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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
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Mesopotamia, Iraq, Lagash (Tello)
dolerite
Overall: 21 x 17.8 x 20.4 cm (8 1/4 x 7 x 8 1/16 in.)
Did you know...
This head was originally on the body of <a href="https://www.clevelandart.org/art/1963.154">1963.154, </a>however they were separated in 1974 when it was realized they did not belong together.
Purchase from the J. H. Wade Fund
This painting is a sketch for a special competition in 1753 held by the Royal Academy in Paris. After the Grand Prix de Rome, the academy's top student prize, an unexpected vacancy in the school's branch in Rome required the academy to hold another contest. Saint-Aubin's oil sketch was well received and he won first place among three finalists. However, his final canvas, now in the Louvre, failed to garner him this distinguished award. Saint-Aubin eventually abandoned his goal of becoming a member of the Royal Academy and joined the less-prestigious Academy of St. Luke. The subject of Saint-Aubin's sketch, selected by the academy, comes from the Old Testament book of Genesis (31:33–35). After toiling for Laban for 14 years, Jacob fled with his wife, Rachel, who was also Laban's daughter. Unbeknownst to Jacob, Rachel had stolen her father's idols before their departure to secure her right to her first born. Laban tracks down Jacob and Rachel and accuses them of carrying off his idols. Jacob is still unaware of Rachel's previous actions, and she has hidden the gods under a camel saddle on which she sits.
France, 18th century
oil on canvas
Framed: 62 x 72 x 7.5 cm (24 7/16 x 28 3/8 x 2 15/16 in.); Unframed: 45.6 x 57.3 cm (17 15/16 x 22 9/16 in.)
Gift of Ruth and Sherman E. Lee in memory of their parents, George B. and Inez W. Ward, and Emery and Adelia Lee
Eugène Boudin is best known for inspiring Impressionist artists, especially a young Claude Monet, to paint outdoors. This drawing belongs to a series that Boudin made throughout much of his career depicting seascapes with dramatic skylines onsite. He favored pastel, the powdery medium used here, for its portability and directness, allowing him to capture the dramatic effects of nature as they shifted.
France, 19th century
pastel on gray wove paper mounted on thin paperboard
Sheet: 21.5 x 28.7 cm (8 7/16 x 11 5/16 in.)
Did you know...
The well-known Parisian critic and writer Charles Baudelaire singled out Eugène Boudin's seascape pastels in a review published around the time this work was made, describing them as characterized by "meteorological beauty."
Nancy F. and Joseph P. Keithley Collection Gift
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.
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
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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.
Wu Bing, a native of Piling, gained Empress Li’s favor and served as a painter-in-attendance at the court in Hangzhou during the Shaoxi reign (1190–94). The round fan painting shows a dragonfly hovering over a stalk of bamboo, a bush cricket (<em>luowei</em>) perching on a leaf, and a flying wasp. <br><br> Yellow leaf tips suggest the late summer or early autumn season. The chirping of the cricket sounds similar to the sound of a working loom; the insect is therefore also called <em>weaving lady</em> (<em>fangzhi niang</em>). The weaving season starts when the weather is about to turn cold—the cricket symbolizes early autumn.
China, Southern Song dynasty (1127-1279)
Album leaf; fan painting, ink on silk
Image: 24.8 x 26.8 cm (9 3/4 x 10 9/16 in.)
Gift of Mrs. A. Dean Perry
The ancient Egyptians believed that the dung beetle, the Scarabaeus sacer, was one of the manifestations of the sun god. Representations of these beetles were used as amulets, and for ritual or administrative purposes.
This small, red carnelian scarab has a vertically arranged bottom inscription, which consists of three lines of right reading text with a cartouche in the center. An oval line frames the inscription. The text contains the name and title of crown princess Neferure, daughter of the female pharaoh Hatshepsut, and a formula whishing her life. The highest point of the back is the pronotum (dorsal plate of the prothorax). Pronotum and elytron (wing cases) have fine single borderlines and double separations lines. The line flow almost regular, only the partition lines between pronotum and elytron overlap slightly. The trapezoidal head is flanked by quarter-ovoid eyes. The trapezoidal side plates have curved outer edges, and the clypeus (front plate), which is very large in comparison to the head, has four frontal serrations and a central base notch. The extremities show natural form and vertical hatch lines for the tibial teeth and pilosity (hair), the background between the legs is deeply hollowed out. The oval base is symmetrical.
The scarab is longitudinally pierced, and was originally mounted or threaded. It functions as a name seal and user-individualized amulet of crown princess Neferure. The scarab should secure the individual existence (wish formula: "who may live"), divine relation (title: "divine consort"), and royal status (cartouche) of the crown princess, and the red color her magic protection. The material, carnelian, was especially used for protective amulets and the Egyptians believed that it would intensify the magical potency. The scarab could have been a personal amulet of the princess, but, it is also possible that it was given to a private person to guarantee the crown princess' patronage. Scarabs made of dark red carnelian were popular for the female members of the court in early 18th Dynasty.
