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96 1/4 x 90 1/2 in. (244.5 x 229.9 cm)
medium: Wool
Metropolitan Museum of Art, New York, NY 58.41 1958
Rogers Fund, 1958
Léon Bonvin was born in Vaugirard, just outside Paris in 1834. Despite displaying great talent in the medium of watercolor he was largely unrecognized by his contemporaries. In 1866 he hanged himself at the age of 32, apparently due to financial difficulties. Working at his family's bar or "cabaret," he sketched and painted watercolors only in his spare moments, yet in the seven year period between 1859 and his death he created numerous exquisite still lifes of flowers and fruits, and subtle landscapes capturing fleeting atmospheric effects. There is evidence that, despite his rural home, Bonvin did have knowledge of the art world in Paris. His half-brother was the better known artist, François Bonvin. In addition Bonvin's still lifes show the influence of Jean-Siméon Chardin (1699-1779), whose work was undergoing a revival in the 1850s and 60s.
During the 19th century an appreciation of Bonvin's work was confined to a small circle of connoisseurs and collectors, most prominent among them William T. Walters, father of Henry Walters, founder of the Walters Art Museum. For much of the 19th century William displayed and stored his watercolors in a deluxe leather-bound album with a specially commissioned frontispiece and tailpiece by the renowned flower painter of the Lyon school, Jean-Marie Reignier (see WAM 37.1501 and 37. 1531). William's collection of Bonvin's work was acquired between 1862 and 1891, and eventually comprised 56 watercolors and one, rare oil; today, this is the largest collection of Bonvin's work in existence.
H: 9 5/8 x W: 7 5/16 in. (24.5 x 18.6 cm)
medium: watercolor with gum heightening an white heightening, iron gall ink and pen, on slightly textured, moderately-thick, cream laid paper
Walters Art Museum, 1931, by bequest.
[1] In a diary entry Lucas records that Bonvin made 12 watercolors for William T. Walters in 1863. The commission was likely given on 12 February (see Randall, Diary of George A. Lucas, vol. 2, p. 150), on 14 October of the same year Lucas records "Bonvin delivered the 12th flower for W's - paid him the remaining 100 fs making 300 fs for the 12" (Randall, Diary of George A. Lucas, vol. 2, p. 163).
This engraving is part of the Tarocchi group marked with the letter “A”, and named<em> Firmaments of the Universe</em>. This series comprises the seven planets from the classical astronomy (Moon, Mercury, Venus, Sun, Mars, Jupiter, Saturn) and the three celestial spheres that separate them from the Supreme Entity (<em>Prima Causa</em>) from which everything was originated. <br><br>Here, <em>Marte </em>(Mars) is personified as a full-length male figure, in frontal view, and seated on a chariot-like throne. Mars is armored and holds up a sword in his right hand. A wolf lays at his feet.
Italy, Ferrara, 15th century
engraving
Dudley P. Allen Fund
Winslow Homer
American, Boston, Massachusetts 1836–1910 Prouts Neck, Maine
16 x 29 in. (40.6 x 73.7 cm)
Framed: 28 1/2 x 41 3/8 in. (72.4 x 105.1 cm)
medium: Watercolor and graphite on off-white wove paper
Metropolitan Museum of Art, New York, NY 54.183 1954
Gift of Louise Ryals Arkell, in memory of Bartlett Arkell, 1954
This neoclassical vase (one of a pair) is distinguished by its satyr-head handles. The ground is a color known as "bleu nouveau," and rich oak and laurel garlands in gold surround the painted decorations. At Sèvres, a plaster model for this oviform shape is inscribed with the name of the sculptor Etienne-Maurice Falconet (1716-1791), but the designer was more likely the director of sculpture at the manufactory, Louis-Simon Boizot (1743-1809). Jean-Louis Morin (1731-1787) decorated the vase with harbor scenes, and Jean Pierre Boulanger père (1722-1785) was responsible for the gilding. There is a similar vase in the Wallace Collection, as well as in the Palazzo Pitti in Florence.
H: 16 3/4 in. (42.6 cm)
medium: soft paste porcelain with enamels and gilt
by bequest to Walters Art Museum, 1931.
