VISION and VERSE
STUDENT BOOKLET 1 –
Introduction & Resources
Name: ________________
Introduction
In this unit, you will explore ekphrasis—writing inspired by art. You will begin by reading
and discussing several poems inspired by works of art. Through the discussion, you will
learn ways in which poets can approach a piece of artwork (for instance, writing about the
scene being depicted in the artwork, writing in the voice of the person depicted in the
artwork, speaking to the artist or subject of the painting, etc.). You will then search for a
piece of art that inspire you and, in turn, compose a poem about the piece you have
chosen. You may present this to the class using either software or paper.
Ekphrasis: writing that comments upon another art form, for instance a poem about a painting
Ekphrastic poetry: a poem inspired by a work of art
Vincent's Bedroom in Arles
Vincent van Gogh (1888)
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Techniques Used In Poetry
Poets have many ways of making words come alive. Look for them in the poems you read
and use them in your own writing (but don’t overdo it). The following are some common
language devises:
Technique
Definition
Example
Simile
Comparisons using the words ‘like’ or ‘as’.
I will protect and defend you like a wall.
An implied comparison between two
different things. NB: Metaphors and
similes both make comparisons, but in a
metaphor the comparison is implies
whereas in a simile it is indicated by ‘like’
or ‘as’. For example, ‘The sea of life’ is a
metaphor; ‘Life is like a sea’ is a simile.
I am a dove while you are a hawk.
Alliteration
Repetition of the same letter.
bright bubbles bursting
Onomatopoeia
Words which sound like they sound.
hear the bacon sizzle and the toaster pop
Assonance
Repetition of sounds or vowels.
A child crying in the night
Personification
A lifeless object or idea is spoken about as
if it were alive.
golden leaves danced upon the wind
Rhyme
Repetition of similar vowel sounds in
words, usually placed at the end of lines in
poetry.
Far over the misty mountains cold
Metaphor
To dungeons deep and caverns old
The English are so nice
Repetition
Repetition of a word, phrase or line.
So awfully nice
They are the nicest people in the world.
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Techniques Used In Visual Texts (such as paintings)
Painters have many ways of making pictures come alive so that the image ‘speaks’ to us. Look for them in the
paintings you study. Understanding these techniques will help you to understand a picture and interpret its meaning.
Technique
Foreground
Example
Midground
Background
Look at what is in the front of the picture (closest to the ‘camera’).
Sometimes objects or people are placed here for emphasis.
Look at what is in the mid-section of the picture.
Look at what is in the back or distance of the picture.
Colour
Observe what colours are used. They often convey emotions
or represent ideas. For example:
Blue Peace, tranquillity, coolness, purity
Yellow Happiness, cheerfulness (or decay, and sickness)
Red Passion, heat, blood, excitement, danger and hostility
Green Growth, energy, nature
Grey Detachment, bleak
Purple Wealth, royalty, sophistication, intelligence
Black Death, rebellion, strength, evil
White Purity, chastity, cleanliness
Brown Credibility, stability
Orange Warmth, autumn
Note that different cultures attach different meanings to different
colours. For example, Chinese culture considers white to signify
death and red to signify celebration.
Contrast
Lighting
Size
Angle
Salient feature
Symbolic images
Focus
Composition
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Differences between light and dark, or bright and dull colours can
convey different messages.
Low light may suggest that something is being concealed about a
character.
Bright light might suggest a sense of hope.
Soft light may create a romantic feel.
Size of figures and objects often indicate their importance, status,
power etc.
Viewing from a low angle looking up can make figures seem
powerful or threatening. Viewing from a high angle looking down
can make figures seem isolated or vulnerable.
The largest, brightest and most attention-grabbing image in a
picture; usually what is noticed first
Look for objects that represent something else. For example,
rose=love, lion=bravery, dove=peace.
Different objects may be in focus while others are blurred in order
to create emphasis.
Look at where objects and images are on the page. Are they close
together or far apart? Positioning often creates meaning.
How to Annotate Paintings and Poems
Eye direction – she is
staring ‘nowhere’ & he is
looking away (at someone
else?) – suggests a distant
relationship.
‘The Box (La Loge)’ by Pierre-Auguste Renoir (1874)
Positioning / body language
– woman in foreground,
man behind her – they are
physically close but not
‘close’ or intimate. Her back
is to him.
