Recent acquisitions a selection 1993-1994 the metropolitan museum of art bulletin v.52 #2 fall 1994 by alfonse K

The

Museum Metropolitan

Bulletin

Art

Fall

I994

,V ,

RECENT

THE

SELECTI

ACQUISIT ON:

METROPOLITAN

1993-199

MUSEUM

OF ART

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TheMetropolitanMuseumofArt Bulletin Fall I994 Volume LII, Number 2 (ISSN 0026-1521) Published quarterly? 1994 by The Metropolitan Museum of Art, IOOOFifth Avenue, New York, N.Y. I0028-OI98. Second-classpostage paid at New York,N.Y., and Additional Mailing Offices. TheMetropolitan MuseumofArt Bulletinis provided as a benefit to Museum members and availableby subscription. Subscriptions$25.00 a year. Single copies $6.95. Four weeks' notice requiredfor change of address. POSTMASTER: Send addresschanges to Membership Department, The Metropolitan Museum of Art, Ioo0 Fifth Avenue, New York,N.Y. 10028-OI98. Back issues availableon microfilm from University Microfilms, 300 N. Zeeb Road, Ann Arbor, Mich. 48106. Volumes I-xxxvi (I905-I942) availableas clothbound reprintset or as individual yearlyvolumes from Ayer Company Publishers,Inc., 50 Northwestern Drive #Io, Salem, N.H. 03079, or from the Museum, Box 700, Middle Village, N.Y. II379. GeneralManagerof Publications:John P. O'Neill Editorin Chiefof the BULLETIN: Joan Holt AssociateEditor:Tonia L. Payne Production:Matthew Pimm Design: Bruce Campbell On the cover: Detail of Bust of GrandPrince Ferdinandode'Medici (i663-I7I3), see pp. 31-33

Contents

5 Director'sNote 7

Contributors

8 Ancient World I6

Islam

MedievalEurope

Renaissanceand BaroqueEurope

Europe I700-I900

North America 1700-1900

6z TwentiethCentury 80 Africa,Oceania, and the Americas 84 Asia

Director's

Note

Our fall acquisitionsBulletincontinues, year afteryear,to present the MetropolitanMuseum in microcosm, albeit with inevitableshifts of emphasis. Once again every departmentis represented,some with works of consummate beauty and importance,others with more modest pieces that, while they may fall short of the "masterpiece"category,arevaluableto the collection, as they serve to enrich our understandingof a particularcivilization. As always,this Bulletindisplaysonly a portion of our many acquisitions,listed in full in the Annual Report,and so the selection made for this prefaceis bound to be notable for its omissions even while it may be useful for the emphasisit imparts.Still, it seems unthinkablenot to introduce this publication with special mention of the magnificent gifts from the Annenberg Collection, primarily of Postimpressionistpictures,or the purchase with funds from The Annenberg Foundation of the splendid Foggini busts of Cosimo and Ferdinandode' Medici, the importanceof which is well underscoredby the two full spreadsand the cover devoted to them. The WrightsmanFund was once again used for wonderful acquisitions.In addition, a generousgift from Mrs. Wrightsman enabled us to purchasePrud'hon'scompelling full-length portraitof Talleyrand,which Mrs. Wrightsmanwished to give in memory of JacquelineBouvier Kennedy Onassis. I would like to draw attention as well to the acquisition of Mackintosh'simpressive washstand,our first piece of furnitureby this important designer,whose decorative-arts

