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This painting depicts Abbeville, a city in northern France famous for its canals and architecture. It lies near the seaport of Boulogne-sur-Mer, Cazin's hometown and where he spent the last decades of his life painting the countryside, beaches, and nearby towns. Cazin specialized in landscapes, often influenced by his knowledge of English and Dutch painters. The title, <em>Midnight</em>, and the image itself suggest silence and stillness—Cazin's hallmarks—but only rarely did he attain this almost surrealistic atmosphere. Cazin was educated in Paris at the famous Ecole Gratuite de Dessins (Free School of Drawing), an innovative and unorthodox institution teaching drawing from memory. He studied there with fellow artists Henri Fantin-Latour (1836–1904), Auguste Rodin (1840–1917), and Alphonse Legros (1837–1911). They all shared an interest in Symbolism—the movement that sees symbols in reality and perceives reality through symbols.
France, 19th century
oil on fabric
Framed: 113 x 112.4 x 11.4 cm (44 1/2 x 44 1/4 x 4 1/2 in.); Unframed: 88 x 89 cm (34 5/8 x 35 1/16 in.)
Did you know...
Cazin preferred to paint in his studio using memory techniques learned in his artistic training which he later passed on to his own students.
The Charles W. Harkness Gift
Vasari may have painted this biblical scene as well as three others (Walters 37.1177, 37.1705, 37.1704) in brown monochrome as a study for related compositions in a series of 18 larger, multicolor panels representing the correspondences between the Old and New Testaments made in 1545-1546 for the sacristy of the church of San Giovanni a Carbonara in Naples. Vasari's skill with the pen comes out in the preliminary drawings, visible in The Fall of Manna, to which he added layers of paint with his brush and fingers.
These particular subjects relate to the establishment of the Holy Eucharist (Communion), when the priest at the altar symbolically re-enacts the sacrifice of Christ. This episode from Genesis foreshadows Christ's sacrifice or the role of bread as sustenance and as an offering. Abraham returns from battle having freed his brother from the enemy and is met by the high priest Melchizedek, who offers him bread and wine.
Painted surface H: 12 5/8 x W: 33 9/16 x D excluding cradle: 3/8 in. (32.1 x 85.2 x 1 cm)
medium: oil and tempera on panel
Walters Art Museum, 1931, by bequest.
2014 MFG Cyclocross - Subaru Woodland Park GP - 11.09.2014
2014 MFG Cyclocross
Woodland Park GP
Seattle, WA
11.09.2014
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Cistae were containers used to safeguard precious objects, including mirrors, perfume flasks, and cosmetics. A particular type of cista was made during the 4th and 3rd centuries BCE in Praeneste, a site in Latium (the region around Rome) that was heavily influenced by Etruscan culture. The elaborately engraved scenes are thought to imitate famous, but now lost, Greek wall-paintings. The ancient metalworker often pressed a white substance into the engraved lines in order to accentuate the decoration. The handles commonly take the form of human figures. Many artists in other early Italian cultures similarly incorporated figures of humans in functional objects.
This figure served as the handle to a wooden lid for a cista and takes the form of a male athlete performing a backwards somersault.
Praenestine
2 7/16 x 4 1/2 x 1 7/8 in. (6.3 x 11.5 x 4.8 cm)
medium: bronze
culture: Praenestine
Walters Art Museum, 1931, by bequest.
The ancient Egyptians donated figures of their gods for use in temple rituals; smaller images served as amulets to ensure divine protection. Goddesses in particular were viewed as protective deities. From earliest times, Egyptian venerated a wide circle of feline-headed female deities, such as Sakhmet, Tefnut, Wadjet, and Bastet. Leonine goddesses, usually Sakhmet or Wadjet (daughters of the sun-god Re), were often associated with an obelisk - a symbol of the sun god - demonstrating both their close relationship to the supreme god and his powers of renewal.
Egyptian
H: 10 3/16 x W: 2 7/8 x D: 4 5/8 in. (25.9 x 7.3 x 11.7 cm)
H with tangs: 11 x W: 2 7/8 x D: 4 5/8 in. (27.9 x 7.3 x 11.7 cm)
H with base: 12 5/16 x W: 3 5/16 x D: 7 1/2 in. (31.2 x 8.4 x 19.1 cm)
medium: bronze
culture: Egyptian
dynasty: 26th-30th Dynasty
Walters Art Museum, 1931, by bequest.
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
Japan, possibly Edo period (1615-1868)
Average: 6.1 x 6.7 cm (2 3/8 x 2 5/8 in.)
Gift of D. Z. Norton
Naturalistic scarabs, which exhibit a beetle-formed underside instead of a flat bottom with additional motifs, became popular in the late Third Intermediate and Late periods. They were attached to the mummy bandages and were part of the amulet set. There are two varieties of such scarabs: red carnelian and blue-green faience scarabs. It is likely that the blue-green scarabs focus only on the renewal aspect, while the red carnelian scarabs were related to the sun rise/set aspect and gave special protection at the critical transition phase.
Egyptian
H: 7/16 x W: 3/4 x L: 1 1/8 in. (1.1 x 1.9 x 2.8 cm)
medium: Egyptian faience with blue-green glaze
style: Saitic
culture: Egyptian
dynasty: 26th Dynasty
Walters Art Museum, 1931, by bequest.
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Dogs were kept in the Mughal imperial palace and attentively cared for by one keeper for every two hunting dogs. Akbar’s biography notes that the emperor liked dogs so much he imported different breeds from distant lands, and Jahangir requested English hunting dogs from the ambassador Sir Thomas Roe. The tradition of collecting and keeping dogs was continued by the succeeding emperors and vassal kings.
India, Rajasthan, Ajmer, probably Sawar school, 18th century
Gum tempera and ink on paper
Image: 22 x 16.5 cm (8 11/16 x 6 1/2 in.); Overall: 18.7 x 25 cm (7 3/8 x 9 13/16 in.)
Did you know...
The newborn puppies are still too young to open their eyes.
Gift of Mr. and Mrs. William E. Ward in memory of her father, Charles Svec
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This seal, depicting a human-headed griffin attacking a horse, has the detailed modeling of musculature characteristic of Middle Assyrian period art. The use of an empty background highlights the drama of the contest and marks a turning point in Assyrian art later expressed on a large scale in carved palace reliefs. The cuneiform inscription records the owner's name: "seal of Silliya."
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.
Assyrian
H: 1 9/16 x Diam: 9/16 in. (3.9 x 1.5 cm)
medium: violet and white stone
culture: Assyrian
Walters Art Museum, 1931, by bequest.
This engraving is part of the group marked with the letter “B”, and named <em>Cosmic Principles and the Virtues</em>, which comprises the three Universal principles or <em>Genii </em>(Light, Time, and Space) alongside the four cardinal virtues (Prudence, Temperance, Fortitude and Justice) and the three theological ones (Faith, Hope, and Charity). The three allegorical figures of the <em>Genii </em>open group B and appear to be an artistic invention of the author of the Tarocchi series.<br> <br>Here, <em>Iliaco </em>(Genius or Spirit of the Sun) personifies the Sun which is thought to be the soul of the world. He is shown as a winged full-length male youth in profile, turned to left. Behind him is a distant forest. In his right hand, <em>Iliaco </em>holds up a sun-face.
Italy, Ferrara, 15th century
engraving
Did you know...
This is the second personification of the sun that appears within the set of Tarocchi, after the engraving displaying Apollo (1924.432.20) and before the one showing the sun as a star (1924.432.44).
Dudley P. Allen Fund