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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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7th MAY, LONDON – The London Pyramid Group meet to discuss URL Dispatch and look at how Pyramid matches URLs to views using simple pattern matching. Then having a look at some basic traversal and resource trees. See future London Pyramid Group meetups at: skillsmatter.com/user-group/ajax-ria/ldn-pyr
Gibbons Reaching for the Moon, 1600s. Kano Tan’yū (Japanese, 1602–1674). Hanging scroll; ink and light color on silk; painting: 170 x 33.9 cm (66 15/16 x 13 3/8 in.); overall with knobs: 234 x 40.1 cm (92 1/8 x 15 13/16 in.). The Cleveland Museum of Art, Gift from the Collection of George Gund III 2015.478
More at clevelandart.org/art/2015.478
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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.
11th May 2019
Regionalliga West
SV Lippstadt 08 v Rot-Weiß Oberhausen
Libert Arena
FT 0-1
The copyright for all photos remains with the author; me, Ashley Greb (@ashleygrebphoto).
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Communication with the author in advance is expected but if published - prior to permission being given - the images must be very clearly accredited "Photograph by Ashley Greb Photography at www.facebook.com/AshleyGrebPhotography/"... You are also free to add links to either twitter account also - "@putajumperon" or "@ashleygrebphoto". At worst you may be asked to make a donation to Teenage Cancer Trust in return for using the image.
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This neoclassical vase (one of a pair) is distinguished by its satyr-head handles. The ground is a color known as "bleu nouveau," and rich oak and laurel garlands in gold surround the painted decorations. At Sèvres, a plaster model for this oviform shape is inscribed with the name of the sculptor Etienne-Maurice Falconet (1716-1791), but the designer was more likely the director of sculpture at the manufactory, Louis-Simon Boizot (1743-1809). Jean-Louis Morin (1731-1787) decorated the vase with harbor scenes, and Jean Pierre Boulanger père (1722-1785) was responsible for the gilding. There is a similar vase in the Wallace Collection, as well as in the Palazzo Pitti in Florence.
H: 16 3/4 in. (42.6 cm)
medium: soft paste porcelain with enamels and gilt
by bequest to Walters Art Museum, 1931.
[1] no. 44