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While the mystics of the late Middle Ages pictured the tender incidents surrounding the birth of Christ, they also vividly portrayed the agonies of His death. On this devotional image Christ is pictured wearing the crown of thorns, placed on Christ's head to mock him as "king." This kind of representation is called "Ecce Homo," meaning "Behold the Man," the words spoken by Pilate as he presented Jesus to the waiting crowd. Inscribed around the inner border are Christ's words to Pilate (John 18:37), "I am a King; for this I was born and for this came I into the world that I should give testimony to the truth."
11 3/4 in. (29.8 cm)
medium: enamels on copper
Walters Art Museum, 1931, by bequest.
These eight woodcuts come from a series of forty which illustrate the story of Christian redemption from original sin to the Last Judgement. Probably to maximize printing efficiency and quality, eight woodblocks were printed on each of five sheets of paper, but the subjects are not in the correct chronological order. Prior to sale, the sheets were cut into eight pieces. The sheets in the museum's set were only cut in half, preserving four prints per page. The numbers after the titles of the individual images indicate each scene's place within the narrative. By 1513, Altdorfer had already executed a number of small, finely detailed engravings. Because it is difficult to achieve the same degree of precision using woodcut, The Fall and Redemption of Man is a technical tour de force. Probably inspired by Albrecht Dürer's Small Passion (1511)-but almost double the size-the only contemporaneous comparable set of fine miniature woodcuts, Dance of Death, was designed by Hans Holbein in about 1526 (on view nearby).
Germany, 16th century
woodcut
John L. Severance Fund
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
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
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This small head is unusual for the shape of its skull, which transforms from a weathered and poorly defined mound on the top into defined locks of twisted hair down the back of the head and neck. The skull is hairless on either side of the asymmetrical crest. The forehead recedes back sharply and is marked by a deep furrow. The eyes have a semicircular shape and are heavily lidded, perhaps influenced by the portraiture of Ptolemaic Egypt. They are close-set, and there is damage to the area around the left eye and the right eyebrow. The nose has been broken off from bridge to tip. The full upper lip protrudes beyond the lower and the corners of the mouth are deeply drilled. The head’s physiognomy may be comparable to some private portraiture of Ptolemaic Egypt, and may be a Hellenistic or Roman interpretation of a foreigner. It may also be the portrait of an athlete, as both ears show the so-called cauliflower ear deformity, which is usually caused by repeated blunt trauma experienced by individuals who participate in such sports as boxing.
Greek or Roman
4 7/8 x 3 7/16 x 4 1/4 in. (12.5 x 8.7 x 10.8 cm)
medium: marble
culture: Greek or Roman
Walters Art Museum, 1931, by bequest.
This handscroll features a map illustrating the <em>Mingling of Clear and Muddy Water at the Junction of the Jing and Wei Rivers</em> (<em>Jing qing Wei zhuo tu</em>) and a report by the statesman Dong Gao (1704–1818), preceded by an imperial commentary. The entire handscroll is woven in silk; while the calligraphy section on the right side is woven into the fabric, the Chinese characters on the map are all embroidered. The map shows the clear (blue) river Jing in the north joining the muddy (yellow) river Wei in the west and flowing into the large Yellow River in the northeast. The roofs of houses and sections of the city wall in the lower part of the map indicate the city of Xi’an, a former imperial capital in Shaanxi province located near the site where the terracotta soldiers of China’s first emperor were found in modern times.<br><br>The management and control of the empire’s vast network of waterways, dams, and irrigation systems was an important task for China’s rulers. Flood prevention was essential, for when the Yellow River overflowed it caused disastrous deluges and destroyed farmland and settlements. Here the Qianlong emperor had requested an on-site investigation of the Jing and Wei rivers in order to rectify historic written sources that confused the Jing and Wei rivers.<br><br>In addition to the Cleveland tapestry scroll, an identical tapestry version is preserved in the Palace Museum in Taipei and a rubbing version on paper is preserved in the National Library in Beijing.
China, Qing dynasty (1644–1911), Qianlong reign (1736–95)
Handscroll, silk: tapestry weave; ink and colors; silk: embroidery
Gift of the John Huntington Art and Polytechnic Trust
Diam. 8 1/2in. (21.6cm)
medium: Pottery; flat with raised rim; design of chrysanthemums and butterfly painted in iron pigment on face of plate (Seto ware)
Metropolitan Museum of Art, New York, NY 1974.349.1 1974
Gift of Gertrude C. Kilburn, 1974
Video URL: youtu.be/AbRgv2UlcR8
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Together with 59.1 and 59.2, this piece was discovered in Egypt as part of a hoard that comprised about twenty similar medallions (now dispersed among various museums), eighteen gold ingots, and six hundred gold coins issued by Roman emperors from Severus Alexander (r. 222-235 CE) to Constantius I (r. 293-306 CE). One of the medallions, now in the Calouste Gulbenkian Museum in Lisbon, bears an inscription that possibly reads "Olympic games of the year 274", a date corresponding to 242-243 CE. It is possible that the medallions were intended as prizes to be given out at that event. Alternatively, they may have been issued by Emperor Caracalla (ruled 198-217 CE), who is potrayed on the this medallion in profile, bearing a shield on his shoulder decorated with the image of Nike in a racing-chariot. The back depicts Caracalla's distant predecessor King Alexander of Macedon (r. 336-323 BCE) in short chiton and chlamys (a cloak) hunting a boar. This depiction of a royal hunt was intended to emphasize the prowess that Alexander also showed in battle.
Roman
3/16 x 2 1/4 in. (0.6 x 5.7 cm) (d. x diam.)
medium: gold
style: Hellenistic
culture: Roman
dynasty: Severan Dynasty
Walters Art Museum, 1931, by bequest.
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.
Every night for 52 nights the sly domesticated parrot encourages his master's wife Khujasta to meet her lover under cover of darkness. Just before she leaves, he mentions a topic from a tantalizing tale; she becomes so curious that she cannot go out before hearing the whole story. By the time the story ends, dawn breaks, and it is too late for her to go out unnoticed. The gold sky and geometric tile patterns are derived from Persian sources while Khujasta's figure shown in profile and style of dress are purely Indian. The artist has chosen to tilt the carpet up in defiance of realistic perspective to show off the fine arabesque motif. The checkered bedspread calls attention to the empty bed and Khujasta's longing to be with her lover.
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: 9.1 x 10.3 cm (3 9/16 x 4 1/16 in.)
Did you know...
The gauzy fabric that Khujasta wears over her sari is called an <em>odhani</em>.
Gift of Mrs. A. Dean Perry
temporal: Spätbarock
D: 3,9 cm
mat: Silber
class: Kunstgewerbe
type: Medaille
provenance: Dorotheum, Wien. – 1988 Schenkung Bundesinnung der Baugewerbe, Wien
Österreichische Galerie Belvedere
sammlung.belvedere.at/objects/7496/medaille-auf-die-hochz...
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