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Ruth Whittier Shute
1803–1882
23 5/8 x 18 5/8 in. (60 x 47.3 cm)
medium: Watercolor, gouache, gum arabic, graphite, and gold foil on heavy, white wove paper
Metropolitan Museum of Art, New York, NY 66.242.13 1966
Gift of Edgar William and Bernice Chrysler Garbisch, 1966
This composition is oriented vertically, with a stream at the bottom (away from the blade). A scholar sits in a hut. Behind the hut is a pine tree and a mountain landscape. A full moon can be seen behind clouds near the mountains. A scholar in the mountains is a common trope in Chinese painting that was adopted in Japanese painting, as well.
Japanese
3 3/4 in. (9.6 cm) (l.)
medium: shibuichi
culture: Japanese
Walters Art Museum, 1931, by bequest.
Evening Train (Le Train du Soir), 1897. Pierre Georges Jeanniot (French, 1848–1934). Etching; The Cleveland Museum of Art, Bequest of Elizabeth Carroll Shearer 2016.202
More at clevelandart.org/art/2016.202
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This scene features a standing god in horned headdress and long robe, with one foot resting on an animal. He is holding a mace in his outstretched hand. A second deity in horned headdress and long tufted robe faces the goddess with both hands raised. In the field between them is a star cradled in a disc. The scene also incorporates a cuneiform inscription in five registers.
Cylinder seals are cylindrical objects carved in reverse (intaglio) in order to leave raised impressions when rolled into clay. Seals were generally used to mark ownership, and they could act as official identifiers, like a signature, for individuals and institutions. A seal’s owner rolled impressions in wet clay to secure property such as baskets, letters, jars, and even rooms and buildings. This clay sealing prevented tampering because it had to be broken in order to access a safeguarded item. Cylinder seals were often made of durable material, usually stone, and most were drilled lengthwise so they could be strung and worn. A seal’s material and the images inscribed on the seal itself could be protective. The artistry and design might be appreciated and considered decorative as well. Cylinder seals were produced in the Near East beginning in the fourth millennium BCE and date to every period through the end of the first millennium BCE.
Babylonian
H: 1 x Diam: 7/16 in. (2.6 x 1.2 cm)
medium: hematite
culture: Babylonian
Walters Art Museum, 1941, by purchase.
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.
Kids that read Succeed! Reading a book is a great excuse for peace and quiet. What will you be reading today on#InternationalLiteracyDay ?
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The Roman practice of mounting gold coins as jewelry continued in the Early Byzantine period with this section from a necklace. The other half would have been a mirror image, with gold and lapis lazuli "double-cone" beads and two more coins of Emperor Maurice Tiberios (ruled 582-602). The cross pendant, seen here with a glass bead, may once have contained a precious stone.
Byzantine
H: 7 7/8 x W: 1 1/16 x D: 3/8 in. (20 x 2.6 x 1 cm)
medium: gold, lapis lazuli, and glass
culture: Byzantine
reign: Maurice (AD 582-602)
Walters Art Museum, 1931, by bequest.
This large marble head, possibly from an over-life-sized sculpture of Hercules, was excavated near the Florence baptistery and adapted and partly recarved to fit a medieval sculpture. Differences in the drill marks on the beard and the hair (those in the hair are finer and deeper than those in the beard) indicate that the head was probably modified in the Middle Ages. Many of the sculpted figures that once adorned the facade of the Duomo in Florence were completed with adaptations of ancient heads. The nose and left ear of this head are modern.
Medieval European
H: 18 3/16 × D: 16 5/16 in. (46.23 × 41.4 cm)
medium: marble
style: Romanesque
culture: Medieval European
Walters Art Museum, June 9, 1949, by purchase.
France, Nancy, 20th century
glass blown into bronze cage
Diameter: 17.5 cm (6 7/8 in.); Overall: 12.4 x 24.2 cm (4 7/8 x 9 1/2 in.)
Gift of Mrs. Robert I. Gale, Jr., Mrs. Caroline Macnaughton and Fred R. White, Jr.
The sitter's dress deliberately evokes ancient Roman costume. However, the white muslin and straightforward cut also derives from earlier English fashions that favored simplicity in contrast to the elaborate, colorful clothing favored earlier in the 1700s. The transparency of her dress also carries political and cultural meaning: during the French Revolution in 1789, costume began to signify political allegiance, a sign of the character of the person who wore it. For women, transparency became increasingly literal, as in the sheer fabric worn by Crouzet, who came from a family of active revolutionaries.
France, late 18th-early 19th century
oil on fabric
Framed: 101 x 85.5 x 12.5 cm (39 3/4 x 33 11/16 x 4 15/16 in.); Unframed: 81.2 x 65 cm (31 15/16 x 25 9/16 in.)
Did you know...
Sophie Crouzet, the sitter in this portrait, is a first cousin of the artist.
Grace Rainey Rogers Fund
From the mid-15th century until 1882, spring carnival in Rome closed with a horse race. Fifteen to 20 riderless horses, originally imported from the Barbary Coast of North Africa, ran the length of the Via del Corso, a long, straight city street, in about 2½ minutes.
Throughout his career, Géricault lovingly depicted the horse as a metaphor for unfettered emotion and power. The artist initially planned to paint a canvas of this subject more than 30 feet in width; he completed 20 small oil studies before abandoning the project. In other variations on this theme, Géricault set the race in ancient, rather than contemporary, Rome.
H: 17 11/16 x W: 23 7/16 in. (44.9 x 59.5 cm)
Framed H: 32 1/2 x W: 38 1/2 x D: 5 in. (82.6 x 97.8 x 12.7 cm)
medium: oil on paper, mounted on canvas
Walters Art Museum, 1931, by bequest.