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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.
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
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In the Qing dynasty (1644–1911), imperial patronage and a growing urban population encouraged consumption of luxury goods and local craftmanship. Luxury items became more affordable to larger parts of the society, including women, merchants, and literati in non-official positions. This pair of miniature porcelain vases with famille rose overglaze enamel decoration illustrates some of the highest technical accomplishments in Qing porcelain production.
China, Jiangxi province, Jingdezhen kilns, Qing dynasty (1644-1911), Qianlong mark and reign (1736-95)
porcelain with famille rose overglaze enamel decoration
Diameter of mouth: 2.1 cm (13/16 in.); Overall: 9.5 cm (3 3/4 in.)
Did you know...
The chrysanthemum is considered one of the "Four Noble Gentlemen" along with plum, orchid, and bamboo.
Severance and Greta Millikin Collection
Because large prints were often displayed on a wall, they were susceptible to damage and often have not survived. This large print of the <em>Last Supper</em>, however, is in excellent condition. It was engraved on two plates and printed on two separate sheets of paper. The composition is believed to be a fairly close copy of a fresco by Perugino in the convent of San Onofrio in Florence, around 1495. The scene is set within an arched interior embellished by a frieze of eagles and by half pilasters with floral decorations and putti. Fluffy clouds are visible beyond the archways. Christ and the apostles are on a bench arranged behind the table. Judas, instead, sits on a stool in the middle of the room, looking over his shoulder towards the viewer. The engraver included two reliefs at both ends of the bench. The panel on the right shows Judas with four soldiers, while the one on the left features a knight, a squire, and a banner. On it, the letters <em>LVC . . . TNO</em> have been interpreted as the artist's signature.
Italy, 16th century
engraving on two sheets printed from two plates
Did you know...
This print is the only known impression of the entire composition. A copy with only the right side is preserved today at the British Museum in London.
Dudley P. Allen Fund
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