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This view of the Piazza San Marco, Venice shows Bellotto's devotion to faithful observation. At the left is the church of St. Mark with the Doge's Palace just beyond, leading to the lagoon. Vertically dividing the canvas is the campanile (bell tower) with the Procuratie Nuove (a government building) extending to the right. At the extreme right, opposite St. Mark's, is the façade of the church of San Geminiano which was removed in the 19th century by Napoleon. The two wings of the Procuratie were then joined across the west end of the piazza. Bernardo Bellotto was the nephew and student of Canaletto (Giovanni Antonio Canal, 1697–1768) who ran one of the most productive painting workshops in Italy. Like his uncle, Bellotto specialized in vedute (views) of Italy, especially Venice, which were purchased avidly by British aristocrats traveling on the Grand Tour. Bellotto later worked for the courts of Dresden, Vienna, Warsaw, and Munich, painting topographical and imaginary views of those cities.
Italy, 18th century
oil on canvas
Framed: 164.5 x 264 x 12 cm (64 3/4 x 103 15/16 x 4 3/4 in.); Unframed: 136.2 x 232.5 cm (53 5/8 x 91 9/16 in.)
Leonard C. Hanna, Jr. Fund
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 striking gold poppies on a cobalt blue background might indicate that opium was used in the hookah.
Mughal India, possibly Lucknow
gold on blue glass
Overall: 19.8 cm (7 13/16 in.)
Did you know...
The neckpiece was made separately and attached to the blown glass bowl.
Cornelia Blakemore Warner Fund
One of a pair, this curtain displays colorful silk bands with woven geometric motifs, and cream bands with gold-embroidered plants, birds, six-pointed stars, and the <em>khamsah</em> (خمسة), an open five-fingered hand. Birds and the tree of life were popular good luck or fertility symbols linked to marriage. This curtain’s cosmopolitan motifs would have resonated with Jews, Muslims, and Christians alike, reflecting its creation on multiethnic and multireligious Djerba, an island off the Tunisian coast. There, both goldsmithing and gold thread embroidery were done by Jewish artisans (male and female, respectively). The fine materials suggest this curtain once hung in a wealthy home or for special occasions; interior wall hangings were typically made from rough wool.
Africa, North Africa, Tunisia, Djerba, Tunisian weaver(s) and embroiderer(s)
Silk, linen, metal, and dye
Overall: 276.8 x 136.7 cm (109 x 53 13/16 in.)
Did you know...
When first acquired over a century ago, this curtain had fringe at its lower end.
Gift of Mr. and Mrs. J. H. Wade
John William Casilear
American, New York 1811–1893 Saratoga Springs, New York
Dimensions unavailable
medium: Graphite, pen, ink, and watercolor on paper
Metropolitan Museum of Art, New York, NY 1979.581.11 1979
Purchase, Gift of William Gedney Bunce, by exchange, 1979
This is URL. I agreed to allow a third dog to come live with us under one condition; I get to name it. (I am a web designer. Hee, hee!)
Japan, Meiji period (1868–1912) to Taishō period (1912–26)
iron (?)
Overall: 4.1 x 10.5 cm (1 5/8 x 4 1/8 in.)
Gift of Laurence H. Norton, Robert C. Norton, and Miriam Norton White in memory of Mr. and Mrs. D. Z. Norton
Guanyin is a bodhisattva, a divine being who has attained enlightenment but chooses to stay in the world to help others. Guanyin (an abbreviation of Guanshiyin: “Perceiver of the World’s Sounds”) responds to the calls of those in peril.
Here, Guanyin sits in an attitude of tranquil ease, an arm resting on one knee while gazing at the moon’s reflection in the water below; the bodhisattva’s rippling garments puddle downward in a seemingly liquid cascade. In China, devotion to Guanyin, who came to be represented as an androgynous or female being, was popularized through sacred texts ("sutras"), miracle tales, and legends by which the deity became associated with natural elements, such as water and the moon, that evoke themes of impermanence and change.
The sculpture is a technical marvel. The entire figure, down to the slender fingers, is hollow and made in a technique similar to papier-mâché. Layers of cloth soaked in lacquer, derived from a tree resin, were wrapped over an internal clay support that was removed after the lacquer had hardened. X-radiography shows that the hollow interior was covered in a pigment containing red mercury, called cinnabar, that may have had both sacred and preservative functions.
Chinese
H: 50 x W: 34 1/4 x D: 22 5/8 in. (127 x 87 x 57.5 cm)
medium: dry lacquer, gold, and paint
culture: Chinese
dynasty: Ming [Ming] Dynasty
given to Walters Art Museum, 2006.
Three Amazons on this black-figure lekythos face right, and appear to march one after the other. Their skin is white, but their facial features, eroded or rubbed away, are indistinguishable. Each wears a helmet, holds a long spear and has a horizontal quiver. The middle figure holds both hands near her waist; the other two have one hand raised.
Amazons are first mentioned in the "Iliad" (6.186) as allies of the Trojans; later authors emphasize their fearlessness and their status as foreigners. They were introduced on Attic vases in the early 6th century BC, and quickly became a popular subject. Early black-figure depictions of Amazons resemble Greek warriors, with one notable difference-their white skin color, which identifies them as "women." In red-figure vases, the Amazons acquire more feminine features and bodies, and their foreigness is emphasized by their attire: Scythian or Thracian clothing and subsequently Persian garb.
In some places in Greece, Amazons were the object of cult. Jennifer Larson (1995, 111-16) has suggested that despite the fact that they were considered hostile to the Greeks, their complete otherness from the Greek way of life also gave them protective powers and entitled them to be worshiped as heroines.
Greek
H: 8 1/16 x Diam: 2 3/8 in. (20.5 x 6 cm)
medium: terracotta, wheel made; black figure with white paint
style: Attic
culture: Greek
Walters Art Museum, 1931, by bequest.
Mountain and River in Storm, early to mid-1600s. Hirowatari Setsuzan (Japanese, ?-1674). Hanging scroll; ink on paper; overall: 92.7 x 34.3 cm (36 1/2 x 13 1/2 in.). The Cleveland Museum of Art, Gift from the Collection of George Gund III 2015.459
More at clevelandart.org/art/2015.459
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John Lewis Krimmel
1786–1821
9 x 7 3/8 in. (22.9 x 18.7 cm)
medium: Watercolor, black ink, and graphite on white laid paper
Metropolitan Museum of Art, New York, NY 42.95.17 1942
Rogers Fund, 1942
Iran, early Islamic period
bone, incised
Overall: 0.5 x 1.9 x 1.9 cm (3/16 x 3/4 x 3/4 in.)
Gift of Edward Gans