View allAll Photos Tagged URL
[url=http://store.gingerscraps.net/Schooled-Core-Bundle.html] Schooled - Core Bundle from Designs by Connie Prince [/url]
[url=http://store.gingerscraps.net/Schooled-WordArt-Pack.html] Schooled - WordArt Bundle from Designs by Connie Prince [/url]
This fragmentary Taweret is missing the head and feet. Taweret stands with arms pressed to her body; there are no attributes.
Egyptian
H: 2 11/16 x W: 1 x D: 7/8 in. (6.86 x 2.57 x 2.29 cm)
medium: smoky quartz
culture: Egyptian
dynasty: 21st-25th Dynasty
Walters Art Museum, 1931, by bequest.
One of the 1000's of high resolution textures available.from Mayang's Free Textures - see.http://www.mayang.com/textures/..This texture may not be sold without permission from the authors.
This painting may be Renoir's earliest signed canvas. Its sensitive display of color and light communicates an ideal of delicate, youthful beauty. The luminous tones of the background drapery and of the child's white blouse result from the artist's careful observation of reflected light and color on translucent materials. The delicate nuances of color, particularly in the young girl's face, reveal Renoir's previous training as a decorator of porcelain. He painted this portrait, commissioned by the vacationing Lacaux family, during his stay at an artist's colony in the village of Barbizon, near Paris.
France, 19th century
oil on fabric
Framed: 106.7 x 89.2 x 8.9 cm (42 x 35 1/8 x 3 1/2 in.); Unframed: 81.3 x 65 cm (32 x 25 9/16 in.)
Did you know...
The son of a poor tailor from Limoges, Renoir began his artistic career at age 13 as an apprentice to a porcelain painter.
Gift of the Hanna Fund
The woman depicted here in bust-length profile wears the costume of the early 15th century. This is surely not a portrait of a particular woman, but of a type, a "pretty young woman." The painting is from a large series of similar bust-length profile "portraits" that would originally have hung in a row decorating the upper walls and possibly the ceiling of a private home. The present figure is framed by cusped Gothic architecture. The early provenance and style of the group suggest that they were executed by an artist in Lombardy in northern Italy but a specific attribution remains to be clarified. For another panel from this series, please see Walters 37.1110. Other panels from this series belong to the Museo Poldi Pezzoli and the Museo del Castello Sforzesco, both in Milan.
Painted surface H: 14 3/16 x W: 14 1/2 x D excluding cradle: 1/4 in. (36 x 36.8 x 0.6 cm)
medium: paint on wood (spruce) panel
Walters Art Museum, 1931, by bequest.
This ad is for Adidas. The message is that Adidas make you fast, super fast. It is displayed in a funny and clever way.
Extracts from Alfred Jacob Miller’s original text, which accompanied his images of Native Americans, are included below for reference. These words, which shaped how Miller’s contemporaries viewed the watercolors, reveal the racism and sexism embedded in 19th-century exploration and colonization of the western part of what is today the United States.
In 1837, Baltimore artist Alfred Jacob Miller journeyed to the frontier with the American Fur Company. Along the way, he made many sketches of Native Americans, concentrating particularly on their relationship with the fur trade. Miller commented on the conflict between the traders and the Shoshonee: "In passing down the Platte, the American Fur Comp[any]'s boats are constantly liable to attack from hostile Indians prowling on the banks . . . it is a dark day for the 'voyageurs' if the boat should run aground. . . ."
In July 1858 William T. Walters commissioned 200 watercolors at twelve dollars apiece from Baltimore born artist Alfred Jacob Miller. These paintings were each accompanied by a descriptive text, and were delivered in installments over the next twenty-one months and ultimately were bound in three albums. Transcriptions of field-sketches drawn during the 1837 expedition that Miller had undertaken to the annual fur-trader's rendezvous in the Green River Valley (in what is now western Wyoming), these watercolors are a unique record of the closing years of the western fur trade.
