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Käthe Kollwitz favored printmaking because she saw it as a democratic medium, affordable and capable of reaching all social classes. In prints such as this portrait of a female worker, she depicted Berlin’s most disenfranchised inhabitants. The sitter’s direct gaze and exhausted pose suggest not only her difficult living and working conditions but also her dignity.
Germany, 20th century
color lithograph
Did you know...
Käthe Kollwitz's husband was a doctor who treated the working poor in Berlin, giving her firsthand experience with their struggles.
Gift of The Print Club of Cleveland
Small and portable, these jugs have been found throughout the lands surrounding Cyprus. Called Black-on-Red Ware, this attractive ceramic type comprises mostly small jugs. The red-brown slip has a polished, lustrous surface with simple geometric designs painted in black. The decoration of this pottery follows the "circle" style of the Bichrome Ware jugs.
Cypriot
8 1/4 in. (21 cm)
medium: Ceramics
culture: Cypriot
Walters Art Museum, 1973, by purchase.
Palmer, who was self-taught, was among the first American sculptors to break with the prevailing neoclassical style and adopt a more naturalistic approach.
This plaster is of the left foot only of Palmer's sculpture "The White Captive." Palmer created a separate foot carved in marble in early 1860, carved by Charles Calverley, and that at least two plaster versions were also made. One is now at the Walters, and the other, which was formerly owned by Henry T. Tuckerman of New York, is now lost.
This plaster foot was found in the Walters' townhouse, at 5 West Mount Vernon Place, in the 1940s. Although no documentation relating to the foot has come to light, it is likely that it was acquired by, or given to William T. Walters around the time it was made. William purchased a bust of Flora from the artist and a full-length subject of a child, titled "First Grief." A daguerreotype of Palmer's "Sleeping Peri" is in the museum's archive, and was also found at 5 West Mount Vernon place.
H: 6 × W: 4 13/16 × D: 10 13/16 in. (15.2 × 12.3 × 27.5 cm)
medium: plaster
Walters Art Museum, 1931, by bequest [accessioned in 1941].
Each of the four gospels in this book opens on a page with brilliantly illuminated borders depicting the author of the text as well as birds-principally peacocks, symbols of the immortality of the soul-and fountains, representing the fountain of life and the salvation of the soul. This volume consists of 428 leaves with texts in Greek. Its level of sophistication suggests that it was probably written and decorated in a monastery in Constantinople.
Byzantium, Constantinople
ink, tempera, and gold on vellum; leather binding
Sheet: 28 x 23 cm (11 x 9 1/16 in.)
Did you know...
Gospel Books were carried in procession through Byzantine churches.
Purchase from the J. H. Wade Fund
temporal: Spätgotik
98,5 x 48 cm
mat: Malerei auf Tannenholz
class: Malerei
type: Tafelbild (Flügelretabel)
provenance: Sammlung Carl Askonas, Wien. – 1938 von der Gestapo beschlagnahmt und an das Kunsthistorische Museum, Wien, überstellt. – 1953 der Österreichischen Galerie übertragen. – 1954 Restitution.. – 1954 Ankauf Rosa Askonas, Montreal
Österreichische Galerie Belvedere