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This album begins with a painting of plum and bamboo by Tanomura Chikuden (1777–1835) dated to the first day of 1818. It ends with an undated scene of a someone going to visit a friend by Okada Hankō (1782–1845). In between are nine compositions by a variety of artists. There are poems and inscriptions by Rai Sanyō (1780–1832) and Rai Shunsui (1746–1816). There are also paintings by Okada Beisanjin (1744–1820), Uragami Gyokudō (1745–1820), Nagamachi Chikuseki (1747–1806), Noro Kaiseki (1747–1828), Aoki Mokubei (1767–1833), and Nukina Kaikoku (1778–1863), who appends a poem to his composition. <br><br>While most of the paintings are not dated, those that are indicate that the group was painted over a large span of time, rather than on a single occasion. Nagamachi Chikuseki’s figure on a bridge hermit is dated to the 10th lunar month of 1789, while Nukina Kaikoku’s colorful island retreat is from 1833. Aside from the opening composition by Tonomura Chikuden, all the paintings are landscapes following recognizable Chinese brush methods transmitted to Japan through a variety of methods including printed manuals. The calligraphers and painters whose works are represented in the album were all deeply interested in Chinese culture. They were especially attracted to the idea they found in Chinese society of a community of educated friends who shared works in prose, poetry, and painting among one another through correspondence or gatherings. The ideal was a group who were not professional artists, creating works for clients, but a group who produced works to nurture friendships and cultivate their own minds. The cover of the album has a title slip reading <em>Album of Precious Works</em>, and is signed Chikutei Fu or Kan (竹釡 or possibly a much abbreviated 鍳), with a round, red seal reading Chikutei. This is a pseudonym used most likely by a Japanese person interested in calligraphy composed in Chinese and paintings with Chinese styles and themes. The name evokes a pavilion set in a bamboo grove an image strongly associated with China in Japan. It is also likely that this person assembled the works into the album. Pseudonyms of this type were and continue to be used by those engaged in cultural pursuits such as poetry composition, painting, and collecting art. Having such a name takes one out of the normal business of life, and transports one to a space of creativity and aesthetic appreciation.
Japan, Edo period (1615–1868)
One of a pair of folding-albums; ink and light color on silk, or ink on paper
Album, closed: 31 x 21 cm (12 3/16 x 8 1/4 in.)
Gift of Mary B. Lee, C. Bingham Blossom, Dudley S. Blossom III, Laurel B. Kovacik, and Elizabeth B. Blossom, in memory of Elizabeth B. Blossom
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James McNeill Whistler
American, Lowell, Massachusetts 1834–1903 London
11 5/8 x 7 in. (29.4 x 17.8 cm)
medium: Oil on wood
Metropolitan Museum of Art, New York, NY 09.222 1909
Gift of Edward G. Kennedy, 1909
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
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
Saint Catherine was among the most popular virgin martyrs during this period and was particularly venerated in Dürer’s hometown of Nuremberg for her intermediary role between the faithful and God. A princess from Alexandria, Catherine was condemned to die on spiked wheels by the Roman emperor Maxentius because of her Christian faith. In answer to her prayers, God destroyed the wheels with such force that 4,000 pagans were killed. Afterward, Catherine was willingly decapitated. Dürer’s focus on Catherine’s peaceful acceptance in the midst of destruction conveys the power she derived from her chastity and unwavering faith, providing an excellent example for ordinary women to follow.
Germany, late 15th-early 16th Century
woodcut
Gift of The Print Club of Cleveland
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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.
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.
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.
Thomas Eakins
American, Philadelphia, Pennsylvania 1844–1916 Philadelphia, Pennsylvania
9 9/16 x 6 1/8 in. (24.3 x 15.6 cm)
medium: Watercolor and gouache on off-white wove paper
Metropolitan Museum of Art, New York, NY 25.97.2 1925
Fletcher Fund, 1925
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