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One of the most original of Renaissance thinkers, an influential politician at the court of Henry VIII, and, since 1935, a saint in the Roman Catholic Church, Sir Thomas More also played an important role in the development of English portraiture through his patronage of Hans Holbein the Younger. Here More wears a so-called livery chain, a mark of his service to Henry VIII. He would eventually be beheaded in 1535, when he refused to support the king’s divorce and breach with the Catholic church. This miniature painted by a later follower of Holbein attests to the enduring resonance of More’s image and legacy.
Germany, 17th century
oil on wood in a gilt wood frame
Framed: 8.6 x 8.6 x 1.3 cm (3 3/8 x 3 3/8 x 1/2 in.); Diameter: 6.5 cm (2 9/16 in.); Unframed: 6.7 x 6.4 cm (2 5/8 x 2 1/2 in.); Diameter of frame: 8 cm (3 1/8 in.)
The Edward B. Greene Collection
After Pierre Lenfant served as the official battlefield artist to King Louis XV in the War of the Austrian Succession (1740–1748), he and his family were awarded a lifetime residence at the royal Gobelins Manufactory on the outskirts of Paris. This delicate study in colored chalks may depict a weaver pulling threads in the textile factory.
France, 18th century
red and black chalk heightened with white chalk
Sheet: 20.1 x 20.4 cm (7 15/16 x 8 1/16 in.)
Gift of Victor Spark, New York
Part of an expatriate community in Venice, James McNeill Whistler focused on the city’s architectural details in the prints, drawings, and paintings that he made during a year spent living there. This etching presents a private garden from the perspective of one of the city’s distinctive canals. Seen through an open doorway, the view, offers a voyeuristic glimpse of its inhabitants’ lives. Situated outside and looking into a lush garden, the viewer is placed in the artist’s position, able to feel his excitement as an outsider exploring a new but historied place.
America, 19th century
etching and drypoint
Did you know...
This print is among the only ones in James McNeill Whistler's <em>Second Venice Set</em> without a clearly identifiable setting.
Gift of Mr. and Mrs. Ralph King
Kids that read Succeed! Reading a book is a great excuse for peace and quiet. What will you be reading today on#InternationalLiteracyDay ?
The Passion of Christ was a popular theme for 15th-century altarpieces in northern Europe. It is the story of Christ's suffering-from his arrest to his Crucifixion-although it was often expanded to include earlier and later events, such as the Entombment (see Walters 37.663, 37.664, 37.668, 37.669, 37.670, 37.671, and 37.674). The figures and settings are treated in a life-like fashion to make the events seem real and the message persuasive. The gold-leaf backdrop embossed to look like damask would have suggested to the 15th-century viewer a heavenly light illuminating eternal truths.
When the altarpiece was open, four panels would have been visible on each side of a central carved image, very likely a Resurrection, loosely suggested by the wooden Crucifix hung here. Christ is the central figure in each painting. His serenity and restraint contrast with the undignified agitation of his tormentors, expressed in their grimaces and jerky movements. This use of angularity and exaggeration to generate an emotional response in the viewer is characteristic of German art of this period.
German
Framed H: 50 9/16 x W: 46 1/4 x D: 3 3/8 in. (128.5 x 117.4 x 8.6 cm)
medium: oil on panel
style: Gothic
culture: German
Walters Art Museum, 1931, by bequest.
Ya falta tan poco para salir!! =) aun asi extrañare la U.
YA FALTA POCO!!!
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The jasperware medallions showing sacrificing priestesses were designed by Lady Templetown and Miss Crew for Josiah Wedgwood's factory, Etruria. They have been mounted in metal frames with faceted steel studs, a specialty of Matthew Boulton's factory in Birmingham.
H: 2 1/2 x W: 2 5/16 in. (6.4 x 5.8 cm)
medium: jasperware, steel, tin
style: Neoclassical
Walters Art Museum, 1931, by bequest.
Thomas Eakins
American, Philadelphia, Pennsylvania 1844–1916 Philadelphia, Pennsylvania
23 3/4 x 19 1/4 in. (60.3 x 48.9 cm)
medium: India ink and watercolor on cardboard
Metropolitan Museum of Art, New York, NY 23.94 1923
Rogers Fund, 1923
Leonardo da Vinci (1452-1519) began a portrait of Lisa Gherardini about 1503 and then took with him to France, selling it to the French king in 1516. During the centuries that it remained in the royal collection it was copied many times. Some of the early copiests wanted to "complete" Leonardo's composition by introducing columns at the sides of the composition, since in the original, now in the Louvre Museum in Paris, we can see indications of the base of columns along each side. However, extensive technical examinations of the Louvre's panel and the paint along its edges have conclusively demonstrated that the painting was not cut down and therefore there were never columns along the side edges. So later copiests were trying to "improve" on what they saw!
The woman is depicted with "sfumato," a technique invented by Leonardo and based on his study of nature and in which transitions from light to shade are almost invisibly rendered. This makes contours appear soft and blurred, as if affected by atmospheric haze. The copyist has tried to imitate this effect, but without the subtlety of the original.
H: 31 1/4 x W: 25 in. (79.3 x 63.5 cm)
Framed H: 39 1/2 x W: 32 1/4 x D: 4 in. (100.33 x 81.92 x 10.16 cm)
medium: oil on canvas
Walters Art Museum, 1931, by bequest.