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John William Casilear
American, New York 1811–1893 Saratoga Springs, New York
Cover: 12 11/16 x 7 3/4 in. (32.2 x 19.7 cm)
Sheets: 12 11/16 x 7 3/4 in. (32.2 x 19.7 cm)
medium: Drawings in graphite, pen and ink, and watercolor on off-white wove paper affixed with adhesive wafers at corners to dark tan laid (ledgerbook) paper, bound in a cardboard cover with leather trim
Metropolitan Museum of Art, New York, NY 1979.581 1979
Maria DeWitt Jesup Fund,1979
This engraving is part of the Tarocchi group marked with the letter “A”, and named<em> Firmaments of the Universe</em>. This series comprises the seven planets from the classical astronomy (Moon, Mercury, Venus, Sun, Mars, Jupiter, Saturn) and the three celestial spheres that separate them from the Supreme Entity (<em>Prima Causa</em>) from which everything was originated. <br><br>Here, <em>Primo Mobile</em> (Prime Mover or the Angel of the Ninth Sphere) is personified as a full-length angel, turned to left, and holding up a large sphere in its hands while only standing on its left foot. The Prime Mover corresponds to the ninth and last of the material spheres, beyond the region of the fixed starts. It was believed to be crystalline and invisible, as well as in direct contact with the First Cause—God himself—from which it takes its infinite speed. Thus, it is here shown as an empty disc held by an angel in a dancing pose.
Italy, Ferrara, 15th century
engraving
Dudley P. Allen Fund
Herter Brothers
German, active New York, 1864–1906
64 1/4 x 10 15/16 x 10 15/16 in. (163.2 x 27.8 x 27.8 cm)
medium: Egyptian alabaster, gilt brass, and reproduction red glass jewels
Metropolitan Museum of Art, New York, NY 2002.298.1 2002
Purchase, Barrie A. and Deedee Wigmore Foundation Gift, 2002
Stylized waves with foam highlighted in gold fill the tsuba. This is part of a mounted set.
Japanese
H: 2 3/16 x W: 1 11/16 x D: 1/4 in. (5.6 x 4.3 x 0.6 cm)
medium: silver, shibuichi, gold
culture: Japanese
Walters Art Museum, 1931, by bequest.
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.
"Among these wandering tribes 'eternal vigilance is the price of safety.' During our whole journey, scarcely a day passed that we were not conscious of being under the surveillance of unseen eyes. From the tops of bluffs, on the prairie lying in the long grass, behind trees, and in the midst of bushes, our every movement was noted and reported at headquarters. In civilized life we appreciated the industry of that active person Mrs. Grundy, but in the matter of inquisitiveness our North American Indians surpass her,- the motive is different however." 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 13/16 x W: 12 3/8 in. (22.4 x 31.4 cm)
medium: watercolor on paper
Walters Art Museum, 1931, by bequest.
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Folding triptychs like this were used for private devotion. The enthroned Madonna and Child are flanked by (left to right) Sts. Nicholas, Bartholomew, Catherine of Alexandria, Anthony Abbot, Francis, and Lucy. This composition uses the metaphor of a queen surrounded by her courtiers to depict the Virgin in her role as the Queen of Heaven. The painter simulated the gold embroidered cloth of the Virgin's throne by scratching away the white paint to reveal the underlying gold leaf, which has been pricked to enhance its reflectivity.
Because few artists during this period signed their works, scholars sometimes identify them by their most impressive painting. Here, this anonymous master is known for an altarpiece he created for a church in Panzano, Tuscany, Italy.
For more information on this piece, please see Zeri catalogue number 27, pp. 46-47.
H: 19 7/8 x W: 19 1/2 x D: 3/4 in. (50.5 x 49.5 x 1.9 cm)
Central panel painted surface H: 19 7/8 x W: 9 3/4 in. (50.5 x 24.7 cm)
Left wing painted surface H: 18 11/16 x W: 4 13/16 in. (47.5 x 12.3 cm)
Right wing painted surface H: 18 11/16 x W: 4 3/4 in. (47.5 x 12 cm)
medium: tempera and gold leaf on panel
style: International Gothic
Walters Art Museum, 1931, by bequest.
