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Lucht, Reinier Nooms, 1651 - 1652 - Rijksmuseum

Doos van grijs karton met dvd Rain, Erwin Olaf, 2004 - Rijksmuseum

Street at Evening in the Rain | Cleveland Museum of Art

This suite of color lithographs collected Pierre Bonnard’s observations of city life, ranging from animated street scenes to distant observations glimpsed from the artist’s Montmartre studio window. Rather than memorializing the famous monuments of Paris, Bonnard preferred to depict small neighborhood scenes populated by urbanites shopping and strolling and by vendors selling their wares. The setting for one of the prints is the second-largest public park in Paris, the Bois de Boulogne, which was a popular place for families to relax, stroll, and enjoy carriage rides around the lakes. Two prints are nocturnal scenes in which gaslight emanating from shop windows is reflected on the wet streets, creating passages of bright yellow in the otherwise dark compositions. Bonnard’s favorite subjects, such as the Parisienne—a young, fashionable, modern woman—as well as children and dogs, appear repeatedly throughout the prints in the suite.

Nichiren bidden voor regen op de rots te Reizan in Kamakura, Utagawa Kuniyoshi, 1833 - 1837 - Rijksmuseum

Study for the woodcut 'Bassin des Tuileries' | Cleveland Museum of Art

The printmaker Auguste Lepère is credited with reviving the woodcut at a time when it had fallen out of popularity in late 19th-century France. Lepère carefully sketched each aspect of his compositions—which often depicted Parisian life—before translating them to print. The young girl seen in this drawing figured in the foreground of an image depicting the Tuileries garden on a clear autumn day.

Vlucht voor de bui, Wijnand Otto Jan Nieuwenkamp, 1918 - Rijksmuseum

Dragon amid Clouds | Cleveland Museum of Art

Min Zhen, who was orphaned at age 12 and developed an eccentric personality, was trained by Tang Yin (1682–1756), a writer, playwright, and superintendent of the imperial porcelain workshops in Jingdezhen. The connection to him may have enabled Min to stay in Beijing for a decade from around 1773. It is not clear whether he ever resided in Yangzhou, but his style is in many instances reminiscent of that of Yangzhou artist Huang Shen. This album demonstrates Min’s versatility and mature style in the last years of his life.