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For centuries, artists and tourists were attracted to Mount Vesuvius, a volcano near Naples. This awe-inspriing, not to say terrifying, natural wonder destroyed the ancient Roman city of Pompeii, and continued to erupt from time to time, as it does to this day. While living in London in 1868, Albert Bierstadt heard that Vesuvius had erupted once again, and rushed immediately to Italy. It is not certain that the artist actually saw the cataclysm, although the painting presents a convincing image of the ash and lava spewed by the volcano. This is a smaller version of a larger canvas now lost.
America, 19th century
oil on canvas
Framed: 62 x 77 x 9 cm (24 7/16 x 30 5/16 x 3 9/16 in.); Unframed: 42.6 x 60.7 cm (16 3/4 x 23 7/8 in.)
Gift of S. Livingstone Mather, Philip Richard Mather, Katherine Hoyt (Mather) Cross, Katherine Mather McLean and Constance Mather Bishop
In creating luxurious accessories for a desk or tabletop, Fabergé often used native hardstones such as multicolored agate and jasper, green nephrite, pink rhodonite, and rock crystal found in the Ural Mountains of western Russia. By paying careful attention to the unique colors and textures of the stones, Fabergé and his craftsmen brought them to life, turning milky agate into this turtle bell push or black jasper into sleeping puppies. The use of native materials also promoted Russian nationalism, which appealed greatly to the tsar and his family.
Russia, St. Petersburg
agate, gold, silver, diamonds, rubies
Overall: 2.6 x 7.7 x 6.1 cm (1 x 3 1/16 x 2 3/8 in.)
Did you know...
To summon the butler, a quick push on the turtle's head would ring the bell downstairs.
The India Early Minshall Collection
CHRISTY-FLORIST94503374網誌一覽Background背景stage婚嫁EVENT場所裝飾POSTER婚慶Idea 宴會婚禮場地禮堂BANNER結婚FoamBoard大型噴畫style場合PARTY擺酒宴會DECO香港HK婚宴構思統籌晚會GARPHIC網頁|TRACKBACK_URL_FOR THIS POSTS佈置網誌一覽蘼鮮花批發及專業婚禮場地佈置設計公司Since1989WHATSAPP//TEL94503374地址香港九龍尖沙咀漆咸道南45至51號其士大廈尖東堡商場地庫B65舖 masterwin@ymail.com
http//www.flickr.com/photos/94503374/
//blog.xuite.net/wedding_decorations/hkblog
http//www.weshare.hk/94503374decoration
http//christyflorist.tumblr.com/
http//eventdecoration.pixnet.net/blog
http//plus.google.com/106737217008195886143
//youtu.be/W1AXoqcKAZA //
youtu.be/VNilzfUuWwQ?t=1m49s
www.youtube.com/watch?v=e0lR1RKfTcw
www.flickr.com/photos/wedding-decoration
eventdecoration.pixnet.net/blog/
//printing-style.blogspot.hk/
The 12th-century military leader Saito Sanemori was killed at the age of seventy-two in the battle of Shinowara. Before the battle, having a premonition that he would not return alive, he had requested permission to wear a general's red brocade robe. He had also dyed his gray hair black in order to appear more youthful. In this print, Sanemori's ghost is shown relating his story. In a small square, we see Sanemori having his beard dyed.
Japanese
H: 9 3/4 x W: 14 5/8 in. (24.77 x 37.15 cm)
medium: pigments on mulberry paper
culture: Japanese
Walters Art Museum, 1989, by gift.
CHRISTY-FLORIST94503374網誌一覽Background背景stage婚嫁EVENT場所裝飾POSTER婚慶Idea 宴會婚禮場地禮堂BANNER結婚FoamBoard大型噴畫style場合PARTY擺酒宴會DECO香港HK婚宴構思統籌晚會GARPHIC網頁|TRACKBACK_URL_FOR THIS POSTS佈置網誌一覽蘼鮮花批發及專業婚禮場地佈置設計公司Since1989WHATSAPP//TEL94503374地址香港九龍尖沙咀漆咸道南45至51號其士大廈尖東堡商場地庫B65舖 masterwin@ymail.com
http//www.flickr.com/photos/94503374/
//blog.xuite.net/wedding_decorations/hkblog
http//www.weshare.hk/94503374decoration
http//christyflorist.tumblr.com/
http//eventdecoration.pixnet.net/blog
http//plus.google.com/106737217008195886143
//youtu.be/W1AXoqcKAZA //
youtu.be/VNilzfUuWwQ?t=1m49s
www.youtube.com/watch?v=e0lR1RKfTcw
www.flickr.com/photos/wedding-decoration
eventdecoration.pixnet.net/blog/
//printing-style.blogspot.hk/
Probably intended for private devotion in a domestic interior, this painting depicts a popular Renaissance theme known as a “sacra conversazione,” or sacred conversation, meaning the holy figures are placed in a unified space allowing them to interact with one another. The Madonna and Child are seated between Saint Francis of Assisi (1181-1226) at the left and Saint Jerome (ca. 347-420) at the right. Francis draws the viewer into the “conversation” by making eye contact and gesturing toward his “stigmata" (the wounds of Christ), which he miraculously received on his hands, feet, and abdomen during a vision in 1224. Jerome, famous during the Renaissance as a model example of piety and learning, is shown in his traditional guise as an old, bearded man in a red robe. He also carries a book, probably the Bible, which he famously translated into Latin. The Christ Child holds a goldfinch, foreshadowing the Crucifixion (popular legend claims the bird was present at the Crucifixion and became stained with Christ’s blood, hence the red spot in the bird’s beak).
