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Attributed to the artist Gakuō, this painting has a spurious seal of the influential Shōkokuji temple monk-painter Tenshō Shūbun (died about 1444–50), with whom he is said to have trained. Gakuō may have hailed from Ise in present-day Wakayama prefecture, an area south of Kyoto in the Kansai region. Although not much is known about his life, inscriptions on some of his paintings indicate strong ties with eminent monks in Kyoto’s major Zen temples.
Japan, Muromachi period (1392–1573)
hanging scroll; ink on paper
Mounted: 131.8 x 44.2 cm (51 7/8 x 17 3/8 in.)
Gift from the Collection of George Gund III
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According to the Gospel of Matthew, three Magi, guided by a star, found the newborn Christ and laid gifts before him. Artists throughout the 15th century elaborated considerably upon this biblical account, devoting particular attention to the Magi’s entourage, which gave them an opportunity to depict the splendor of contemporary aristocratic life. Here, the Magi solemnly honor the divine child in the Virgin’s arms, while their bustling retinue of courtiers and animals provides an exuberant visual diversion. Di Paolo was one of the leading painters in 15th-century Siena, noted both for his manuscript illuminations and painted panels supplied to the city’s churches.
Italy, Siena
tempera and gold on wood panel
Framed: 52.5 x 59 x 7.5 cm (20 11/16 x 23 1/4 x 2 15/16 in.); Unframed: 38.4 x 44.3 cm (15 1/8 x 17 7/16 in.)
Delia E. Holden and L. E. Holden Funds
Edwin Austin Abbey
American, Philadelphia, Pennsylvania 1852–1911 London
54 1/4 x 127 1/4 in. (137.8 x 323.2 cm)
medium: Oil on canvas
Metropolitan Museum of Art, New York, NY 13.140 1913
Gift of George A. Hearn, 1913
William Morris’s daughter May called <em>Honeysuckle</em> “the most truly Morrisian in character of all his pattern-making . . . the most mysterious and poetic—the very symbol of a garden tangle.” Like many Morris textiles from this period, <em>Honeysuckle</em> has a mirrored pattern. At 29 3/4 inches high and 34 3/4 inches wide, this repeat was unusually broad, spanning almost the entire width of the loom. Morris believed that large patterns were more restful to the eye than small patterns, even when used to decorate modestly sized rooms. Designs from this period are a testament to the delight he took in his garden at Kelmscott Manor; he favored the charm of native English flowers above exotic specimens.
England, Early 20th century
plain weave linen, printed
Overall: 87 x 90.5 cm (34 1/4 x 35 5/8 in.)
Gift of Mrs. Henry Chisholm
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