If you’ve ever been tempted to yank a painting off UMMA’s walls and run home to hang it up in your bathroom--well, you still definitely can’t do that, but now you can display digital versions of them on your own island in the Animal Crossing: New Horizons game for Nintendo Switch.
Using the open source Animal Crossing Pattern Tool, we’ve made pixel art versions of several paintings in UMMA’s collection, and you can use the QR codes below to import them into your own virtual home. Or, if you’d like, search our collection and use the tool to create your own!
If you’re new to custom designs in Animal Crossing, this guide from Polygon will help you import these works onto your island.
Tag us on Twitter and Instagram with #ummamuseum to show us these fabulous works on your equally fabulous islands
Accession Number
1994/1.67
Title
Two Girls Reading (Deux Enfants Lisant)
Artist(s)
Pablo Picasso
Artist Nationality
Spanish (culture or style)
Object Creation Date
March 28, 1934
Medium & Support
oil on canvas
Dimensions
43 3/8 in x 35 3/16 in x 3 in (110.17 cm x 89.38 cm x 7.62 cm);43 3/8 in x 35 3/16 in x 3 in (110.17 cm x 89.38 cm x 7.62 cm);36 5/16 in x 28 3/4 in (92.2 cm x 73 cm)
Credit Line
Gift of The Carey Walker Foundation
Label copy
March 28, 2009
Picasso chose to depict this quiet and contemplative subject with strident colors and distorted forms. Part of the reason may lie in his relationship to the two models. The figure on the left is undoubtedly Marie-Thérèse Walter, the twenty-three-year-old woman who gave birth to Picasso’s daughter Maïa a year and a half after the painting was completed. The identity of the figure on the right is less clear. Some scholars believe that it is Walter’s sister; others claim that it is Picasso’s first wife, the ballerina Olga Koklova. If the sitter was Olga Koklova, it is very unlikely that she and Walter posed together, as both were jealous rivals for Picasso’s affections. This imaginary portrait is perhaps explained by the memoirs of Picasso’s postwar mistress, Françoise Gilot. In her account of her life with Picasso, she relates that one of his most persistent sexual fantasies involved two women of opposite but complementary features, one cold and controlling, light-skinned and blonde, and the other dark, excitable, and sensuous.
Subject matter
Two girls in an embrace read a book together. The figure at the viewer's left is Picasso's mistress at the time, Marie-Thérèse Walter. The other figure is thought to be either Olga Koklova, his wife, or Marie-Thérèse's sister. The scene suggests intimacy, yet the distored shapes and vibrant colors evoke a separateness, distance, and give the piece a melancholic feel.
Physical Description
Two girls, depicted in bold geometric shapes and block colors, reading a book together. The figure seated at viewer's right, slightly taller, is green and wearing yellow. The figure at viewer's left has a face of blue and white and is clothed in red resting her clasped hands upon an open book.
Primary Object Classification
Painting
Primary Object Type
figure painting
Additional Object Classification(s)
Painting
Collection Area
Modern and Contemporary
Rights
If you are interested in using an image for a publication, please visit http://umma.umich.edu/request-image for more information and to fill out the online Image Rights and Reproductions Request Form.
