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Russia, St. Petersburg
silver, cabochon sapphire mounted in gold
Overall: 1.6 x 10 x 7.2 cm (5/8 x 3 15/16 x 2 13/16 in.)
The India Early Minshall Collection
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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Jennie Walters was born in 1853, the daughter of William T. and Ellen Walters (née Harper), and the sister of Henry Walters. She was educated in Paris, and at St. Mary's Convent, Georgetown, and later at Harvard University. In Cambridge she met Warren Delano, a close friend of her brother. She became engaged, and they married in 1876. After her marriage she lived in Orange, New Jersey, and, from 1900, in New York City. She had seven children, five of whom lived into adulthood. She died in 1922.
Baker's contemporaries credited his success to his early work as a miniature painter, a craft he learned from his father. Such training helped the younger Baker hone his skills at modeling the human figure, creating delicate color effects, and fostering a sense of intimacy in full-scale oil portraits.
H: 14 5/8 x W: 12 3/8 in. (37.2 x 31.5 cm)
Framed: 22 x 20 x 3 3/4 in. (55.9 x 50.8 x 9.5 cm)
medium: oil on canvas
style: Victorian
Walters Art Museum, by bequest, 1931.
The landscape depicted in this pair of screens follows a seasonal progression from right to left, starting with the blossoming plum of early spring and ending with late autumn peonies. A variety of smaller birds are positioned throughout the scene, and a trio of swimming ducks is bracketed by early summer irises and early autumn bellflowers at the center. While some raptors (birds of prey) terrorize a pheasant and an egret (a waterfowl) to the right, a peacock and peahen converse to the left. Hawks are associated with military prowess, while the peafowl suggest cultural prestige.
Japan, Momoyama period (1573–1615)
One of a pair of six-panel folding screens; ink, color, and gold on paper
Image: 155.9 x 339.4 cm (61 3/8 x 133 5/8 in.); Overall: 168.5 x 352.2 cm (66 5/16 x 138 11/16 in.); Closed: 172.5 x 61 x 11.3 cm (67 15/16 x 24 x 4 7/16 in.); with frame: 171.7 x 355.4 cm (67 5/8 x 139 15/16 in.)
Did you know...
Military class patrons frequently requested scenes depicting predation, such as hunting scenes that were inserted as additional subject matter in otherwise tranquil vistas celebrating flora and fauna.
Gift of William G. Mather
Extracts from Alfred Jacob Miller’s original text, which accompanied his images of Native Americans, are included below for reference. These words, which shaped how Miller’s contemporaries viewed the watercolors, reveal the racism and sexism embedded in 19th-century exploration and colonization of the western part of what is today the United States.
"The scene depicts one of the crossings, and not a favorable one. The water is deep and Bull boats must be resorted to. The Trapper in the foreground looking back at the approaching Caravan is waiting for orders, while others are testing the depth of the river by swimming across with faint hopes of any fording that will answer so as to avoid the construction of boats. The preparation of the latter loses much time,- sufficient Buffalo must be killed at once to furnish the hides, and while one party is in search of these, another is removing the goods from the larger wagons and taking the bodies from the wheels;- hides are sewed and streched over them, and the contents of all the other vehicles transferred,- the boats are then floated over by the men wading and swimming along-side. Canadian Trappers display wonderful good nature on such occasions, singing their simple French songs;- but when any fighting is to be done, the Kentuckian and Missourian take precedence by long odds." A.J. Miller, extracted from "The West of Alfred Jacob Miller" (1837).
In July 1858 William T. Walters commissioned 200 watercolors at twelve dollars apiece from Baltimore born artist Alfred Jacob Miller. These paintings were each accompanied by a descriptive text, and were delivered in installments over the next twenty-one months and ultimately were bound in three albums. Transcriptions of field-sketches drawn during the 1837 expedition that Miller had undertaken to the annual fur-trader's rendezvous in the Green River Valley (in what is now western Wyoming), these watercolors are a unique record of the closing years of the western fur trade.
