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The entire pictorial surface of this dish on a low foot consists of a bust of Mary Magdalene, identified by her long flowing hair and the ointment jar she carried to the tomb to anoint Christ’s dead body. She has brown eyes, and wears a blue dress. Her head is turned three-quarters to the right, with curling locks over both shoulders. Representations of Mary Magdalene were extremely popular in Italy during the Renaissance period, not only on maiolica wares, but also in paintings and sculptures (for example see 37.509). According to the Western Church tradition, Mary Magdalene was a prostitute who repented from her sinful ways upon meeting Christ. Artists thus often chose to represent her as a beautiful, sexually attractive woman, while still maintaining the work’s religious subject matter. The image is actually quite similar to dishes such as 48.1358 that celebrate idealized, presumably virtuous beauty of a beloved. The maker of this dish has not been identified. This dish is painted in blue, yellow,ochre, brown, black and opaque white.The back is bluish-white with one yellow circle near the rim. For more information on ‘maiolica,’ see 48.1336.
2 5/8 x 9 1/8 in. (6.7 x 23.1 cm)
medium: earthenware with tin glaze (maiolica)
Walters Art Museum, 1931, by bequest.
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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.
In stone sculpture, Maya rulers celebrated the milestones of their reigns with flamboyant portraits like this image of a royal woman, created to mark the passage of a twenty-year period known as the k’atun. She originally stood in a plaza next to a portrait of her spouse (see photo), with whom she ruled El Perú-Waka’, a provincial Maya town. A member of the powerful dynasty of a nearby Maya center, she seems to have held higher authority than her husband, serving as a military governor. Her costume reflects her status: the headdress has a fan of green quetzal feathers and her jewelry probably refers to jade-both among the most prized of ancient materials. Jade beads also may form the net over her garment, belted with the head of a fish-like creature. Completing the costume are the scepter and shield she grasps in her hands. The dwarf at her side may be a court attendant. The hieroglyphic text refers to important dynastic dates.
Mesoamerica, Guatemala, Department of the Petén, El Perú (also known as Waka'), Maya (250-900), Classic period (200-1000)
limestone
Overall: 274.4 x 182.3 cm (108 1/16 x 71 3/4 in.)
Did you know...
The powerful Maya queen shown on this stela is known as Lady K’abel.
Purchase from the J. H. Wade Fund
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Sulpicia was chosen in the 3rd century BCE from among a hundred women in Rome as the most worthy to dedicate a statue to the goddess Venus Verticordia, protector of women. Before an imaginary view of the city of Rome, Sulpicia holds a model of the temple of the goddess.
The painting is one of eight surviving related panels depicting Roman men and women who exemplified virtuous behavior. The series was probably made to celebrate the marriage in 1493 of Silvio di Bartolomeo Piccolomini (a relative of Pope Pius II) and was intended to provide moral examples for the newly married couple.
The artist's fascination with antiquity is visible not only in the subject matter but also in the classicizing linear gracefulness of the human form and the ornament of the base.
Painted surface H including strips added on all sides: 42 1/2 x W: 18 11/16 in. (108 x 47.5 cm)
Panel H: 42 x W: 18 1/4 x D: 13/16 in. (106.7 x 46.3 x 2.1 cm)
medium: tempera and oil on panel
Walters Art Museum, 1931, by bequest.
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