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Domino's delivery scooter in Tokyo

These eight woodcuts (1959.99.8-15) progress from Gabriel’s announcement to Mary that she would bear the Son of God, to the events of her early motherhood and beyond. This included the joy of sharing her pregnancy with her cousin Elizabeth, Jesus’s birth, and the subsequent arrival of the magi. After Jesus’s circumcision and presentation at the temple the Holy Family fled to Egypt to avoid Herod and stayed there for several years. The seemingly out of place last scene shows a glimpse of their daily life in Egypt as Joseph continues his carpentry and Mary spins wool. The Holy Family is surrounded by angels and helpful putti and are blessed by God the Father and the Holy Spirit in the form of a dove overhead.

Germany, early 16th Century

 

woodcut

 

Dudley P. Allen Fund

clevelandart.org/art/1959.99.9

June 07, 2017 at 07:12AM

After he was taken prisoner by Roman soldiers in the Garden of Gethsemane of Jerusalem, Christ was brought before the people by the Roman govenor Pontius Pilate, who addressed the crowd: "'Look, I am bringing him out to you to let you know that I find no case against him.' So Jesus came out, wearing the crown of thorns and the purple robe. Pilate said to them, 'Here is the man!' [Ecce Homo]" (John 19:4-5). the Jewish crowd called for Christ to be executed and he was taken to Calvary and crucified.

Luca Giordano took pride in his ability to imitate the styles of others. In this work, he has drawn on the woodcuts of the German artist Albrecht Dürer (1471-1528) as demonstrated by the costumes and grimacing facial features of the crowd.

This painting is the companion to one of similar style showing Pilate Washing his Hands, now in the John G. Johnson collection in the Philadelphia Museum of Art (no. 29): the two pictures were separated only in 1900. There are also two paintings in the National Gallery in Naples (no. 84417 and 84408) that are old copies of the Walters panel and its companion in Philadelphia.

For more information on this panel, please see the essay by Morten Steen Hansen in Masterpieces of Italian Painting in the Walters art Museum, ed. by M. S. Hansen and J. Spicer (London: Giles Limited, for the Walters Art Museum, 2005), no. 41.

 

 

Painted surface H: 17 3/4 x W: 27 7/16 x D: 1 1/8 in. (45.1 x 69.7 x 2.9 cm)

medium: oil on wood (European walnut) panel

 

Walters Art Museum, 1931, by bequest.

art.thewalters.org/detail/9018

By the end of the 1400s, Venice had emerged as the major printing center in Europe, where books were printed in various languages to be shipped around the world. The city also became the great emporium for prints, and the woodcut developed beyond its humble origins as a popular art for devotional imagery, playing cards, and later for book illustration. <em>View of Venice</em> epitomizes this new ambitious scope for the woodcut, and is a landmark in the history of printmaking. This monumental print can be compared in scale only to a mural decoration and presumably served as a less expensive surrogate for paintings. The six sheets that make up the design would have been pasted either onto a canvas or the wall itself, resulting in the survival of only 12 impressions of the original edition like this one, and only three in America. The goal of the print was to depict Venice as seen from above. No single vantage point would have been sufficient, so Jacopo de' Barbari and a team of surveyors climbed various towers and tall buildings to record small sections of the city. These individual views were combined to form the map which follows a single, though inconsistent, system of perspective. Unprecedented for its exactness of detail and difficulty of execution, <em>View of Venice</em> represents the first attempt to render the image of a city according to the laws of geometry. The view also highlights the seafaring trade activities of Venice, depicting Mercury, god of commerce, presiding over the city, while Neptune, god of the seas, keeps watch over the entrance to the city's Grand Canal.

Italy, early 16th Century

 

woodcut from six blocks on six sheets of paper

Overall: 132.7 x 277.5 cm (52 1/4 x 109 1/4 in.)

 

Did you know...

Before the conveniences of airplanes, photography, or even a hot air balloon this monumental bird's-eye view map of Venice made in 1500 documents every building, canal, alleyway, and square in the city.

 

Purchase from the J. H. Wade Fund

clevelandart.org/art/1949.565

The Royal Collection © 2002, Her Majesty Queen Elizabeth II.

.

Photo: Derry Moore

Pottier and Stymus Manufacturing Company

active ca. 1858–1918/19

51 3/4 x 28 x 25 in. (131.4 x 71.1 x 63.5 cm)

 

medium: Black walnut, original and reproduction upholstery

 

Metropolitan Museum of Art, New York, NY 88.10.3 1888

Gift of Auguste Pottier, 1888

www.metmuseum.org/art/collection/search/236

Cornelius Kierstede

1674–ca. 1757

8 3/16 x 5 1/8 x 5 1/8 in. (20.8 x 13 x 13 cm); 17 oz. 2 dwt. (532.6 g)

 

medium: Silver

 

Metropolitan Museum of Art, New York, NY 23.80.21 1923

Gift of Mr. and Mrs. William A. Moore, 1923

www.metmuseum.org/art/collection/search/7570

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Glad ForceFlex sample trash bag was in this door hanger when I got home

Für den geschäftlichen Erfolg wird man auch Schreibfehlern gegenüber dauerhaft toleranter...

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