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Signs that feature unnecessary quotation marks can give the wrong message. Sarcasm asside, have a safe and fun-filled Fourth of July!
The landscape depicted in this pair of screens follows a seasonal progression from right to left, starting with the blossoming plum of early spring and ending with late autumn peonies. A variety of smaller birds are positioned throughout the scene, and a trio of swimming ducks is bracketed by early summer irises and early autumn bellflowers at the center. While some raptors (birds of prey) terrorize a pheasant and an egret (a waterfowl) to the right, a peacock and peahen converse to the left. Hawks are associated with military prowess, while the peafowl suggest cultural prestige.
Japan, Momoyama period (1573–1615)
One of a pair of six-panel folding screens; ink, color, and gold on paper
Image: 155.9 x 339.4 cm (61 3/8 x 133 5/8 in.); Overall: 168.5 x 352.2 cm (66 5/16 x 138 11/16 in.); Closed: 172.5 x 61 x 11.3 cm (67 15/16 x 24 x 4 7/16 in.); Panel: 168.5 x 58.7 cm (66 5/16 x 23 1/8 in.); with frame: 171.7 x 355.4 cm (67 5/8 x 139 15/16 in.)
Did you know...
As masters of the Kano academic painting style, both Kano Shōei and Kano Mitsunobu favored Chinese-inspired subject matter, such as birds and flowers.
Gift of William G. Mather
Smack/URL Born Legacy 3 Predictions (Day 1)
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H. 8 15/16 in. (22.7 cm); W. 7 5/8 in. (19.4 cm); D. 4 1/4 in. (10.8 cm)
medium: Stoneware with molded decoration under olive-yellow glaze
Metropolitan Museum of Art, New York, NY 16.165 1916
Rogers Fund, 1916
Central Côte d'Ivoire is characterized by cultural assimilation and adoption. Connections can be seen in masquerades and in composite mask forms. Here, masks often blend human and animal features, and the depiction of elephant traits is a recurring theme. Yaure peoples associated elephant masks with a cult called Dye, and they appear when important sacrifices have to be made.
Africa, West Africa, Côte d'Ivoire, possibly Yaure-style carver
Wood, paint, and colorant
Overall: 31.7 cm (12 1/2 in.)
Gift of Katherine C. White
Smoking tobacco was introduced to the Mughal court from Iran in the very early 1600s and soon became popular. This base formed part of a hookah, or water pipe, which consisted of a base that held water—sometimes perfumed with herbs or fresh fruit—a detachable bowl to hold tobacco, and a long tube. Early hookahs used existing vessels for bases, including coconut shells. By the late 1600s or early 1700s, richly decorated pieces like this were produced. The jewel-like decoration of blue and green blossoms evokes a garden in which a smoker might have sat.
India, Mughal Dynasty (1526-1756)
Glass with colored enamel and gilding
Overall: 17.8 cm (7 in.)
Did you know...
Turquoise five-petaled flowers hang from lime green pedicels.
The Norweb Collection
The sexual features of this creature have been emphasized so as to guarantee fertility to the woman who drank from it.
Iran, Marlik
ceramic, earthenware, burnished
Overall: 24.1 x 14.7 x 16.5 cm (9 1/2 x 5 13/16 x 6 1/2 in.)
James Albert and Mary Gardiner Ford Memorial Fund
Padlock: H. 1 1/8 in. (2.9 cm); W. 5/16 in. (0.8 cm); D. 1 1/2 in. ( 3.8 cm)
L. with key extended: 1 1/8 in. (2.9 cm)
medium: Bronze
Metropolitan Museum of Art, New York, NY 10.100.186a, b 1910
Rogers Fund, 1910
Two Swiss mercenaries and a woman meet
outside a city at a prominent tree. The woman’s
immodest dress, glance, and proximity to a
money bag imply that she is sexually available, as does the soldier’s suggestively placed sword.
Death makes an appearance as a skeleton,
conjoining sin with death (for it was believed
that overindulgence in carnal love led to peril).
The Swiss Confederacy during the 1500s was a
culture of mercenary warfare. Women traveled
with regiments of soldiers, earning meager
wages as servants, cooks, or sex workers. Urs
Graf, a soldier himself, made many images
<br>ridiculing the situation.
Switzerland
woodcut
Image: 20.2 x 11.7 cm (7 15/16 x 4 5/8 in.); Sheet: 20.2 x 11.7 cm (7 15/16 x 4 5/8 in.)
Did you know...
Urs Graf was a Swiss professional soldier, or mercenary, who made many images of soldiers and camp followers, such as the woman featured here.
Dudley P. Allen Fund
Although it is impossible to say if it was always part of the artist’s process to execute a preparatory sketch prior to painting each miniature, we do know that John Smart retained many hundreds of these sketches. A group of preparatory sketches—of which this portrait is one—descended through the Smirke family after Smart’s daughter Sarah gave a sketchbook containing preparatory portrait studies to her friend Mary Smirke, sister of the celebrated Victorian architect Sydney Smirke. This book was probably broken up around 1877 when it was divided between Sydney’s daughters Mary Jemmett and Mrs. Lange, whose portions were both sold at auction in 1928.<br>Compared to his contemporaries George Engleheart (1752–1829) and Andrew Plimer (1763–1837), whose female sitters were often painted in similar simple white gowns, Smart often lavished more attention on the costumes in his portraits of women, whose dresses incorporated colored silks, printed fabrics, and luxury trimmings like lace and fur. The sitter’s head and shoulders face left. She has what was probably once blond hair—now faded to pink—dressed high on her head, with curls down the back of her neck, over which a veil descends. Her eyes are hazel, and the color of her lips has almost completely faded. Positioned in an oval, and revealing much of her left breast, she wears a low-necked dress with faint traces of pink pigment, trimmed with a string of pearls. The background is unpainted. To this date, the finished ivory for which this preparatory sketch was presumably undertaken has not been discovered.<br>The portrait was assigned the historically colorful but fictitious title of “Henrietta Maria” at some point after memory of its true identity had been lost. Giving illustrious titles to portraits of unknown sitters was a popular strategy adopted by dealers during the nineteenth and twentieth centuries, often applied to miniature portraits and, in particular, to Smart’s sketches of women. In 1948 Arthur Jaffé wrote to the Cleveland Museum of Art that a “Mrs. Samuelson of Exeter recently brought me two frames, with six sketches mounted in each, of ladies, mostly with fancy names. I think there is no doubt that they were part of Mrs. Lange’s share of the Smirke sketches, though unlike yours they did not pass through Christie’s auction in Dec. 1928. I persuaded Mrs. Samuelson to let me remove them from their frames and to rub the paper backing from the card on which the sketches are painted. The result was as follows. Included was a No. 115 called, Margaret, Archduchess of Austria, which is the same number given to our Henrietta Maria.” Elsewhere Jaffé notes that the number on the front of this sketch was probably a 119 instead of a 115.
England, 18th century
graphite and wash on laid paper
Framed: 8.8 x 7.6 cm (3 7/16 x 3 in.); Unframed: 6.4 x 5.1 cm (2 1/2 x 2 in.)
Did you know...
Sketches helped John Smart work out the particulars of a portrait before commencing the miniature on ivory; they were useful in the event that a duplicate might later be required.
The Edward B. Greene Collection