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Long-horned buffalo or oxen are being herded across a desolate stretch of the Roman Campagna. In the center of the scene juts a high outcrop of rock. Overhead, reeling in the dark sky, are some vultures.
The artist has applied the pigments in high impasto, utilizing a palette knife. The surface is further enriched with squiggly indentations made with the end of a brush-handle.
Giovanni Costa, an Italian artist noted for his views of the Campagna, listed in "Quel che Vidi e Quel che Intesi," Trèves, 1927, p. 122, a number of colleagues also drawn to the region including Böcklin, David, Plock, George Mason, Zäner, Lenbach, Wilde, and Charles Coleman as well as Benouville.
This picture is attributed to Benouville on the basis of similarities it exhibits in technique and format to a pair of landscapes belonging to the Heim Gallery, London (1978). The London pictures also show views of the Campagna, one with an aqueduct and the other with a herd of buffalo, and are inscribed with the artist's monogram "J A B" (conjoined) and are identified: "Rome 68" (in red).
H: 15 3/4 x W: 31 3/4 in. (40 x 80.6 cm)
Framed H: 23 1/2 x W: 39 3/8 x D: 4 15/16 in. (59.69 x 100 x 12.54 cm)
medium: oil on canvas
Walters Art Museum, 1931, by bequest.
A limestone model bust of a royal male wearing the "nemes" headdress with a "uraeus." The "uraeus" serpent has been broken away. As was typical for the period, the "uraeus" had two coils, one to each side and the tail extended back over the top of the rounded "nemes." Beneath the edge of the band of the "nemes" the natural hairline of the figure may be seen. The eyes are naturally outlined and the brow delicately follows the contour of the eye. The pupils and irises of the eyes are picked out in black paint. The surface of the piece has been scratched and chipped in several places. The face is fleshy and rather flat in profile. The lips are pursed and smiling. The back, sides and base are flat planes and there are grid squares etched into the back and sides. Where the lappets touch the shoulder they are creased in an unnaturally sharp way. The lappets are flat with a curved outer edge and strictly vertical inner edge.
Egyptian
7 3/8 x 6 5/16 x 3 3/4 in. (18.8 x 16.1 x 9.5 cm)
medium: limestone
culture: Egyptian
dynasty: Ptolemaic Dynasty
Walters Art Museum, 1931, by bequest.
The kozuka is designed in the shape of a man lying on his stomach smoking. His feet are at the top of the handle and his head is near the blade.
Japanese
3 7/8 in. (9.8 cm) (l.)
medium: shakudo, gold
culture: Japanese
Walters Art Museum, 1931, by bequest.
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Barye contrasts the powerful, broadly rendered muscular build of the jaguar with the more detailed, limp body of the terror-stricken hare. The cat's ears are pressed against its head and its features are convulsed in fury as it prepares to devour the entrails of its prey.
At the Paris Salon of 1850, "Jaguar Devouring a Hare" was exhibited together with "Lapith Combating a Centaur" -one work representing the artist's most romantic side and the other, his most classical. Both sculptures were acclaimed masterpieces. The critic Théophile Gautier observed of this sculpture:
"The mere reproduction of nature does not constitute art; [Barye] aggrandizes his animal subjects, simplifying them, idealizing and stylizing them in a manner that is bold, energetic, and rugged, that makes him the Michael Angelo of the menagerie."
H: 16 1/4 x W: 38 x D: 17 in. (41.3 x 96.5 x 43.2 cm)
medium: bronze with green and some black patina
Walters Art Museum, 1931, by bequest.
