View allAll Photos Tagged URL
This emphatically male figure combines a human body with a composite animal head. The antlers are the stag's; the snout, perhaps a snarling feline's; and the hair is formed of braided serpents whose heads hiss from the figure's shoulders. The extended tongue may convey aggression or perhaps death because dying animals are depicted with lolling tongues. Either condition is in keeping with the creature's ferocity.
Panama, Darién or Venado Beach region, Openwork style, 5th-8th Century
cast gold
Overall: 7.8 x 5.3 x 2.3 cm (3 1/16 x 2 1/16 x 7/8 in.)
Did you know...
This ornament was made with the lost-wax casting technique.
Gift of Mrs. Benjamin P. Bole
3 1/16 x 1 15/16 x 11/16 in. (7.8 x 5 x 1.8 cm)
medium: Four cases; lacquered wood with blackand brown togidashimaki-e, hiramaki-e, takamaki-e, metal inlay, and mother-of-pearl application on black ground
Netsuke: Sanbasō dancer; carved boxwood
Ojime: stone bead
Metropolitan Museum of Art, New York, NY 13.67.16 1913
Rogers Fund, 1913
America, 19th century
monotype
Gift of Mr. and Mrs. Ralph L. Wilson in memory of Anna Elizabeth Wilson
The scene depicts a family's distress upon finding that one of its members has drowned off the rocky shore of the Isle of Wight during a storm. A ship sinks in the wild sea, amid swirling dark clouds and lightning flashes. The artist had visited the Isle of Wight in 1791. Ibbetson began his career by copying Dutch landscape paintings for dealers. He is known to have produced copies and fakes in the style of other masters as well.
England, 18th century
oil on canvas
Framed: 70 x 85.5 x 5.5 cm (27 9/16 x 33 11/16 x 2 3/16 in.); Unframed: 50.8 x 67.6 cm (20 x 26 5/8 in.)
Bequest of Henry W. Kent
3 1/2 x 1 15/16 x 1 1/4 in. (8.9 x 4.9 x 3.2 cm)
medium: Two cases; lacquered wood with gold and silver hiramaki-e, togidashimaki-e, gold foil cutouts, and colored ivory inlay on gold lacquer ground Netsuke: kagamibuta type, bamboo with sparrow; wood and metal Ojime: blue-and-white porcelain bead
Metropolitan Museum of Art, New York, NY 13.67.79 1913
Rogers Fund, 1913
Eugène Isabey began his career assisting his father, the miniaturist J. B. Isabey, with illustrations for a travel book on Italy. In 1825, Isabey made a trip to England, where he was profoundly influenced by the latest trends in watercolor painting. On his return, he specialized in coastal scenes of Normandy, in the north of France. Here, Isabey depicts the luminous atmospheric effects at the meeting of sea, shore, and sky with the consummate skill that earned him a reputation as one of the leading Romantic watercolorists.
H: 7 11/16 x W: 13 9/16 in. (19.5 x 34.5 cm)
medium: watercolor heightened with white and gum on moderately thick, slightly textured, cream wove paper
by bequest to Walters Art Museum, 1931.
[1] The Diary of George A. Lucas, p. 178.
This album contains illustrations for the classic literary work the <em>Tale of Genji,</em> authored in the 1000s by Murasaki Shikibu, an aristocrat of the Heian period (794–1185) court. The scenes are painted in the “white drawing” (<em>hakubyō</em>) mode, in which a fine ink line is used to depict figures and spaces with great subtlety, punctuated only occasionally by traces of red pigment for a character’s lips, a detail of a garment, or a decorative element. These two scenes illustrate episodes from the chapters “Thin Veil of Cloud” (Usugumo) and “Barrier Gate” (Sekiya).
Japan, Edo period (1615–1868)
Double-sided accordion-style album of 17 leaves; ink, light color, and gold on paper
Each leaf: 26.3 x 22 cm (10 3/8 x 8 11/16 in.); Painting only: 17 x 20.6 cm (6 11/16 x 8 1/8 in.)
Did you know...
The illustrations are identified by chapter title in cartouches to the upper right of the paintings.
Gift of Vera Sterne in memory of her husband, Maurice Sterne