work we have long sought and whose retrospective exhibition we are preparingin collaborationwith the Art Galleryand Museum, Kelvingrove,Glasgow.Of similarnote is the largeplateau by Forbes-an imposing piece of Federal-periodsilver,long on loan to the AmericanWing-that we were able to retain thanks to the generosityof a number of friends of the Department of AmericanArt. To visitorswhose strongestassociation with the statuaryof ancient Egypt is a formal, hieraticquality,I commend the block statue of Ankh-Wennefer.Although, as its name implies, the figureis indeed blocklike, the carvingis clearlythe work of an uncommonly sensitive artistwho has achievedwonderfully subtle and intelligent modeling, from the delicatelyrenderedhands, barelyoutlined crossedover the knees, to the soft and sensual curvesof the face. Finally,we presenthere with much pride just a few of a remarkablegroup of Asian sculpturesgiven by Enid A. Haupt in celebration of the opening of the Florenceand Herbert Irving Galleriesfor the Arts of South and SoutheastAsia. As ever,a number of our acquisitions,like those from Enid A. Haupt, are gifts from collectors;others are purchasedwith special funds set up by supportersover the course of our history or monies grantedspecificallyfor the work in question. In either case it is from individualsthat the Museum ultimately derivessupport for its primarymission, and to all these friends I extend the Museum'sand by extension our millions of visitors'deepest gratitude. Philippe de Montebello Director

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Contributors

American Decorative Arts NorthAmerica 700-9oo00:Alice Cooney Frelinghuysen(ACF), Curator;PeterKenny (PK), Associate Curator;Amelia Peck (AP), Associate Curator;FrancesGruberSafford (FGS), AssociateCurator;CatherineHoover Voorsanger(CHV), Assistant Curator. American Paintings and Sculpture NorthAmerica1700-1900: H. Barbara Weinberg (HBW), Curator;Kevin J. Avery (KJA),AssistantCurator;Thayer Tolles (TT), CuratorialAssistant. Twentieth Century:H. BarbaraWeinberg (HBW). Ancient Near Eastern Art Ancient World:Joan Aruz (JA), Associate Curator;Kim Benzel (KB), Curatorial Assistant. Arms and Armor Renaissanceand BaroqueEurope:StuartW. Pyhrr (SWP), Curatorin Charge;Donald J. LaRocca(DJL), Associate Curator.Europe 1700-1900: StuartW. Pyhrr(SWP). Arts of Africa, Oceania, and the Americas Africa, Oceania,and theAmericas:JulieJones (JJ), Curatorin Charge;Kate Ezra (KE), Associate Curator;Heidi King (HK), ResearchAssociate;Kathleen E. Bickford (KEB), ResearchAssistant. Asian Art Asia:James C. Y. Watt (JCYW), Brooke RussellAstor Senior Curator;Maxwell K. Hearn (MKH), Curator;Martin Lerner (ML), Curator;BarbaraBrennanShimizu (BBS), Curator;Steven M. Kossak(SMK), AssistantCurator;Anita Siu (AS), Curatorial Assistant;MasakoWatanabe(MW), Research Assistant. Costume Institute TwentiethCentury:JenniferA. Loveman (JAL), Senior ResearchAssistant.

Drawings and Prints Renaissanceand BaroqueEurope:Suzanne Boorsch (SB), AssociateCurator;William M. Griswold (WMG), AssociateCurator;Helen B. Mules (HBM), AssociateCurator;Nadine M. Orenstein (NMO), AssistantCurator. EuropeI700-oo00: William M. Griswold (WMG). TwentiethCentury:Elliot Bostwick Davis (EBD), AssistantCurator. Egyptian Art Ancient World:Dorothea Arnold (DoA), Lila Acheson WallaceCuratorin Charge; CatharineRoehrig (CR), Associate Curator; MarshaHill (MH), AssistantCurator. European Paintings Renaissanceand BaroqueEurope:Keith Christiansen(KC), JayneWrightsman Curator;WalterLiedtke (WL), Curator. Europe 700-9oo00:Gary Tinterow (GT), EngelhardCurator;SusanAlyson Stein (SAS), AssistantCurator. European Sculpture and Decorative Arts Renaissanceand BaroqueEurope:Olga Raggio (OR), Iris and B. Gerald Cantor Chairman; ClareVincent (CV), Associate Curator;Alice Zrebiec (AZ), Associate Curator.Europe 1700-1900: James David Draper (DD), Curator;Clare Le Corbeiller(CLC), Curator; JessieMcNab (JMcN), AssociateCurator; William Rieder (W'R),AssociateCuratorand Administrator.

