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Alfred Jacob Miller was a prolific sketcher. He filled many journals with drawings and captions from the time he was studying in Paris and Rome (1833) until the 1870's. The varied interests of Miller are clearly reflected in these sketches: rural sites, studies after Old Master paintings, illustrations of literature, and comical scenes and characters.
This sketch comes from the family album of L. Vernon Miller, which contains works that have passed down through the Miller family directly from the artist.
H: 7 5/8 x W: 9 3/4 in. (19.4 x 24.7 cm)
medium: pencil, ink, and wash on paper
given to Walters Art Museum, 1994.
[1] passed directly from the artist down through his family.
Egypt, New Kingdom (1540–1069 BCE), Dynasty 18, reign of Tuthmosis III (1479–1425 BCE)–reign of Amenhotep III (1390–1352 BCE)
travertine
Diameter: 9.7 cm (3 13/16 in.); Diameter of mouth: 4.5 cm (1 3/4 in.); Overall: 16.4 cm (6 7/16 in.); Diameter of lid: 6.6 cm (2 5/8 in.)
Gift of the John Huntington Art and Polytechnic Trust
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The optical beauty of the patterning and luscious color of <em>Interior with Wallpaper I, II, </em>and<em> III</em> distracts from their ambivalent undercurrents. Across the three sheets, Vuillard creates an airless enclosure in which the wallpaper replicates itself, metastasizing across the surface and threatening the figures partially glimpsed through interior doors. Hidden figures recur in Vuillard’s work, adding an element of the uncanny to familiar settings.
France, 19th century
color lithograph
Sheet: 39.5 x 30.8 cm (15 9/16 x 12 1/8 in.)
Did you know...
This soft, pink interior scene likely depicts one of several Parisian apartments Vuillard shared with his mother and older sister.
Gift of the Hanna Fund
Alonzo Chappel
American, New York 1828–1887 Middle Island, New York
16 5/8 x 12 5/8 in. (42.2 x 32.1 cm)
medium: Oil on paper mounted on paper and unstretched canvas
Metropolitan Museum of Art, New York, NY 83.2.473 1883
Gift of William H. Huntington, 1883
Another reason why:
1. URL shorteners suck
2. Twitter's search is downright dumb (please grow up and get a decent tokenizer).
This image of a tulip was made as part of a tulip book used as a grower’s marketing tool during the so-called tulip mania, a speculative bubble in 17th-century Holland, when ten tulip bulbs could cost more than a stately Amsterdam canal house. The striations on the tulip, which were caused by a virus in the bulb, made it especially valuable. Pieter Holsteyn II was one of many artists in the Netherlands at the time who specialized in botanical illustration.This tulip's Dutch name, inscribed on the sheet, means "white and red messenger."
Netherlands
Point of brush and transparent and opaque watercolors with traces of graphite and gum glazing on antique laid paper
Sheet: 31.2 x 20.6 cm (12 5/16 x 8 1/8 in.)
Did you know...
In 17th-century Holland, some tulip bulbs were as expensive as a stately Amsterdam canal house.
Nancy F. and Joseph P. Keithley Collection Gift
In stone sculpture, Maya rulers celebrated the milestones of their reigns with flamboyant portraits like this image of a royal woman, created to mark the passage of a twenty-year period known as the k’atun. She originally stood in a plaza next to a portrait of her spouse (see photo), with whom she ruled El Perú-Waka’, a provincial Maya town. A member of the powerful dynasty of a nearby Maya center, she seems to have held higher authority than her husband, serving as a military governor. Her costume reflects her status: the headdress has a fan of green quetzal feathers and her jewelry probably refers to jade-both among the most prized of ancient materials. Jade beads also may form the net over her garment, belted with the head of a fish-like creature. Completing the costume are the scepter and shield she grasps in her hands. The dwarf at her side may be a court attendant. The hieroglyphic text refers to important dynastic dates.
Mesoamerica, Guatemala, Department of the Petén, El Perú (also known as Waka'), Maya (250-900), Classic period (200-1000)
limestone
Overall: 274.4 x 182.3 cm (108 1/16 x 71 3/4 in.)
Did you know...
The powerful Maya queen shown on this stela is known as Lady K’abel.
Purchase from the J. H. Wade Fund
The monk-painter Sesshp is revered today, as he was in his own time. While he left Kyoto's sophisticated intel-lectual and cultural environment to live in a provincial village in a far western province, he seems never to have severed contacts with the monastic communities of his young adulthood. His residence in Yamaguchi proved fortuitous because his patron, the region's military lord, enjoyed considerable freedom in conducting trade missions overseas with Korea and China. Sesshp went to China in 1467 and traveled about the country, visiting well-known historical sites and Chan (Zen) temples before returning two years later. Thus he became familiar with contemporary painting practices, materials, formats, and subject matter. His assimilation and then transmission of these elements had a profound impact on the following generations of ink painters, patrons, and Zen communities throughout Japan. Despite the presence on these byøbu of the name "Sesshp," they are from the hand of another accom-plished but as yet anonymous follower active in the middle of the sixteenth century. Sesshp's name here, as on a handful of similar bird-and-flower byøbu, attests to the master's identification at that time with the colorful mural paintings on the same theme emanating from Ming dynasty China. This genre had heretofore been relegated to hanging scroll compositions, so the intro-duction into temple and daimyo residences of such an attractive theme surely caused considerable excitement in the later fifteenth century, when in all likelihood Sesshp introduced it into the Japanese painting reper-toire. Subsequently, artists of varying backgrounds and training tried their hands at these large, dramatic scenes. From right to left the composition portrays an array of flowering plants in the near distance that indicate the passage of the seasons. Birds, usually paired, occupy this setting, engaged in various activities that lend naturalism and an air of peacefulness. The world they inhabit may be characterized pictorially by expansive middle-ground waterscapes that end where the far distant mountains rise as backdrops. These features appear consistently in other bird-and-flower byøbu attributed to Sesshp. Also noteworthy is the absence of any birds of prey such as the samurai's beloved hawks, emblems of fierceness and graceful strength that appear often in the byøbu of sixteenth-century Kano and Soga school painters.
Japan, Muromachi period (1392–1573)
Six-panel folding screen, ink and color on paper
Image: 158.5 x 359.4 cm (62 3/8 x 141 1/2 in.); Overall: 175.2 x 374.4 cm (69 x 147 3/8 in.)
Gift of Mrs. A. Dean Perry
5 1/4 x 6 3/4 in. (13.3 x 17.1 cm)
medium: Stoneware
Metropolitan Museum of Art, New York, NY 27.17.40a, b 1927
Rogers Fund, 1927
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Reeds and Geese, 1314–17. Yishan Yining [Issan Ichinei] (Chinese, 1247–1317). Hanging scroll; ink on paper; painting: 80.4 x 32.2 cm (31 5/8 x 12 11/16 in.); mounted: 158.5 x 42.2 cm (62 3/8 x 16 5/8 in.). The Cleveland Museum of Art, Gift from the Collection of George Gund III 2015.464
More at clevelandart.org/art/2015.464