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[url=http://www.airforceshooting.org/hays.html]Col Hays[/url] receiving the [url=http://www.odcmp.com/NM/Trophies/PT_Gen_Spaatz.htm]General Spaatz award[/url]
Figures like this were a prevalent type of Kakiemon ware and may have derived from dolls formed in the likeness of courtesans dressed in elaborate brocades.
Japan, Edo period (1615–1868)
Porcelain with overglaze color enamels (Hizen ware, Kakiemon type)
Overall: 38 cm (14 15/16 in.)
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Look closely! One of this fashionable woman's feet is peeking out from under her layered kimono.
John L. Severance Fund
CHRISTY-FLORIST94503374網誌一覽Background背景stage婚嫁EVENT場所裝飾POSTER婚慶Idea 宴會婚禮場地禮堂BANNER結婚FoamBoard大型噴畫style場合PARTY擺酒宴會DECO香港HK婚宴構思統籌晚會GARPHIC網頁|TRACKBACK_URL_FOR THIS POSTS佈置網誌一覽蘼鮮花批發及專業婚禮場地佈置設計公司Since1989WHATSAPP//TEL94503374地址香港九龍尖沙咀漆咸道南45至51號其士大廈尖東堡商場地庫B65舖 masterwin@ymail.com
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Probably intended for private devotion in a domestic interior, this painting depicts a popular Renaissance theme known as a “sacra conversazione,” or sacred conversation, meaning the holy figures are placed in a unified space allowing them to interact with one another. The Madonna and Child are seated between Saint Francis of Assisi (1181-1226) at the left and Saint Jerome (ca. 347-420) at the right. Francis draws the viewer into the “conversation” by making eye contact and gesturing toward his “stigmata" (the wounds of Christ), which he miraculously received on his hands, feet, and abdomen during a vision in 1224. Jerome, famous during the Renaissance as a model example of piety and learning, is shown in his traditional guise as an old, bearded man in a red robe. He also carries a book, probably the Bible, which he famously translated into Latin. The Christ Child holds a goldfinch, foreshadowing the Crucifixion (popular legend claims the bird was present at the Crucifixion and became stained with Christ’s blood, hence the red spot in the bird’s beak).
The painting’s format, with the figures at half-length in a horizontal picture field, was most common in Venice and its surroundings in the early to mid-16th century. A fragmentary inscription on the parapet in front of the figures bears the date 1520 as well as the letters “[S]ANTA CRUCE.” The inscription may be the remains of a signature by a member of the Santacroce family of artists, active around Venice for much of the 1500s. It is difficult to assign the painting to a specific member of the family since the style of the figures and the unusual motif of Francis pulling a square piece of cloth from his robe to reveal his side wound are inspired by the work of Filippo Mazzola (ca. 1460-1505), active mainly in Parma but well-known in Venice.
For works by two members of the Santacroce family at the Walters, see 37.261, 37.569, and 37.577. For a painting by Filippo Mazzola at the Walters, see 37.1056.
Painted surface H: 20 7/8 x W: 27 15/16 x D: 3/4 in. (53 x 71 x 1.9 cm)
medium: oil on wood panel
Walters Art Museum, 1931, by bequest.
Medieval medicine offered few cures. Christians focused their hopes for recovery from illness or accident on their prayers to saints to intercede for them with God. Saints Cosmas and Damian, Protasius and Gervasius, were two pairs of twin brothers who were invoked for their healing of the sick. The statues are from the hospital complex at Abbeville, built between 1484 and 1492, where they may have stood in niches at the entrance to the church.
The vigorous modeling and realistic details- as in the variety in their facial expressions- are made more vivid by the use of color and give credibility to the saints' humanity. Their size, relative to the sick at their feet, conveys their superhuman powers, while the clerical garments lend them authority. The stocky proportions are typical of French sculpture of the late 15th century.
Damian, seen here with an ointment jar and a spatula, prepares to cure a lame man supported by a crutch.
French
H: 27 9/16 x W: 12 1/2 x D: 7 13/16 in. (70 x 31.8 x 19.8 cm)
medium: limestone with traces of paint and gilding
style: Gothic
culture: French
Walters Art Museum, 1931, by bequest.
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.
The scarab displays a ritual scene on its bottom, which shows the standing figure of King Ramesses II in front of the god Thoth. The king wears the so-called "Blue Crown" with Uraeus-serpent and crown sash, as well as a long elaborate, pleated dress. He presents a squatting figure of the goddess Maat with his right hand, while his left hand is raised in an adoration gesture towards the god. Thoth, the god of wisdom, is depicted as a squatting baboon with the hands upon his knees, and moon disk combined with crescent above his head. Above both figures appears an inscription, containing Ramesses' royal throne name without a cartouche. Below both figures is a large mr-sign, which functions as base for both figures. The nb-sign in the lower round is not only a filler character, but also creates a balance to the inscription in the upper round. The layout of the figures and hieroglyphs is balanced, only the moon-ensemble and the sun disk are somewhat deformed and collide with the borderline. The figure of Ramesses II is very slim in comparison to the compact figure of the baboon-shaped god. The moon crescent and disk are not attached to the deity and have the same distance to the head of the god as the sun disk does to the head of the king. The pleated dress of the king and the mane of the baboon have hatch lines, the mantel of the baboon has a crossed-line pattern. The highest point of the scarab's back is the pronotum (dorsal plate of the prothorax). Pronotum and elytron (wing cases) show dark blue glazed borderlines, single separation lines, and V-shaped marks for humeral callosities (shoulder thickenings). Small side-depressions are visible below the pronotum. The semicircular head is flanked by triangular eyes. The side plates are irregularly trapezoidal and have curved outer edges, and the clypeus (frontal plate) is four times serrated. The proportions of the top are well balanced. The raised extremities are slender and have natural form, with vertical hatch lines on the upper sides for the tibial teeth and pilosity (hair). The background between the legs is deeply hollowed out. The base is long-oval, and the drill-hole openings framed.
