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James G. Harwood was regarded as a promising young Baltimore artist when he died mysteriously of gun-shot wounds at the age of 28. Little is known of his career other than that he had studied for a year in New York with William Merritt Chase (1849-1916) and had also enrolled for two years at the Académie Julian in Paris, a popular destination for Americans training in Paris.
In this scene, Harwood has portrayed the Maryland Fifth Regiment marching up Charles Street in Baltimore on a rainy day. Two dates have been suggested for this work, the Defenders' Day celebration in September 1889 or the celebration of the ending of the Spanish-American War on September 7, 1898. On both occasions, it rained.
Approx. H: 41 x W: 26 1/2 in. (104.14 x 67.31 cm)
medium: oil on canvas
Walters Art Museum, 1977, by gift.
Within a spacious and unadorned hall, a Franciscan monk preaches to a group of ecclesiastics and laymen. In accordance with Renaissance social hierarchies, women are seated on the ground while men are seated on benches or standing. The monk looming over the crowd from a simple wooden pulpit gestures upward toward God, the source of his authority, and rests his other hand on a piece of paper marked with a red seal. The paper is likely a papal bull, or decree, investing the monk’s arguments with the authority of the church.
The monk’s attention seems to be directed specifically to the three clergymen (two bishops and a cardinal) seated on the bench in the foreground. The bishop in green is directly engaged with the monk and the two seem to be debating. Exactly what is being discussed is not clear, though it has been suggested that it is the institution of the Monte di Pietà, a charitable organization akin to a pawnshop that was founded by the Franciscans in the late 1400s. One prominent Franciscan, Bernardino da Feltre, is recorded as having preached in favor of the Monte’s foundation in 1491 in the town of Faenza. This painting, executed in or near Faenza around 1520, could depict this very debate. However, the monk’s features don’t resemble those of Bernardino’s as represented in the surviving portraits of him.
As indicated by its small size and horizontal orientation, the picture was originally part of a predella, the lowest register of an altarpiece. Predellas were often illustrated with scenes from the lives of the figures represented in the altarpiece’s central compartments. This painting, together with its companion panel depicting the “Saint Anthony of Padua Taking the Habit of the Franciscan Order” (Walters 37.547), must have come from a now-unidentified altarpiece in a Franciscan church.
Painted surface H: 15 1/16 x W: 23 1/16 x D excluding cradle: 5/16 in. (38.2 x 58.5 x 0.8 cm)
H framed: 20 x W: 27 3/4 x D: 2 in. (50.8 x 70.49 x 5.08 cm)
medium: oil on wood panel
Walters Art Museum, 1931, by bequest.
Alfred Jacob Miller was a prolific sketcher. He filled many journals with drawings and captions from the time he was studying in Paris and Rome (1833) until the 1870's. The varied interests of Miller are clearly reflected in these sketches: rural sites, studies after Old Master paintings, illustrations of literature, and comical scenes and characters.
This sketch comes from the family album of L. Vernon Miller, which contains works that have passed down through the Miller family directly from the artist.
H: 7 5/8 x W: 9 3/4 in. (19.4 x 24.7 cm)
medium: pencil, ink, and wash on paper
given to Walters Art Museum, 1994.
[1] passed directly from the artist down through his family.
This small triptych icon is fitted within a silver frame and was meant to be worn on the chest as a pendant. The outside of the frame is engraved with floral ornament and has a small relief Crucifix in the middle. In the top register on the inside, the four evangelists surround an image of the Holy Trinity. On their two sides is the Annunciation. The scenes that follow are, from left to right, the Nativity, Presentation of Christ in the Temple, Baptism, Transfiguration, Raising of Lazarus, Entry into Jerusalem, Crucifixion, Resurrection, Ascension, Pentecost, Dormition of the Virgin, and Birth of the Virgin. These are framed by an image of the Tree of Jesse: Jesse, the father of King David, is shown reclining at it the bottom; from him spring branches that contain medallions with images of the Old Testament ancestors of Christ.