Sight: 3 1/4 x 2 5/8 in. (8.3 x 6.7 cm)
medium: Watercolor on ivory
Metropolitan Museum of Art, New York, NY 1974.152 1974
Gift of James Parker, in memory of General and Mrs. Cortlandt Parker, 1974
The underside of this Zuni (A:shiwi) jar (<em>olla</em>), made by a woman to collect and store water in the 1800s, curves upward to allow the jar to be carried atop the head. Today, this traditional skill is celebrated by the Zuni Olla Maidens, a nationally known dance group that performs while balancing ollas on their heads. Ollas naturally keep water cool via evaporation through their porous walls, a valuable trait in the desert Southwest. Many Zuni say that water from an olla tastes better than water from a tap.
Native North America, Southwest, New Mexico, Zuni (A:shiwi) Pueblo
ceramic, slip
Overall: 26.5 x 37.5 cm (10 7/16 x 14 3/4 in.)
Gift of the Smithsonian Institution
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This work, perhaps the right wing of a diptych (two-panel painting), is one of only two known 14th-century paintings to combine painted panels with plaques of verre églomisé (gilded reverse painted glass). The Crucifixion at center and the Virgin at the top are verre églomisé by an unknown artist, while the images of numerous saints around them are panel paintings by Tommaso da Modena. The Crucifixion and the Virgin were scratched into gold leaf applied to the back of glass. The areas where the gold leaf had been removed were painted to clarify the scenes. This object doubles as a reliquary; the labels in red around the Crucifixion identify the relics enshrined within. These are the wood of the True Cross and a stone from the Holy Sepulcher (top), the bones of the 11,000 Virgins and one of the Magi (right), the bones of St. James the Apostle (bottom), the Apostle Andrew, the Evangelist Luke, and St. Peter and St. Paul (left).
Medieval European
H: 17 15/16 x W: 8 1/4 x D: 7/8 in. (45.56 x 20.96 x 2.22 cm)
medium: tempera and gold leaf on panel with marble, ceramic, and verre églomisé insets on a gilded wood frame
style: Gothic
culture: Medieval European
Walters Art Museum, 1931, by bequest.
The Hydra was a multi-headed snake-monster raised by the goddess Hera that lived in the swamps near Lerna. Up to fifty heads are reported for the creature in ancient sources, but it usually is depicted with fewer, as on this vase. Herakles, accompanied by his nephew Iolaos, killed this menace as the second of the Labors he had to perform for king Eurystheus. Herakles' lion skin protected him from the snake's venom, which he later used to make his arrows poisonous.
H: 6 15/16 x Diam: 2 11/16 in. (17.7 x 6.9 cm)
medium: terracotta
style: Attic
Walters Art Museum, 1931, by bequest.
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The Three Bogatyrs, (1898) was among the popular works by Viktor Vasnetsov (1848-1926). The three noble warriors of Kievan Rus, whose names appear in the byliny, or Slavic narrative poems, include, in the center Ilya Muromets, a 12th-century warrior who defended Rus from invaders from the steppes and who was later sanctified; Dobrynya Nikitich (left); and the youngest of the three bogatyrs, and Alyosha Popovich (right). The colors in the miniature appear paler and more greenish than in the original painting, which is now in the State Tretyakov Gallery. That Reinhold Glière (1875-1956), who incorporated themes from Kievan Rus into his music, should have adapted the tale of these three bogatyrs for his Symphony No. 3 ("Ilya Muromets") in B minor, op. 42 (1911), attests to the popularity of this subject.
The counter enamel inside the lid is in turquoise en plein enamel over a guilloché ground engraved in zigzag patterns.
H: 2 5/8 x W: 6 1/8 x D: 3 7/8 in. (6.8 x 15.5 x 10.1 cm)
medium: silver gilding, painted glossy, filigree, and en plein enamel over a guilloché ground
by bequest to Walters Art Museum, 2010.