The scarab is longitudinally pierced, was originally mounted or threaded, and functioned as an amulet. The presentation of the Maat-figure by Ramesses II to Thoth is part of the ritual, in which the king states to follow and strengthen the ethical rules. This version of the motif has a second level of meaning: Thoth appears in his moon-god function, and the king, with the sun disk above his head, as representative of the sun god, father and creator of Maat (principle of justice, truth, and order). They meet to strengthen Maat in this and the other world, and the throne name of the king can be read in two directions, and interpreted as: "Strong is the Maat of Re", but also as "Strong is the Maat of Thoth". Therefore, it is likely that the scarab was made for a funeral context, either for the burial of the king himself, or for a private person, who trusted in the divine, Maat-guaranteeing power of the king.
Egyptian
H: 13/16 x W: 9/16 x D: 3/8 in. (2 x 1.5 x 0.9 cm)
medium: light beige steatite with blue glaze
culture: Egyptian
dynasty: 19th Dynasty
reign: Ramesses II (1279-1269 BC)
Walters Art Museum, 1931, by bequest.
Your heart is a muscle that pumps blood around the body. For the pump to work, it needs an electrical supply
A living shoreline is installed with members of the Elizabeth River Project on the Lafayette River in Norfolk, Va., on July 26, 2024. A private homeowner worked with the nonprofit to install the living shoreline, which includes oyster castles and newly planted smooth cordgrass, in her backyard. (Photo by Rhiannon Johnston/Chesapeake Bay Program)
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Eros, shown without wings, is masquerading as the child Herakles. The lion's skin is slung over his left shoulder and reappears beside his right thigh. He steadies an amphora over his left shoulder, one hand on the butt end, the other beside the handles. The amphora is awkwardly modeled; the top and bottom parts are not aligned. Eros wears a serpentine bracelet on his right leg, a bracelet on his right wrist, and a fillet on his head. The figure is finely modeled and, despite wear, careful attention to details is apparent.
The feet and right hand of the figure are broken off, and the surface is worn. The backside is flat and is notched behing the upraised arm, probably to facilitate attachment to a box or a piece of furniture. There are two pairs of holes on the back, one pair in the notch, the other higher up, none piercing the relief.
Erotes with amphoras over their shoulders appear elsewhere in Hellenistic art.
Ivory sculptural work of the Hellenistic period is uncommon.
Greek
H: 1 5/8 in. (4.18 cm)
medium: ivory
culture: Greek
Walters Art Museum, 1931, by bequest.
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christy-florist婚禮場地佈置WEDDING&EVENT-Decorations@裝飾POSTER婚慶Ideas宴會婚禮場地禮堂BANNER結婚FoamBoard大型噴畫style場地場合擺酒宴會DECO香港HK婚宴構思統籌晚會GARPHIC網頁|繄蘼鮮花批發花店TRACKBACK_URL_FOR THIS POSTS佈置網誌一覽CHRISTY-FLORIST_VENUS_EVENT_DECORATIONS繄蘼鮮花批發及專業婚禮場地佈置設計公司Since1989WHATSAPP//TEL94503374 敬請預約
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This stone head is Buddhist in inspiration. It is carved with bulging features, almost as if it had been kneaded out of clay. There is a patterned beard and neat mustache; the eyebrows, bridge of the nose, and cheeks all swell outward. In the Buddhist cosmological system, conceived in India, a mountain stands in the center of our world. On the middle slopes of this mountain dwell four heavenly kings, who guard the four directions. Which of the four kings this head represents is not certain, but he may be Virudhaka (in Sanskrit; Cengchang [Tseng-ch'ang] in Chinese), the regent of the south. He has been given a beard and mustache like those of the Central Asian traders found in contemporaneous tomb sculpture. Intact sculptures of Cengchang [Tseng-ch'ang] show him with one foot on the head of a demon; his raised right arm holds a lance, his left hand is on his waist. The statue from which this head came was probably part of an ensemble in one of the Buddhist cave temples of Tang [T'ang] China. It would have flanked an image of the Buddha standing at the center of the world. Ceramic images of heavenly kings were also placed in tombs as guardians; their facial features are as vigorously modeled as those of this stone head.
Chinese
H: 18 1/2 × W: 10 7/16 × D: 11 5/8 in. (47 × 26.5 × 29.5 cm)
medium: stone
culture: Chinese
dynasty: Tang [T'ang] Dynasty
Walters Art Museum, 1931, by bequest.
Big Spinning Wheels by PDA
from: Roxbury, NY
year: 2023
Simple, Yet complex! Big Spinning Wheels are not for the faint, but rather the open of heart. From close or a far, they evoke a secret and sacred tantalizing beauty. Placed at the bounds of BRC, and the edge of reality….patience is a virtue….
URL: pdabk.com/
Contact: pdawoodwork@gmail.com