Orthodox Eastern
H: 5 1/2 x W: 5 1/8 x D: 13/16 in. (14 x 13 x 2 cm)
medium: boxwood, silver
style: Post-Byzantine
culture: Orthodox Eastern
dynasty: Ottoman Dynasty
Walters Art Museum, 1931, by bequest.
Fisika adalah salah satu mata pelajaran bagi para siswa tingkat SMP & SMA yang saat ini bersekolah di wilayah Cengkareng Mata pelajaran ini sekilas mengasyikkan bila pembahasannya digali lebih dalam, teruma ketika sesi praktek yang terkadang memerlukan peralatan. Pasalnya, fisika meliputi bidang keilmuan yang membahas gerak, termodinamika, gaya, energi dan lain-lain. Tidak hanya sebatas rumus, para siswa yang mempelajari fisika juga diharuskan untuk mengingat beberapa definisi penting. Tentu hal ini menjadi tantangan bagi dua tipe siswa, yakni siswa yang tidak bisa berhitung sesuai rumus dan siswa yang sulit untuk memahami materi secara keseluruhan. Untuk mengatasi kendala tersebut, ada baiknya jika bergabung di Executive Education untuk mendapatkan bimbingan dari guru les privat fisika di Cengkareng yang memiliki metode pembelajaran solutif.
Kursus / Les Privat Fisika di Cengkareng
Executive Education hadir sebagai satu dari sekian lembaga kursus / les privat fisika Cengkareng unggulan yang sudah terbukti mampu menyediakan guru profesional untuk mengajar sesuai bidang yang sudah ditempuh selama bangku kuliah. Sejumlah guru fisika yang kami rekrut umumnya masih menyandang status sebagai mahasiswa bahkan sudah menjadi sarjana dari UI atau Universitas Indonesia.
fisika-exed.blogspot.com/2022/07/les-privat-fisika-di-cen...
Robert Besnard and His Donkey (Robert Besnard et son âne), 1888. Albert Besnard (French, 1849–1934). Etching and aquatint; platemark: 23.6 x 18.1 cm (9 5/16 x 7 1/8 in.); sheet: 28.8 x 21.7 cm (11 5/16 x 8 9/16 in.). The Cleveland Museum of Art, Bequest of Elizabeth Carroll Shearer 2016.106
More at clevelandart.org/art/2016.106
Italy or France, 18th century
gold band, silver and enamel setting with diamond, ruby, emerald and garnet stones
Diameter: 1.8 cm (11/16 in.)
Gift of J. H. Wade
This is one of ten ink cakes of different shapes and colors stored in an exquisite lacquer box. Each is inscribed in gold with a poem by the Qianlong emperor, praising the ten famous sights of the Westlake in Hangzhou, near Shanghai. The Westlake is famous for its natural beauty; it was a favorite imperial destination and remains a tourist attraction today.<br><br>Ink cakes (also called ink sticks) are dissolved with the addition of water and ground on the surface of a flat stone into liquid ink for painting and calligraphy. The precious ink cakes here, however, have never been used.
China, Qing dynasty (1644–1911), Qianlong reign (1736–95)
Molded ink in brown
Overall: 10.2 x 3.1 cm (4 x 1 1/4 in.)
Gift of Henry W. Kent
Japanese
H: 2 13/16 x W: 1 15/16 x D: 1 1/4 in. (7.2 x 5 x 3.1 cm)
medium: sperm whale tooth (?)
culture: Japanese
Walters Art Museum, 1931, by bequest.
These elements once belonged to a full suit of armor that would have been made for a young boy. Decorated with etching, embossing, and gilding, the original suit would have been impressive. Dressing your sons in small custom suits of armor was popular with the wealthiest nobles. They would have been worn for parades and ceremonial occasions and once outgrown were often kept as mementos. Made for the left arm, the rerebrace or upper cannon protected the upper arm, the couter the elbow, and the lower cannon the forearm.
Germany, Augsburg, mostly 17th Century (some modern)
etched and lightly embossed steel with traces of gilding, leather
Overall: 17 cm (6 11/16 in.)
Did you know...
Small-scale suits of armor would help prepare a young boy for knighthood.
