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TAY ROC VS JOHN JOHN DA DON (URL Crowd Member PREDICTIONS) battledomination.com/tay-roc-vs-john-john-da-don-url-crow...
Street Scene (recto); Sketches (verso), c. 1848–49. Gustave Doré (French, 1832–1883). Pen and brown ink and gray wash with white (recto); graphite (verso); sheet: 25.2 x 40.4 cm (9 15/16 x 15 7/8 in.). The Cleveland Museum of Art, Bequest of Muriel Butkin 2015.448
More at clevelandart.org/art/2015.448
Michelangelo was among the first artists in Europe to attend a human dissection and to adopt anatomical knowledge as a necessity for depicting the human figure. These drawings of anatomically accurate skeletons by Battista Franco reflect the increased—and slightly macabre—interest in the interior workings of the human body inspired in part by Michelangelo’s example.
Italy, 16th century
pen and brown ink; incised
Gift of Mr. and Mrs. Claude Cassirer
Egypt, Middle Kingdom (2040–1648 BCE)
faience
Overall: 61.5 cm (24 3/16 in.)
Gift of the British School of Archaeology in Egypt
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Maurice Denis was a member of the Nabis, a small circle of artists formed in Paris in 1888 and associated with the Symbolist movement. Taking their name from the Hebrew and Arabic terms for “prophet,” the Nabis abandoned the Impressionist goal of depicting the fleeting effects of nature, and instead sought to convey a deeper level of meaning through harmonious arrangements of decorative line and color. Denis’s painting depicts a crowd of figures standing on a riverbank, their forms simplified and rendered with pure colors, as they watch the blessing of a yacht on the Belon River near Pont-Aven in Brittany. The subject reflects the artist’s fascination with the humble, spiritual life of this rural community, culturally disparate from the tumultuous strife of modern urban life.
France
oil on canvas
Unframed: 75 x 80 cm (29 1/2 x 31 1/2 in.)
Did you know...
Denis was an extremely prolific artist who experimented with other art forms. His decorative murals can be viewed in many French churches as well as on the ceiling of the Champs Élysées Theatre in Paris.
Nancy F. and Joseph P. Keithley Collection Gift
The richly brocaded robe and elaborate headdress of this lama, or revered teacher of Tibetan Buddhism, proclaim his high status. Indeed, the inscription on the base identifies him as Namgyal Dragpa Zangpo, a great scholar of the Kalachakra Tantra who lived in the 14th-15th century. Known from a range of Tibetan historical sources, Namgyal Dragpa Zangpo came from a prominent family and rose to a high office within the Kagyu monastic tradition. In this idealized portrait, probably made after his death, the prayer beads he holds emphasizes his religious knowledge.
H: 5 1/2 x W: 4 7/16 x D: 3 1/4 in. (13.97 x 11.27 x 8.26 cm)
medium: gilded copper alloy with traces of resin
given to Walters Art Museum, 2014.
America, New York
silver
Overall: 30 cm (11 13/16 in.); Diameter of mouth with rim: 13.2 cm (5 3/16 in.); Diameter of base: 13.4 cm (5 1/4 in.)
Sundry Purchase Fund by Exchange
Each of the four gospels in this book opens on a page with brilliantly illuminated borders depicting the author of the text as well as birds-principally peacocks, symbols of the immortality of the soul-and fountains, representing the fountain of life and the salvation of the soul. This volume consists of 428 leaves with texts in Greek. Its level of sophistication suggests that it was probably written and decorated in a monastery in Constantinople.
Byzantium, Constantinople
ink, tempera, and gold on vellum; leather binding
Sheet: 28 x 23 cm (11 x 9 1/16 in.)
Did you know...
Gospel Books were carried in procession through Byzantine churches.
Purchase from the J. H. Wade Fund
The presentation scene on this seal depicts a seated, bearded deity in horned headdress and flounced robe. An interceding goddess leads a worshipper, bald in a long robe, by the hand. She is posed with one arm raised, and she also wears a flounced robe and horned headdress. An inverted crescent is suspended in the field between them. Finally, a cuneiform inscription in three registers is incorporated into the scene.
