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France, 18th century
watercolor on ivory in a gilt metal frame circa 1805
Image: 7.9 x 8.3 cm (3 1/8 x 3 1/4 in.); Diameter of frame: 9.4 cm (3 11/16 in.)
The Edward B. Greene Collection
Acquired in 1925, this head was initially identified as a portrait of the Empress Lucilla (lived AD 149-182), wife of the Emperor Lucius Verus, who co-ruled with Marcus Aurelius from AD 161-169. More recently, scholars have identified the portrait as a representation of the Empress Faustina Minor (lived c. AD 130-176/177), wife of Marcus Aurelius (r. 161-180) and mother of Lucilla. The two women, relatively close in age, share a number of portrait features: heavy-lidded eyes, with incised irises and pupils; small mouth; and a distinctive hairstyle, parted in the center and pulled back in waves to a braided knot at the base of the neck.
Italy, Roman
marble
Overall: 25.4 cm (10 in.)
Did you know...
Scholars have disagreed about this portrait's identity—probably an empress, either Faustina Minor or Lucilla.
Purchase from the J. H. Wade Fund
The animal-hide robes basic to Plains attire were often ornamented with quilled or beaded strips, which also were stitched to the blankets that replaced robes. This beaded example carries the cross-in-a-circle motif that symbolizes the world, the four directions, and the sacred center, concepts central to Plains worldviews. In the 1932 words of Black Elk, the Oglala Lakota (Sioux) holy man, “[T]he power of the world always works in circles. . . . The flowering tree was at the center of the hoop, and the circle of the four quarters nourished it. . . . Everything the power of the world does is done in a circle.”
Native North America, Plains, Tsitsistas (Cheyenne)
Native-tanned hide, glass beads, yellow trade cloth, brass beads, sinew thread
Overall: 182.9 x 13 cm (72 x 5 1/8 in.)
Did you know...
This beaded strip was stitched to a hide or a blanket.
Educational Purchase Fund
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يتيح لك قصرلي تقصير الروابط الى روابط اقصر منها لتكون منا سبة للنشر على المواقع الاجتماعلة
Shiva tenderly places an arm around his wife, the goddess Uma (also called Parvati), in a gesture that is familiarly human. Both rest their weight on one hip, their bodies complementing one another. Shiva’s front hand gestures in reassurance, while Uma’s would have held flowers offered by priests and devotees.
Depending on their wealth, temples might have dozens of processional sculptures in various forms to be paraded around for different occasions. This image of a loving couple would be suitable for celebrating a marriage ceremony. Like the bride and bridegroom, the sculpture itself would have been adorned with beautiful jewelry: necklaces, crowns, diadems, ear ornaments, and rings, donated by royalty, wealthy landowners, and merchants.
Widely admired today for their craftsmanship, this festival bronzes was produced in southern India, mostly in the state of Tamil Nadu, during the Chola dynasty (9th–13th century). The Chola kings and their people spoke Tamil; the language continues to be used in southern India. Part of a rich and still living tradition of casting solid metal sculpture in South India, this image was made using the lost-wax casting technique. First, a model of the final sculpture is created from a mixture of wax and resin. Every detail that is seen in the cast metal sculpture is captured in this wax-resin model. The model is then encapsulated in a mold, leaving an opening at its base. The mold is heated, which solidifies the mold material, while the wax within is melted and poured out. The mold is then inverted, metal is melted in a crucible, and the molten metal is poured into the void left by the melted wax. Once cooled, the mold is broken, revealing the cast metal sculpture.
H: 16 7/8 x W: 11 5/8 x D: 6 1/2 in. (42.9 x 29.5 x 16.5 cm)
medium: copper alloy
given to Walters Art Museum, 2005.
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يتيح لك قصرلي تقصير الروابط الى روابط اقصر منها لتكون منا سبة للنشر على المواقع الاجتماعلة
Used in the Pratt Chat blog post explaining the MDCH.org homepage images currently shown on prattlibrary.org, with a tip for using the Reference URL (permanent link).