[1] no. 44
L. 8 ft. (243.9 cm); L. of head 26 in. (66 cm); W. 12 in. (30.5 cm); Wt. 6 lbs. 5 oz. (2863.3 g)
medium: Steel, wood, leather, textile, metallic thread
Metropolitan Museum of Art, New York, NY 14.25.286 1914
Gift of William H. Riggs, 1913
The faun (a creature of the woodlands in Greco-Roman mythology, identified by his horns and pointed ears) plays the cymbals and works a clapper with his right foot. Soldani made multiple versions in different sizes of this figure, a copy of a famous life-size ancient Hellenistic marble statue, which was already in the Uffizi gallery in Florence. This small size is perfect for a collector, as it can be easily picked up.
This statuette can be compared with the two groups by Soldani: "Adonis Mourned by Venus and Cupids" (Walters 54.677) and "The Dead Christ Mourned by the Virgin and an Angel" (Walters 54.1066). They all share an attention to the tactile qualities of the surface, but the others are complex pieces that demonstrate his artistic imagination and originality in composition.
H: 11 9/16 in. (29.4 cm)
medium: bronze with brown varnish patina
Walters Art Museum, 1931, by bequest.
Tenjin Traveling to China, 1610. Konoe Nobutada (Japanese, 1565–1614). Hanging scroll; ink on paper; overall: 91.4 x 32.1 cm (36 x 12 5/8 in.). The Cleveland Museum of Art, Gift from the Collection of George Gund III 2015.456
More at clevelandart.org/art/2015.456
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Belgium, Brussels, first half of 18th century
linen center with bobbin lace edging
Average: 44.5 x 44.5 cm (17 1/2 x 17 1/2 in.)
Gift of Elisabeth Ireland in memory of her mother, Mrs. P. W. Harvey
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The electrical signal produced by the sinus node makes your heart’s top chambers or atria contract and push blood through to the lower chambers or ventricles.
The composition of this icon is known as Anastasis, or the Harrowing of Hell, and it is the traditional iconographic representation of the Resurrection. Christ, standing on Hell's broken gates, pulls Adam and Eve out from their tombs, with crowds of Old Testament kings and other biblical figures behind them. The crowned figure on Christ's left is Zachariah, holding a scroll that reads, "Blessed is..." Christ appears again at the bottom of the frame, leading a group of souls out of Hell as angels beat down hapless demons. The icon is painted in the style of the 16th or 17th century, and a spurious "Andrei Rublev" signature (likely added later) tries to pass it off as even older.
The gilt metal frame is studded with painted enamels whose European style clashes somewhat with the dimensionless, traditional style of the icon. At the corners are the four evangelists, each with the apocalyptical beast with which he is associated. The other enamels show the Carrying of the Cross, the Annunciation, the severed head of John the Baptist, and the Holy Family with a toddler John the Baptist. Strings of river pearls and large mother-of-pearl "stones" also decorate the frame or "oklad." Such a real pearl border was recalled in later enamel "oklads" by means of white enamel dots.
Orthodox
H: 15 5/8 x W: 12 7/8 in. (39.7 x 32.7 cm)
medium: tempera on wood, metal gilt, painted enamel on copper, river pearls, mother-of-pearl
culture: Orthodox
dynasty: House of Romanov
Walters Art Museum, 1931, by bequest.
On a beach where a strong breeze moves off the water from left to right, figures of French women, men, and children in chic Parisian dress stroll, sit, chat, or take donkey rides. The activities depicted (promenades, socializing, riding, sandbox playing) are the same as those enjoyed by residents of London or Paris. At the right, the dog suggests that these are vacationers rather than tourists seeking to recreate their urban pastimes at the seashore. Painted outdoors, this composition is typical of Boudin's beach scenes in the 1860s in its low-lying horizon, cloud-filled sky, and figures ranged across the middle ground. By scattering the figures over the surface and not closing off the scene with framing elements, the artist created the impression of a partial view of a much larger scene.
France, 19th century
oil on wood panel
Framed: 54 x 75 x 6.4 cm (21 1/4 x 29 1/2 x 2 1/2 in.); Unframed: 34.7 x 57.7 cm (13 11/16 x 22 11/16 in.)
Gift of Mrs. D. Z. Norton
The supporting figures are members of the army of Mara, at the time of the attack prior to the Buddha's enlightenment. This piece also has a lotus-petal pedestal that curves up at the edges.
The Buddha's broad and round face may have antecedents in local sculptures. If there was an outside influence that contributed a liberating atmosphere and made possible these varied combinations of facial elements, perhaps it was some knwledge either of the Mon styles of lower Burma or of the sculpture of Ming Dynasty China.
Thai
at knees: 5 11/16 x 2 1/2 in. (14.5 x 6.4 cm)
medium: hollow cast leaded bronze
culture: Thai
Walters Art Museum, 1979, by gift.
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