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Edouard Manet created this lithograph for his friend Stephane Mallarmé’s 1875 French translation of American writer Edgar Allan Poe’s classic poem “The Raven” (1845) about a man mourning his deceased love who is visited by a raven that repeatedly cries, “Nevermore.” Mallarmé’s edition is considered one of the first modern <em>livres d’artistes</em>—books created specifically as works of visual art. Manet created four full-page illustrations, including the scene in which the raven stares at the narrator from the top of the bust of the goddess Athena, and a raven head design used on the book’s cover and on its advertising poster.
France, 19th century
lithograph
Image: 17 x 15.5 cm (6 11/16 x 6 1/8 in.); Sheet: 32.5 x 24.7 cm (12 13/16 x 9 3/4 in.)
Charles W. Harkness Endowment Fund
France, 18th century
tapestry weave; silk, wool, cotton
Overall: 358 x 269.3 cm (140 15/16 x 106 in.)
Gift of Flora Whitney Miller, Barbara Whitney Henry, and Major Cornelius Vanderbilt Whitney, in memory of their mother, Mrs. Harry Payne Whitney
Peter Van Dyck
1684–1750
Overall: 3 13/16 x 10 1/8 in. (9.7 x 25.7 cm); 12 oz. 2 dwt. (376.7 g)
Lip: W. 5 1/16 in. (12.9 cm)
At knops: W. 5 1/2 in. (14 cm)
At feet: W. 4 1/4 in. (10.8 cm)
medium: Silver
Metropolitan Museum of Art, New York, NY 35.68.1 1935
Dodge Fund, 1935
This print depicting Christ’s birth belongs to one of the numerous print series that Albrecht Dürer produced on religious themes. Here, the artist focused on everyday details of the Virgin Mary’s life story to emphasize her humanity. Dürer revolutionized the technique of woodcut with such scenes, which told biblical stories with enough descriptive detail and skillful narrative staging to minimize the need for text. The textures, fine details, and perspectival space of his woodcuts surpassed any examples of the medium before him.
Germany, early 16th Century
woodcut
Gift of The Print Club of Cleveland