Blank facial expression – emotionless
– their relationship seems cold and
lifeless. This is reinforced by her pale
makeup / complexion
Symbolism of the stripes on
her dress – they look like bars
– is she imprisoned or
‘trapped’ in this relationship?
Jewellery & other symbols
(‘trappings’) of wealth /
privilege – they (especially
the woman) seem unhappy
despite these things
From http://www.artilim.com/artist/renoir-pierre-auguste/the-theater-box.aspx
On Your Own
Look carefully at the painting ‘The Box (La Loge)’ by Renoir and quickly jot down your responses to the
following:

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
Who are they?
Where are they?
What is their relationship?
What sort of people are they?
What mood is conveyed in this painting?
Add to the annotations already done – what other details do you notice?
In pairs / groups
Are your responses / annotations similar to other people’s?
Now hear John Mole’s poem ‘Entr’acte’ read aloud (next page).
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‘Entr’acte’
by John Mole
Connotations of
beauty, wealth
etc.
Suggests that they
are ‘keeping up
appearances’
“Confesses” – this
word choice has
connotations of
secrecy (and
wrongdoing?)
Repetition (from
first stanza) – used
for emphasis
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The cuff-link whispers to the glove.
Such elegance, and all for love.
The glove confesses to the glass:
Oh how slowly five acts pass.
The glass is lifted to the eye:
Show me a tear I cannot dry.
The eye says nothing to the heart:
Such elegance, and all for art.
Personification of the clothing,
accessories etc.
Onomatopoeia of ‘whispers’ emphasises
secrecy & things hidden / unsaid
The rhyme links these words. Interesting that
her gloves are worn for ‘show’ and concealment
Rhyme and sibilance (repeated ‘s’
sound) also suggest whispering
and secrecy
Colloquial (also emotive &
melodramatic) language suggests
boredom
Word choice of “art” alludes back to
the painting; also implies that their
lives, appearances, relationship etc
are ‘created’ or false, like a carefullyconstructed artwork
‘Man Lying on a Wall’ by L.S. Lowry
From https://sites.google.com/site/manlyingonawall/
On Your Own
Look carefully at the painting ‘Man Lying on a Wall’ by L.S. Lowry and quickly jot down your responses to the
following:

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What do you see, and in what order do you see it first?
Number the things you focused on in the order you noticed them...brick wall, clock tower, etc. Did
you see things in different order to other people? Why?
Now, retrace your steps around the painting and jot down any thoughts that flash through your
head as your eyes move to different parts of the picture.
Make your own annotations on / around the picture
In Pairs or in Small Groups
Compare the similarities and differences in your own ‘mental walk’ around the picture with those taken by others in
the group. Discuss the following:
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How is the man lying? Where else might you see figures in a similar position?
Think about the composition of the painting and why Lowry might have included the details and shapes he
has.
What do you think is the mood of the picture? Happy? Sad? Peaceful? Resigned? Bored? Angry?...Something
else?
Now hear Michael Longley’s poem ‘Man Lying on a Wall: Homage to L.S.Lowry’ read
aloud (next page).
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‘Man Lying on a Wall’
Homage to L.S. Lowry
by Michael Longley
You could draw a straight line from the heels,
Through the calves, buttocks and shoulderblades
To the back of the head: pressure points
That bear the enormous weight of the sky.
Should you take away the supporting structure
The result would be a miracle or
An extremely clever conjuring trick.
As it is, the man lying on the wall
Is wearing the serious expression
Of popes and kings in their final slumber,
His deportment not dissimilar to
Their stiff, reluctant exits from this world
Above the shoulders of the multitude.
It is difficult to judge whether or not
He is sleeping or merely disinclined
To arrive punctually at the office
Or to return home in time for his tea.
He is wearing a pinstripe suit, black shoes
And a bowler hat: on the pavement
Below him, like a relic or something
He is trying to forget, his briefcase
With everybody's initials on it.
From https://sites.google.com/site/manlyingonawall/
On Your Own

Spend five or ten minutes jotting your responses around the poem. Your jottings might be about ideas or
feelings the poem suggests, how the poet’s reading of the painting compares with yours, any puzzling bits,
lines that appeal to you, and so on.
In Pairs or in Small Groups
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Compare your readings of the poem.