H: 9 1/8 x W: 12 15/16 in. (23.2 x 32.9 cm)
medium: watercolor on paper
Walters Art Museum, 1931, by bequest.
Football Super Bowl XI: Oakland Raiders coach John Madden Gene Upshaw after def. Minnesota Vikings. .Credit: Neil Leifer.SetNumber: X21106
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A panel from the "predella," or illustrated base, of an altarpiece dedicated to Saint Francis, this image combines the funeral of the saint (died 1226) with his canonization, or declaration of sainthood, by Pope Gregory IX in 1228. The saint's body lies on a bier surrounded by a mourning crowd. The crowd includes fashionably dressed young men along with the lame and blind, who seek a miraculous cure by touching the saint's dead body. To the right, the seated pope writes the decree of canonization. The careful attention to fashion, vivid colors, and animated expressions are characteristic of the international, courtly trends encountered mostly in Northern Italy.
Painted surface H: 9 3/8 x W: 19 7/16 in. (23.8 x 49.3 cm)
Panel H including strips on both sides 9 15/16 x WL 20 x D: 1 9/16 in. (25.2 x 50.8 x 3.97 cm)
Framed H: 13 3/4 x W: 23 3/4 x D: 2 3/4 in. (34.9 x 60.4 x 6.95 cm)
medium: tempera on wood
style: Gothic
Walters Art Museum, 1931, by bequest.
We all learned that the heart is a pump that sends blood through vessels to nourish the body. That pump needs direction as to when and how fast to work.12.
A pedagogue was an adult male who supervised the moral and social education of a young boy. In Hellenistic times, boys and girls attended privately funded elementary schools, but formal education beyond this level was exclusively for boys.
6 1/16 x 2 3/4 x 1 3/4 in. (15.4 x 7 x 4.4 cm)
medium: terracotta, traces of paint
Walters Art Museum, 1946, by gift.
Kilgaren Castle, 1864. Francis Seymour Haden (British, 1818–1910). Etching; The Cleveland Museum of Art, Bequest of Elizabeth Carroll Shearer 2016.194
More at clevelandart.org/art/2016.194
The Nomads like Flickr slideshows and want to give them more prominence. This is easy if the pictures in the proposed slideshow are in a Set and are all 'public' - just grab and paste the URL. Giving a slideshow of 'private' pictures is a little more tricky. It will be the subject of another tutorial.
So this tutorial in essence becomes a tutorial about grabbing an URL.
Grabbing an URL is easy. It's so easy I'm going to do it right now: www.flickr.com/photos/tomsgardenshed/sets/721576218617080...
Hey Presto! A Slideshow.
Shiva stands firmly on his lotus pedestal, arching his back in a stance associated with power in the region of Kerala, on India’s southwestern coast, where this sculpture was made. In his upper hands, he holds a battle axe—to cut through illusion—and an antelope, which expresses his role as lord of creatures. The goddess Ganga, a personification of the sacred Ganges River, looks out through Shiva’s hair. When she came to earth from the heavens, she traveled through Shiva’s thickly matted dreadlocks, in order to ease the force of her descent into a gentle flow. Shiva also wears the crescent moon in his hair, a symbol of time, marked by the moon’s waxing and waning. The crescent moon also appears at the peak of the flaming aureole that surrounds the god, along with a five-headed serpent (only two heads remain intact). The snake may allude to the time when Shiva destroyed the deadly poison that threatened both heaven and earth.
In Kerata, sculptures like this one are carried by priests seated on elephants during ritual processions in and around a temple's grounds.
Indian
Overall H: 11 15/16 × W: 6 5/16 × D: 4 15/16 in. (30.3 × 16 × 12.5 cm)
Base only H: 1 13/16 × W: 4 15/16 × D: 4 15/16 in. (4.6 × 12.5 × 12.5 cm)
medium: copper alloy
culture: Indian
given to Walters Art Museum, 1989.