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Japan, Edo period (1615–1868)
porcelain with underglaze blue and overglaze color enamel (Hizen ware, Kakiemon type)
Diameter: 17.8 cm (7 in.); Overall: 25.1 cm (9 7/8 in.)
Severance and Greta Millikin Collection
Dressed in a full suit of armor, Maximilian (reigned 1486– 1519) stands among an array of helmets and weaponry. He holds a sword in one hand and a cannonball in the other, indicating both knightly skill and military power. A large sack of coins behind him alludes to his financial support of the engineers and craftsmen dedicated to the industry of war. Similar suits of armor in the Maximilian style are on view in the museum’s arms and armor court, including Maximilian’s personal suit of jousting armor. Traut created this woodcut for a monumental triumphal arch, printed with 195 woodblocks prepared by a team of printmakers. The emperor commissioned the massive print—almost 12 feet tall when assembled— to commemorate his gentility, generosity, and military conquests.
Germany, 16th century
woodcut
Gift of Mrs. S. Prentiss Baldwin
China, Qing dynasty (1644-1911)
Satin weave silk with gold metal thread embroidery; supplementary weft; black velvet; metal (brass?); lined in blue silk; feather
General Income Fund
"Python in a Tree" represents a snake coiled around branches in a lush, verdant tropical forest setting. This work dates from Barye's maturity in the 1850s to 1860s and is among his most colorful watercolors. This is especially evident in the flecks of blue, red, pink, and orange that animate the snake's skin. Barye defines the animal's shape in pen and India ink, making it stand out in relief and giving it a three-dimensional quality. He also demonstrates his penchant for scraping away paint, particularly in the two lowest loops of the snake's tail, where his vigorous scraping, to a degree rarely seen in the output of any 19th-century draftsman, reveals clearly the fibrous nature of the paper below.
H: 10 5/8 x W: 14 9/16 in. (27 x 37 cm)
medium: watercolor with scraping and gum varnish on cream, thick wove paper
Walters Art Museum, 1931, by bequest.
Both continuity and change are reflected in this portrait bust initially carved for a ruler of the Middle Kingdom and then re-carved for a New Kingdom monarch. There was a marked change between the way late 12th Dynasty and mid 19th Dynasty kings were represented. The pharaohs of the 12th Dynasty wished to present an experienced and careworn expression. This is conveyed by heavy eyelids, wrinkles, and a firm set to the mouth. The pharaohs of the 19th Dynasty, however, wanted their images to suggest youth, vigor, and confidence. To transform a Middle Kingdom royal image into a New Kingdom one, sculptors re-carved the face. The eyes, nose, and forehead of this sculpture show evidence of reworking to erase signs of age, while the corners of the mouth were deeply drilled to make the cheeks appear rounder and to bring the lips closer to the slight smile typical of 19th Dynasty royal sculpture.
Egyptian
8 11/16 x 7 5/16 x 4 5/16 in. (22 x 18.5 x 11 cm)
medium: anorthosite gneiss
culture: Egyptian
dynasty: 12th Dynasty, 19th Dynasty
reign: Sesostris III-Amenemhat III, Ramesses II
Walters Art Museum, 1931, by bequest.
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This buckle is of a type manufactured in workshops near Paris during the last third of the 6th century. It is incised with bands of concentric geometric ornament centering on a human face, interpreted variously as Medusa or, when surmounted by a cross, as Christ. In either case, the face is an apotropaic device, intended to protect the wearer from evil.
Frankish
2 5/16 x 2 1/4 x 5/8 in. (5.9 x 5.7 x 1.5 cm)
medium: bronze
culture: Frankish
Walters Art Museum, 1949, by purchase.
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
On this page from the March 30, 1901, issue of <em>L’Illustration</em> (Illustration), a French magazine, colorful depictions of cats surround a short text praising those animals and their place in history. The cats sit, sleep, and prowl around the columns of text, as if they are furnishings to climb and sleep on. Color illustrations were particularly difficult and expensive to reproduce before the advent of modern printing technology because each color had to be printed independently. As a result, artists like Théophile Alexandre Steinlen developed strategies to achieve the maximum effect by overlapping as <br>few colors as possible, such as the yellow, gray, and black that create a variety of fur patterns here.
Switzerland
Color lithograph illustration with letterpress
Overall: 39.5 x 58.2 cm (15 9/16 x 22 15/16 in.)
Bequest of Elizabeth Carroll Shearer
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Egypt, Third Intermediate (1069–715 BCE), Dynasties 21–22
honey-colored wax with dark amber varnish
Overall: 8.1 x 2 cm (3 3/16 x 13/16 in.)
Gift of the John Huntington Art and Polytechnic Trust
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Isis stands holding a rearing serpent in each hand; the serpents wear discs on their heads and their tails curl around her arms. The goddess' garment is long and pleated with a knot in the front. Her crown, with uraei, horns, feathers, a disc, and serpents sits atop her wig and vulture cap.
Egyptian
H: 11 3/4 in. (29.8 cm)
medium: bronze
culture: Egyptian
dynasty: Ptolemaic Dynasty
Walters Art Museum, 1931, by bequest.