1994/1.67
Title
Two Girls Reading (Deux Enfants Lisant)
Artist(s)
Pablo Picasso
Artist Nationality
Spanish (culture or style)
Object Creation Date
March 28, 1934
Medium & Support
oil on canvas
Dimensions
43 3/8 in x 35 3/16 in x 3 in (110.17 cm x 89.38 cm x 7.62 cm);43 3/8 in x 35 3/16 in x 3 in (110.17 cm x 89.38 cm x 7.62 cm);36 5/16 in x 28 3/4 in (92.2 cm x 73 cm)
Credit Line
Gift of The Carey Walker Foundation
Label copy
March 28, 2009
Picasso chose to depict this quiet and contemplative subject with strident colors and distorted forms. Part of the reason may lie in his relationship to the two models. The figure on the left is undoubtedly Marie-Thérèse Walter, the twenty-three-year-old woman who gave birth to Picasso’s daughter Maïa a year and a half after the painting was completed. The identity of the figure on the right is less clear. Some scholars believe that it is Walter’s sister; others claim that it is Picasso’s first wife, the ballerina Olga Koklova. If the sitter was Olga Koklova, it is very unlikely that she and Walter posed together, as both were jealous rivals for Picasso’s affections. This imaginary portrait is perhaps explained by the memoirs of Picasso’s postwar mistress, Françoise Gilot. In her account of her life with Picasso, she relates that one of his most persistent sexual fantasies involved two women of opposite but complementary features, one cold and controlling, light-skinned and blonde, and the other dark, excitable, and sensuous.
Subject matter
Two girls in an embrace read a book together. The figure at the viewer's left is Picasso's mistress at the time, Marie-Thérèse Walter. The other figure is thought to be either Olga Koklova, his wife, or Marie-Thérèse's sister. The scene suggests intimacy, yet the distored shapes and vibrant colors evoke a separateness, distance, and give the piece a melancholic feel.
Physical Description
Two girls, depicted in bold geometric shapes and block colors, reading a book together. The figure seated at viewer's right, slightly taller, is green and wearing yellow. The figure at viewer's left has a face of blue and white and is clothed in red resting her clasped hands upon an open book.
Primary Object Classification
Painting
Primary Object Type
figure painting
Additional Object Classification(s)
Painting
Collection Area
Modern and Contemporary
Rights
If you are interested in using an image for a publication, please visit http://umma.umich.edu/request-image for more information and to fill out the online Image Rights and Reproductions Request Form.
Pablo Picasso
Two Girls Reading (Deux Enfants Lisant)
oil on canvas
43 3/8 in x 35 3/16 in x 3 in (110.17 cm x 89.38 cm x 7.62 cm);43 3/8 in x 35 3/16 in x 3 in (110.17 cm x 89.38 cm x 7.62 cm);36 5/16 in x 28 3/4 in (92.2 cm x 73 cm)
Gift of The Carey Walker Foundation
Two Girls Reading (Deux Enfants Lisant)
oil on canvas
43 3/8 in x 35 3/16 in x 3 in (110.17 cm x 89.38 cm x 7.62 cm);43 3/8 in x 35 3/16 in x 3 in (110.17 cm x 89.38 cm x 7.62 cm);36 5/16 in x 28 3/4 in (92.2 cm x 73 cm)
Gift of The Carey Walker Foundation
Accession Number
1969/2.25
Title
Untitled Cube
Artist(s)
Alvin D. Loving
Object Creation Date
1969
Medium & Support
acrylic on canvas
Dimensions
40 1/2 in. x 34 3/4 in. ( 102.8 cm x 88.2 cm )
Credit Line
Museum Purchase
Label copy
Although he arrived in New York from Detroit in 1968 a "full blown, East Coast, Abstract Expressionist painter," Al Loving had already chosen the square as his primary structure. This University of Michigan graduate (M.F.A., 1964) began to explore the illusionistic effects allowed by color, and the square evolved into a hard-edged Minimalist cube. Ten months after his arrival in New York, Loving was invited to have a one-man show at the Whitney Museum of American Art. Loving readily admits that the exhibition had less to do with art than with the political pressure that had developed out of the Civil Rights Movement of the 1960s for museums to increase exhibition opportunities for black artists. It was after the Whitney show that Loving moved away from the cube as a motif in his work.
Loving thought of his cubes as not only going back into space, but also occupying the surface plane and projecting, visually, out from the plane. Reacting to the idea that the history of art since the Renaissance has involved illusion created from the picture plane back, away from the viewer and into the painting, Loving has said that he wanted to "paint a three-dimensional painting on a two-dimensional ground.... [I]t seemed to me that by the end of the millennium, there should be something in front of the picture plane, to the picture plane and beyond the picture plane. All three."
