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Image of 2002.7.9 -

2002.7.9 -

This Huarmey tapestry sleeve has images of two warriors holding staffs, central rectangular panel with two animal images, zigzag pattern in blue along bottom, red, white, blue, yellow, purple, and black colors. According to the Andean scholar Rebecca Stone-Miller, Huari textiles "seem to celebrate geometry itself; their designs read as grid-based, rectilinear, strikingly coloristic, dynamic, and, above all, illegible pattern." As illegible as the fragment may appear, it is nevertheless clear that Huari weavers-typically women, often in collaboration-learned to express themselves, and to express state initiatives, in a language of abstraction. The abstracted iconography favored by Huari wea

Image of 2003.3.1 -

2003.3.1 -

This sculpted Muchalinda Buddha is an icon that records the Enlightenment at Bodh Gaya, one of the eight major events in the life of Buddha. Once painted with lacquer, the sculpture represents the artistic tradition of Southeast Asia. This is the region where Theravada Buddhism prevailed, with its focus upon the historical Buddha and his former incarnations. Positioned frontally, the Buddha sits cross-legged in a posture of meditation on bulging snake coils with honeycomb scales. Buddha is attired in the vestments of a monk, his sash and robe defined by curving double lines. His strongly structured face, rendered with a tranquil but profound expression, features a broad forehead, wide, sq

Image of 2003.3.2 -

2003.3.2 -

Thai narrative paintings have just one purpose to guide and inspire the devout through the illustrations of religious traditions or moral values. Thai painters derived their inspiration from Jatakas, religious fables that recall the lives of the Buddha as either human being or beast and his path to enlightenment. The last ten tales of 550 Jatakas, to the exclusion of all others, are subjects for painting, and teaching. Although the paintings are not intended as individual aesthetic expressions, they are nonetheless works of art in their own right. The Jataka in this Thai narrative painting, Great Departure, depicts Prince Siddharta Guatama upon his horse Kanthanka, carried noiselessly t

Image of 2003.4.1 -

2003.4.1 -

Tribal mask of Shiva. This mask of Shiva from the Buta tribe in Southern India shows an intimidating face with bulging eyes, sharp pointed nose, and a demonic smile with pointed teeth and overgrown fangs. The face is decorated with traditional ornaments, including round earrings, a beaded chain below the chin, and a crown that projects outward from the brow with small dangling drops representing leaves. The outward projection of the crown signifies his divinity. On his forehead are sun, moon, and fire motifs, known as the three eyes of Shiva. This mask is of a Shivate diety, possibly Shiva, and was kept in a shrine until festival time when it was taken out for use. The workmanship of th

Image of 2003.4.39 - Anonymous

2003.4.39 - Anonymous

Volcanic stone bodhisattva head with topknot and elaborate headdress, Java, Indonesia, 11th century.

Image of 2003.4.39 - Anonymous

2003.4.39 - Anonymous

Volcanic stone bodhisattva head with topknot and elaborate headdress, Java, Indonesia, 11th century.

Image of 2003.4.69 - Unknown artist, Cuzco School of Painting

2003.4.69 - Unknown artist, Cuzco School of Painting

In pre-Hispanic Andean societies, women were the keepers of religious organizations dedicated to female deities conceptualized as the forces of procreation and regeneration. Not surprisingly, after the Spanish conquest, Indian converts venerated the image of the Virgin Mary as their patroness, endowing her with miraculous powers, for she was easily identified with Pachamama, the Inca earth-mother goddess, impregnated by the Sun god Inti, who aids and sustains humanity. Thus, the most abundant subject of the Cuzco School is the Virgin, who was venerated in many cults. "The Madonna and Christ Child Reading a Book" is an example of the expressive, "naive" style found in Cuzqueno paintings. T

Image of 2003.4.70 - Unknown artist, Cuzco School of Painting

2003.4.70 - Unknown artist, Cuzco School of Painting

This painting of the "Madonna and Child" is a delicate work that showcases the synthesis of European iconography and Andean styles found in the Cuzco School. The lavish piece was probably modeled after works such as the "Madonna and Child" which presents these heavenly personages in a manner that follows the traditional depiction of Mary as the "Good Mother." Also typical of European iconography are the grapes to which the Christ Child points, which not only refer to the Eucharist, but may also relate to another plant--based motif the personification of Mary as the "true vine" found in both Isaiah and Genesis-with Christ symbolizing the ripening fruit. Following Cuzqueno traditions, the Vi

Image of 2008.10.2 - Jume, M.

2008.10.2 - Jume, M.

Dark wood sculpture with large grandmother leading 8 family members in ceremony by M. Jume (African, Makonde, 20th c.).