MedievalArt and The Cloisters MedievalEurope: JaneHaywardOH), Curator;TimothyB. Husband(TBH), Curator;CharlesT. Little(CTL),Curator. MusicalInstruments EuropeI700-oo00: LaurenceLibin (LL),

P.RoseCuratorin Charge.Africa, Frederick Oceania,andtheAmericas: J. KennethMoore (JKM),AssociateCurator. Photographs Europe1700-1900: MariaMorrisHambourg

(MMH),Curatorin Charge;Malcolm Daniel(MD),AssistantCurator;Louise Stover(LS),AssistantPhotoCatalogue Maria Coordinator.Twentieth Century: MorrisHambourg(MMH);JeffL. Assistant. Rosenheim(JLR),Curatorial TwentiethCenturyArt Twentieth SabineRewald(SR), Century: AssociateCurator;LoweryS. Sims(LSS), AssociateCurator;LisaM. Messinger (LMM),AssistantCurator; J. Stewart Johnson(JSJ),ConsultantforDesignand Nan Rosenthal(NR), Architecture; Consultant.

Greekand RomanArt AncientWorld: CarlosA. Pic6n(CAP), Curatorin Charge;JoanR. Mertens(RM), Curator;ElizabethJ. Milleker(EJM), AssociateCurator;PatriciaA. Gilkison (PAG),CollectionsCoordinator. IslamicArt Islam:MarieLukensSwietochowski (MLS), AssociateCurator;StefanoCarboni(SC), AssistantCurator.

ANCIENT

WORLD monly representedin ritual scenes on cylinder seals, reliefs, and wall paintings from the Akkadian period (ca.

2250

B.C.) onward. The

only two parallelsfor the Museum'sbeaker are a silvervessel in the BurrellCollection in Glasgow,Scotland, and the famous steatite beaker of Gudea (ca.

2I00

B.C.) excavated at

Tello in southern Mesopotamia, now in the LouvreMuseum. The main body of the vessel is tall and elegant with a slightly flaredrim, one side of which has been hammered into a long narrow spout. The surfaceis undecoratedexcept for a significant inscription in the upper field of one side mentioning the name Dagan-anar and stating that he is a shakkanakku,a military governoror ruler,perhapsthe sole administrator,in northern Mesopotamia and Syriafrom the late Akkadianthrough Ur III periods (ca.

2250-2000

B.C.).

Few objects are

inscribedwith this term apartfrom pieces excavatedat Mari in Syria.This vessel adds not only to the culturalbut also to the historical recordof a poorly understood phase of northern Mesopotamian history. KB

Head of a Bull EarlyBronzeAge (Canaanite),mid-3rd millennium B.C.

Ivory H.

I58

in. (4 cm)

Purchase, Rogers Fund, The Charles Engelhard Foundation Gift and Norbert

gious iconography),the luxury material,and the find contexts of these objects may indicate that these well-carvedheads servedsome ritualfunction. An example from Khirbet Kerakwas found in a columned building, one from Ay comes from a temple, and a bull'shead from Jerichowas excavatedin a JA building near the fortifications.

Schimmel Gift, 1994 1994.81

This small sculptureof a bull'shead has a distinctive elongated muzzle with zigzaglines (probablyto indicate skin folds), curved parallel brow lines above almond-shapedeyes that were originallyinlaid, and a sunken triangle on the forehead,also initially inlaid. There are three holes on each side of the head, the upper two for the attachmentof horns and earsand the lower one possibly for the insertion of the head into another object. The base is flat. Made of hippopotamus ivory,this object belongs to a small corpus of mid-thirdmillennium B.C.EarlyCanaaniteivory bull's heads of similarsize and of the same material. The bull imagery (a part of Near Easternreli-

Inscribed Cult Vessel NorthernMesopotamia(Akkadian/ Neo-Sumerian period), ca. 2254-2100

B. c.

Arsenicalcopper H. ol/s in. (25.7 cm)

Inscribed:ToNinhursag,/ his lady,/ Dagananar,/ shakkanakku/ [?]/ dedicated. Purchase, Rogers Fund and Raymond and Beverly Sackler Gift, 1994

1994-45 This cult vessel is a rareexample of a Mesopotamianlibation beakerdatableto the end of the third millennium B.C. (22002000

B.C.).

