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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.
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Ancient Egyptians believed the goddess Taweret, whose name translates as "the Great One," offered protection to women during pregnancy and childbirth. She is represented as a hippopotamus with a swollen belly, pendulous human breasts, the limbs of a lion, and the back and tail of a crocodile. Taweret was a benevolent deity and was commonly depicted on amulets. Underscoring her function as a protector, she holds the hieroglyph "sa," meaning protection, in each hand, (the cartouches on her shoulders were added at a later date, and have so far escaped a definitive reading). Although her cult gained great importance, she had no temples of her own.
Egyptian
H: 20 7/8 x W: 8 7/16 x D: 9 3/4 in. (53 x 21.5 x 24.7 cm)
medium: red granite
culture: Egyptian
dynasty: Ptolemaic Dynasty
Walters Art Museum, 1931, by bequest.
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. At the time Bonvin was working several of Chardin's paintings could be found among the new acquisitions at the Louvre Museum. Bonvin might have seen his work there or in reproduction.
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. (24.4 × 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, iron gall ink and pen, over graphite underdrawing on slightly textured, moderately-thick, beige wove paper
Walters Art Museum, 1931, by bequest.
[1] possibly one of seven purchased by Lucas in 1864 (see Randall, Diaries of George A. Lucas, vol. 2, p. 172 and p. 174).
France, 19th century
etching with drypoint
Sheet: 54.7 x 35.8 cm (21 9/16 x 14 1/8 in.); Platemark: 51 x 33.8 cm (20 1/16 x 13 5/16 in.)
Thirty-fifth anniversary gift of Mr. and Mrs. Edward B. Greene
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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Bernard Lens III was the most renowned member of an artist dynasty. His namesake father was a printmaker, his grandfather a painter, and two of his own sons became artists. Lens III was a critical figure in miniature painting as the art form transitioned away from painting on vellum. During the first decade of the eighteenth century, he established ivory as the primary miniature support in Britain, probably having seen the pioneering work of Rosalba Carriera (1675–1757) brought to England from Venice during the flowering of the Grand Tour. The earliest known miniatures by Lens were <br>painted on vellum around 1707, with examples on ivory appearing shortly thereafter. Lens spent his career in London, Bristol, and Bath while also traveling to the country estates of his influential patrons. He was painter to kings George I and George II, as well as drawing instructor to princesses Mary and Louise, the Duke of Cumberland, and Horace Walpole (1717–1797).<br>The sitter, Samuel Butler, turns slightly to the left and has brown eyes. A small portion of his dull red coat is visible, <br>and he wears a white lace cravat twisted around his neck in a loose knot—an essential element of a gentleman’s dress that was fashionable between the 1670s and 1690s and unlike the broad lace or linen collars that dominated in the early and mid-seventeenth century. A long, brown, curled wig falls past his shoulders, and one comma-shaped curl is arranged at the center of his forehead. Butler’s voluminous wig occupies half of the painted surface. During the 1660s gentlemen <br>regularly wore wigs, and while they offered a practical solution to such predicaments as hair loss, graying, and lice, wigs were subject to the vicissitudes of fashion. The wig style seen here is that of the late seventeenth century. Around 1680 it became the norm to part the long wig at the center, which by 1700 resulted in two pronounced tufts on either side, a style not yet exhibited in this portrait.<br>Butler was a poet and satirist popular at the court of King Charles II (reigned 1660–1685). He is primarily remembered as the author of Hudibras, a mock-heroic epic poem satirizing Puritanism written during the English civil war and published between 1663 and 1678.
England, early 18th century
watercolor on ivory in a period metal frame
Framed: 4.5 x 3.7 cm (1 3/4 x 1 7/16 in.); Sight: 4.5 x 3.5 cm (1 3/4 x 1 3/8 in.)
Did you know...
Lens often signed his work in monogram; this gold signature is well preserved on this example.
The Edward B. Greene Collection
""His body was not found until Saturday, at Meudon, at the foot of a tree, near the pond of Villebois. The branch had broken. This is the only damage he ever did in his life. He was just thirty-two years of age'. . . [Bonvin] lies in the unconsecrated corner of a suburban cemetery, in the accursed burying-place of those who had died of their own hand. His remains ought rather to have been laid in a thicket . . . where every spring the branches grow green and the violets bloom, ignorant of human wretchedness."
Philippe Burty, quoting a letter from François Bonvin, the artist's half-brother, "Léon Bonvin," Harper's New Monthly Magazine, December 1885, sponsored by William T. Walters
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 1/2 × W: 7 3/16 in. (24.2 × 18.3 cm)
Framed H: 21 1/4 × W: 16 1/4 × D: 1 5/16 in. (53.98 × 41.28 × 3.33 cm)
medium: watercolor and gum heightening, iron gall ink and pen, on slightly textured, moderately thick, cream wove paper
Walters Art Museum, 1931, by bequest.
[1] possibly one of seven purchased by Lucas in 1864 (see Randall, Diaries of George A. Lucas, vol. 2, p. 172 and p. 174).
[2] Likely hanging in Walters' Baltimore townhouse from 1885 (“The Walters Art Collection, Recent Additions – Barye, Millet, Bonnat – Bonvin’s Water Colors,” Baltimore Sun, 1 February 1886, p. 4.), described in R.B. Gruelle's catalogue of the gallery "Notes Critical and Biographical" (1895), p. 189.
Surya wears a long tunic and boots suitable for riding horses across the grassland steppes of Central Asia. The sun god was of paramount power among the people of Central and Western Asia who followed religions such as Zoroastrianism, a pre-Islamic faith emphasizing a sacred duality between light and dark. When the image of the sun god began to be made in India from the 100s BC on, he is shown in the dress of the people who revered him the most. Surya is worshipped throughout the Indian subcontinent and Himalayan regions of Kashmir and Nepal alongside both Hindu and Buddhist deities.
India, Kashmir
brass
Overall: 50.4 cm (19 13/16 in.)
Gift of Katharine Holden Thayer
christy-florist婚禮場地佈置WEDDING&EVENT-Decorations@裝飾POSTER婚慶Ideas宴會婚禮場地禮堂BANNER結婚FoamBoard大型噴畫style場地場合擺酒宴會DECO香港HK婚宴構思統籌晚會GARPHIC網頁|繄蘼鮮花批發花店TRACKBACK_URL_FOR THIS POSTS佈置網誌一覽CHRISTY-FLORIST_VENUS_EVENT_DECORATIONS繄蘼鮮花批發及專業婚禮場地佈置設計公司Since1989WHATSAPP//TEL94503374 敬請預約
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