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The Brahman perches precariously at the top of a tree as the hungry lion waits below surrounded by wolves and jackals. Previously, the lion’s other viziers, the deer and the gazelle, had counseled the lion to treat the Brahman with kindness. They appear again to save the Brahman life.
Mughal India, court of Akbar (reigned 1556–1605)
gum tempera, ink, and gold on paper
Overall: 20.3 x 14 cm (8 x 5 1/2 in.); Painting only: 10.8 x 10.4 cm (4 1/4 x 4 1/8 in.)
Did you know...
The artist has depicted the gazelle and deer as a blackbuck and cow.
Gift of Mrs. A. Dean Perry
The last of Odilon Redon’s 11 lithographic portfolios, this series relates to the Book of Revelation from the Christian Bible. The subject had been explored throughout art history, allowing the artist to align himself with past masters, such as Albrecht Dürer. Although Redon often vaguely referenced texts, these prints directly illustrate 12 individual passages, including one about a woman clothed with the sun and another focused on a great star falling from heaven. By the time he created this portfolio, Redon’s reputation was well established. The project was published by art dealer Ambroise Vollard, who began to sell and promote Redon’s work about a year earlier, building a market for his prints in Paris and abroad.
France, late 19th Century
lithograph
Image: 15.8 x 19 cm (6 1/4 x 7 1/2 in.)
Did you know...
This is one of the last works where Redon experimented with lithograph and all-black medium. In contrast, bright, dazzling colors characterize his late works.
Gift of Ralph King
H: 9 3/4 x W: 7 3/16 in. (24.7 x 18.3 cm)
medium: iron gall ink with red and blue colored inks heightened with white on brown, moderately thick, slightly textured wove paper
Walters Art Museum, 1931, by bequest.
Jacques Guay carved cameo portraits of Queen Marie Antoinette, though it is not known whether he is the author of this one. The carver took advantage of the natural striations of color in the stone to differentiate between the two figures: the queen and her son, the dauphin (1785–95), who would have become Louis XVII, but for the French Revolution. Such a ring might have been worn by a courtier or, after the Revolution, by a royalist sympathizer. The cameo is surrounded by a border of diamond sparks in silver mounts. The forked shoulders each enclose a tulip originally set with a crystal.
H: 3/4 × W: 13/16 × D: 13/16 in. (1.9 × 2 × 2.1 cm)
medium: sardonyx, gold, silver, diamonds
given to Walters Art Museum, 1947.