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France, 19th century
oil on paper, glued to canvas
Unframed: 43.2 x 32.4 cm (17 x 12 3/4 in.)
Gift of Paul and Odette Wurzburger
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H. with scabbard 39 1/2 in. (100.3 cm); H. without scabbard 38 in. (96.5 cm); H. of blade 31 3/4 in. (80.7 cm); W. 3 1/2 in. (8.9 cm); Wt. 1 lb. 11.5 oz. (779.6 g); Wt. of scabbard 15.1 oz. (428.1 g)
medium: Steel, gold, brass, shark skin, wood, textile
Metropolitan Museum of Art, New York, NY 36.25.1473a, b 1936
Bequest of George C. Stone, 1935
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.
Khulasa watches Khassa’s daughter as she kneels devoutly on a prayer rug in the garden. He touches his index finger to his mouth, signaling his awe and surprise. Despite his love, Khulasa knows that the woman is chaste and will not agree to marry him.
Mughal India, court of Akbar (reigned 1556–1605)
gum tempera, ink, and gold on paper
Overall: 20.3 x 14 cm (8 x 5 1/2 in.); Painting only: 9.2 x 10.1 cm (3 5/8 x 4 in.)
Did you know...
The woman’s figure has been painted over some sections of the tree in the foreground.
Gift of Mrs. A. Dean Perry
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.
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 central scene of this altarpiece depicts the enthroned Madonna and Child flanked by angels. The Christ Child holds a tiny European goldfinch, a symbol of his resurrection. The bird is tethered, a reminder that, in the 14th century, such animals were kept as pets by children. Angels present Mary with chalices of white flowers, alluding to her purity. On the left appear the Annunciation and the Crucifixion, while Christ's Presentation in the Temple and the Coronation of the Virgin are on the right.
The delicate punch-work decoration and the slender, graceful figures reveal the influence of Sienese painting. Catalan artists learned the style and techniques of Italian painting by examining imported Italian works in local churches; some even traveled to Italy to perfect their craft.
Spanish
H: 50 1/4 × W: 72 7/16 × D: 1 9/16 in. (127.6 × 184 × 4 cm)
Left panel H: 50 1/8 × W: 17 15/16 × D: 1 9/16 in. (127.3 × 45.6 × 4 cm)
Center panel H: 50 1/16 × W: 36 1/8 × D: 1 3/8 in. (127.2 × 91.7 × 3.5 cm)
Right panel H: 50 1/4 × W: 18 × D: 1 7/16 in. (127.6 × 45.7 × 3.6 cm)
medium: tempera and gold leaf on panel
style: Gothic
culture: Spanish
Walters Art Museum, 1931, by bequest.