View allAll Photos Tagged URLs
Chrysanthemums appear in the middle of the kozuka, framed by pampas grass. Both are celebrate autumn plants. This is part of a mounted set.
Japanese
L: 8 1/16 in. (20.5 cm)
medium: silver, gold
culture: Japanese
Walters Art Museum, 1931, by bequest.
A small mountain hut is shown near a waterfall. This composition is reminiscent of Chinese landscapes with scholars' huts. It is part of a set with Walters 51.926.
Japanese
L: 1 5/16 in. (3.4 cm)
medium: shibuichi, gold, silver, copper, sentoku
culture: Japanese
Walters Art Museum, 1931, by bequest.
John William Hill
American (born England), London 1812–1879 West Nyack, New York
9 3/4 x 15 1/8 in. (24.8 x 38.4 cm)
medium: Watercolor, gouache, and graphite on off-white wove paper
Metropolitan Museum of Art, New York, NY 82.9.6 1882
Gift of J. Henry Hill, 1882
Only one half of this hollow cross survives.
Byzantine
H: 3 3/4 x W: 2 1/16 in. (9.5 x 5.3 cm)
medium: cast bronze
culture: Byzantine
dynasty: Macedonian Dynasty
Walters Art Museum, 1946, by purchase.
Kids that read Succeed! Reading a book is a great excuse for peace and quiet. What will you be reading today on#InternationalLiteracyDay ?
Chrysanthemums appear in the middle of the kozuka, framed by pampas grass. Both are celebrate autumn plants. This is part of a mounted set.
Japanese
L: 8 1/16 in. (20.5 cm)
medium: silver, gold
culture: Japanese
Walters Art Museum, 1931, by bequest.
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!!!
Copyright © 2007 kukurmusu8. Todos los derechos reservados
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.
John William Casilear
American, New York 1811–1893 Saratoga Springs, New York
Cover: 12 11/16 x 7 3/4 in. (32.2 x 19.7 cm)
Sheets: 12 11/16 x 7 3/4 in. (32.2 x 19.7 cm)
medium: Drawings in graphite, pen and ink, and watercolor on off-white wove paper affixed with adhesive wafers at corners to dark tan laid (ledgerbook) paper, bound in a cardboard cover with leather trim
Metropolitan Museum of Art, New York, NY 1979.581 1979
Maria DeWitt Jesup Fund,1979
L. with sheath 23 3/4 in. (60.3 cm); L. without sheath 18 3/4 in. (47.6 cm); W. 3 in. (7.6 cm); Wt. 12.2 oz. (345.9 g); Wt. of sheath 11.4 oz. (323.2 g)
medium: Steel, wood, copper, gold, semiprecious stones, turquoise, pigment
Metropolitan Museum of Art, New York, NY 32.75.255a, b 1932
The Collection of Giovanni P. Morosini, presented by his daughter Giulia, 1932