Vesselsof similarshape are com-

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Decorated Spoon Egyptian (Dynasty I9), ca. I307o-196 B.C.

Ivory L. 33 in. (9.5 cm)

Purchase, Lila Acheson Wallace and Russell and Judith Carson Gifts, 1994 1994 70

Decorated spoons were especiallypopular in the courtly circlesof the New Kingdom. In their forms and ornament allusionswere made to themes and myths of rebirthand renewal,though their actual use is poorly understood. This ivory spoon, its symmetry enhanced by a fine interplayof shapes and lines, is datable to the nineteenth dynasty.The discoid bowl of the spoon representsthe life-giving

Relief Block with the Face of Nefertiti Egyptian(Dynastyi8), late reignofAkhenaten, ca. I345-I335 B.C.

Limestone 938 x 71/2 in. (23.8 x 44.5 cm)

The relief has been carvedin the restrainedstyle that came into use in about the eighth year of Akhenaten'sreign, shortly after the capitalwas moved to Tell elAmarna.The delicacy of the modeling, which subtly emphasizesthe bones of the

sun. The handle decoration consists mainly of a compressedversion of the shrine sistrum, a rattle that is the emblem of Hathor, the great goddess of fruitfulness.In the sistrum Hathor wears as headgeara small voluteframed shrine with a cutout doorway where the rattling elements were strung. Here the shrine is reduced to a framed cutout, still flanked by volutes, above her triangularface and cow ears. The overallcomposition is a small visual conceit. Most simply it is a reinterpretation of the symbolic imagery of mirrors,in which the sun and Hathor are also associated.But here the sun-disk is perhapsactuallybeing assimilatedto the percussion housing of the sistrum or it may even be thought of as a divinity appearingin the doorway of the MH shrine sistrum.

lower jaw, cheek, and brow, suggests that the face was carvedby a master craftsman.The acquisition of a well-preserved,lifesize royal face adds an important element to the Museum'snew installation of Amarna relief fragments.

Purchase, Lila Acheson Wallace and The Joseph Rosen Foundation Inc. Gifts, 1993 1993.326

This limestone block is from a monumental temple scene representingthe king and queen making an offering to Aten. The face, usually identified as Akhenaten, actuallydepicts an Amarnaqueen, probablyNefertiti, following her husband. The king'sshoulder is just visible at the left side of the block. Nefertiti wearsthe royal afnetheadcloth with a uraeus cobraat the forehead.Two of Aten'shands hold an ankh to her nose and mouth. The hand at the end of a third ray is turned upwardto touch the divine cobra on the queen'sforehead.This reversalof the hand position is unusual but not unprecedented, and adds an element of artistictension to the composition. 9

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Block Statue ofAnkh-Wennefer Egyptian(late Dynasty25 or earlyDynasty26), ca. 69o-650 B.C.

Limestone H. 19/2 in. (49.5cm) Purchase, Lila Acheson Wallace Gift and Rogers, Fletcher, Harris Brisbane Dick, and Louis V. Bell Funds and Joseph Pulitzer Bequest, 1993 1993.I6I

Ankh-Wennefer,priest of the cat goddess Bastet, is shown sitting on the ground, his knees drawn up and his arms crossedover them. His body is so tightly wrappedin a cloak that the impressionof a cube is created. This type of block statue was first conceived by Egyptianartistsin the earlyMiddle Kingdom (ca.

B.C.) and became espein the Late Period (712-332 cially popular While have often taken this B.C.). Egyptians 1990-I900

pose in everydaylife, in myths the pose signifies hope for rebirth.A wish for immortality is also expressedby Ankh-Wennefer'supward gaze. "Liftthy face so that you may see," says a funeraltext. Ankh-Wennefer'sblock statue stands out among hundredsas a singular,quintessentially Egyptianwork of art. According to the inscriptionthe statue was commissioned by Ankh-Wennefer'sson and stood in a temple at Leontopolis in the Nile Delta. It owes much of its youthful simplicity to Delta art. Createdat a time of transitionfrom Dynasty 25 to Dynasty 26, the statue'sindividualistic facialfeaturesfollow the formerperiod's realistictendencies,while twenty-sixthdynastytrends are expressedin the delicate renderingof body partsbelow the tightly fitting cloak.

