image refer to the coming trials of Christ. A thistle with prickly leaves symbolizes the pain of Christ's Passion (his arrest, torture, and death. An Aaron's rod, the tall plant left of center, was believed a shield against evil. Salamanders, thought impervious to fire, symbolize Christ's invulnerability to the devil. The emphasis on warding off evil aligns with the circumstances of the family's flight.

Adam and Eve

1504

Albrecht Dürer

(German, 1471–1528)

Germany, early 16th Century

Engraving

Image: 25 x 19.2 cm (9 13/16 x 7 9/16 in.); Sheet: 25.2 x 19.4 cm (9 15/16 x 7 5/8 in.)

Dudley P. Allen Fund 1944.473

Catalogue raisonné: Meder 1

Knight, Death, and the Devil 1515

Engraving

Albrecht Dürer

(German, 1471-1528)

In this tour de force engraving, considered one of his three greatest "masterworks,"

Albrecht Dürer portrayed a mounted soldier who resolutely forges through a dark gorge, ignoring a horned devil in his path.

Confronted by Death itself, crowned with snakes and holding an hourglass indicating mortality, the soldier and his faithful dog demonstrate the strength of righteousness required to stay upon the right path. The skull underfoot suggests that others have not been so resolute. Indeed, this road of life is full of obstacles, with the city on the hill accessible, it seems, only by way of treacherous peaks.

Elisabeth Severance Prentiss and Leonard C. Hanna Jr.

Wendy Partridge

Jude R. Bettridge

You Should Be Angry, 2022

Letterpress on Indigo-Dyed

Len Loomis

Tavere, 2022

Len Loomis

REPAIR LOG, 2022