This text was obtained via automated optical character recognition.
It has not been edited and may therefore contain several errors.

---

c
painted in 1891, while he was in Munich. Dappled light falls across her quilted bodice, highlighting its diamond pattern, the folds and tucks of her sleeves, and the crisp white fabric at her shoulders. Her white bonnet contrasts with broad transparent washes forming dark background shadows, and her smiling profile gently recedes into the darkness. Woodward served as head of the art department of Newcomb College and later as acting director of the Delgado Museum, which became the New Orleans Museum of Art.
A rare image by Carl Frederick Schwartz, completed in 1859, shows a New Orleans interior scene—rare for the medium at the time, particularly as it depicts an antebellum home on the cusp of the Civil War. The well-appointed, comfortable-looking room contains silver pitchers, goblets, and vases displayed on an etagere at the right; small horse sculptures adorn the mantel while the fireplace blazes underneath. Rich curtains punctuate tall, sun-filled windows, and a soft carpet runs wall to wall. A woman seated with her back turned to the viewer plays the piano while a younger person, also viewed from the back, seems to be writing or drawing at a table in the foreground. Refinement, art, and the importance of culture and learning seem to be the artist’s focus.
A nature morte (still life featuring dead animals) executed in 1863 by Marie-Paoline Casbergue Coulon, wife of prolific 19th-century artist George David Coulon, is another rarity: few of her works are known to exist. In this combination watercolor and pastel, two birds hang from a nail, one by its foot with the other foot gracefully askew, the second by its head. Colors and shapes mingle and overlap, merging wings and feathers; white highlights suggest the right-hand bird’s plump belly. Earth tones repeat in patterns of long and short lines, arcs, and dots. Coulon’s artwork is a celebration of shape, texture, and color, and its delicate richness is a wonderful example of watercolors enduring appeal. —MACLYN LE BOURGEOIS HICKEY
C.	Cars and People on Canal Street
between 1944 and 1947; watercolor and pencil
by Walter Inglis Anderson
1999.18.1
D.	Oil Rig in the Gulf of Mexico
between i960 and 1980; watercolor by Frank Lowe
gift of Mr. and Mrs. Hugo Wedemeyer, 2000.81.1
E.	Unsere Stube in Dauphin Street 67,
Neu> Orleans
1859; watercolor and gouache by Carl Frederick Schwartz 1999-39
Winter 2016	3