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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
Although he was known early in his career for works primarily in black and white, such as charcoal drawings and lithographs, Odilon Redon turned to more colorful media, including pastel, later on. In particular, he focused on commissioned pastel portraits of women with flowers, such as this one. Here, the young niece of the Parisian collector Marcel Kapferer appears alongside colorful blossoms as she looks forward, focused as if in the dreamlike state evoked by her surroundings.
France, early 20th Century
pastel on gray wove paper
Unframed: 72 x 92 cm (28 3/8 x 36 1/4 in.)
Did you know...
This pastel was acquired by the Cleveland Museum of Art in the same year as several other works by Redon, leading arts writers to describe Cleveland as holding the most important works by the artist outside of Paris at the time.
Hinman B. Hurlbut Collection
Intimate shrines for personal meditation practices contained scenes from the life of the Buddha. In an episode just prior to his achievement of enlightenment, the Buddha sat in meditation and faced personifications of the final obstacles. In this exquisite rendering derived from the Greco-Roman realism of Gandharan art, demons attack him in an attempt to scare him off the path. Seductive women do their best to distract him. He remains placid and firm in his conviction that these beings have no inherent reality, and he renders them powerless.
Northern India, Kashmir, 8th century
ivory with gold and polychrome
Overall: 13 x 8.9 cm (5 1/8 x 3 1/2 in.)
Purchase from the J. H. Wade Fund
John La Farge
American, New York 1835–1910 Providence, Rhode Island
9 5/8 x 10 7/8 in. (24.4 x 27.6 cm)
medium: Gouache, watercolor, and graphite on light tan wove paper
Metropolitan Museum of Art, New York, NY 67.55.167 1967
Bequest of Susan Dwight Bliss, 1966
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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
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
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
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
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Nattier was regarded as one of the foremost portrait painters at the court of Louis XV (reigned 1715-1774). He occasionally turned to miniature painting, as demonstrated by this likeness of Cassini de Thury (1714-1784), a distinguished astronomer and director of the Paris Observatory, shown seated at his desk taking a pinch of snuff from a gold box.
The composition for this miniature was taken from a 1745 pastel portrait of Louis Duval de l'Épinoy by Maurice-Quentin de La Tour (Museu Calouste Gulbenkian, Lisbon). Only the face has been altered. Recently both the 19th-century identification of the sitter and the attribution to Nattier have been questioned.
French
3 1/8 x 2 11/16 in. (8 x 6.9 cm)
medium: watercolor on ivory
culture: French
Walters Art Museum, 1931, by bequest.
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
This panel illustrates one of the same scenes shown on the inside of Nesykhonsu’s coffin, allowing us to compare different artist’s styles. On the right stand the mummies of the priest Amenemope and his wife, Taditkhonsu. Their daughter, called "the lady of the house, Mutemperes," crouches before them with her hands wrapped around Amenenope’s legs in a traditional gesture of mourning. On the left, a priest, dressed in his finest linen garments and panther skin, holds in his upraised hands an incense burner and a curious curved implement typically associated with the "opening of the mouth" ritual, in which the mummy’s mouth was magically opened so that the deceased person could take in food and thus be brought back to life.
Egypt, Thebes, Third Intermediate (1069–715 BCE), Dynasties 21–22
gessoed and painted sycamore fig
Overall: 60.4 x 41 x 6 cm (23 3/4 x 16 1/8 x 2 3/8 in.)
The Charles W. Harkness Endowment Fund