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John Lewis Krimmel
1786–1821
9 x 7 3/8 in. (22.9 x 18.7 cm)
medium: Watercolor, black ink, and graphite on white laid paper
Metropolitan Museum of Art, New York, NY 42.95.17 1942
Rogers Fund, 1942
url from a cool talk on "Creating Alternate Realities" conferences.oreillynet.com/cs/et2007/view/e_sess/12439
Alfred Jacob Miller was a prolific sketcher. He filled many journals with drawings and captions from the time he was studying in Paris and Rome (1833) until the 1870's. The varied interests of Miller are clearly reflected in these sketches: rural sites, studies after Old Master paintings, illustrations of literature, and comical scenes and characters.
This sketch comes from the family album of L. Vernon Miller, which contains works that have passed down through the Miller family directly from the artist.
H: 7 5/8 x W: 9 3/4 in. (19.4 x 24.7 cm)
medium: pencil, ink, and wash on paper
given to Walters Art Museum, 1994.
[1] passed directly from the artist down through his family.
John La Farge
American, New York 1835–1910 Providence, Rhode Island
7 3/8 x 10 5/8 in. (18.7 x 27 cm)
medium: Watercolor, gouache with gum arabic, and graphite on olive-green wove paper
Metropolitan Museum of Art, New York, NY 67.55.166 1967
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This manuscript was illuminated by a circle of at least five highly organized manuscript painters active in the Flemish cities of Ghent and Bruges. The principal illuminator was Alexander Bening, who painted the majority of the book's miniatures. Manuscripts produced by this circle of artists are renowned for the decoration of their borders, which typically feature a rich variety of realistically-painted flowers, birds, and butterflies. This prayer book, called a book of hours, was intended not for a cleric, but for the private devotions of a lay person-in this case, Isabella the Catholic, Queen of Spain (1451-1504). Isabella's coat of arms embellishes the book's frontispiece. It is unlikely that the book was commissioned by the Queen herself; rather, she probably received it as a diplomatic gift from someone courting her patronage, perhaps Cardinal Francisco Jimenez de Cisneros. A Franciscan friar, Jimenez was dependent upon Isabella for his advancement, first to the post of Queen's confessor in 1492, and then to Archbishop of Toledo in 1495.
Flanders, Ghent and Bruges, late 15th century
ink, tempera, and gold on vellum
Codex: 22.5 x 15.2 cm (8 7/8 x 6 in.)
Leonard C. Hanna, Jr. Fund
France, 18th century
wood and plaster, in part painted and gilded, window and mirror glass, marble table tops
Overall: 408.7 x 436.6 x 283.2 cm (160 7/8 x 171 7/8 x 111 1/2 in.)
John L. Severance Fund
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 Virgin kneels on a crescent moon with her hands in an attitude of prayer. Her head is uncovered, and her hair falls down her back and in tresses over her shoulders. In rendering the folds of the garments, little concession has been made to anatomy.
This piece, like 71.342, was apparently carved in the Portuguese colony of Goa, on the west coast of the Indian subcontinent by a native artist.
Devotional statuettes carved in ivory celebrating the immaculate purity of the Virgin were popular in the 1600s in Europe and this taste spread to the colonies established by Catholic countries in Asia and the Americas. The three most important locations for production of these ivories were the portuguese colonies on the Indian subcontinent (Goa, where the present piece as well as Walters 71.407 were made), the island of Sri Lanka (see Walters 71.341) and the Spanish colony of the Philippines (see for example Walters 71.322).
A square paper label with blue borders on the under surface of the statuette is inscribed in ink: "123."
H: 5 3/16 in. (13.2 cm)
medium: ivory, traces of gilding
Walters Art Museum, 1931, by bequest.
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.
5 1/4 x 6 3/4 in. (13.3 x 17.1 cm)
medium: Stoneware
Metropolitan Museum of Art, New York, NY 27.17.40a, b 1927
Rogers Fund, 1927
This manuscript was illuminated by a circle of at least five highly organized manuscript painters active in the Flemish cities of Ghent and Bruges. The principal illuminator was Alexander Bening, who painted the majority of the book's miniatures. Manuscripts produced by this circle of artists are renowned for the decoration of their borders, which typically feature a rich variety of realistically-painted flowers, birds, and butterflies. This prayer book, called a book of hours, was intended not for a cleric, but for the private devotions of a lay person-in this case, Isabella the Catholic, Queen of Spain (1451-1504). Isabella's coat of arms embellishes the book's frontispiece. It is unlikely that the book was commissioned by the Queen herself; rather, she probably received it as a diplomatic gift from someone courting her patronage, perhaps Cardinal Francisco Jimenez de Cisneros. A Franciscan friar, Jimenez was dependent upon Isabella for his advancement, first to the post of Queen's confessor in 1492, and then to Archbishop of Toledo in 1495.
Flanders, Ghent and Bruges, late 15th century
ink, tempera, and gold on vellum
Codex: 22.5 x 15.2 cm (8 7/8 x 6 in.)
Leonard C. Hanna, Jr. Fund
James David Smillie
American, New York 1833–1909 New York
9 1/2 x 12 7/8 in. (24.1 x 32.7 cm)
medium: Watercolor and gouache on green-gray wove paper
Metropolitan Museum of Art, New York, NY 67.274 1967
Purchase, Mr. and Mrs. J. William Middendorf II Gift, 1967