Art Collection

 

Exposure to Art History allows students to explore a variety of time periods, art movements and cultures, preparing students to engage with an increasingly interconnected world. The Art department offers art history courses related to Western and African cultures, as well as houses an impressive collection of artwork


Richard M. Krause Art Collection

Dr. Richard M. Krause '47 studied medicine after graduating Marietta College and served as Assistant Surgeon General in the 1970s, and led pioneering research on the AIDS epidemic and coronary disease. An art enthusiast and ardent collector, Dr. Krause recalls that an art exhibition he saw as a student in Marietta College kindled his love for museums, displays, and collecting. His generosity has led to an impressive collection of artwork that the Marietta College Art Department is dedicated to sharing with the community.


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Maqbool Fida Husain (1915–2011)
Vedic
Lithograph

Analysis:        
To the far right there is a male figure outlined who is also sitting upright in sukhasana (easy pose). The male has a spinning wheel of colors for a head and a stream that coils out from his solar plexus chakra, right above his navel. A top of this projection from the male’s body dances the figure personifying Krishna. The wavy projection along the bottom of this print connects the two male bodies and also helps create an overall sense of unity. The male’s right hand is in Abhaya mudra. The opposing masculine energy to balance the female’s hand in Varada mudra.

According to the Vedas (an ancient collection of Indian texts) the right side of one’s body represents the masculine or “Shiva” energy, and the left side of the body represents the feminine, “Shakti”, or Yin. The upright nature of the male’s hand indicates his Shiva energy.  A hand in this position represents the ability to advance forward and to take, whereas the females hand pointing down demonstrates the feminine ideal of passivity, giving or generosity.

The alternating male and female representations along with general knowledge of Hindu mythology and Vedic knowledge leads me to believe the concept of this print is to create a visual representation of masculine and feminine energies. Perhaps the dancing Krishna is a vision that has come forth from the man’s solar plexus as a sign of good fortune in relation with the female sitting to his right. Krishna has the reputation of being flirtatious and easily able to win the hearts of women and young girls. The spinning wheel of colors in place of the male’s head also leads me to believe this is a vision he is having in a trance like state.


Krishna and Kaliya

Jamini Roy (1887 – 1974)
Krishna and Kaliya
Pigment on paper

Analysis:

This artwork depicts Krishna dancing upon the head of the serpent Kaliya. This scene is iconographic of the story of destruction and banishment of Kaliya from the river Yamuna to help restore the safety of the people living in the surrounding area. To defeat the great serpent, Krishna danced upon its head with great force and the weight of many worlds. With a limited palette Roy has achieved a great sense of balance and movement of one’s eyes around the composition. Flanking either side of Krishna are representations of the wives’ of Kaliya with their hands together in prayer pleading for mercy and the continued life of their husband.


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(Three) Ganesha 
Cast Bass
Carved Crystal Quartz
Carved Malachite 
Artists Unknown

Analysis:

Ganesha is one of the most easily recognizable Hindu deities due to his large elephant head. He is the son of Shiva and Parvati. Ganesha is celebrated as the remover of obstacles and lord of good fortune, and new beginnings. The Ganesha to the far left is brass and produced by utilizing a lost wax method. The other two carved stone Ganesha’s feature a subtractive method of craving away material from an original block to reveal a three-dimensional figure underneath.