As it says in the blog post, please share any favorite images from around Baltimore and Maryland in the comments: Images of Maryland’s History from MDCH
Parshva stands in a yogic posture of meditation, bearing the hardship of the elements, unmoved. When stormwaters threatened his life, serpents shielded him so that he could complete his meditations and reach liberation. One cobra stretched his seven-hooded canopy over his head like an umbrella, while a serpent king and his wife praise him. The abstract gold lines on the blue background represent the waters that rose to the level of his shoulders. In this painting, the image of Parshva wears a white lower garment, which indicates that this manuscript was made for the prominent branch of Jainism that allows monks and nuns to wear white robes.
Western India, Gujarat, late 15th-early 16th century
Gum tempera, ink, and gold on paper
Overall: 12.5 x 25.7 cm (4 15/16 x 10 1/8 in.)
Edward L. Whittemore Fund
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.
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Painted in a style closely related to Chinese painting, two of the eighty-four mahasiddhas (“great perfected ones”) float in a landscape of craggy rocks and stylized trees. In tantric Buddhist traditions, the mahasiddhas are regarded as great adepts who have achieved spiritual powers and enlightenment, sometimes through unconventional means.
In the upper portion of the painting is Shavaripa, who had been a hunter until the bodhisattva Avalokiteshvara showed him and his wife a vision of themselves in hell—their karmic fate, should they continue to kill animals. Shavaripa renounced hunting, and after meditating for twelve years he attained enlightenment, thereafter remaining on earth to teach the path to spiritual liberation. Here, Shavaripa is depicted twice: in the middle of the painting, he carries a slain animal while his wife follows with a quiver of arrows, and at the top of the painting, he appears to levitate against a backdrop of peacock feathers, a reference to another name by which he is known, “Wearer of the Peacock Plume.”
The lower portion of the painting depicts Dharikapa, a king who abdicated his throne to become a disciple of the mahasiddha Luipa. Having renounced all possessions, Dharikapa offered himself in slavery to Luipa in order to cover the fee paid to one’s guru. In time, Luipa sold Dharikapa to a temple dancer named Dharima. After he had served her for twelve years, one day Dharima witnessed Dharikapa sitting on a levitating throne and teaching the tantric path to enlightenment. Begging his forgiveness for his enslavement, she asked to become his disciple. Dharikapa is represented in voluminous robes, holding the vajra-scepter and the bell, while a woman, probably Dharima, stands behind him holding a skull bowl.
Buddhist
H of image: 25 1/2 × W: 15 in. (64.8 × 38.1 cm)
Framed H: 46 3/8 × W: 25 3/8 in. (117.79 × 64.45 cm)
medium: tempera on cloth
culture: Buddhist
given to Walters Art Museum, 2015.
Esteve y Marques enjoyed a successful early career as a court painter and society portraitist, working as an assistant to the Spanish painter Francisco de Goya before becoming court painter to King Charles IV. The young subject of this portrait is Juan Maria Osorio, one of three sons of Don Vicente Osorio Moscoso Fernandez de Cordoba, the 13th count of Altamira, who also commissioned multiple family portraits from Goya. Esteve and Goya often shared aristocratic patrons, and there are also portraits of the count and his wife attributed to Esteve. The portrait of Juan Maria is somewhat static in execution, the subject lacking vigor and psychological intensity in Esteve's depiction. Yet some of the stiffness of the Cleveland portrait may be due to the fact that this work was probably a posthumous portrait of Juan Maria, who died in 1785 at the age of five.
Spain, 18th century
oil on canvas
Framed: 143.8 x 107.6 x 6.4 cm (56 5/8 x 42 3/8 x 2 1/2 in.); Unframed: 120 x 84 cm (47 1/4 x 33 1/16 in.)
Did you know...
The boy holds a string attached to a linnet, a type of finch popular as a pet.
Gift of the Hanna Fund