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This frontal satyr face, easily recognized by its snub nose and equine ears, served numerous purposes. As an antefix, it capped the open end of a roof tile, preventing wind, water, and pests from entering the building below. With its naturalistic mold-made features, enhanced with pigment and perhaps additional stamped and carved details, the antefix would also have provided striking visual ornament, especially when seen in long rows high above.
Greek/South Italian, Taranto
terracotta
Overall: 25 cm (9 13/16 in.)
Did you know...
Despite the connections between satyrs and Dionysos, not all satyr-head antefixes belonged to Dionysian buildings.
The Charles W. Harkness Endowment Fund
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Box personalizado com uma tag com url para visualização de cartão de Natal.
Kit: box + caneca personalizada + tag + hotsite personalizado
www.novasintese.com.br/seupresente
senha: all123
Degas produced numerous wax sculptures during his lifetime that were cast in bronze shortly after his death. This late work continues his fascination with dancers and the physical sensation of the human body in motion. Marks made by artist's fingers are visible in the bronze surface.
France, 19th century
bronze
Overall: 46.4 x 21.6 x 20.3 cm (18 1/4 x 8 1/2 x 8 in.)
Did you know...
Degas often frequented the Garnier opera house in Paris to observe the dancers during both onstage performances and backstage rehearsals. Paying careful attention to their movements and poses, he produced nearly 1,500 works depicting ballet dancers, including paintings, drawings, and sculptures.
Hinman B. Hurlbut Collection
Your heart is a muscle that pumps blood around the body. For the pump to work, it needs an electrical supply
This squatting monster with claws on its knees, braces its shoulders against an overhanging molding. The half-human, half-animal creature was likely part of a Buddhist cave-temple complex at Xiangtangshan, in Hebei Province, northwest China. Found in the lower registers of stone monuments of either architectural structures or statues of Buddhist deities, such monsters had a supportive function. Their scary appearance was believed to keep evil spirits away from the sacred sites.
China, possibly from Xiangtangshan, Northern Qi dynasty (550–577)
Limestone
Overall: 28 x 40 cm (11 x 15 3/4 in.)
Did you know...
The complex of Buddhist cave temples at Xiangtangshan, “Mountain of Echoing Halls,” is a central achievement of the Northern Qi period.
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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).
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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This CreativeMornings/Oklahoma City event was generously presented by Artspace at Untitled, KLLR Coffee, Guernsey, Roast Scout, Clover Partners, and The Treasury.
Ronn Burton was our speaker.
The event was sponsored by Adobe, MailChimp, Shutterstock and Wordpress.
All photos by Magnolia Adams Photography www.magnoliaadams.com/
Byzantine craftsmen revived the Hellenistic tradition of incorporating multicolored gemstones in jewelry, which was not common during the Roman imperial period. The ten sections of this openwork diadem were each adorned with a central gem and pearls, now missing. The diadem was sewn onto a headband of leather or cloth with holes so wearers could adjust the size. Similar pieces were also worn as neckbands. This example would most likely have been worn by members of the imperial family as its amethysts evoke the imperial color purple.
Byzantine
H: 12 1/4 x W: 1 1/8 x D: 3/8 in. (31.1 x 2.86 x 0.9 cm)
medium: gold, amethyst, emeralds
culture: Byzantine
Walters Art Museum, 1931, by bequest.
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.
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.