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FT Due Diligence Live 2023: Connecting leaders in finance & investing, 17 October 2023, London.

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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The scene on this cylinder seal depicts a nude goddess with arms clasped at her midriff, and a star in the field over her right shoulder. It has a cuneiform inscription in three registers.

 

Cylinder seals are cylindrical objects carved in reverse (intaglio) in order to leave raised impressions when rolled into clay. Seals were generally used to mark ownership, and they could act as official identifiers, like a signature, for individuals and institutions. A seal’s owner rolled impressions in wet clay to secure property such as baskets, letters, jars, and even rooms and buildings. This clay sealing prevented tampering because it had to be broken in order to access a safeguarded item. Cylinder seals were often made of durable material, usually stone, and most were drilled lengthwise so they could be strung and worn. A seal’s material and the images inscribed on the seal itself could be protective. The artistry and design might be appreciated and considered decorative as well. Cylinder seals were produced in the Near East beginning in the fourth millennium BCE and date to every period through the end of the first millennium BCE.

Babylonian

 

H: 13/16 x Diam: 7/16 in. (2.1 x 1.1 cm)

medium: quartz (?)

culture: Babylonian

 

Walters Art Museum, 1941, by purchase.

art.thewalters.org/detail/3693

Presentación realizada en la Universidad Rafael Landívar a alumnos y alumnas de la carrera de Relaciones Internacionales sobre la ONU en el mundo, el Marco de Asistencia para el Desarrollo en Guatemala, los Objetivos de Desarrollo del Milenio y la presentación de los nuevos Objetivos de Desarrollo Sostenible.

Four Oxen Pulling a Plough, 1853. Constant Troyon (French, 1810–1865). Black chalk and gouache with graphite and gum Arabic and traces of white chalk in sky, squared for transfer in black chalk; sheet: 35.5 x 28.1 cm (14 x 11 1/16 in.). The Cleveland Museum of Art, Bequest of Muriel Butkin 2015.452

 

More at clevelandart.org/art/2015.452

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This sinuous animal formed the handle of a lid to a vessel, perhaps a situla (pail) or cista (cylindrical container). The head is that of a panther, while the curve of the body has become so pronounced that it resembles a weasel. The Etruscan love of animals inspired their craftsmen to adorn many simple household objects with decorative animal imagery.

Etruscan (?)

 

H: 2 3/4 x W: 3 7/8 x D: 1 1/4 in. (7 x 9.9 x 3.2 cm)

 

mount H: 1 x W: 4 5/16 x D: 2 in. (2.5 x 11 x 5.1 cm)

medium: bronze

culture: Etruscan (?)

 

Walters Art Museum, 1931, by bequest.

art.thewalters.org/detail/1355

France, 19th century

 

pencil and watercolor

 

Gift of The Print Club of Cleveland in honor of Mrs. William G. Mather

clevelandart.org/art/1955.482

Born in rural Pennsylvania, trained in Italy, and based in London for the entirety of his career, Benjamin West exemplifies the transatlantic character of colonial-era American art. In England, his success as a history painter propelled him to the position of court painter by 1772. West’s study of the head of a screaming man, believed to be done in preparation for a now-lost painting commissioned by King George III (1738–1820), was likely not drawn from life. It was modeled on the ideas of French artist Charles LeBrun (1619–1690), whose lectures on depicting the passions of the soul were surely known to the academic West. Working out the facial expression of terror, West emphasized the musculature of the man’s neck, jawline, and brow with thick, emphatic strokes. He employed light brown paper as a midtone and rubbed shadows beneath the man’s chin and flying hair. The purpose of the drawing is not entirely understood. In <em>Pharaoh and His Host Lost in the Red Sea,</em> an oil sketch West likely executed prior to Cleveland’s drawing, the dramatic twist of the pharaoh’s screaming head strongly resembles that in Cleveland’s sheet. However, a drawing in Boston believed to depict the lost painting indicates a composition quite different from West’s oil sketch, leaving the role of this crayon study in the creation of the final painting uncertain.

America, 18th century

 

black crayon

Sheet: 32.3 x 40.7 cm (12 11/16 x 16 in.)

 

Did you know...

American painter Benjamin West was born into poverty, the youngest of ten children, and rose to become the first American artist to train in Italy after gaining funding from wealthy patrons in Philadelphia.

 

Dudley P. Allen Fund

clevelandart.org/art/1967.130.a

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FT Due Diligence Live 2023: Connecting leaders in finance & investing, 17 October 2023, London.

A bird is depicted perched on the branch of an oak tree. Beneath the bird is a small cluster of gold acorns. This is part of a set with Walters 51.1012.

Japanese

 

1 5/16 in. (3.4 cm) (l.)

medium: shakudo, copper, gold

culture: Japanese

 

Walters Art Museum, 1931, by bequest.

art.thewalters.org/detail/1784

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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Shiva tenderly places an arm around his wife, the goddess Uma (also called Parvati), in a gesture that is familiarly human. Both rest their weight on one hip, their bodies complementing one another. Shiva’s front hand gestures in reassurance, while Uma’s would have held flowers offered by priests and devotees.

 

Depending on their wealth, temples might have dozens of processional sculptures in various forms to be paraded around for different occasions. This image of a loving couple would be suitable for celebrating a marriage ceremony. Like the bride and bridegroom, the sculpture itself would have been adorned with beautiful jewelry: necklaces, crowns, diadems, ear ornaments, and rings, donated by royalty, wealthy landowners, and merchants.

 

Widely admired today for their craftsmanship, this festival bronzes was produced in southern India, mostly in the state of Tamil Nadu, during the Chola dynasty (9th–13th century). The Chola kings and their people spoke Tamil; the language continues to be used in southern India. Part of a rich and still living tradition of casting solid metal sculpture in South India, this image was made using the lost-wax casting technique. First, a model of the final sculpture is created from a mixture of wax and resin. Every detail that is seen in the cast metal sculpture is captured in this wax-resin model. The model is then encapsulated in a mold, leaving an opening at its base. The mold is heated, which solidifies the mold material, while the wax within is melted and poured out. The mold is then inverted, metal is melted in a crucible, and the molten metal is poured into the void left by the melted wax. Once cooled, the mold is broken, revealing the cast metal sculpture.

 

H: 16 7/8 x W: 11 5/8 x D: 6 1/2 in. (42.9 x 29.5 x 16.5 cm)

medium: copper alloy

 

given to Walters Art Museum, 2005.

art.thewalters.org/detail/1422

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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

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