Egyptian
H: 9/16 x W: 7/16 x D: 3/8 in. (1.4 x 1.1 x 0.9 cm)
medium: intensive red carnelian
culture: Egyptian
dynasty: 18th Dynasty
reign: Hatshepsut (1479-1458 BC)
Walters Art Museum, 1931, by bequest.
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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.
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Byzantine
H with loop: 2 3/8 x W: 1 1/4 x D: 1/2 in. (6 x 3.2 x 1.3 cm)
H without loop: 2 1/8 x W: 1 1/4 x D: 1/2 in. (5.4 x 3.2 x 1.3 cm)
medium: bloodstone
culture: Byzantine
Walters Art Museum, 1931, by bequest.
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The subject of this painting comes from a 10th-century text. It tells of a young nobleman’s journey into the lonely countryside, far from the capital city of Heian-kyō (Kyoto). There he came upon a small stream, the banks of which were covered with blooming irises, on which the artist has chosen to focus our attention. While viewing the beautiful flowers the nobleman composed a poem:<br><br><em>I have a beloved wife, <br>Familiar as the skirt of a well-worn robe, <br>And so this distant journeying <br>Fills my heart with grief. </em>
Japan, Edo period (1615–1868)
pair of six-panel folding screens, ink and color on gilded paper
Overall: 154 x 334.3 cm (60 5/8 x 131 5/8 in.)
Gift of The Norweb Foundation
France, early 20th Century
lithograph on China paper laid on wove paper
Image: 14.6 x 0.9 cm (5 3/4 x 3/8 in.)
Did you know...
The sitter of this portrait, Juliette Dodu (1850–1909), was a heroine of the Franco-Prussian War and the half-sister of Redon's wife.
Gift of Ralph King
Elaborate oil lamps with figural attachments were common at the royal court in the ancient kingdom of Meroë. This lamp depicts a captive nude prisoner, his hands bound to his ankles. The lamp would have been suspended by a chain from the collar around the figure's neck. A Meroitic symbol, perhaps an owner's mark, is incised on the prisoner's shoulders.
Nubian
W: 4 1/8 x D: 3 9/16 x L: 10 in. (10.4 x 9 x 25.4 cm)
medium: bronze
culture: Nubian
Walters Art Museum, 1931, by bequest.
A bronze statuette of the anthropomorphic god Anubis facing a kneeling worshiper. He has the head of a jackal and the body of a human male. The piece has been cast in three sections and then joined. The eyes of Anubis are inlaid with gold and there are traces of gilding on the shoulders, wrists, ankles, neck, wig, and ears. The gilding was delicately applied to the eyes, eyebrows and muzzle, but in other areas it appears to have been applied in a more careless fashion. The piece is well preserved in general but there is a break on the lower back corner of the base and there is some green and bright blue corrosion on the lower side of the base. A hieroglyphic inscription runs around the main base, the base of the Anubis figure and along the back pillar of the worshiper, identifying the dedicant as one Wdja-Hor-resnet, son of Ankh-pa-khered, who is asking for the blessings of the god Anubis.
The figure of Anubis is in a striding position with his proper left leg advanced. His proper right arm hangs at his side and the right hand is clenched into a fist with the thumb protruding. The proper left arm is raised and bent at the elbow and there is a drilled hole in the hand for the insertion of an object. Earlier photographs of this piece in Darresy's "Statues de Divinités," show that the missing object was a "was" scepter. He wears a tripartite wig, "shendyt" kilt with deep pleats and a striated belt. A broad collar, armlets and bracelets are incised and gilded. Anklets are suggested by the gilding around the ankles but they are not incised. The musculature of the limbs and the torso is clearly defined. The ears of the god are large and the inner detailing has been carefully modeled. The muzzle comes to a delicate point, accentuating the skillfully modeled eyes, sweeping brows, nose and mouth. There are two cobras at the feet of the deity facing the worshipper. The proper right cobra wears the Red Crown of Lower Egypt and the left cobra wears the White Crown of Upper Egypt. The head of the left cobra is raised slightly higher than that of the right.
A worshipper kneels before the god with his back against an inscribed pillar which is pyramidal at the top. He kneels with both knees down on a flat rectangular base, which is attached to the larger main base below. He extends his hands to the god palms down. He wears a "shendyt" kilt, but the pleats are not carved with the same precision that is seen on the kilt of the god. The bent knees are squared off unnaturally and the legs blend together below the kilt. He has an inscribed broad collar. He also wears a skull cap, the front line of which is clearly marked across his brow. The face is round with full cheeks and no definition of the chin. The ears are large and set high. The eyes are natural and do not have cosmetic brows. The nose is straight and the mouth is small with slightly pursed lips. The overall surface of the worshipper is pitted whereas the figure of Anubis has a high polish.
Egyptian
H: 8 3/16 x W: 5 11/16 x D: 2 1/16 in. (20.8 x 14.4 x 5.3 cm)
medium: bronze with gilt, gold inlay
culture: Egyptian
dynasty: 25th-26th Dynasty
Walters Art Museum, 1931, by bequest.