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China, Qing dynasty (1644–1911)
Silk, gold thread: embroidery
Overall: 94 x 177.8 cm (37 x 70 in.)
Did you know...
This was likely made for a wife of a wealthy merchant, whose business would rely on ships like the embroidered ones on the coat.
Gift of Mr. and Mrs. J. H. Wade
The coffin of Bakenmut is one of the finest examples of painted wooden coffins made for the priests of Amen and their families at Thebes during Dynasty 21 and early Dynasty 22. The pharaohs of this time were no longer buried in the Valley of the Kings, but instead built tombs in the Delta, far to the north, where they resided. Security was lax in the Theban necropolis. The coffins and funerary goods of the wealthy citizens of Thebes were placed in unmarked and undecorated family tombs cut into the cliffs on the west bank of the Nile. All the care and detail that in more prosperous times were devoted to the decoration of the tomb chapel were now lavished on the elaborately painted coffins. Every available surface is crowded with religious scenes, images of funerary gods and goddesses, protective spells, and magical symbols. The deceased appears mummiform. An elaborate floral collar entirely covers the upper body, exposing only the separately attached hands (now lost). A pair of red "mummy braces" are crossed over the chest, their point of intersection marked by a winged sun disk. The lower body is covered with tiny figures modeled in gesso against a yellow background, which gives the effect of gold inlaid with glass or semiprecious stone. The decoration on the interior features two deified dead kings of Dynasty 18. Although these rulers had lived centuries before, memory of their greatness was still very much alive. The main scene near the top depicts Tuthmosis III, the great military pharaoh, who lived 500 years before Bakenmut. Posed as a mummy, the ruler wears a brilliant feathered garment enfolding him with falcon’s wings. The scene below features back-to-back seated images of Amenhotep I, regarded as the patron of the Theban cemetery and worshiped as a local god there.
Egypt, Thebes, Third Intermediate (1069–715 BCE), Dynasties 21–22
gessoed and painted sycamore fig
Overall: 68 cm (26 3/4 in.)
Did you know...
Originally another smaller coffin was placed inside this outer coffin and in that the deceased with a mummy board would have rested.
Gift of the John Huntington Art and Polytechnic Trust
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This tunic fragment with a straight neck opening in the center and one surviving shoulder square may have symbolically protected the wearer from danger. This is suggested by interlacing knots. These delicate decorations in small deep purple discs alternate with human busts in roundels.
Egypt, Byzantine period
plain weave with slit-tapestry weave and supplementary weft wrapping; dyed wool, undyed linen
Overall: 14.3 x 35.6 cm (5 5/8 x 14 in.); Mounted: 22.9 x 43.2 cm (9 x 17 in.)
Gift of George D. Pratt
Double portraits of a husband and wife from middle-class families, not just the aristocracy, were more popular in the Dutch Republic than elsewhere in Europe, in part because of the higher status of women. Such portraits, commissioned for the home, honored family members by preserving their likenesses and reflecting their social positions through attire-here, elegant but conservative costumes of silk and lace complemented by pearls from the East Indies. Their body language suggests their respective roles. The man's hand on his hip with elbow out expresses his assertive, protective role towards his wife.
Hendrik was the son of the famous artist Abraham Bloemaert. The father did no portraits, thinking it no challenge to copy what was in front of him, but Hendrik was known for his portraits as well as for religious and peasant subjects.
66 15/16 x 30 13/16 in. (170 x 78.2 cm)
medium: oil on panel
Walters Art Museum, 1973, by gift [from the Dr. Francis D. Murnaghan Fund].
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يتيح لك قصرلي تقصير الروابط الى روابط اقصر منها لتكون منا سبة للنشر على المواقع الاجتماعلة
Cistae were containers used to safeguard precious objects, including mirrors, perfume flasks, and cosmetics. A particular type of cista was made during the 4th to 3rd centuries BCE in Praeneste, a site in Latium (the region around Rome) that was heavily influenced by Etruscan culture. The elaborately engraved scenes are thought to imitate famous, but now lost, Greek wall-paintings. The ancient metalworker often pressed a white substance into the engraved lines in order to accentuate the decoration. The handles commonly take the form of human figures. Many artists in other early Italian cultures similarly incorporated figures of humans in functional objects.
Praenestine
H: 20 1/4 x Diam: 10 7/16 in. (51.5 x 26.5 cm)
medium: bronze; incised
culture: Praenestine
Walters Art Museum, 1931, by bequest.
The Wepler, a large brasserie restaurant on Place Clichy in the Montmartre district of Paris, is composed of several rooms on different levels. Once frequented by bohemian artists like Pablo Picasso and Amedeo Modigliani, the Wepler is still in business today.
France, late 19th-early 20th Century
oil on fabric
Framed: 91.8 x 132.7 x 13 cm (36 1/8 x 52 1/4 x 5 1/8 in.); Unframed: 62.2 x 103.2 cm (24 1/2 x 40 5/8 in.)
Did you know...
Established in 1881, the Cafe Wepler is still in business. In the late 19th and early 20th centuries, it was frequented by artists and writers.
Gift of the Hanna Fund
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Description:
ScreenMap is a full screen version of the Google Maps application with Facebook connectivity. It’s full screen because in mapping application, the bigger the map, the easier you can find your way. It connected to Facebook so you can upload a map on your Facebook account to show where you are or to plan a meeting with your friend.
In the 1800s, native peoples began to use European fabrics to fashion fine formal garments; they favored sturdy cloth, such as velvet and wool broadcloth, which provided support for heavy decorative beadwork that was added by hand. Often the fabric was a dark color, providing dramatic contrast for the multicolored beads. Rather than encrusting the entire garment, beadwork was confined to cuffs, “epaulettes,” bib-like plackets and yokes, rectangular panels sewn to leggings, shirts, and dresses, and the like.
Northeast Woodlands, Great Lakes Region, Anishinaabe (Ojibwe) or Nehiyawak (Cree) People?
Velvet, satin, glass beads
Overall: 12.1 x 29.8 cm (4 3/4 x 11 3/4 in.)
Anonymous gift in memory of Sarah Ann Morrison
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This sculpture is carved in the round and painted. It depicts a nude male with black hair and black and white painted eyes. His arms are joined at the shoulders; both hands are closed at his sides. His feet are made separately, in one with the base. There is black paint on top of the base, and red on the edges. The base does not belong to this piece.
Egyptian
H with base: 8 13/16 in. (22.4 cm)
medium: wood with black, white, and red paint
culture: Egyptian
Walters Art Museum, 1931, by bequest.
Jan van Goyen’s deceptively simple paintings record remarkably realistic impressions of weather, space, and the shifting interactions of land, water, light, and air. He worked with swift, intuitive brushstrokes and a limited range of colors: gray, brown, cool blues, and earthy greens. The artist often went on sketching trips along the Rhine River, visiting cities such as Arnhem, or the German city of Emmerich, depicted here. In the foreground, a shallow boat ferries passengers and horse-drawn wagons across the river.
Netherlands
oil on wood
Framed: 105.5 x 136 x 9.5 cm (41 9/16 x 53 9/16 x 3 3/4 in.); Unframed: 65.4 x 96.7 cm (25 3/4 x 38 1/16 in.)
John L. Severance Fund