Sean M. Ulmer, University Curator of Modern and Contemporary Art, for "A Matter of Degree: Abstraction in Twentieth-Century Art," November 10, 2001 - January 27, 2002
Subject matter
Loving was intrigued by the history of perspective in painting and wanted to create a piece in which the vanishing point for the perspective is in front of the painted surface, toward the viewer, rather than within the surface. The result is a representation of depth that seems to protrude from the surface rather than creating the illusion of space inside the canvas.
Physical Description
A framework three-dimensional cube sits at an angle so that one of its corners appears to protrude from the center of the piece. The cube is gray, with dark gray shading on the shadowed edges, and dark and light yellow shading on the lit edges. The canvas is cut to the dimensions of the cube.
Primary Object Classification
Painting
Primary Object Type
abstract
Additional Object Classification(s)
Painting
Collection Area
Modern and Contemporary
Rights
If you are interested in using an image for a publication, please visit http://umma.umich.edu/request-image for more information and to fill out the online Image Rights and Reproductions Request Form.
1969/2.25
Title
Untitled Cube
Artist(s)
Alvin D. Loving
Object Creation Date
1969
Medium & Support
acrylic on canvas
Dimensions
40 1/2 in. x 34 3/4 in. ( 102.8 cm x 88.2 cm )
Credit Line
Museum Purchase
Label copy
Although he arrived in New York from Detroit in 1968 a "full blown, East Coast, Abstract Expressionist painter," Al Loving had already chosen the square as his primary structure. This University of Michigan graduate (M.F.A., 1964) began to explore the illusionistic effects allowed by color, and the square evolved into a hard-edged Minimalist cube. Ten months after his arrival in New York, Loving was invited to have a one-man show at the Whitney Museum of American Art. Loving readily admits that the exhibition had less to do with art than with the political pressure that had developed out of the Civil Rights Movement of the 1960s for museums to increase exhibition opportunities for black artists. It was after the Whitney show that Loving moved away from the cube as a motif in his work.
Loving thought of his cubes as not only going back into space, but also occupying the surface plane and projecting, visually, out from the plane. Reacting to the idea that the history of art since the Renaissance has involved illusion created from the picture plane back, away from the viewer and into the painting, Loving has said that he wanted to "paint a three-dimensional painting on a two-dimensional ground.... [I]t seemed to me that by the end of the millennium, there should be something in front of the picture plane, to the picture plane and beyond the picture plane. All three."
Sean M. Ulmer, University Curator of Modern and Contemporary Art, for "A Matter of Degree: Abstraction in Twentieth-Century Art," November 10, 2001 - January 27, 2002
Subject matter
Loving was intrigued by the history of perspective in painting and wanted to create a piece in which the vanishing point for the perspective is in front of the painted surface, toward the viewer, rather than within the surface. The result is a representation of depth that seems to protrude from the surface rather than creating the illusion of space inside the canvas.
Physical Description
A framework three-dimensional cube sits at an angle so that one of its corners appears to protrude from the center of the piece. The cube is gray, with dark gray shading on the shadowed edges, and dark and light yellow shading on the lit edges. The canvas is cut to the dimensions of the cube.
Primary Object Classification
Painting
Primary Object Type
abstract
Additional Object Classification(s)
Painting
Collection Area
Modern and Contemporary
Rights
If you are interested in using an image for a publication, please visit http://umma.umich.edu/request-image for more information and to fill out the online Image Rights and Reproductions Request Form.
Alvin D. Loving
Untitled Cube
acrylic on canvas
40 1/2 in. x 34 3/4 in. ( 102.8 cm x 88.2 cm )
Museum Purchase
Untitled Cube
acrylic on canvas
40 1/2 in. x 34 3/4 in. ( 102.8 cm x 88.2 cm )
Museum Purchase