In the first part of the poem, the man’s attitude and expression remind Michael Longley of a clever conjuring
trick, an effigy on a tomb in church, a body borne in a funeral procession. Talk about these images and how
the words create them.
In common with most people who look at the picture, the poet is a little puzzled about what is going on. In
the last five lines of the poem he suggests what he thinks may be part of the answer. Why might he suggest
that L.S.L. could be ‘everybody’s initials’?
You might find it helpful to know that Lowry, who lived all his life in and around Manchester becoming famous for its
industrial scenes peopled by ‘match-stick figures’, was seventy years old when he painted this picture. It originated
from an incident when he was travelling by train and saw a tired businessman lying down on a wall in this
unconventional way. Perhaps this is Lowry laying himself down to rest, in an unconventional position, in his own
industrial landscape? Or perhaps it is Lowry acknowledging his own description of himself as ‘one of the laziest men I
know’?
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ASIA
Painting
Eighteen Songs of a Nomad Flute: The Story of Lady Wenji
Episode 4: Longing for Home
Unknown artist, early Ming dynasty (early 15th century)
Poem
Lament of Hsi-Chun
Hsi-Chun (circa. 105 B.C.)
http://thedragontree.wordpress.com/2009/02/23/investig
ating-chinese-poetry-the-story-of-hsi-chun/
My people have married me
In a far corner of Earth;
Sent me away to a strange land,
To the king of Wu-Sun.
A tent is my house,
Of felt are my walls;
Raw flesh my food
With mare's milk to drink.
Always thinking of my own country,
My heart sad within.
Would I were a yellow stork
And could fly to my old home!
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Painting
The breaking wave of Kanagawa
Katsushika Kokasai (1823-29)
Poem
The Great Wave: Hokusai
Donald Finkel (1991)
http://english.emory.edu/classes/paintings&poems/wave.html
It is because the sea is blue,
Because Fuji is blue, because the bent blue
Men have white faces, like the snow
On Fuji, like the crest of the wave in the sky the color of
their
Boats. It is because the air
Is full of writing, because the wave is still: that nothing
Will harm these frail strangers,
That high over Fuji in an earthcolored sky the fingers
Will not fall; and the blue men
Lean on the sea like snow, and the wave like a
mountain leans
Against the sky.
In the painter's sea
All fishermen are safe. All anger bends under his unity.
But the innocent bystander, he merely
'Walks round a corner, thinking of nothing': hidden
Behind a screen we hear his cry.
He stands half in and half out of the world; he is the
men,
But he cannot see below Fuji
The shore the color of sky; he is the wave, he stretches
His claws against strangers. He is
Not safe, not even from himself. His world is flat.
He fishes a sea full of serpents, he rides his boat
Blindly from wave to wave toward Ararat.
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Painting
Girl Powdering Her Neck
Kitagawa Utamaro (c. 1790)
Poem
Girl Powdering Her Neck – Cathy Song (1983)
http://english.emory.edu/classes/paintings&poems/utamaro.html
The light is the inside
sheen of an oyster shell,
sponged with talc and vapor,
moisture from a bath.
A pair of slippers
are placed outside
the rice-paper doors.
She kneels at a low table
in the room,
her legs folded beneath her
as she sits on a buckwheat pillow.
Her hair is black
with hints of red,
the color of seaweed
spread over rocks.
Morning begins the ritual
wheel of the body,
the application of translucent skins.
She practices pleasure:
the pressure of three fingertips
applying powder.
Fingerprints of pollen
some other hand will trace.
The peach-dyed kimono
patterned with maple leaves
drifting across the silk,
falls from right to left
in a diagonal, revealing
the nape of her neck
and the curve of a shoulder
like the slope of a hill
set deep in snow in a country
of huge white solemn birds.
Her face appears in the mirror,
a reflection in a winter pond,
rising to meet itself.
She dips a corner of her sleeve
like a brush into water
to wipe the mirror;
she is about to paint herself.
The eyes narrow
in a moment of self-scrutiny.
The mouth parts
as if desiring to disturb
the placid plum face;
break the symmetry of silence.
But the berry-stained lips,
stenciled into the mask of beauty,
do not speak.
Two chrysanthemums
touch in the middle of the lake
and drift apart.
