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Barye contrasts the powerful, broadly rendered muscular build of the jaguar with the more detailed, limp body of the terror-stricken hare. The cat's ears are pressed against its head and its features are convulsed in fury as it prepares to devour the entrails of its prey.
At the Paris Salon of 1850, "Jaguar Devouring a Hare" was exhibited together with "Lapith Combating a Centaur" -one work representing the artist's most romantic side and the other, his most classical. Both sculptures were acclaimed masterpieces. The critic Théophile Gautier observed of this sculpture:
"The mere reproduction of nature does not constitute art; [Barye] aggrandizes his animal subjects, simplifying them, idealizing and stylizing them in a manner that is bold, energetic, and rugged, that makes him the Michael Angelo of the menagerie."
H: 16 1/4 x W: 38 x D: 17 in. (41.3 x 96.5 x 43.2 cm)
medium: bronze with green and some black patina
Walters Art Museum, 1931, by bequest.
This is a sturdy seal ring of royal blue faience, imitating the shape of precious rings of the period. The inscription gives the throne name of King Amenophis IV (Akhenaten).
Egyptian
Ring H: 9/16 x W: 1 1/16 x Diam: 13/16 in. (1.48 x 2.71 x 0.03 x 2.1 cm)
Bezel W: 3/8 x L: 7/8 in. (1.01 x 2.15 cm)
medium: Egyptian faience
culture: Egyptian
dynasty: 18th Dynasty
reign: Akhenaten (1351-1334 BC)
Walters Art Museum, 1931, by bequest.
This life sized steatite fish, glazed a deep blue green color, which represents the tilapia nilotica or "bolti" fish. It appears that details such as the fins, gills and eyes were carved into the stone prior to glazing. A hole has been bored in the mouth region, emerging underneath the gills on the underside of the fish; this hole may have accommodated a rope or wire of some kind. The glaze has been rubbed off in the mouth region. This fish may have served as a vessel or ritual object.
Egyptian
H: 6 5/8 in. (16.8 cm)
medium: steatite with blue and green glazes
culture: Egyptian
dynasty: 18th Dynasty (?)
Walters Art Museum, 1931, by bequest.
Pertaining to the male initiation society called Korè, this sculpture from the Koulikoro region represents the head of an aardvark and is part of a wooden hobbyhorse that is mounted by a ritual buffoon. The Korè initiates are divided into different classes, each having a designated mask. The ritual buffoons appear in pantomimes on different public occasions and poke fun at village authorities and other high-ranking individuals.
Africa, West Africa, Mali, Bamana blacksmith
Wood and iron
Overall: 14 x 13.8 x 40.8 cm (5 1/2 x 5 7/16 x 16 1/16 in.)
Did you know...
This is one of the best-known examples of a <em>korèdugaso</em>. It was featured on the catalogue cover for a 1935 exhibition at the Museum of Modern Art, one of the first on African arts in the US. It traveled to the CMA that same year.
James Albert Ford Memorial Fund
Like other members of Der Blaue Reiter in Munich, Franz Marc focused on depicting animals, which symbolized joyous rebirth. <em>Genesis II</em> was made to illustrate the creation story in the book of Genesis; he planned to include it in an illustrated Bible. Here, three horses emerge from a background of chaos and movement. His <em>Tiger</em> is less joyous and more threatening than the bounding horses; with clenched teeth, the tiger leers toward a cowering animal behind it. After enthusiastically enlisting in the German army, Marc died in battle at Verdun, France, on March 4, 1916. His wartime death—and that of fellow artist August Macke—had a profound impact on the Munich Expressionists, whose vision of an earthly paradise quickly dissolved.
Germany, 20th century
woodcut
Gift of The Print Club of Cleveland
I think this is as far as the applet is going to get on my blog. This is what things looked like after 90 minutes or so - at which point the applet was eating 173MB of memory and stopped adding trees. Still looks pretty cool, though.
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