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In this intimate holy gathering, the Madonna supports the Christ Child's little foot and meets our gaze with a melancholic expression, as if aware that her son will one day sacrifice himself for humankind. The Christ Child fixatedly looks into the viewer's space with his right hand raised in a gesture of blessing. He is adored by his young cousin, John the Baptist, from the lower left. Also at the left is the Madonna's husband and Christ's earthly father, Saint Joseph. To the right is one of Christ's later followers, Saint Mary Magdalen, holding a gold and silver vessel containing the ointment she is said to have used to anoint Christ’s body after the Crucifixion. The figures are set against a green curtain which functions as a cloth of honor—denoting Christ and Mary's roles as King and Queen of Heaven—as well as a barrier between the figures and the distant landscape. The parapet in the foreground acts as an additional barrier between the viewer and the holy figures. A “cartellino” (small piece of paper) is illusionistically painted on the parapet and bears the signature of Marco Palmezzano, the leading painter in the north Italian region of Emilia-Romagna during the late 1400s and early 1500s. The Walters’ panel is a typical work of Palmezzano’s, with its rigidly posed figures bathed in a strong light that provides a heightened sense of three-dimensionality. For a painting at the Walters’ by one of Palmezzano’s assistants, see 37.505.
Painted surface H: 36 x W: 28 7/16 x D excluding cradle: 3/8 in. (91.5 x 72.3 x 1 cm)
medium: oil on wood panel
Walters Art Museum, 1931, by bequest.
The elaborate craftsmanship of this sculpture exemplifies the high standard to which Indian, Nepalese, and Tibetan artists aspired when creating a devotional image. Maitreya, a bodhisattva, is the Buddha of the future who dwells in a Buddhist heaven. Here, wearing a strikingly intricate headdress, Maitreya rests on a multi-layered lotus pedestal, gazing outward through eyes inlaid with silver. Copper and silver inlay enhance the jewelry that adorns his body and the textile pattern that covers his garment.
The sculpture was made for the monk Sadhurakshita, whose name is inscribed on the base.
H: 7 5/16 × W: 5 9/16 × D: 3 1/4 in. (18.5 × 14.1 × 8.2 cm)
Statue H: 4 13/16 × W: 3 1/4 × D: 2 1/8 in. (12.2 × 8.3 × 5.4 cm)
Base H: 3 1/8 × W: 5 9/16 × D: 3 1/4 in. (8 × 14.1 × 8.2 cm)
medium: copper alloy with silver and copper inlay
given to Walters Art Museum, 2009.
Egypt, Byzantine period
tabby weave, inwoven tapestry ornament; wool and linen
Overall: 39.4 x 30.5 cm (15 1/2 x 12 in.)
Gift of the John Huntington Art and Polytechnic Trust
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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Blind Man's Bluff, 1897. Alexandre Lunois (French, 1863–1916), Auguste Clot (French, 1858–1936). Color lithograph; The Cleveland Museum of Art, Bequest of Elizabeth Carroll Shearer 2016.218
More at clevelandart.org/art/2016.218
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