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Work exemplifies Black & White Stock Photos
Shower on Nihonbashi Bridge, from the series Famous Places in the Eastern Capital Utagawa Hiroshige (Ando) (Japanese, 1797-1858). Shower on Nihonbashi Bridge, from the series Famous Places in the Eastern Capital, ca. 1832. Color woodblock print on paper, 10 5/16 x 15 1/4in. (26.2 x 38.7cm). Given their quantity and availability, Japanese color woodblock prints played an especially important role in fostering Japonisme. This work exemplifies some of the formal characteristics that Western artists found so refreshingly different: compositions with strong diagonals or asymmetrical arrangements, Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/shower-on-nihonbashi-bridge-from-the-series-famous-places-in-the-eastern-capital-utagawa-hiroshige-ando-japanese-1797-1858-shower-on-nihonbashi-bridge-from-the-series-famous-places-in-the-eastern-capital-ca-1832-color-woodblock-print-on-paper-10-516-x-15-14in-262-x-387cm-given-their-quantity-and-availability-japanese-color-woodblock-prints-played-an-especially-important-role-in-fostering-japonisme-this-work-exemplifies-some-of-the-formal-characteristics-that-western-artists-found-so-refreshingly-different-compositions-with-strong-diagonals-or-asymmetrical-arrangements-image504683231.htmlRM2M928H3–Shower on Nihonbashi Bridge, from the series Famous Places in the Eastern Capital Utagawa Hiroshige (Ando) (Japanese, 1797-1858). Shower on Nihonbashi Bridge, from the series Famous Places in the Eastern Capital, ca. 1832. Color woodblock print on paper, 10 5/16 x 15 1/4in. (26.2 x 38.7cm). Given their quantity and availability, Japanese color woodblock prints played an especially important role in fostering Japonisme. This work exemplifies some of the formal characteristics that Western artists found so refreshingly different: compositions with strong diagonals or asymmetrical arrangements,
Terracotta amphora (jar). Culture: Greek, Attic. Dimensions: H. 16 in. (40.7 cm). Date: ca. 550-530 B.C.. Obverse and reverse, Dionysos with men and youths Though the name the Affecter may have a pejorative ring, attention to his work reveals his accomplishment as an artist. The representation of Dionysos, the god of wine, exemplifies the Affecter's solid, slow-moving figures, sometimes ungainly but always articulated with the most precise and varied detail. Museum: Metropolitan Museum of Art, New York, USA. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/terracotta-amphora-jar-culture-greek-attic-dimensions-h-16-in-407-cm-date-ca-550-530-bc-obverse-and-reverse-dionysos-with-men-and-youths-though-the-name-the-affecter-may-have-a-pejorative-ring-attention-to-his-work-reveals-his-accomplishment-as-an-artist-the-representation-of-dionysos-the-god-of-wine-exemplifies-the-affecters-solid-slow-moving-figures-sometimes-ungainly-but-always-articulated-with-the-most-precise-and-varied-detail-museum-metropolitan-museum-of-art-new-york-usa-image213260675.htmlRMPAXT4K–Terracotta amphora (jar). Culture: Greek, Attic. Dimensions: H. 16 in. (40.7 cm). Date: ca. 550-530 B.C.. Obverse and reverse, Dionysos with men and youths Though the name the Affecter may have a pejorative ring, attention to his work reveals his accomplishment as an artist. The representation of Dionysos, the god of wine, exemplifies the Affecter's solid, slow-moving figures, sometimes ungainly but always articulated with the most precise and varied detail. Museum: Metropolitan Museum of Art, New York, USA.
Terracotta amphora (jar), Archaic, ca. 550–530 B.C., Greek, Attic, Terracotta; black-figure, H. 16 in. (40.7 cm), Vases, Obverse Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-image-terracotta-amphora-jar-archaic-ca-550530-bc-greek-attic-terracotta-162335101.htmlRMKC3025–Terracotta amphora (jar), Archaic, ca. 550–530 B.C., Greek, Attic, Terracotta; black-figure, H. 16 in. (40.7 cm), Vases, Obverse
![. Florists' review [microform]. Floriculture. Where Dignity is Paramount. display at half price, or a third, a quarter or a tenth, according to how many are in on it. The cooperative ad exemplifies the 'liiodern tendencies in business. It wouldn't have been possible in the old days, when every man distrusted the others in the business. It isn't com- bination in restraint of trade, but com- bination to create business, to bring the uses of flowers to the attention •of the people and to do it more force- fully than would be possible through individual effort. Most of the cooperative ads are work Stock Photo](https://c8.alamy.com/comp/RRRB9R/florists-review-microform-floriculture-where-dignity-is-paramount-display-at-half-price-or-a-third-a-quarter-or-a-tenth-according-to-how-many-are-in-on-it-the-cooperative-ad-exemplifies-the-liiodern-tendencies-in-business-it-wouldnt-have-been-possible-in-the-old-days-when-every-man-distrusted-the-others-in-the-business-it-isnt-com-bination-in-restraint-of-trade-but-com-bination-to-create-business-to-bring-the-uses-of-flowers-to-the-attention-of-the-people-and-to-do-it-more-force-fully-than-would-be-possible-through-individual-effort-most-of-the-cooperative-ads-are-work-RRRB9R.jpg ". Florists' review [microform]. Floriculture. Where Dignity is Paramount. display at half price, or a third, a quarter or a tenth, according to how many are in on it. The cooperative ad exemplifies the 'liiodern tendencies in business. It wouldn't have been possible in the old days, when every man distrusted the others in the business. It isn't com- bination in restraint of trade, but com- bination to create business, to bring the uses of flowers to the attention •of the people and to do it more force- fully than would be possible through individual effort. Most of the cooperative ads are work Stock Photo")
. Florists' review [microform]. Floriculture. Where Dignity is Paramount. display at half price, or a third, a quarter or a tenth, according to how many are in on it. The cooperative ad exemplifies the 'liiodern tendencies in business. It wouldn't have been possible in the old days, when every man distrusted the others in the business. It isn't com- bination in restraint of trade, but com- bination to create business, to bring the uses of flowers to the attention •of the people and to do it more force- fully than would be possible through individual effort. Most of the cooperative ads are work Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/florists-review-microform-floriculture-where-dignity-is-paramount-display-at-half-price-or-a-third-a-quarter-or-a-tenth-according-to-how-many-are-in-on-it-the-cooperative-ad-exemplifies-the-liiodern-tendencies-in-business-it-wouldnt-have-been-possible-in-the-old-days-when-every-man-distrusted-the-others-in-the-business-it-isnt-com-bination-in-restraint-of-trade-but-com-bination-to-create-business-to-bring-the-uses-of-flowers-to-the-attention-of-the-people-and-to-do-it-more-force-fully-than-would-be-possible-through-individual-effort-most-of-the-cooperative-ads-are-work-image238385667.htmlRMRRRB9R–. Florists' review [microform]. Floriculture. Where Dignity is Paramount. display at half price, or a third, a quarter or a tenth, according to how many are in on it. The cooperative ad exemplifies the 'liiodern tendencies in business. It wouldn't have been possible in the old days, when every man distrusted the others in the business. It isn't com- bination in restraint of trade, but com- bination to create business, to bring the uses of flowers to the attention •of the people and to do it more force- fully than would be possible through individual effort. Most of the cooperative ads are work
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