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AUSTRALIA
Painting
Shearing the Rams
Tom Roberts (1890)
Poem
Shearing at Castlereagh
Andrew Barton (‘Banjo’) Patterson (1894)
(http://artsearch.nga.gov.au/)
The bell is set a-ringing, and the engine gives a toot,
There's five-and-thirty shearers here a-shearing for the
loot,
So stir yourselves, you penners-up, and shove the sheep
along -The musterers are fetching them a hundred thousand
strong -And make your collie dogs speak up; what would the
buyers say
In London if the wool was late this year from Castlereagh?
The man that "rung" the Tubbo shed is not the ringer here,
That stripling from the Cooma-side can teach him how to
shear.
They trim away the ragged locks, and rip the cutter goes,
And leaves a track of snowy fleece from brisket to the
nose;
It's lovely how they peel it off with never stop nor stay,
They're racing for the ringer's place this year at
Castlereagh.
The man that keeps the cutters sharp is growling in his
cage,
He's always in a hurry; and he's always in a rage -"You clumsy-fisted mutton-heads, you'd turn a fellow sick,
You pass yourselves as shearers, you were born to swing a
pick.
Another broken cutter here, that's two you've broke today,
It's awful how such crawlers come to shear at
Castlereagh."
The youngsters picking up the fleece enjoy the merry din,
They throw the classer up the fleece, he throws it to the
bin;
The pressers standing by the rack are watching for the
wool,
There's room for just a couple more, the press is nearly
full;
Now jump upon the lever, lads, and heave and heave
away,
Another bale of golden fleece is branded "Castlereagh".
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Painting
Death of Constable Scanlon
Sidney Nolan (1946)
(http://artsearch.nga.gov.au/)
Poem
Ned Kelly (A Sad Tale)
Paul Buttigieg (2006)
http://www.paolospoems.com/general/ned-kelly-a-sadtale/
Ned!
Serious
Did you think you could beat them all?
For god’s sake
Your gang was a rabble
Blaggards
Alone
You had a case my friend
A good case
A real cause
Persecution is a crime
You were a victim
Long before you were a criminal
And the lawyers were queuing up Ned
Waiting your letter
Your plea for help
You just had to tough it out
With no guns
And your chosen brief would reach fame
In an instant
Ya’ ma was in gaol for **** sake
Your story was newsworthy
She wanted you to live
A good life
A farmer’s life
She just wanted you to come in
Talk to you
Sure you were a rogue
But lovable
Murderers lose Ned
You can not kill fellow man
And let your Ma’ down like that
How sad
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Painting
Dreamtime Machinetime
Trevor Nickolls (1981) (http://artsearch.nga.gov.au/)
Poem
Then and Now
Oodgeroo Noonuccal (1960s?)
In my dreams I hear my tribe
Laughing as they hunt and swim,
But dreams are shattered by rushing car,
By grinding tram and hissing train,
And I see no more tribe of old
As I walk alone in the teeming town.
I have seen corroboree
Where that factory belches smoke;
Here where they have memorial park
One time lubras dug for yams;
One time our dark children played
There where the railway yards are now,
And where I remember the didgeridoo
Calling us to dance and play,
offices now, neon lights now,
Bank and shop and advertisement now,
Traffic and trade of the busy town.
No more woomera, no more boomerang,
No more playabout, no more the old ways.
Children of nature we were then,
No clocks hurrying crowds to toil.
Now I am civilised and work in the white way,
Now I have dress, now I have shoes:
“Isn't she lucky to have a good job!”
Better when I had only a dillybag.
Better when I had nothing but happiness.
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BRITAIN
Painting
The Lady of Shalott
John William Waterhouse (1888)
( http://www.jwwaterhouse.com/view.cfm?recordid=28 )
Poem
Lying, robed in snowy white
That loosely flew to left and right-The leaves upon her falling light-Thro' the noises of the night
She floated down to Camelot:
And as the boat-head wound along
The willowy hills and fields among,
They heard her singing her last song,
The Lady of Shalott.
Heard a carol, mournful, holy,
Chanted loudly, chanted lowly,
Till her blood was frozen slowly,
And her eyes were darken'd wholly,
Turn'd to tower'd Camelot.
For ere she reach'd upon the tide
The first house by the water-side,
Singing in her song she died,
The Lady of Shalott.
