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This painting depicts a field around the hamlet of Oele in the eastern Netherlands, where Mondrian lived during the summer of 1907. The evocative mood created by the trees silhouetted against a twilight sky suggests that Mondrian’s search for spirituality was present before he began painting completely abstract or non-objective compositions in 1916. Guided by readings in metaphysics and philosophy, Mondrian sought to achieve a higher spiritual reality in his paintings, which eventually led him to eliminate all representational elements in favor of a style of pure geometric abstraction.
Netherlands
oil on paper laid on board
Framed: 82.5 x 97 x 5.8 cm (32 1/2 x 38 3/16 x 2 5/16 in.); Unframed: 65.7 x 72 cm (25 7/8 x 28 3/8 in.)
Did you know...
Mondrian was a prolific writer drawn to spiritual studies and he believed that art and philosophy were deeply interconnected.
Gift of Frank Stella
Robert MacCameron
1866–1912
39 4/8 x 55 in. (100 x 139.7 cm)
medium: Oil on canvas
Metropolitan Museum of Art, New York, NY 10.153 1910
Gift of Mrs. Benjamin S. Guinness, 1910
Egypt, Greco-Roman period (332 BCE–395 CE), Ptolemaic dynasty (305–30 BCE) or later
limestone
Overall: 8.8 x 9 x 3.7 cm (3 7/16 x 3 9/16 x 1 7/16 in.)
Gift of the John Huntington Art and Polytechnic Trust
This satyr is a follower of the wine-god Dionysus shown holding a rhyton, or drinking-horn, in one hand. Together with a similar object (acc. no. 54.1029), these satyr figures decorated the crosspieces of a wooden tripod.
Etruscan
1 5/8 x 3 1/4 x 1 in. (4.2 x 8.3 x 2.5 cm)
mount: 1/2 x 3 11/16 x 1 1/2 in. (1.3 x 9.3 x 3.8 cm)
medium: bronze
culture: Etruscan
Walters Art Museum, 1931, by bequest.
This precious volume was obviously highly prized by its owner, the French-born King of Navarre, who had his coat of arms painted on no less than twenty folios. Rather than directly commissioning this manuscript from a specific workshop, it seems that Charles the Noble acquired his book of hours -- perhaps ready-made for the luxury market -- while on a trip to Paris in 1404-05. A collaborative effort, six painting styles are evidenced within the pages of this codex, those of two Italians, two Frenchmen, and two Netherlanders. The painter who was responsible for the planning and decoration of the book, and who produced seventeen of the large miniatures, was a Bolognese artist known as the Master of the Brussels Initials. His principal assistant, responsible for most of the borders, was a Florentine who signed his name "Zecho" da Firenze on folio 208 verso.
France, Paris
ink, tempera, and gold on vellum
Codex: 20.3 x 15.7 x 7 cm (8 x 6 3/16 x 2 3/4 in.)
Mr. and Mrs. William H. Marlatt Fund
Thomas Seymour
1771–1848
111 3/4 x 21 1/4 x 9 3/4 in. (283.8 x 54 x 24.8 cm)
medium: Mahogany, mahogany veneer,
maple with white pine
Metropolitan Museum of Art, New York, NY 1998.12 1998
Purchase, Anthony W. and Lulu C. Wang Gift, 1998
Arabic calligraphy, the art of beautiful writing, was elevated above all other art forms in the Islamic world because Allah, or God, revealed the divine word of Islam to the Prophet Muhammad (570–632) in the Arabic language. This Qur'an page is considered one of the most splendid examples of Arabic calligraphy. Based on the proportions of Arabic letters, majestic eastern Kufic script features attenuated letters with long upstrokes and low strokes swaying to the left. Contours echoing the letters separate the sacred text from the lively arabesque background. This vertical layout on paper replaces the earlier horizontal format on parchment.
Seljuk Iran
opaque watercolor, ink, and gold on paper
Sheet: 32 x 21.3 cm (12 5/8 x 8 3/8 in.)
Did you know...
Calligraphers and poets enjoyed higher status than painters and architects in Islamic countries.
Purchase from the J. H. Wade Fund