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Netherlands
leaf: gouache on paper; frame: ivory
Radius: 28.6 cm (11 1/4 in.); Spread: 52.8 cm (20 13/16 in.)
Gift of Mr. and Mrs. J. H. Wade
France, 19th century
oil on wood panel
Unframed: 46.5 x 69.8 cm (18 5/16 x 27 1/2 in.)
Bequest of Edgar A. Hahn
This paint box still preserves its original cakes of pigment: one cake each of red (red ocher), blue (Egyptian blue), green (a mixture of Egyptian blue, yellow ocher, and orpiment) and two of black (carbon black, from charcoal). It belonged to Amenemope, who was vizier, or prime minister, under Amenhotep II. Amenemope probably used his paint box for recreation.
Egypt, New Kingdom (1540–1069 BCE), Dynasty 18, reign of Amenhotep II (1425–1400 BCE)
boxwood with inscription inlaid in Egyptian blue
Overall: 2.2 x 21 x 3.6 cm (7/8 x 8 1/4 x 1 7/16 in.)
Did you know...
Painting was a popular and time-honored pastime among the upper classes in Egypt.
Gift of the John Huntington Art and Polytechnic Trust
Ganesha, the god of wealth and abundance, is an auspicious and revered Hindu deity. He removes obstacles and protects his worshipers. Numerous myths explain how Ganesha became an elephant-man composite, but the most popular version relates the story of how he was decapitated by his enraged father, Shiva, and restored to life through the intervention of his mother, Parvati. Shiva agreed to revive him with the head of the first creature encountered: an elephant. Ganesha's strength—his profound spiritual wisdom—contrasts with his weakness for sweets, as indicated by his pudginess and the sweet <em>modaka</em> he carries. In Ganesha, opposing forces exist in perfect harmony.
South India, Medieval period, Chola dynasty(10th-13th century)
bronze
Overall: 50.8 x 25.4 x 17.8 cm (20 x 10 x 7 in.); Base: 23 x 18.3 cm (9 1/16 x 7 3/16 in.)
Did you know...
Ganesha pulls his own broken tusk in one hand, which he used as a pen to write the epic <em>Mahabharata</em>.
Gift of Katharine Holden Thayer
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.
This statuette of a male figure has his arms by his sides and his left foot forward in the manner of a Greek Kouros, a type of statue that depicts a nude youth. This statuette is considered the earliest of the surviving bronzes from a large deposit of votive objects (including over 600 bronzes) found in 1838 on Mount Falterona at a site known as the Lake of Idols.
Etruscan
H: 4 11/16 x W: 1 7/16 x D: 1 3/16 in. (12 x 3.7 x 3 cm)
Mount H: 7/8 x W: 1 15/16 x D: 1 7/8 in. (2.2 x 4.9 x 4.8 cm)
medium: bronze
culture: Etruscan
Walters Art Museum, 1931, by bequest.
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
In this print, Hiroshige mastered capturing the atmospheric qualities of rain and its effects on travelers wearing straw raincoats. The publisher’s name, Takenouchi, is written on the umbrella. His large red seal is stamped on the left side of the print. <br><br>Hiroshige often depicted rainfall with distinct slanted lines. Here, he also added sheets of gray shading to emphasize the intensity of the downpour. In addition, three different shades of gray, requiring three different stages of the printing process, suggest distance in the thickets of bamboo in the background.
Japan, Edo period (1615–1868)
color woodblock print
Sheet: 38 x 25.4 cm (14 15/16 x 10 in.)
Gift of Mrs. T. Wingate Todd from the Collection of Dr. T. Wingate Todd
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France, 17th century
etching and engraving
Gift of Dr. and Mrs. Gorden W. Hasse in memory of Warren John Frank
Pottier and Stymus Manufacturing Company
active ca. 1858–1918/19
48 3/4 x 25 1/2 x 23 in. (123.8 x 64.8 x 58.4 cm)
medium: Black walnut
Metropolitan Museum of Art, New York, NY 88.10.2 1888
Gift of Auguste Pottier, 1888
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 use of Russian hardstones in creating precious objects became a hallmark of design from the House of Fabergé. Easily carved, these minerals were sourced largely from the western region surrounding the Ural Mountains. Fabergé's workmasters used colorful stones such as agate, nephrite (jade), lapis lazuli, rock crystal, and rhodonite, seen here in this small desk clock, to create and embellish flower studies, animal figures, and all manner of luxurious accessories. Bright pink rhodonite was among the rarest, and consequently most expensive, specimens used by the House of Fabergé.
Russia, St. Petersburg
rhodonite, silver, enamel, diamonds
Overall: 5.3 x 5 x 2.9 cm (2 1/16 x 1 15/16 x 1 1/8 in.)
Did you know...
The bright pink color of this small desk clock is a result of manganese, the principle mineral found in rhodonite.
The India Early Minshall Collection
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
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