Gift of Mr. and Mrs. John L. Severance
In the 1833 Salon catalogue, Barye listed this work as "Struggle between Two Bears, One from North America and the Other from the Indies."
8 3/8 x 6 1/4 x 5 3/16 in. (21.3 x 15.9 x 13.2 cm)
medium: silvered bronze cast in sections with extensive cold work
Walters Art Museum, 1931, by bequest.
Continuing a practice initiated by his father, Alexander III, Tsar Nicholas II presented this egg to his mother, the dowager empress Marie Fedorovna, on Easter 1901. The egg opens to reveal as a surprise a miniature gold replica of the palace at Gatchina, located 30 miles southwest of St. Petersburg. Built for Count Grigorii Orlov, the palace was acquired by Tsar Paul I and served as the winter residence for Alexander III and Marie Fedorovna.
Fabergé's revival of 18th-century enameling techniques, including the application of multiple layers of translucent enamel over "guilloché," or mechanically engraved gold, is demonstrated in the shell of the egg. So meticulously did Fabergé's workmaster, Mikhail Perkhin, execute the palace that one can discern such details as cannons, a flag, a statue of Paul I (1754-1801), and elements of the landscape, including parterres and trees.
H: 5 x W: 3 9/16 in. (12.7 x 9.1 cm)
medium: gold, "en plein" enamel, silver-gilding, portrait diamonds, rock crystal, and seed pearls
Walters Art Museum, 1931, by bequest.
Before Khujasta can leave for a clandestine meeting with her lover, she is stopped by Tuti the parrot who begins to tell her the story of a group of small animals who joined together to overcome an elephant. By the time the parrot’s tale is over, the sun has risen and Khujasta is unable to leave.
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 10.3 cm (3 5/8 x 4 1/16 in.)
Did you know...
A golden mirror lies on Khujasta’s bed.
Gift of Mrs. A. Dean Perry
Three Amazons on this black-figure lekythos face right, and appear to march one after the other. Their skin is white, but their facial features, eroded or rubbed away, are indistinguishable. Each wears a helmet, holds a long spear and has a horizontal quiver. The middle figure holds both hands near her waist; the other two have one hand raised.
Amazons are first mentioned in the "Iliad" (6.186) as allies of the Trojans; later authors emphasize their fearlessness and their status as foreigners. They were introduced on Attic vases in the early 6th century BC, and quickly became a popular subject. Early black-figure depictions of Amazons resemble Greek warriors, with one notable difference-their white skin color, which identifies them as "women." In red-figure vases, the Amazons acquire more feminine features and bodies, and their foreigness is emphasized by their attire: Scythian or Thracian clothing and subsequently Persian garb.
In some places in Greece, Amazons were the object of cult. Jennifer Larson (1995, 111-16) has suggested that despite the fact that they were considered hostile to the Greeks, their complete otherness from the Greek way of life also gave them protective powers and entitled them to be worshiped as heroines.
Greek
H: 8 1/16 x Diam: 2 3/8 in. (20.5 x 6 cm)
medium: terracotta, wheel made; black figure with white paint
style: Attic
culture: Greek
Walters Art Museum, 1931, by bequest.
Parthian Empire (247 BCE–224 CE)
bronze
Diameter: 2.6 cm (1 in.)
Joint Expeditions-Iraq Excavations 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
Madrazo reached the pinnacle of his success at the 1878 Exposition Universelle, where he was proclaimed the successor to his brother-in-law Mariano Fortuny as the foremost contemporary Spanish painter. In this work, he displays his dramatic sense of color, mastery of atmospheric effects, and technical skill.
This painting explores the inequalities of modern life; the population of 19th-century European cities ballooned as rural workers migrated to urban environments looking for employment. The artist highlights the social and economic disparities that resulted. As wealthy, fashionably dressed women leave a church, they pass numerous men and women seated on its steps who have no source of income and are asking them for money.
H: 25 3/16 x W: 39 3/8 in. (64 x 100.01 cm)
Framed H: : 37 13/16 × W: 51 15/16 × D: 4 15/16 in. (96 × 132 × 12.5 cm)
medium: oil on canvas
Walters Art Museum, 1931, by bequest.