Figure 11:14. Wang Jiuliang, Beijing Besieged by Waste – Changxindian township, Fengtai district, 39°52′22″N 116°11′20″E., 2009, digital inkjet print on fine paper, 110 x 220 cm, image courtesy of Wang Jiuliang and White Rabbit Collection, Sydney. You Might Also Like Figure 12:11. William Holman Hunt, Strayed Sheep, also known as Our English Coasts, 1852, oil on canvas, 43.2 x 58.4 cm, Tate Britain, London, England. January 27, 2026 Figure 8:5. Chōbunshai Eishi, The Courtesan Hanaōgi of the Ōgiya Brothel (Ōgiya Hanaōgi), from the series Beauties of the Pleasure Quarters as Six Floral Immortals (Seirō bijin rokkasen), publisher Eijudo; c. 1794, polychrome woodblock print (nishiki-e), 37 × 25.1 cm, The Metropolitan Museum of Art, New York City. January 27, 2026 Figure 12:12. John William Waterhouse, The Lady of Shalott, 1888, oil on canvas, 183 x 230 cm, Tate Britain, London, England. January 27, 2026 Leave a Reply Cancel reply Save my name, email, and website in this browser for the next time I comment.
Figure 12:11. William Holman Hunt, Strayed Sheep, also known as Our English Coasts, 1852, oil on canvas, 43.2 x 58.4 cm, Tate Britain, London, England. January 27, 2026
Figure 8:5. Chōbunshai Eishi, The Courtesan Hanaōgi of the Ōgiya Brothel (Ōgiya Hanaōgi), from the series Beauties of the Pleasure Quarters as Six Floral Immortals (Seirō bijin rokkasen), publisher Eijudo; c. 1794, polychrome woodblock print (nishiki-e), 37 × 25.1 cm, The Metropolitan Museum of Art, New York City. January 27, 2026
Figure 12:12. John William Waterhouse, The Lady of Shalott, 1888, oil on canvas, 183 x 230 cm, Tate Britain, London, England. January 27, 2026