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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.
Frederick Arthur Bridgman
1847–1928
4 7/8 x 7 9/16 in. (12.4 x 19.2 cm)
medium: Watercolor and graphite on off-white wove paper
Metropolitan Museum of Art, New York, NY 2000.599 2000
Rogers Fund, 2000
A proliferation of white tree peonies dominates this composition. Behind them are tall, feathery-topped <em>susuki</em> grasses and leafy deciduous trees. Tatebayashi Kagei restricted his palette to ink with red and white color, along with sparing use of green in the peony leaves and the blades of grass. He made generous use of the “dripping-in” (<em>tarashikomi</em>) technique, layering pooled ink and color, in the peony leaves. The areas left in reserve create the impression of <br>insect-eaten or late season foliage.
Japan, Edo period (1615–1868)
hanging scroll; ink and color on paper
Painting only: 90.9 x 36.2 cm (35 13/16 x 14 1/4 in.)
Did you know...
In 1738, Kagei received a copy made by Ogata Kōrin of a fan painting by Tawaraya Sōtatsu from Kōrin's brother Ogata Kenzan, so some think he trained with Kenzan in Edo (present-day Tokyo).
Worcester R. Warner Collection
Forepaws raised in adoration, this ichneumon (a type of mongoose) was a votive gift to the cobra-goddess Wadjet. The dedication to her of a snake-eating mongoose may seem ironic, but it is in keeping with Egyptian concepts of association. The inscription on the base names the donor.
Egyptian
H: 6 3/16 x W: 1 13/16 x D: 2 in. (15.7 x 4.6 x 5.1 cm)
H with tang: 6 11/16 x W: 1 13/16 x D: 2 in. (17 x 4.6 x 5.1 cm)
medium: bronze
culture: Egyptian
dynasty: 26th-27th Dynasty
Walters Art Museum, 1931, by bequest.
The founder of Jainism, Mahavira, had 11 main disciples, all depicted as identical to one another. They all sit in a meditative posture, with the left hand in the lap, while the right hand is in the gesture of teaching. They each have shaven heads, elongated earlobes, and white robes, indicating that this manuscript was used by the Shvetambara (White Clad) sect. <br><br>In the upper central grid, decorated with flowers, is a stylized <em>om-hrim, </em>mystic syllables visually combined to invoke the essence of all Jain teaching.
Western India, Gujarat
Gum tempera, ink, and gold on paper
Overall: 12.5 x 25.7 cm (4 15/16 x 10 1/8 in.)
Edward L. Whittemore Fund
The nomadic gold- and silversmiths of Marlik and Amlash were the first masters of precious metalwork in Iran. Their successors were the bronze workers of Luristan and the silversmiths of the Achaemenian and Sasanian empires.
Iran, Amlash
silver, raised, chased, repoussé
Overall: 14 x 9.3 cm (5 1/2 x 3 11/16 in.)
Purchase from the J. H. Wade Fund
Dürer devoted three woodcuts (1959.99.5-7) to the significant events in Mary’s youth prior to her sacred calling. His depiction of her birth recalls a contemporary birthing scene, complete with midwives, female friends, and relatives. Anna rests from her efforts in the background while an attendant bathes the infant Mary in the immediate right foreground. The religious significance of the event is made known by the presence of an angel above. In the subsequent prints Mary is presented several years later at the temple (running up the stairs), followed by her betrothal to an older widowed man named Joseph.
Germany, early 16th Century
woodcut
Dudley P. Allen Fund