View allAll Photos Tagged URLs
In this work, the artist depicts the figure in such a way that most of his face is obscured, creating a sense of mystery. Everything we know about the character of this man is expressed though his posture, clothes, and objects, like his bowl containing a few coins. Very little is known about Camino’s training; he visited Algeria in the early 1850s, which inspired the art he made in the decades that followed.
H: 12 3/8 x W: 8 1/4 in. (31.5 x 21 cm)
medium: watercolor over traces of graphite on cream, moderately thick, slightly textured wove paper
by bequest to Walters Art Museum, 1931.
Morris sought to produce textiles that could function as he imagined medieval wall hangings had, bringing warmth to stone-cold rooms. Boldly designed with soothing colors in thick wool,<em> Peacock and Dragon</em> is the closest Morris came to achieving this ideal. In the same year he designed this textile, Morris visited the shop of the London dealer Vincent Robinson, where he saw a room re-created from Damascus, “all vermillion and gold and ultramarine, very beautiful, and is just like going into the Arabian nights.” It partly inspired the exotic motifs seen here. This design was one of the most popular among Morris’s customers; it was available in five colorways.
England, Surrey, Merton Abbey
weft-faced compound twill; wool
Overall: 206.6 x 174.7 cm (81 5/16 x 68 3/4 in.)
Gift of Mrs. Philip White
The elegant works of Jean-Marc Nattier exemplify mid 18th-century French portraiture. Although he was admitted to the Académie Royale (Royal Academy) as a painter of historical subjects (then ranked as the highest category of painting), Nattier specialized in the less prestigious genre of portraiture. Though he worked at the court of Louis XV, he broke with the baroque tradition of grandiose portraits. Instead, he produced naturalistic paintings of Queen Marie Leszczynska and her daughters, as well as Madame de Pompadour and other members of the nobility.
The subject of this light-hearted, informal portrait is currently unknown. Previous scholarship, however, identified the young woman as the wife of Antoine-René de Voyer d'Argenson, marquis of Paulmy, who was minister of war under Louis XV and French ambassador to Poland. The museum continues to research this painting and its sitter.
H: 39 15/16 x W: 31 11/16 in. (101.5 x 80.5 cm)
medium: oil on canvas
reign: Louis XV (1715-1774)
Walters Art Museum, 1931, by bequest.
An elegantly dressed woman stands at the center of the composition. She carries a plate with a tea cup and saucer in one hand while she holds a letter, marked with a prominent red seal, up to her lips with the other. This drawing captures the woman in mid-action as she tiptoes across the room.
France, 18th century
Watercolor and gouache with point of brushwork
Overall: 32.5 x 22.5 cm (12 13/16 x 8 7/8 in.); Sheet: 23.5 x 14.7 cm (9 1/4 x 5 13/16 in.)
Bequest of Muriel Butkin
This mummy bundle was likely found on mummy bundles made of a seated human body carefully wrapped in textiles. In some instances, the Paracas people placed a painted cloth like these at the top of the bundle. The cloth was padded on the back so it curved outward like a face, and the tress-like yarns (unwoven warps) at the upper edge were arranged around a solid cotton disk that, in turn, was wrapped with a headband. The cloths, then, seem to have functioned as the bundle’s face or mask.
Peru, South Coast, Ica Valley, Ocucaje site, Paracas style (700 BCE–1 CE)
plain warp-faced cloth, painted: cotton
Overall: 48.3 x 18.3 cm (19 x 7 3/16 in.)
Did you know...
These masks fall into two categories, those with only a face and those with a full-bodied figure.
The Norweb Collection
This unusual tsuba shows two folding screens framing the central hole. The upper screen has a pattern of chrysanthemum flowers. The lower screen is placed with its back to the viewer. The two auxiliary holes have both been plugged. In traditional Japanese architecture, screens were used to divide spaces within larger rooms. They were both artistic and utilitarian objects.
Japanese
H: 3 3/16 × W: 3 1/16 × D: 3/16 in. (8.1 × 7.8 × 0.5 cm)
medium: iron, gold
style: Shoami School
culture: Japanese
Walters Art Museum, 1931, by bequest.
In this inhospitable landscape, Saint Jerome
appears strong and sure, praying toward a
crucifix and holding a rock to beat his chest.
Jerome retreated to the desert near Antioch
(present-day Turkey) for four years to purify
his soul through physical suffering. The
cardinal’s hat and book refer to his later work
translating the Bible into Latin, and the lion
was his companion after he pulled a thorn
from its paw. A tree holding a crucifix with a
skull at its base refers to Christ’s cross and to
Eden. The man at left may be a traveling friar
begging for sustenance.
Italy, Florence or Northern Italy, 15th century
engraving
Image: 15.1 x 21.6 cm (5 15/16 x 8 1/2 in.); Sheet: 15.1 x 21.6 cm (5 15/16 x 8 1/2 in.)
Did you know...
The rock in Saint Jerome's hand was used by the saint to beat his chest when he experienced hallucinations brought on by his isolation in the desert.
Dudley P. Allen Fund
[url=http://www.sexylovedolls.com]full silicone love dolls[/url]
[url=http://www.sexylovedolls.com]Infant love dolls[/url]
[url=http://www.brandbootshoes.com]Nike Air Jordan shoes[/url]
Nattier was regarded as one of the foremost portrait painters at the court of Louis XV (reigned 1715-1774). He occasionally turned to miniature painting, as demonstrated by this likeness of Cassini de Thury (1714-1784), a distinguished astronomer and director of the Paris Observatory, shown seated at his desk taking a pinch of snuff from a gold box.
The composition for this miniature was taken from a 1745 pastel portrait of Louis Duval de l'Épinoy by Maurice-Quentin de La Tour (Museu Calouste Gulbenkian, Lisbon). Only the face has been altered. Recently both the 19th-century identification of the sitter and the attribution to Nattier have been questioned.
French
3 1/8 x 2 11/16 in. (8 x 6.9 cm)
medium: watercolor on ivory
culture: French
Walters Art Museum, 1931, by bequest.
This steatite scarab is inscribed on the bottom in partly sunk relief with the name of Queen Tiye. The top is medium high and is shallowly incised with details of good workmanship.
This piece functioned as an individualized amulet, and was originally mounted or threaded. Scarabs with Tiye's name and title are very well known, and have been found in Egypt and abroad. They should secure Tiye's royal status, but also guarantee her royal patronage for a private owner of the amulet. Moreover, it is likely that the Egyptians believed that Tiye had a special relation to the gods, and would function as a mediator.
There are many scarabs and plaques with the name of Queen Tiye, and most of them are not personal seals, but supportive amulets given to honorable people in Egypt and abroad. The impressive amount of scarabs with Tiye's name (alone or together with the name of her husband, Amenophis III) demonstrates beside many other monuments the very special role of this queen, and her political and religion importance.
Egyptian
H: 1/4 x W: 1/2 x L: 5/8 in. (0.7 x 1.2 x 1.6 cm)
medium: light beige steatite
culture: Egyptian
dynasty: 18th Dynasty
reign: Amenophis III (1388-1351/1350 BC)
Walters Art Museum, 1931, by bequest.