Cylinder seals are cylindrical objects carved in reverse (intaglio) in order to leave raised impressions when rolled into clay. Seals were generally used to mark ownership, and they could act as official identifiers, like a signature, for individuals and institutions. A seal’s owner rolled impressions in wet clay to secure property such as baskets, letters, jars, and even rooms and buildings. This clay sealing prevented tampering because it had to be broken in order to access a safeguarded item. Cylinder seals were often made of durable material, usually stone, and most were drilled lengthwise so they could be strung and worn. A seal’s material and the images inscribed on the seal itself could be protective. The artistry and design might be appreciated and considered decorative as well. Cylinder seals were produced in the Near East beginning in the fourth millennium BCE and date to every period through the end of the first millennium BCE.
Neo-Sumerian
Diam: 1/2 in. (1.3 cm)
medium: hematite
culture: Neo-Sumerian
Walters Art Museum, 1941, by purchase.
Born in Nancy to a family of artists, Clodion was one of the leading French sculptors of the ancien régime and Napoleonic era. He went to Paris to study sculpture in 1755 and worked in Rome from 1767 to 1771. Although inspired by the art of classical antiquity, as seen in the mythological subject of this terracotta relief, Clodion continued to model forms with a softness and delicacy reflective of his training during the Rococo period.
France, early 19th Century
terracotta
Diameter: 30.7 cm (12 1/16 in.)
Did you know...
An invention of European artists of the post-Roman period, a satyress is the female equivalent of the male satyr in classical antiquity. Part human and part goat or horse, the satyress can be recognized by her animal legs and hoofs.
Gift of Mr. and Mrs. Ralph King
The scene depicted is from a story about the bell at the temple Dôjôji. On right are two monks with prayer beads in the act of praying. At the left, the large bell of the temple is shown fallen from its tower. A jealous woman transformed into a dragon while chasing a monk she thought had promised to marry her. The monks of Dôjôji hid the monk in the bell tower. The bell fell, trapping him under it. The woman, in her dragon form, coiled her body around the bell and breathed flames on it. This killed the monk trapped inside. The story is retold in noh and kabuki plays of the same name. In the plays, a dancer comes to the temple to celebrate the installation of a new bell. She dances under the bell and when it falls on her is transformed into the dragon. A pine tree and stream are shown on the reverse.
Japanese
2 13/16 x 2 5/8 x 3/16 in. (7.13 x 6.64 x 0.5 cm)
medium: sentoku
style: Nara School
culture: Japanese
Walters Art Museum, 1931, by bequest.
Jars of this type were once used as water pots on a writing desk by scholars. The rounded crisp mouth is a functional design which assists in removing excess water from a brush. Cobalt blue paintings on the white porcelain body depict a three clawed dragon consuming floating sacred fungi lingzhi, believed to ensure long life and used as a symbol for immortality. A mark for good luck inscribed on the foot of the pot reads "precious jade treasure".
Chinese
H: 2 3/16 × Diam: 2 5/8 in. (5.6 × 6.7 cm)
medium: semi-eggshell porcelain with underglaze blue decoration
culture: Chinese
dynasty: Qing Dynasty
reign: Kangxi; Yongzheng
by bequest to Walters Art Museum, 1931.
This manuscript was illuminated by a circle of at least five highly organized manuscript painters active in the Flemish cities of Ghent and Bruges. The principal illuminator was Alexander Bening, who painted the majority of the book's miniatures. Manuscripts produced by this circle of artists are renowned for the decoration of their borders, which typically feature a rich variety of realistically-painted flowers, birds, and butterflies.
This prayer book, called a book of hours, was intended not for a cleric, but for the private devotions of a lay person-in this case, Isabella the Catholic, Queen of Spain (1451-1504). Isabella's coat of arms embellishes the book's frontispiece. It is unlikely that the book was commissioned by the Queen herself; rather, she probably received it as a diplomatic gift from someone courting her patronage, perhaps Cardinal Francisco Jimenez de Cisneros. A Franciscan friar, Jimenez was dependent upon Isabella for his advancement, first to the post of Queen's confessor in 1492, and then to Archbishop of Toledo in 1495.
Flanders, Ghent and Bruges, late 15th century
ink, tempera, and gold on vellum
Codex: 22.5 x 15.2 cm (8 7/8 x 6 in.)
Leonard C. Hanna, Jr. Fund