The painting’s format, with the figures at half-length in a horizontal picture field, was most common in Venice and its surroundings in the early to mid-16th century. A fragmentary inscription on the parapet in front of the figures bears the date 1520 as well as the letters “[S]ANTA CRUCE.” The inscription may be the remains of a signature by a member of the Santacroce family of artists, active around Venice for much of the 1500s. It is difficult to assign the painting to a specific member of the family since the style of the figures and the unusual motif of Francis pulling a square piece of cloth from his robe to reveal his side wound are inspired by the work of Filippo Mazzola (ca. 1460-1505), active mainly in Parma but well-known in Venice.
For works by two members of the Santacroce family at the Walters, see 37.261, 37.569, and 37.577. For a painting by Filippo Mazzola at the Walters, see 37.1056.
Painted surface H: 20 7/8 x W: 27 15/16 x D: 3/4 in. (53 x 71 x 1.9 cm)
medium: oil on wood panel
Walters Art Museum, 1931, by bequest.
This self-portrait depicts the artist’s almost full face with blue-gray eyes; gray, curly hair and sideburns; and a ruddy <br>complexion. In spite of the fact that it was no longer in fashion, the powder on his collar indicates that even in 1802 John Smart continued to powder his hair. He wears a dark blue coat with brass buttons; white stock collar, bow, and frill; and deep yellow waistcoat. Arthur Jaffé has argued that the yellow waistcoat also seen in Smart’s portrait in the National Gallery, London, indicates his Whiggish political proclivities. The background of the miniature is yellowish gray, and it is signed at the lower left: “JS / 1802.” The silver-gilt frame is probably original, but the gold monogram JS, placed over an opalescent background, may have been added later.<br>The portrait was formerly in the collection of William Henry Bose, who was Smart’s great-grandson. The Bose collection of Smart sketches and preparatory studies was sold 15 February 1937 at Christie’s, London, but the self-portrait was retained and lent to the Victoria and Albert Museum. In her biography of Smart, Daphne Foskett notes that in 1913 William Bose received a letter from the Reynolds Galleries in London informing him that “Smart’s miniatures were not then selling quite as well as they formerly did, and that the average price of a male portrait was from £20 to £30 and for a lady, young and good-looking, from £30 to £70.” In 1947, over three decades later, the market had revived, and the self-portrait sold for £360.<br>In her <em>Dictionary of British Miniature Painters</em>, Foskett notes that Smart painted nine self-portraits, but she does not list them. Having executed at least nine self-portraits during two decades of his mature career, Smart seemed more invested in recording his changing likeness than most of his miniature-painting contemporaries. This attitude of consistent introspection and careful attention to the conservation of his skills outside of the pressures of a commission is in keeping with his practice of executing and retaining highly finished preliminary studies of his sitters for their portraits. <br>In each of his self-portraits, Smart is conservatively dressed and coiffed, with the ruddy complexion and slightly amused expression found in so many of the portraits he painted. Portraits of Smart by other artists reiterate both the humor <br>and intensity seen in the self-portraits.
England, early 19th Century
watercolor on ivory in a gold frame
Framed: 7 x 5.7 cm (2 3/4 x 2 1/4 in.); Unframed: 6.9 x 5.4 cm (2 11/16 x 2 1/8 in.)
Did you know...
John Smart signed this self-portrait with his initials in the lower left along with the date it was made, 1802.
The Edward B. Greene Collection
This squatting monster with claws on its knees, braces its shoulders against an overhanging molding. The half-human, half-animal creature was likely part of a Buddhist cave-temple complex at Xiangtangshan, in Hebei Province, northwest China. Found in the lower registers of stone monuments of either architectural structures or statues of Buddhist deities, such monsters had a supportive function. Their scary appearance was believed to keep evil spirits away from the sacred sites.
China, possibly from Xiangtangshan, Northern Qi dynasty (550–577)
Limestone
Overall: 28 x 40 cm (11 x 15 3/4 in.)
Did you know...
The complex of Buddhist cave temples at Xiangtangshan, “Mountain of Echoing Halls,” is a central achievement of the Northern Qi period.
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URL: www.youtube.com/watch?v=c0331dowk5w
Yeah, i absolutely luv this roxxi! she was in my dollie box, i saw her face and i was like, you need a boil wash, so i boil washed her hair and made a MV with her.
Why is it that people just cannot get URLs right. The backslash doesn't work on real computers - only in Windoze. It shouldn't be in the URL, and even more bizarre in this case: they only got one wrong. Didn't anybody think that was odd?
Eros, shown without wings, is masquerading as the child Herakles. The lion's skin is slung over his left shoulder and reappears beside his right thigh. He steadies an amphora over his left shoulder, one hand on the butt end, the other beside the handles. The amphora is awkwardly modeled; the top and bottom parts are not aligned. Eros wears a serpentine bracelet on his right leg, a bracelet on his right wrist, and a fillet on his head. The figure is finely modeled and, despite wear, careful attention to details is apparent.
The feet and right hand of the figure are broken off, and the surface is worn. The backside is flat and is notched behing the upraised arm, probably to facilitate attachment to a box or a piece of furniture. There are two pairs of holes on the back, one pair in the notch, the other higher up, none piercing the relief.
Erotes with amphoras over their shoulders appear elsewhere in Hellenistic art.
Ivory sculptural work of the Hellenistic period is uncommon.
Greek
H: 1 5/8 in. (4.18 cm)
medium: ivory
culture: Greek
Walters Art Museum, 1931, by bequest.
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