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Horus the Child is depicted standing with his left leg forward. He wears the side lock of youth and the crown of Upper Egypt.
Egyptian
H: 9 1/16 in. (23 cm)
medium: cast bronze, electrum inlay
culture: Egyptian
dynasty: 22nd Dynasty
Walters Art Museum, 1931, by bequest.
url from a cool talk on "Creating Alternate Realities" conferences.oreillynet.com/cs/et2007/view/e_sess/12439
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Prince Rupert (1619-82) is here a mature man of the world in the regalia of the Most Noble Order of the Knights of the Garter, England's oldest and most prestigious military order. Rupert was an outstanding military commander during the English Civil War of 1642-46 in support of his uncle Charles I. He promoted commercial ventures overseas, pursued scientific and artistic interests (including development of the mezzotint print technique), and was an excellent tennis player.
In the 1660s Pieter Lely was praised as the finest portraitist in England. This is one of several versions of this portrait. The face demonstrates Lely's more deliberate modeling style in contrast to Van Dyck's; assistants executed the stiffly painted drapery.
H: 87 1/2 x W: 54 1/2 in. (222.2 x 138.5 cm)
medium: oil on canvas
Walters Art Museum, 1931, by bequest.
Alonzo Chappel
American, New York 1828–1887 Middle Island, New York
16 5/8 x 12 5/8 in. (42.2 x 32.1 cm)
medium: Oil on paper mounted on paper and unstretched canvas
Metropolitan Museum of Art, New York, NY 83.2.473 1883
Gift of William H. Huntington, 1883
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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
The monk-painter Sesshp is revered today, as he was in his own time. While he left Kyoto's sophisticated intel-lectual and cultural environment to live in a provincial village in a far western province, he seems never to have severed contacts with the monastic communities of his young adulthood. His residence in Yamaguchi proved fortuitous because his patron, the region's military lord, enjoyed considerable freedom in conducting trade missions overseas with Korea and China. Sesshp went to China in 1467 and traveled about the country, visiting well-known historical sites and Chan (Zen) temples before returning two years later. Thus he became familiar with contemporary painting practices, materials, formats, and subject matter. His assimilation and then transmission of these elements had a profound impact on the following generations of ink painters, patrons, and Zen communities throughout Japan. Despite the presence on these byøbu of the name "Sesshp," they are from the hand of another accom-plished but as yet anonymous follower active in the middle of the sixteenth century. Sesshp's name here, as on a handful of similar bird-and-flower byøbu, attests to the master's identification at that time with the colorful mural paintings on the same theme emanating from Ming dynasty China. This genre had heretofore been relegated to hanging scroll compositions, so the intro-duction into temple and daimyo residences of such an attractive theme surely caused considerable excitement in the later fifteenth century, when in all likelihood Sesshp introduced it into the Japanese painting reper-toire. Subsequently, artists of varying backgrounds and training tried their hands at these large, dramatic scenes. From right to left the composition portrays an array of flowering plants in the near distance that indicate the passage of the seasons. Birds, usually paired, occupy this setting, engaged in various activities that lend naturalism and an air of peacefulness. The world they inhabit may be characterized pictorially by expansive middle-ground waterscapes that end where the far distant mountains rise as backdrops. These features appear consistently in other bird-and-flower byøbu attributed to Sesshp. Also noteworthy is the absence of any birds of prey such as the samurai's beloved hawks, emblems of fierceness and graceful strength that appear often in the byøbu of sixteenth-century Kano and Soga school painters.
Japan, Muromachi period (1392–1573)
Six-panel folding screen, ink and color on paper
Image: 158.5 x 359.4 cm (62 3/8 x 141 1/2 in.); Overall: 175.2 x 374.4 cm (69 x 147 3/8 in.)
Gift of Mrs. A. Dean Perry