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At the center of this small-scale triptych, Saint John and the deacon Prochorus sit in a cave on the island of Patmos where John transcribed the Book of Revelation. With one hand on his text, John looks over his shoulder to receive the Word of God from heaven above. The saint conveys the text inscribed on the page, “In the beginning was [the Word],” to Prochorus, who copies it onto a scroll. This is the opening line of the Gospel of John, also composed by the Evangelist. The outer wings depict the Annunciation, when the Archangel Gabriel, at left, told the Virgin Mary, at right, that she would give birth to Christ. The angel blesses Mary, and she raises her right hand in acceptance of his message. Their gestures and direct eye contact suggest that they converse across the painting. The Virgin also holds a thread that she spins from the hank of wool in her left hand. This detail alludes to a story from the apocryphal Protoevangelium of James, which describes how Mary was among eight virgins selected to weave cloth for the Temple veil. When the Archangel arrived to deliver his message to the Virgin, he found her spinning the purple thread assigned to her. This scene of Mary spinning appears frequently in Byzantine art, both in grand frescoes and mosaics found in churches, and in smaller panel paintings and illuminated manuscripts. The diminutive size of this triptych indicates that it was used for individual, private devotion. The hinged wings fold inward over the central panel, making it compact and portable. The outside of the wings are painted with a large cross that spans the two wings, set against a red background. The abbreviation for “Jesus Christ is victorious” (IC XC NIKA) is written above and below the arms of the cross.
Orthodox Eastern
H: 5 13/16 x W: 8 1/4 in. (14.7 x 21 cm)
medium: tempera and gold on panel
style: Post-Byzantine
culture: Orthodox Eastern
by bequest to Walters Art Museum, 1931.
France or Italy
embroidery on linen ground; lace edging
Overall: 57.2 x 55.9 cm (22 1/2 x 22 in.)
Gift of Elisabeth Ireland in memory of her mother, Mrs. P. W. Harvey
The European fashion of installing Chinese export silks with painted decoration as luxurious wall coverings may have inspired this exceptional Iranian silk. European engravings, which had flooded the Iranian market by the 19th century, most likely inspired the pattern. This rare silk fabric with painted figural and foliate decoration may have been a luxurious wall covering in a palace or grand mansion in the city of Kashan where mural paintings display similar 19th-century designs. Glistening silver pigment originally formed the palmette-leaf compartment outlines (now mostly deep yellow) that display colorful blossoming plants enlivened with now tarnished silver peacocks. At their junctures, portrait medallions of Iranian princesses are distinctly Qajar in attire and style, as are the composite blossoming plants.
Iran, Qajar period (1779-1925)
taffeta, hand-painted, block-printed: silk and pigments
Overall: 82.6 x 194.3 cm (32 1/2 x 76 1/2 in.)
Gift of Mr. and Mrs. J. H. Wade
The modest appearance of this small bird-effigy pipe, its head now lost, is misleading—the carving is fine and imagery, complex. The upper part takes the form of a bird’s body, the wings folded over the back. The section beneath the bird’s breast, intact but difficult to read, may depict a human torso with a pronounced navel and upraised forearms and hands, the palms facing outward. If so, one creature could be carrying or transforming into the other. The pipe was created by an artist of the ancient Adena people of southern Ohio. Smoke traveled through an interior channel to the mouthpiece, a small hole on the underside.
Native North America, Adena people, Vance Mound, Newton Township, Licking County, Ohio
sandstone
Overall: 6.6 x 2.5 x 2.5 cm (2 5/8 x 1 x 1 in.)
Gift of Arthur George Smith
This intaglio shows the goddess Venus visiting the forge of her husband Vulcan to collect the armor and weapons that she has convinced him to create for her son, Aeneas. Vulcan is seated on the right and holds a hammer in his raised right arm to strike the anvil before him. Venus is standing on the left and facing Vulcan. Although this specific moment is not described in Vergil's "Aeneid" (composed in the second half of the 1st century BCE), it is part of the story line of book 8, where Venus seduces Vulcan to get him to make the arms and later delivers them to Aeneas. Vergil (1st century BCE) wrote the "Aeneid" as a Latin epic poem in the model of the Greek "Iliad" and "Odyssey" by Homer (8th century BCE).
Roman
H: 13/16 × W: 5/8 × D: 1/4 in. (2.1 × 1.6 × 0.6 cm)
medium: Syrian garnet
culture: Roman
Walters Art Museum, 1931, by bequest.