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In 1720 Johann Gregor Herold became art director of the Meissen factory and developed the styles of decoration that made it famous. Both the quality and the variety of enamel colors were improved, and the paste achieved the brilliant whiteness and perfection of surface that characterizes mature Meissen wares. Herold introduced "chinoiserie" decorations, in which comparatively large-scale half-length figures were set against landscapes with cloudy skies. The high quality of its painting suggests that Herold himself may have decorated this saucer.
Germany, Meissen, 18th century
porcelain
Overall: 2.2 x 12.3 cm (7/8 x 4 13/16 in.)
Gift of Rev. Alfred Duane Pell
Extracts from Alfred Jacob Miller’s original text, which accompanied his images of Native Americans, are included below for reference.
"The scene of the sketch is on the Platte," wrote Miller, "at night the Buffalo come to the River banks in legions, to quench thirst and refresh themselves by swimming." Miller, like all other artists to visit the West, was amazed at the buffaloes and recorded many details of their activities: "Two things are essential to the well-being and comfort of this animal- he must have his water bath, which he usually takes at night, and his earth bath, with which he solaces himself during the day." A.J. Miller, extracted from "The West of Alfred Jacob Miller" (1837).
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: 8 11/16 x W: 13 9/16 in. (22 x 34.5 cm)
medium: watercolor on paper
Walters Art Museum, 1931, by bequest.
Procession or Pardon at Perros-Guirec, 1891. Maurice Denis (French, 1870–1943). Oil on canvas; unframed: 55.9 x 46.4 cm (22 x 18 1/4 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift 2020.108
More at clevelandart.org/art/2020.108
In an alcove of an Ecouen kitchen a peasant woman stands stooped over a bowl with her back to the viewer. Light streaming through the window illuminates the alcove, showing the onions and apples on the sill, the beets and a wicker basket containing a section of squash on a chest, and an exceptionally large cabbage lying on the floor, as well as various utensils, a wicker hamper, a keg, an iron pot, a large ceramic pitcher and various strainers and ladles hanging from pegs on the wall. Discernible within the dimly lit interior are a chest, several pots, and the wash hung to dry.
H: 16 1/16 x W: 21 1/16 in. (40.8 x 53.5 cm)
Framed H: 22 1/16 × W: 26 15/16 × D: 2 1/4 in. (56 × 68.5 × 5.7 cm)
medium: oil on canvas
Walters Art Museum, 1931, by bequest.
JAI TALKS SHOTGUN SUGE’S MADE IN 973 ALBUM, URL’S BORN LEGACY 3, DRE DENNIS & MORE!!!
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Just like the last one, the illustration blows me away. I have a strong desire to be a better creator of characters.
While most disk fibulae are decorated with filigree, this one was made by the technique of repoussé, in which metal foil is impressed from the rear to form a raised design. The gilt silver foil, decorated with C-shaped scrolls and raised beaded outlines, is attached by four rivets onto a circular bronze base and set with four triangular-cut garnets arrayed around a green glass bead. The corroded remains of an iron clasp on the reverse once fasten the fibula to clothing and still hold imbedded wool cloth fibers. A Frankish man would have used a fibula like this one to pin his cloak at the right shoulder.
Frankish
9/16 x 1 5/8 in. (1.5 x 4.2 cm) (d. x diam.)
medium: bronze, gilded silver, garnets, glass, iron
culture: Frankish
Walters Art Museum, 1959, by purchase.