Database / Artworks
Artworks
Maruru (Offerings of Gratitude), from the Noa Noa Suite
Paul Gauguin
Wood-block print, printed twice in yellow ocher and black inks, over a yellow ink tone block, and transferred golden-yellow, green, and orange oil-based media, some containing beeswax and conifer resin (probably pine resin), with brush and black ink and diluted yellow printing ink, on cream Japanese paper · 1893
Art Institute of Chicago
Te faruru (Here We Make Love), from the Noa Noa Suite
Paul Gauguin
Wood-block print, printed twice in golden-brown and black inks, with selective wiping of the black ink, over a selectively inked yellow tone block, and transferred deep-yellow, red, and orange oil-based media, some containing beeswax and conifer resin (probably pine resin), with hand-applied dark yellow and brown gouache, on cream Japanese paper (previously mounted on mottled blue wove paper laid down on cream wove card [a presentation mount]) · 1893
Art Institute of Chicago
Maruru (Offerings of Gratitude), from the Noa Noa Suite
Paul Gauguin
Wood-block print, printed twice in yellow ocher and black inks, with selective wiping of the black ink, over a yellow ink tone block, transferred golden-yellow, green, and red-orange, and stenciled red oil-based media, some containing beeswax and conifer resin (probably pine resin), on cream wove paper · 1893
Art Institute of Chicago
Te atua (The God) from the Noa Noa Suite
Paul Gauguin
Wood-block print, printed twice in yellow ocher and black inks, over yellow ink tone block, and transferred golden-yellow, green, red-orange, and red oil-based media, some containing beeswax and conifer resin (probably pine resin), on cream Japanese paper · 1893
Art Institute of Chicago
Mahna no varua ino (The Devil Speaks), from the Noa Noa Suite
Paul Gauguin
Wood-block print, printed twice in brown and black inks, over a yellow, silver-gray and brownish-orange ink tone block, and transferred yellow, green, red, and orange oil-based media, some containing beeswax and conifer resin (probably pine resin), on ivory Japanese paper, laid down on cream wove card · 1893
Art Institute of Chicago
Auti te pape (Women at the River), from the Noa Noa Suite
Paul Gauguin
Wood-block print, printed twice in pale orange and black ink, over transferred yellow, pink, orange, blue and green oil-based media, with traces of conifer resin (probably pine resin), on cream wove Japanese paper, laid down on cream wove Japanese paper · 1893
Art Institute of Chicago
L’univers est créé (The Universe Is Being Created), from the Noa Noa Suite
Paul Gauguin
Wood-block print, printed in black ink with traces of residual brown ink, with selective wiping, over solvent-thinned and transferred and stenciled yellow, orange, red, blue, and green oil-based media, some containing beeswax and conifer resin (probably pine resin), with touches of brush and black ink, on medium-weight, smooth, pink wove paper (faded to tan) · 1893
Art Institute of Chicago
Noa Noa (Fragrant), from the Noa Noa Suite
Paul Gauguin
Wood-block print in black ink, with touches of reddish-brown watercolor and black ink, over yellow ink tone block and transferred golden-yellow, orange, and green oil-based media, some containing beeswax and conifer resin (probably pine resin), on cream Japanese paper, laid down on heavy cream wove card · 1893
Art Institute of Chicago
Ò
Òpó (veranda post) with equestrian and female figure
Olowe of Ise
Iroko wood, paint, resin · 1890
The Metropolitan Museum of Art
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Òpó (veranda post) with equestrian and female figure
Ise
Iroko wood, paint, resin · 1890
The Metropolitan Museum of Art
Untitled
William Henry Fox Talbot
Photoglyphic engraving employing resin ground · 1864
Art Institute of Chicago
Branch of a Fern
William Henry Fox Talbot
Photoglyphic engraving made without a gauze or resin ground screen · 1848
Art Institute of Chicago
St. Etienne du Mont, Facade
William Henry Fox Talbot
Photoglyphic engraving employing resin ground · 1848
Art Institute of Chicago
Alcazar de Seville
William Henry Fox Talbot
Photoglyphic engraving employing resin ground · 1848
Art Institute of Chicago
Erxian
TONE
Wood, composition, silk, resin · 1801
The Metropolitan Museum of Art
Miniature Mask
Mixtec
Wood, gold foil, and shell with pigment and resin · 1300
Art Institute of Chicago
Portrait of a Man Wearing an Ivy Wreath
Ancient Egyptian
Lime (linden) wood, beeswax, pigments, gold, textile, and natural resin · 101
Art Institute of Chicago
Portrait of a Man Wearing a Laurel Wreath
Ancient Egyptian
Lime (linden) wood, beeswax, pigments, gold, textile, and natural resin · 101
Art Institute of Chicago
Vessel with Abstract Feline and Falcon-Head Spout
Paracas
Ceramic with resinous postfire paint · -650
Art Institute of Chicago
Bottle with Incised Geometric Figure
Paracas
Ceramic with resinous postfire paint · -650
Art Institute of Chicago
Vessel with Abstract Feline Mask and Bird-Head Spout
Paracas
Ceramic with resinous postfire paint · -650
Art Institute of Chicago
Strap-Handled Vessel in the Form of a Bird with Abstract Pattern on Body
Nasca
Ceramic with resinous postfire painting · -650
Art Institute of Chicago
Jar with Anthropomorphic Figure
Paracas
Ceramic with resinous postfire paint · -650
Art Institute of Chicago
P
Phonecall 6
Marc Kokopeli
High-definition video (color, sound; 68:44 min.), steel, resin, paper, motherboard, plywood, polyester felt, cotton fabric, and LCD monitor
Museum of Modern Art