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A woman dressed in the simple cotton clothes of a farmer is carrying a tray of rice cakes and the rest of a meal wrapped in a decorative cloth. The tool on her back is used to cut mature rice stalks.
Japanese
14 3/4 x 10 1/16 in. (37.4 x 25.5 cm)
medium: mulberry paper, pigments
style: Katsukawa School
culture: Japanese
given to Walters Art Museum, 1991.
Barcode: ABJ-564-BS
Store URL: store.baltimoresun.com/photos.html?df_direct_id=ABJ-564-BS
Folder: AS-6023-BS
Description: Post Office Building- Calvert Street, Baltimore
Extended Description: POST OFFICE BALTIMORE BUILDING CALVERT STREET
Organization: Baltimore Sun
Copyright: Baltimore Sun
Date: 1930-09-17
File Format: image/jpeg
File Size: 2.1 MB
Dimensions: 4875 x 6064 px
Source: baltimoresun.imagefortress.com/search/asset_details/29531...
This is one of two paintings possibly by Sesshū Tōyō. They once flanked a central scroll with an ink landscape. The unbalanced nature of the compositions, however, suggests they may be images recycled from larger paintings. The one with sweet osmanthus and hibiscus is an autumn scene, the other is a summer scene with daylilies and gardenias. Folding screens often contrast two seasons or depict all four across a single pair of screens. Sesshū’s works were sufficiently prized that repurposing them in fragmentary form to display in an alcove of a luxurious room would not be an unusual choice.
Japan, Muromachi period (1392–1573)
Hanging scroll from a triptych; ink and color on silk
Image: 55.9 x 53.4 cm (22 x 21 in.); Overall: 117 x 58 cm (46 1/16 x 22 13/16 in.)
Gift of Mrs. A. Dean Perry
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The cylindrical walls of this pyxis base are wrapped in a repeating pattern of triangular palmettes and crowned by a lid that shows a fantastic scene of women and erotes. A band of an egg and dot pattern on the outer edge of the lid serve as a ground for three women and two erotes amongst birds, plants, and a discarded alabstron, that form a wide concentric ring around the central handle. Each woman wears a heavy wool peplos and is bejeweled by bracelets, earrings and necklace. Two of the women holdsashes and run away from an eros, the flow of the garments suggested by the wave of thin black lines, but they look back to him as he steps onto a pedestal, also carrying a sash in his hand. The third woman is seated and glances over her left shoulder into the mirror held before her by the second eros. The flesh and garments of the women are the reddish-orange color of the clay, but the erotes are a slightly lighter color because they were once painted white and some traces of this pigement remain on an erotes’ neck and torso.
Pyxides come in a variety of shapes and sizes. This particular shape of pyxis—distinguished from its predecessors by its low walls, wide diameter, and separate lid—was popular from the late fifth century to the fourth century BCE. Pyxides were used primarily by women for storing cosmetics, jewelry, or other trinkets, and they were also a popular dedication at female graves. The relationship between women and pyxides is apparent in the decoration as many feature scenes of women. Other pyxides were used as an ointment container by men, such as, physicians.
Greek
H: 4 3/16 × Diam: 5 7/8 in. (10.7 × 15 cm)
Base H: 2 13/16 × Diam: 4 15/16 in. (7.1 × 12.6 cm)
medium: terracotta, wheel made; red figure
style: Attic
culture: Greek
Walters Art Museum, 1931, by bequest.
Egypt, New Kingdom (1540–1069 BCE), Dynasty 18, reign of Tuthmosis III (1479–1425 BCE)–reign of Amenhotep III (1390–1352 BCE)
travertine
Diameter: 9.7 cm (3 13/16 in.); Diameter of mouth: 4.5 cm (1 3/4 in.); Overall: 16.4 cm (6 7/16 in.); Diameter of lid: 6.6 cm (2 5/8 in.)
Gift of the John Huntington Art and Polytechnic Trust
Known as <em>suzani</em>, embroideries with elaborate floral decoration from Central Asia were a significant part of a bride’s dowry and were ceremoniously displayed on special occasions. Women embroidered suzani, mothers passing their skills on to their daughters. Floral and foliate motifs generally dominate, emboldened with several shades of red and multiple borders, perhaps conveying cosmological, medicinal, or fertility associations. However, few display a more bountiful blossoming garden than seen here. Flora radiates from the central fanlike bouquet, a design echoed in the corners of the field and in the wide border, characteristic of work from Bukhara, Uzbekistan. Patterns were drawn on several loosely joined cotton cloths and then embroidered in chain stitch.
Tajikistan, Ura Tube
plain weave: cotton; embroidery: silk
Average: 216.5 x 188.6 cm (85 1/4 x 74 1/4 in.)
Gift of Mr. and Mrs. J. H. Wade
Since this column-krater is the most important of 12 vases painted by a Greek artist whose name is unknown, the great English vase expert, Sir John D. Beazley, named him (or her) the Cleveland Painter, after our city. Other vases by the Cleveland Painter are now in New York, Vienna, Paris, and Copenhagen, as well as museums in Greece and Italy. The chariot scene on the main side of the vessel is a divine one, as indicated by the presence of Apollo, identified by his lyre and laurel wreath. With him are three goddesses, probably his sister Artemis (facing him), together with Hera (wearing a crown and holding a scepter and libation dish), and Hebe, the daughter of Zeus and Hera, on her way to meet her future husband, Herakles.
Greek, Attic
ceramic
Overall: 56.5 cm (22 1/4 in.)
Did you know...
The revelers on this vessel dance to the music of the <em>barbiton</em>, a stringed instrument associated with leisure and luxury.
Purchase from the J. H. Wade Fund