Image of 2011.17.04 - Unknown

2011.17.04 - Unknown

"First love..." Original painting on canvas for an advertising poster for National Biscuit (Nabisco) Ritz crackers. Ad depicts a girl and boy with a box of Ritz. Text says "first love...". Artist: Unknown Agency: McCann-Erickson, Inc. Art Directors: Unknown

Image of 2011.17.05 - Unknown

2011.17.05 - Unknown

"Oh! Oh! Oreo creme sandwich" Original painting on canvas for an advertising poster for National Biscuit (Nabisco), Oreo creme sandwiches. Ad depicts a girl and boy reaching for two boxes of Oreos. Text says "Oh! Oh! Oreo creme sandwich", and "Cookie of the Month". Artist: Unknown Agency: McCann-Erickson, Inc. Art Directors: Unknown

Image of 98.4.1 -

98.4.1 -

Woven decorative fringed border with mythological beings. Keeping in mind that some Paracas embroideries measured up to 85 feet long,this piece is a small fragment of the border of a much larger piece. It nevertheless contains a great deal of valuable information for understanding the Paracas textile tradition and the culture as a whole. The border strip shows a row of repeating anthropomorphic figures with outstretched limbs, suggesting that they are in flight. The color scheme is typical of Block Color embroideries (see Notes), with a predominance of rich green, red, yellow, and orange hues. The figures wear stylized masks revealing only a triangular chignon of hair that seems to proje

Image of 2011.81.16 -

2011.81.16 -

Nazca ceramic vessel in the shape of a human head with modelled nose, painted eyes, mouth, moustache, hair, and eyebrows. Decorations in red under eyes and multicolor stripes on upper part of vessel. Trophy head jars like this were used in ceremonially and in burial sites to serve as a substitute for a decapitated head.

Image of 57.1 - Rubens, Peter Paul

57.1 - Rubens, Peter Paul

During the 16th century Charles V, Holy Roman Emperor, was pivotal for the appreciation and dissemination of art from Flanders, where he was born, to Spain, where he ruled as King Charles I. Consequently, Flemish prints and paintings were exported to the Spanish empire in the Americas during the age of exploration (c. 1400-1600). The art of the Baroque master Peter Paul Rubens, in particular, may be the most significant Flemish influence in the development of Andean painting during the colonial period, with many of the artist's works already distributed to the New World during his lifetime. Paintings like the Madonna and Child became essential compositional aids for Andean artists in Cuzco an

Image of 57.2 - Froment, Nicholas

57.2 - Froment, Nicholas

Froment, along with Enguerrand Quarton, was responsible for introducing Flemish naturalism into French art. Froment is known for his often subdued color, awkward designs, and rough style. His "Lamentation" clearly uses Flemish models, such as the sparse rural background and the depiction of clothing with typically Flemish, sharp drapery folds. Froment paints an emaciated Christ who contrasts with the stocky figures gathered closely together in two separate groups. The Virgin Mary kneels over to hold the body of her dead son while Mary Magdalene grieves at Jesus' feet; a bearded male figure, either Joseph of Arimathea or Nicodemus, stands solemnly in the background looking down at the lifel

Image of 65.5 - N/A

65.5 - N/A

Panel painting of St. John the Evangelist's marthyrdom by being boiled alive in oil by the Roman Emperor Domitian, John is depicted as a half nude figure issuing from a large cauldron while a solgier pours oil over him and another works the bellows by the fire; the Emperor looks on from behind John.

Image of 58.23 - Mor, Antonis

58.23 - Mor, Antonis

Though portrait painting can trace its roots back to antiquity, Antonis Mor's (North Netherlandish painter, born 1512-1516, died ca. 1576) portrait of Charles shows the royal patronage to which artists attached themselves, rather than continuing to work in the guild system. Mor's success as an artist was analogous to his rise in society, and being more socially prominent than his Netherlandish contemporaries, he enjoyed patronage that allowed him access to the political world. His master, Jan van Scorel (1495-1562), had nurtured much of Mor's success, including his knowledge of classical antiquity and associations with royalty and high clergy. Rivaled in skill by Titian at the time (ca. 1488-

Image of 58.16 - Bernini, Gian Lorenzo

58.16 - Bernini, Gian Lorenzo

The revival of the classical tradition of the independent portrait bust was one of the more noteworthy accomplishments of Italian Renaissance art. Unlike the typical ancient Roman bust, an idealized, abstract form that is envisioned only from the front and set apart by a supporting base, Renaissance busts are merely a fragment, which can evoke both physical and mental characteristics of a whole person for the viewer. In addition, this bust, with the head turned slightly to the right and tilted to the left, and the left shoulder higher than the right, differs from the stiffer forms seen in classical busts. Renaissance artists allowed for the illusion of mobility and movement in portrait busts.

Image of 58.37 - Firdawsi

58.37 - Firdawsi

This is a manuscript page from the Shahnameh (or Book of Kings) of Firdawsi. The paper is burnished with a hard stone or glass to prepare it for use, and the artist creates a preliminary drawing before painting. The calligraphy is written in modern Persian, which is a slightly modified Arabic alphabet. One of the distinctions of Persian painting is the use of brilliant colors created from minerals and animal or plant matter. This manuscript page can be placed in the Timurid period (1370-1507 AD) based on the vivid colors, gestures, architecture and natural background, and the Chinese influence of ovoid faces and spiky moustaches. There were different centers of production and this page may h

Image of 59.134 -

59.134 -

This elaborately dressed male figure has been identified as a papal saint. He is in the midst of offering a blessing to his viewers, as is evident in the gesture of his right hand; his left would have most likely held a crosier or staff. The papal tiara he wears evolved from a pointed round cap in the 11th century to the ornate triple-crowned headpiece in the 16th century, with variations still being used by the papacy today. Spain had great interest in the artistic styles of Northern Europe, including the continuation of some medieval themes. Visual representations of saints both in painting and sculpture continued to be popular through the early modern period. 1500-1599 AD The continuit