The Lady of Shalott
Alfred Lord Tennyson (1842)
Part IV
In the stormy east-wind straining,
The pale yellow woods were waning,
The broad stream in his banks complaining,
Heavily the low sky raining
Over tower'd Camelot;
Down she came and found a boat
Beneath a willow left afloat,
And round about the prow she wrote
The Lady of Shalott.
And down the river's dim expanse
Like some bold seer in a trance,
Seeing all his own mischance-With a glassy countenance
Did she look to Camelot.
And at the closing of the day
She loosed the chain, and down she lay;
The broad stream bore her far away,
The Lady of Shalott.
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Under tower and balcony,
By garden-wall and gallery,
A gleaming shape she floated by,
Dead-pale between the houses high,
Silent into Camelot.
Out upon the wharfs they came,
Knight and burgher, lord and dame,
And round the prow they read her name,
The Lady of Shalott.
Who is this? and what is here?
And in the lighted palace near
Died the sound of royal cheer;
And they cross'd themselves for fear,
All the knights at Camelot:
But Lancelot mused a little space;
He said, "She has a lovely face;
God in his mercy lend her grace,
The Lady of Shalott."
BELGIUM
Painting
Golconda
Rene Magritte (1953) ( http://www.masterworksfineart.com/inventory/3125 )
Poem
Time, Gentle Men
Peter Benton
For a while, Magritte supported himself and his wife georgette by designing wallpaper...Marina Vaizey
It’s raining civil servants, taxmen, school inspectors
Gently falling earthward in bowler hats, dark overcoats,
Clutching identical briefcases in black-gloved hands.
What do they bring, I wonder? Do they feel anything?
Only the benefits of an ordered mind,
Where everything falls into place; the report is filed,
The books are balanced. The figures are agreed –
It is, very simply, an open and shut case.
But, maybe what we see is not a visitation
Rather a final audit, a calling to account
Of little men drawn up like dew from homes and offices,
Believing they have lived according to the book.
Solemnly, in neat black diamonds they ascend
To meet the Chief Inspector and their promised end.
Imprinting their repeated pattern on the sky,
It is our minds the silent swarm would occupy.
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USA
Painting
Nighthawks
Edward Hopper (1942)
http://www.artchive.com/artchive/H/hopper/nighthwk.jpg.html
Poem
Nighthawks
Julie O’Callaghan
http://www.education.tas.gov.au/curriculum/standards/english/english/teachers/discussion/painter
The heat and the dark
drive us from empty apartments
down empty streets
to the all-bight diner
where fluorescent lights
illuminate us like tropical fish
in a fish tank.
We sit side by side
listening to glasses clank,
the waiter whistling,
and stare at the concrete outside.
Not looking at our watches
or counting he cigarettes
and cups of coffee.
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AFRICA / BRITAIN
Painting
Big Woman’s Talk
Poem
Sonia Boyce (British artist; Afro-Caribbean descent)
Beverley Naidoo (South African children’s author)
http://blackstudioart.blogspot.com/2010/05/influences.html
Big Woman’s Talk
(with thanks to Sonia Boyce)
Children should be seen and not heard
Grandma says,
Be invisible
I say
Secret as silence in a submarine
Take soundings.
I told her look before you leap!
There are none so deaf as those who will
not hear.
When children are little they make our heads ache,
when grown, our hearts.
But it’s no use crying over spilt milk.
Still waters run deep.
And little pitchers have big ears.
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DENMARK
Painting
The Starry Night
Vincent Van Gogh (1889)
(http://www.vangoghgallery.com/painting/starryindex.html )
Poem
The Starry Night
Anne Sexton
(http://www.poetryfoundation.org/poem/171273 )
That does not keep me from having a terrible need of -- shall I
say the word -- religion. Then I go out at night to paint the
stars. – Vincent Van Gogh in a letter to his brother
The town does not exist
except where one black-haired tree slips
up like a drowned woman into the hot sky.
The town is silent. The night boils with eleven
stars.
Oh starry starry night! This is how
I want to die.
It moves. They are all alive.
Even the moon bulges in its orange irons
to push children, like a god, from its eye.
The old unseen serpent swallows up the stars.
Oh starry starry night! This is how
I want to die:
into that rushing beast of the night,
sucked up by that great dragon, to split
from my life with no flag,
no belly,
no cry.
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Things to consider when writing
Ekphrastic Poetry
• Write about the scene or subject being depicted in the artwork.
• Write in the voice of a person or object shown in the work of art.