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Attributed to the Ashby Painter

In Athens during the decadesjust before and

Kylix

after 500oo B.C., vases used in symposia were

Greek(Atticred-figure),ca. 500oo B.c. Terracotta W i64 in. (40.6 cm) Purchase, Amalia Lacroze de Fortabat Gift and Classical Purchase Fund, 1993 I993.IH.5

prominent in the output of potters and painters.The exteriorof this vase, the namepiece of the Ashby Painter,shows two vignettes from a symposium. On one side a youth holds a kylix in his right hand and a keras(drinkinghorn) in his left; before him, a professionalentertainerplays the double flutes. On the other side a youth thinks his thoughts over a skyphos (deep cup) as he holds the double flutes for a girl who ties a scarf around her hair.These depictions presupposea knowledge of the work of

Euphronios. The conceit of a drinkerlooking out over a cup is preservedon at least two of the master'smajor vases and may well be considered his invention. Contemporary artists such as the Ashby Painter reveledin the same subjects, providing their own interpretations as well as borrowing selectively.The interior of our cup depicts a young man with armor and a pelta testing his trumpet. The combination of warfareand the symposium is common on late Archaic vases, for these were major civic and social activities of an Athenian citizen.

JRM

Phiale Greek, 6th century B. C.

Silverwithgilding Diam. 8 in. (20.3cm) Purchase, Mr. and Mrs. Alexander Abraham, Molly and Walter Bareiss, Christos and Jo Bastis, Lawrence and Barbara Fleischman, Mrs. Dolly Goulandris, Roy and Marie Neuberger, Jonathan and Jeannette Rosen, Tom and Colette Spears, Shelby White and Leon Levy, Ward and Priscilla Woods, Nicholas S. Zoullas, and Anonymous Gifts, and Classical Purchase Fund, in honor of Dietrich von Bothmer, 1994

Pair ofAppliques in the Shape of Scallop Shells

1994-57 This libation bowl is a rareexample of Archaic Greeksilver,becauseof its earlydate and the preservedgilding on the interior of the vessel.The bowl is ornamentedwith alternating palmettesand lotus buds executed in repousse.The smooth omphalos, or central boss, is coveredwith gold foil, and the surrounding foil collar is decoratedwith pairs of animalsin repousse:two confronted rams, a confrontedbull and lion, a lion pursuing a horse, and a lion felling a deer. The palmette-lotusornament is originally of Easternorigin but was widely used throughoutthe Mediterraneanworld during the sixth and fifth centuriesB.C.This phiale is similarin design, scale, and execution to anotherin the Museum'scollection (acc. no. and both pieces can probablybe I98I.II.13), associatedwith mainland Greekstyles rather than with those from the West or East. PAG

Greek, late 4th-3rd century B. c.

Silver H. (each)

i34

in. (4.4 cm)

Purchase, Gifts in memory of Howard J. Barnet and gifts from various donors, 1994 1994.5.1,2

Pair of Drinking Cups (Kylikes) Greek, late 4th-3rd century B.c.

Silverwith gilding W. p95 in. (24.4 cm)

Purchase, Patti Cadby Birch Gift, 1993 993.367.1,2

That these delicate, thin-walled cups have survivedin reasonablygood condition is remarkable,given that their bowls were hammered from a sheet of silverratherthan cast. The hollow feet and swaggedhandles were made separatelyand solderedon. A rivet fastens the bowl to the foot. The gilt decoration is chased and punched. The interiorof each bowl has a central medallion with a bust of a wreathed Dionysos, the god of wine-an appropriate subject for a pair of drinking cups. The youthful god is depicted with his customary attribute,an ivy-tipped staff (thyrsus),shown leaning againsthis shoulder.A star pattern of eight rayssurroundsthe medallion, and a band of delicate ivy leaves and tendrils encirclesthe star.A gilt wave pattern runs along the edge of the foot. The style of the decoration finds parallelsin the metalworkof Magna Graecia.