H: 9 7/8 x W: 13 1/16 in. (25.1 x 33.2 cm)
medium: watercolor on paper
Walters Art Museum, 1931, by bequest.
[url=http://www.sexylovedolls.com]full silicone love dolls[/url]
[url=http://www.sexylovedolls.com]Infant love dolls[/url]
[url=http://www.brandbootshoes.com]Nike Air Jordan shoes[/url]
This steatite ovoid is incised with a horizontally arranged bottom design of a hawk-headed sphinx (?) with a long raised tail. The top displays a pattern with two central, parallel lines and two sets of 'V'-shaped lines on each side. The back and sides are not standardized, and the deeply incised lines vary slightly in depth and thickness. The layout of the top is balanced. The shape of the figure on the bottom is intentionally irregular. The different positions of the legs and open pick demonstrate the energy of the scene. The back is carefully made, and the bottom is more rough.
Objects such as this may have an amuletic rather than an administrative seal function. The amulet should secure divine/royal power, and provide magical protection for its owner.
The mammal motifs of Syro-Palestine ovoids represent usually antelopes, lions, unidentifiable quadrupeds, or fabulous creatures. This figure combines the body of a lion with a hawk head, and has to be identifed as sphinx. It combines divine and royal aspects, and therefore heavenly and earthly protection.
H: 3/8 x W: 9/16 x L: 3/4 in. (0.9 x 1.5 x 1.9 cm)
Inner Diam: 1 in. (2.6 cm)
Outer Diam: 1 3/16 in. (3 cm)
medium: black steatite with silver setting
Walters Art Museum, 1931, by bequest.
The mythical Greek hero Heracles, known to the Romans as Hercules, was renowned for his great strength and the heroic deeds he performed, which were favorite subjects for painters and sculptors alike. Around 1580, Jean Boulogne (Flemish, 1529-1608), know as Giambologna, produced for Grand Duke Francesco I de' Medici (1541-87) of Tuscany a set of bronze statuettes of the Twelve Labors of Hercules, deeds which King Eurystheus ordered him to carry out, assuming them to be impossible.
These groups are characterized by highly dramatic poses, with the limbs of the figures spiraling outwards from center. The smooth surface of the bronze enhances the muscles of Hercules's imposing physique. These figures were extremely popular all over Europe and were replicated in great numbers, beginning in the artist's lifetime and continuing for decades. Individual casts are difficult to date, but this bronze as well as Walters 54.695 were surely made after the master's death. However, they preserve the character of Giambologna's originals and illustrate the refined taste of the Medici court towards the end of the 16th century.
The taming of the three-headed dog Cerberus, which guarded the entrance to Hades, the underground home of the dead in Greek mythology, was the 12th and last of Hercules's Labors.
H: 11 5/16 in. (28.8 cm)
medium: bronze
Walters Art Museum, 1931, by bequest.
Similar plaques of whale bone carved with confronted monster heads are found frequently in the graves of wealthy Viking women in Norway. The monster heads, similar to the figureheads attached to Viking ship prows, are typical of Viking decoration. The function of these plaques is not clear; it has been suggested that they were used as ironing-boards or for pleating linen (by folding and winding it around the board while wet and then leaving it to dry), or as trenchers for serving food.
Viking
8 11/16 x 7 3/16 x 5/16 in. (22 x 18.3 x 0.8 cm)
medium: whale bone
culture: Viking
Walters Art Museum, April 1983, by purchase.
The artist has portrayed himself at about the age of forty. He has chosen an oval format and has applied the pigments extremely thinly in smooth brush strokes, as was characteristic of many of his mature works. Other self-portraits include a small oil sketch on academy board painted about 1827, a pencil sketch probably made during his western trip in 1837, and a later work showing him as a bearded individual.
H: 30 x W: 24 15/16 in. (76.2 x 63.4 cm)
medium: oil on canvas
Walters Art Museum, 1978, by gift.