View allAll Photos Tagged URLs
This precious volume was obviously highly prized by its owner, the French-born King of Navarre, who had his coat of arms painted on no less than twenty folios. Rather than directly commissioning this manuscript from a specific workshop, it seems that Charles the Noble acquired his book of hours -- perhaps ready-made for the luxury market -- while on a trip to Paris in 1404-05. A collaborative effort, six painting styles are evidenced within the pages of this codex, those of two Italians, two Frenchmen, and two Netherlanders. The painter who was responsible for the planning and decoration of the book, and who produced seventeen of the large miniatures, was a Bolognese artist known as the Master of the Brussels Initials. His principal assistant, responsible for most of the borders, was a Florentine who signed his name "Zecho" da Firenze on folio 208 verso.
France, Paris
ink, tempera, and gold on vellum
Codex: 20.3 x 15.7 x 7 cm (8 x 6 3/16 x 2 3/4 in.)
Mr. and Mrs. William H. Marlatt Fund
If are you searching for Balls for kids then you may visit www.oasisballs.com/what-you-should-consider-while-buying-...
The front of this tsuba shows the yearly meeting of the celestial lovers the Weaving Maiden (Jp. "Orihime") and the Shepherd (Jp. "Hikoboshi"). They are the stars Vega and Altair. Because they neglected their work when they were together, the Weaving Maiden's father, the King of Heaven, decreed that they could only meet across the River of Heaven (i.e. the Milky Way) once a year. Their meeting is celebrated on the 7th day of the 7th month with a festival called Tanabata. They are depicted on the front of the tsuba within a square frame. The Weaving Maiden is shown at the upper right spinning thread. The Shepherd is shown with cattle on the lower left. On the reverse of the tsuba, rooftops of houses can be seen in the foreground and to the right of the central opening. Stalks of bamboo hung with paper strips decorate the houses for Tanabata. Mount Fuji is shown in the background at the upper right.
Japanese
3 1/4 in. (8.3 cm)
medium: shibuichi, copper, gold, silver
culture: Japanese
Walters Art Museum, 1931, by bequest.
This scene features a standing god in horned headdress and long robe, with one foot resting on an animal. He is holding a mace in his outstretched hand. A second deity in horned headdress and long tufted robe faces the goddess with both hands raised. In the field between them is a star cradled in a disc. The scene also incorporates a cuneiform inscription in five registers.
Cylinder seals are cylindrical objects carved in reverse (intaglio) in order to leave raised impressions when rolled into clay. Seals were generally used to mark ownership, and they could act as official identifiers, like a signature, for individuals and institutions. A seal’s owner rolled impressions in wet clay to secure property such as baskets, letters, jars, and even rooms and buildings. This clay sealing prevented tampering because it had to be broken in order to access a safeguarded item. Cylinder seals were often made of durable material, usually stone, and most were drilled lengthwise so they could be strung and worn. A seal’s material and the images inscribed on the seal itself could be protective. The artistry and design might be appreciated and considered decorative as well. Cylinder seals were produced in the Near East beginning in the fourth millennium BCE and date to every period through the end of the first millennium BCE.
Babylonian
H: 1 x Diam: 7/16 in. (2.6 x 1.2 cm)
medium: hematite
culture: Babylonian
Walters Art Museum, 1941, by purchase.
Ready to depart on the fleet which you can see behind him, Aeneas tells the distraught Dido that he must follow his destiny and leave Carthage.
Belgium, 17th century
tapestry weave: silk and wool
Overall: 403 x 394 cm (158 11/16 x 155 1/8 in.)
Did you know...
This tapestry is one from a series of eight that depicts the tragic love story of Dido and Aeneas. They were gifted to the museum for display in the armor court.
Gift of Mrs. Francis F. Prentiss, in memory of Dr. Dudley P. Allen
This painting depicts a field around the hamlet of Oele in the eastern Netherlands, where Mondrian lived during the summer of 1907. The evocative mood created by the trees silhouetted against a twilight sky suggests that Mondrian’s search for spirituality was present before he began painting completely abstract or non-objective compositions in 1916. Guided by readings in metaphysics and philosophy, Mondrian sought to achieve a higher spiritual reality in his paintings, which eventually led him to eliminate all representational elements in favor of a style of pure geometric abstraction.
Netherlands
oil on paper laid on board
Framed: 82.5 x 97 x 5.8 cm (32 1/2 x 38 3/16 x 2 5/16 in.); Unframed: 65.7 x 72 cm (25 7/8 x 28 3/8 in.)
Did you know...
Mondrian was a prolific writer drawn to spiritual studies and he believed that art and philosophy were deeply interconnected.
Gift of Frank Stella
Robert MacCameron
1866–1912
39 4/8 x 55 in. (100 x 139.7 cm)
medium: Oil on canvas
Metropolitan Museum of Art, New York, NY 10.153 1910
Gift of Mrs. Benjamin S. Guinness, 1910