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Menu Page (Angelus: Liqeur des Salésiens de Dom Bosco), 1911. Leonetto Cappiello (Italian, 1875–1942). Color lithograph; The Cleveland Museum of Art, Bequest of Elizabeth Carroll Shearer 2016.149
More at clevelandart.org/art/2016.149
Morocco, Azemmur, 18th-19th century
embroidery: silk on linen tabby ground
Overall: 11.4 x 24.1 cm (4 1/2 x 9 1/2 in.)
Gift of J. H. Wade
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.
Hans Holbein’s <em>Dance of Death</em> series, a collection of 41 prints, begins with this scene of the sixth day of Creation, when, according to Genesis, humankind was made. Here, a menagerie of animals crowd around in awe as God stoops to pull Eve from Adam’s side. From above, the moon, sun, and winds witness the birth. Eve is figured in this print as a fully formed, adult woman, though, much like the tree limbs behind her, she branches off from her partner, suggesting her origin from Adam’s rib. The pair is unaware of their nakedness, a sign of humanity’s then sinless state.
Germany, 16th century
woodcut
Sheet: 7.1 x 4.8 cm (2 13/16 x 1 7/8 in.)
Dudley P. Allen 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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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.
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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
http//www.flickr.com/photos/94503374/
//blog.xuite.net/wedding_decorations/hkblog
http//www.weshare.hk/94503374decoration
http//christyflorist.tumblr.com/
http//eventdecoration.pixnet.net/blog
http//plus.google.com/106737217008195886143
//youtu.be/W1AXoqcKAZA //
youtu.be/VNilzfUuWwQ?t=1m49s
www.youtube.com/watch?v=e0lR1RKfTcw
www.flickr.com/photos/wedding-decoration
eventdecoration.pixnet.net/blog/
//printing-style.blogspot.hk/
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
http//www.flickr.com/photos/94503374/
//blog.xuite.net/wedding_decorations/hkblog
http//www.weshare.hk/94503374decoration
http//christyflorist.tumblr.com/
http//eventdecoration.pixnet.net/blog
http//plus.google.com/106737217008195886143
//youtu.be/W1AXoqcKAZA //
youtu.be/VNilzfUuWwQ?t=1m49s
www.youtube.com/watch?v=e0lR1RKfTcw
www.flickr.com/photos/wedding-decoration
eventdecoration.pixnet.net/blog/
//printing-style.blogspot.hk/
This painting, acquired by the Cleveland Museum of Art in 1949, as a work by Corot, proved to be a copy when the signed original reappeared at a public auction in New York in 1981. Although the original, <em>Jeune Femme Pensive</em> or <em>La Méditation</em>, is not in the Corot catalogue raisonné compiled by his friend Alfred Robaut, that painting does have an unquestionable origin. According to one source, Corot painted the original version in Paris in 1866–68 and allowed his pupil, Eugène Lavieille, to make a copy with permission.
France, 19th century
oil on fabric
Unframed: 59.4 x 42.9 cm (23 3/8 x 16 7/8 in.)
Did you know...
Scholars speculate that Camille Corot's model for this painting was Emma Dobigny, the frail young girl who posed for the two versions of Pierre Puvis de Chavannes's painting <em>Hope</em> of 1872 (Musée du Louvre, Paris; Walters Art Gallery, Baltimore).<br><br>This painting, acquired by the Cleveland Museum of Art in 1949, as a work by Corot, proved to be a copy when the signed original reappeared at a public auction in New York in 1981.
Gift of the Hanna Fund
Common in the Indian Ocean region, wooden sandals changed meaning across place and time. This pair’s base elevates the foot as the toes grip an antelope-shaped peg (<em>msuruaki</em>). Crisp geometric sole designs suggest they were rarely worn. East African elites and merchants once had exclusive rights to wooden shoes, wearing elaborate ones only for portraits. Formerly enslaved people living along the coast wore simpler ones from the 1840s onward, adopting elite footwear to assert their liberation. However, slave traders like the Zanzibari “Tippu Tip” (c. 1832–1905) likely brought <em>mitalawanda </em>to Central Africa; stylistic elements of this pair hail from that region.
Africa, Central Africa, Democratic Republic of Congo, unidentified carver
Wood and glass beads
Overall: 12.5 x 4.5 cm (4 15/16 x 1 3/4 in.)
Did you know...
This distinctive footwear traveled from Southeast Asia and the Middle East to Africa, first to the Swahili Coast and then further inland to parts of Central Africa. The deity Krishna wears similar shoes (<em>paduka</em>) in an eighteenth-century Indian miniature painting (2003.344).
Educational Purchase Fund
Léon Bonvin was born in Vaugirard, just outside Paris in 1834. Despite displaying great talent in the medium of watercolor he was largely unrecognized by his contemporaries. In 1866 he hanged himself at the age of 32, apparently due to financial difficulties. Working at his family's bar or "cabaret," he sketched and painted watercolors only in his spare moments, yet in the seven year period between 1859 and his death he created numerous exquisite still lifes of flowers and fruits, and subtle landscapes capturing fleeting atmospheric effects. There is evidence that, despite his rural home, Bonvin did have knowledge of the art world in Paris. His half-brother was the better known artist, François Bonvin. In addition Bonvin's still lifes show the influence of Jean-Siméon Chardin (1699-1779), whose work was undergoing a revival in the 1850s and 60s.
During the 19th century an appreciation of Bonvin's work was confined to a small circle of connoisseurs and collectors, most prominent among them William T. Walters, father of Henry Walters, founder of the Walters Art Museum. For much of the 19th century William displayed and stored his watercolors in a deluxe leather-bound album with a specially commissioned frontispiece and tailpiece by the renowned flower painter of the Lyon school, Jean-Marie Reignier (see WAM 37.1501 and 37. 1531). William's collection of Bonvin's work was acquired between 1862 and 1891, and eventually comprised 56 watercolors and one, rare oil; today, this is the largest collection of Bonvin's work in existence.
H: 9 5/8 × W: 7 5/16 in. (24.5 × 18.6 cm)
Framed H: 21 1/4 × W: 16 1/4 × D: 1 5/16 in. (53.98 × 41.28 × 3.33 cm)
medium: watercolor with gum heightening, gouache details, iron gall ink and pen, over graphite underdrawing on slightly textured, moderately thick, cream wove paper
Walters Art Museum, 1931, by bequest.
[1] In a diary entry Lucas records that Bonvin made 12 watercolors for William T. Walters in 1863. The commission was likely given on 12 February (see Randall, Diary of George A. Lucas, vol. 2, p. 150), on 14 October of the same year Lucas records "Bonvin delivered the 12th flower for W's - paid him the remaining 100 fs making 300 fs for the 12" (Randall, Diary of George A. Lucas, vol. 2, p. 163).