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Paintings (visual works) With digital objects
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Wrecking Ball

Wrecking Ball

Wrecking Ball woodcut and cardboard print

Note from the artist: This print is part of the collection Wank!, a series of six posters for various sources - such as essays, video clips, movies or performances - all dealing with the taboo subject of female masturbation. Acting like a curator of these references, I aim to highlight that any attempt to represent feminine masturbation through a feminist eye still finds its limits where a branded masculine interpretation of feminine sexuality starts.

Campistron, Dominique

Farming tools

Farming tools

Study of various farming tools. From "A Treatise on Landscape Painting and Effect in Watercolours: from the first rudiments to the finished picture: with examples in Outline, Effect, and Colouring", first published in London by S & J Fuller in 1814, republished in 1840.

Cox, David

Fishing boats

Fishing boats

Study of various fishing boats. From "A Treatise on Landscape Painting and Effect in Watercolours: from the first rudiments to the finished picture: with examples in Outline, Effect, and Colouring", first published in London by S & J Fuller in 1814, republished in 1840.

Cox, David

Aston Hall

Aston Hall

Study of Aston Hall, near Birmingham. From "A Treatise on Landscape Painting and Effect in Watercolours: from the first rudiments to the finished picture: with examples in Outline, Effect, and Colouring", first published in London by S & J Fuller in 1814, republished in 1840.

Cox, David

Three churches

Three churches

Study of three churches; North Wales and Wiltshire. From "A Treatise on Landscape Painting and Effect in Watercolours: from the first rudiments to the finished picture: with examples in Outline, Effect, and Colouring", first published in London by S & J Fuller in 1814, republished in 1840.

Cox, David

Leaf of Gold

Leaf of Gold

In 1896 McNair held his first one-man show, an exhibition of pastels at the Gutekunst Gallery, London. Twenty-one works, including this, were displayed in distinctive dark-stained wood frames. McNair had clearly drawn inspiration from Whistler’s exhibition installations, even down to the typesetting of the catalogue. The entry for this work explained, ‘The Fairy is guarding the Leaf of Love from the Witch of Evil who has robbed the Tree of Life of all its other leaves.’

MacNair, James Herbert

The Tree of Personal Effort

The Tree of Personal Effort

From The Magazine, Spring 1896. Inscribed: The Tree of Personal Effort, The Sun of Indifference, Charles Rennie Mackintosh, January 1895.' The exact meaning of the symbolism of this work, and its companion, 'The Tree of Influence' has eluded all commentators on Mackintosh's early water-colours. The obvious source of the symbolism is nature, and Mackintosh here reaches his most extreme distortion of organic forms.' (Roger Billcliffe).

Mackintosh, Charles Rennie

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