Summary:

Levin, a social documentary photographer, immersed herself with the Class of 2001 in the anatomy course at Weill Medical College of Cornell University. Her photographs of cadavers, students and instructors are prefaced by a foreword by physician-writer Abraham Verghese. He describes the rite of passage of anatomical dissection: "The living studying the dead. The dead instructing the living." (p. 9)

Interspersed with the full-color images are journal entries by 11 medical students and several artistic anatomic illustrations by 3 of the students. The journal entries and photographs are organized temporally, from the introduction to the dissection lab to the final exam and student-organized memorial service. The end of the book includes the interests and brief biographies of the 11 students and a final dedication by Levin of the book to those who donated their bodies: "I have never before witnessed a gift that is honored, respected, and consumed so completely."

The photographs are not for the squeamish. For example, the double amputee pelvis prosection on page 102, or the multiple images of flayed skin, bits and pieces, or limbs tied to supports provide an insider’s view of an anatomy course. Many of the images show the living in motion: translucent images of students in time-lapse swirl near the static cadavers. Other images conjure the once-upon-a-time personhood of the dead: pink fingernail polish on a female cadaver or a heart palmed by a student. The intensity of the student experience is well documented, as is the relaxed atmosphere that inevitably develops as students become accustomed to the experience of dissection.

The student journal entries are sensitive and thoughtful. Students comment on the intersections of daily living, home life, and their own bodies and bodily functions with what they are learning in the classroom. Particular discomfort regarding certain dissections, such as the pelvic region, are acknowledged. Even though students note growing immunity to the dissection experience, such comments reflect insight into professionalism and defense systems. Gallows humor and uneasiness with such humor is explored by Rebecca (p 62) after she sings "New York, New York" to the roomful of cadavers. Forensic clues about the cause of death for a particular cadaver renew the sense for students that this was once a living, feeling person.

The intense, long hours required for understanding and memorizing the material are clearly evident, but ultimately, these students realize they are given a truly special opportunity: "I began to love learning the material just for the sake of learning. Anatomy no longer felt like a burden, but rather a gift." (David, p. 119) Relationships explored include those of student with cadaver (particularly respect/disrespect, ownership and protection), life with death, and those who have had the experience of dissection with those who never will.

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Summary:

This monumental portrait of the 17th century knight, Sir Richard Saltonstall, and his family was commissioned for the Saltonstall family home. The wealth of the family is indicated by intricate tapestries, a woven rug, jewels, and the rich fabrics of clothing and curtains. Absent from the picture is any religious iconography.

Saltonstall stands left of center and draws back the rich red curtain on the deathbed of his first wife. With his ungloved right hand he holds the hand of his eldest child, a son. This son is still young enough to wear a dress, but his coloring and the dress style indicate a boy. He in turn holds the arm of his younger sister, so that a diagonal line is formed from the father's hat, down his arm and through the two children.

The pale dead mother lies all in white, her eyes open, and her upturned hand reaching towards her children. On the right side of the picture sits Saltonstall's second wife, and she holds her baby on her lap. She also is dressed in white and is separated from her husband by the first wife. In addition, the diagonal line between Saltonstall's left hand and his baby is interrupted by his dead wife. However, he does gaze in the direction of his second wife, although no one in the portrait looks directly at another person.

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This painting represents the artist’s conception of the life cycle in allegorical terms. Childhood, manhood synonymous with earthly love, and old age approaching death are drawn realistically as each figure reflects Titian’s attitudes toward each stage of earthly existence. A plump angel floats ethereally over two sleeping babies, protecting them, but also mirroring their purity.

To the left, he paints the joys [and exhaustion] of youth, the firmly muscled, mature male, perhaps spent from a sexual encounter, being tantalized by a pubescent girl dressed in provocative style to further endeavors. She holds two flutes and by chance is urging him on with her piped, "Siren’s song."

In the background, at the end of his days, a bearded old, stooped man gazes at two skulls, either in terror or in wonder. The exquisite detailed scenery reflects nature in her glory and decline--lofty, weightless clouds float through an azure sky. Parched trees in the foreground reflect the arid remnants of summer landscapes, as the skulls reflect those of man.

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Maurice Sendak’s illustrations of a fairy tale by Wilhelm Grimm are integral to this children’s book and have therefore been included in this art database. Refer to the "Commentary" section below for the discussion of Sendak’s illustrations.

This fairy tale by Wilhelm Grimm, rediscovered in 1983, is prefaced by a short letter to "Mili," presumably a young girl much like the one in the story; what follows is a tale designed to teach children that life can be unpredictable. The story also demonstrates, however, that the unknown can sometimes provide shelter and security even when things are not familiar.

A young widowed mother, afraid for her daughter when the village they lived in was about to be attacked by invading warriors, sends the child to hide in the forest for three days. Alone and frightened, the girl loses her way, prays to God and is led to a little house tucked away in the woods where she meets a kind old hermit, Saint Joseph.

Three days (translated thirty years earth time) later, he decides it is time for the girl to return to her mother, whose dying wish is to see her daughter once more before death. Handing Mili a rosebud, he promises that after she meets her mother, she will be able to return: "Never fear. When this rose blooms, you will be with me again." The next morning the neighbors find the child and mother together, dead in their sleep.

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A naked young Tahitian woman standing in a lagoon tries to cover her genitals with a kerchief as she becomes uncomfortably aware of the presence of an ominous-looking clothed spirit figure kneeling behind her. The lush exotic landscape punctuated with phosphorescent foliage, fauna, looming tree, serpentine forms, and the outline of a barely discernible thin hand representing the artist adds to an atmosphere of mystery and malevolence. Below the artist's signature and date in black on the canvas is inscribed in orange the title, "Parau na te Varua ino."

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This sketch is teeming with images: in what appears to be a science lab, two researchers stand in the background, surrounded by gray lab equipment; one peers into a microscope. In the bottom of the frame a horse and cow flank three sheep. At the center stands a muscular baby, loosely draped in a white cloth and held up by a nurse in a white apron and cap. To his left stands a rather grim looking doctor, who holds the baby's arm with one hand and injects a vaccine with the other.

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A woman in apron, cap, and long skirts stands at a small table, the long handle of a pot resting on her left arm. She appears to be shelling an egg for, presumably, an invalid. On the table before her is a plate with another egg on it, a loaf of bread, and a pitcher and goblet. The background is dark, and the image of the nurse and the table seem to glow warmly in contrast. The woman is intent on her task and appears unhurried.

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Dividing the background expanse of red from yellow, and surrounded by a halo, three apples--green, red, and purple, four yellow papyrus blossoms, and a snake held between the fingers of the artist's hand, a disembodied head appears caricature-like in this self-portrait.

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In a pose reminiscent of both a Descent from the Cross, and a Pietá, a grieving woman reaches up to receive the body of a child. The drawing is a preparatory sketch for a series on death and bereavement--the "Farewell and Death" portfolio. The work is characterized by bold curving strokes that animate the scene, while conveying the heaviness of the dead child's body. As the body falls into the mother's arms, both mother and child seem to simultaneously float in some mysterious space.

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Summary:

Two figures form a weighty pyramidal unit. Neither figure declares its age or gender, but the foreground figure--the dying-- seems female. She is held and enveloped by a shaded figure representing death. One of death's hands holds the limp arm of the dying while the other wipes her closed eyes.

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