• Write about your experience of looking at the art.
• Relate the work of art to something else it reminds you of.
• Imagine what was happening while the artist was creating the piece.
• Write in the voice of the artist.
• Write a dialogue among characters in a work of art.
• Speak directly to the artist or the subject(s) of the piece.
• Write in the voice of an object or person portrayed in the artwork.
• Imagine a story behind what you see depicted in the piece.
• Speculate about why the artist created this work.
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Observation Worksheet (for any painting; can help get you started in writing your own
poetic responses)
List the first words that come to mind when you look at this artwork.
___________________________________________________________________________________________
___________________________________________________________________________________________
RECORD: List all the things you can see in this artwork.
___________________________________________________________________________________________
___________________________________________________________________________________________
___________________________________________________________________________________________
PLOT: What is happening in this artwork? What ‘story’ is being told?
___________________________________________________________________________________________
___________________________________________________________________________________________
___________________________________________________________________________________________
CHARACTER: Who or what is the subject of the painting? How would you describe them?
___________________________________________________________________________________________
___________________________________________________________________________________________
___________________________________________________________________________________________
SETTING: What is the mood of the artwork? What sounds, smells, feelings, tastes could you associate with it?
___________________________________________________________________________________________
___________________________________________________________________________________________
___________________________________________________________________________________________
How does this artwork connect with you personally? Why did you choose it?
___________________________________________________________________________________________
___________________________________________________________________________________________
___________________________________________________________________________________________
MAIN IDEA: Now that you have closely observed the artwork, how would you summarise its main idea?
___________________________________________________________________________________________
___________________________________________________________________________________________
After you have completed this worksheet, go back and circle any words or phrases you might want to
incorporate into a poem about the artwork.
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General Activities
1. Brainstorm approaches to writing an ekphrastic poem. Some examples:
• Account of the experience of seeing the artwork
• Story about the scene or subject of the artwork
• Conversation between two people or elements in the artwork
See Things to Consider When Writing Ekphrastic Poetry sheet for more information.
2. As a class, view an painting for a couple of minutes then individually free associate
for ten minutes. This free association will serve as a departure point for your poem.
For a more formal experience, use the Observation Worksheet.
3. Circle words or phrases to use in composing a short poem. You don’t have to follow
any other rules for the poem; it can simply be free verse. (Alternately, you can cut up
and reassemble your words into a poem.)
4. Share your poems in pairs or small groups.
• What similarities do you notice in the way that the people in your group
interpreted the artwork?
• What differences do you find?
5. Group leaders report back to the class. They may read excerpts from the poems.
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Suggested Artworks
‘Sensational Sydney’ (2009)
by Lisa Lorenz
from
http://www.kimmbarker.com/2007/02/sensationalsydney.html
‘The Landscape Cutter’
by Jacek Yerka
from
http://www.yerkaland.com/rate/preview.php?off=132&curr=PLN&ord=&t=5
&act=0&string=
‘Joy Hester’ (1983)
by Albert Tucker
from
http://www.deutscherandhackett.com/node/96/
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‘Christina’s World’ (1948)
by Andrew Wyeth
from
http://yearinart.blogspot.com/2011/02/christinas
-world-1948-andrew-wyeth.html
‘Carnation, Lily, Lily, Rose (1885-6)
by John Singer Sargeant
from
http://www.illusionsgallery.com/Carnation,Lily,%20Sargent.html
‘Snowstorm: Steam-Boat off a Harbour’s
Mouth’ (1842)
by J.M.W. Turner
from
http://www.victorianweb.org/painting/turner/paintings/snowstorm.
html
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‘The Librarian’ (1565)
by Giusseppe Arcimboldo
from
http://arthistory.about.com/od/from_exhibitions/ig/arcimboldo_
paris/gaml1007_01.htm
‘Ophelia’ (1983)
by Sir John Everett Millais
from
http://www.illusionsgallery.com/Ophelia-EM.html
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‘Liverpool Docks by Moonlight’
by Atkinson Grimshaw
‘The Three Musicians’ (1921)
by Pablo Picasso
from
http://www.paintinghere.com/painting/Three_Musicians_2847.h
tml
Try visiting
http://www.googleartproject.com/ – a fantastic interactive site that allows virtual exploration of world-famous
art gallery spaces + viewing of high-resolution photos of hundreds of artworks.
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