During the Hellenistic period marine motifs were popular decorationson women's cosmetic or jewelry boxes. Shells in particular were common, perhapsdue to their association with Aphrodite, the goddess of love and beauty,who was born from the sea. These shells were cast individually and were either soldered to a container or attachedwith rivets or nails through the small holes present on either side of the flange. The thinness of the metal suggests that they were purely decorative, as they are too fragileto support any weight. Although appliquessuch as these are rare, shell-shapedpyxides, in both precious metals and terracotta,as well as vesselswith shell ornamentswere popular in southern Italy from the fourth century B.C. to early Roman times. PAG

CAP

Perfume Flask (Alabastron)

Portrait Head of a Bearded Man

Greek,late5th-4th centuryB.C. Silverwith gilding H. 84 in. (20.8 cm) Classical Purchase Fund, 1994

Roman (probablyHadrianic or earlyAntonine period), secondquarterof the 2nd centuryA.D.; copyof a Greekworkof the late 4th centuryB. C. Marble H. I214 in. (3i cm) Marguerite and Frank A. Cosgrove Jr. Fund, 1993 1993.342

1994. I3

Widely attested in terracotta,stone, and glass, vesselsof this shape were called alabastraand servedas containersfor perfume. This example, which is one of the largestknown in silver,displaysan unusuallyrestrainedand repetitivedecorativescheme. The body of the flaskis divided into three zones by two narrow horizontalbands ornamentedwith a continuous wave pattern and embellished with gilding. A gilt star rosettewith twenty points radiatesfrom the bottom, and a similar patternappearsat the top of the vessel. The decorativescheme between the horizontal bands consists of long narrowtongues, every other one of which is likewise gilt. The neck and mouth of the flask are missing, as are the small lug handles characteristicof this type of vessel. The repetitivegilt decoration bringsto mind certain northern Greekand Greco-Thracianworks in silver,while the proportionsof the flasksuggest a date in the Classical period.

CAP

Wall Painting with Warrior Scene SouthItalian (Lucanian),mid-4th centuryB.C. Fresco 5434 x 38/4 in. (139 x 97 cm)

Gift of Robin F. Beningson, 1994 1994.62 The considerablenumber of Lucaniantomb paintings that have survivedallow their stylistic development to be tracedfrom about 400

B.C.,

when these indigenous Italic

peoples conqueredthe Greekterritoryof Poseidonia (Paestum),to the earlythird century B.C.This gabled panel is characteristicof the middle phase of Lucanianwall painting, which dates to about 370-330 B.C.,a period also distinguishedby its greatproduction of fine painted pottery intended primarilyfor the grave.The upper section of the panel is outlined in red and decoratedwith a wreath and three pomegranates.Below, a young armedwarrioron horsebackrides to the left. He wearsa distinctly Italic corselet and a chlamys as well as a crested,plumed helmet, and carriestwo spearsand a shield. At the left, incompletely preserved,stands a figure in a long garmentwho holds a jug in the left hand and a skyphos in the right. Based on the evidence of other similarscenes, the figure is most likely a woman offering a cup of wine to the warrior,who in turn may be interpreted as returningvictorious from the battlefield or embarkingheroicallyon a journey to the next world.

CAP

Despite damage to its foreheadand nose, this Roman copy of a late ClassicalGreek portrait conveys much of the verve and sensitivity of modeling that must have markedthe bronze original. The tousled locks and short bushy beardare carvedwith brio, and the planes of the face are renderedwith subtlety. The broad structureof the head together with the hairstylesuggest that the bronze original was createdin the second half of the fourth century B.C.,a period when portraitstatues commemorating famous men of the past began to proliferatethroughout the Greek-speaking world. The wild yet majesticlook of this head would have been appropriatefor just such an invented portrait. Since eight other Roman copies of this type are known, a famous figurewas probablyrepresented. Although there is no evidence for identification, some scholarshave suggested that the original statue might have portrayedthe Athenian lawgiverSolon, one of the Seven Sages famous in antiquity for their practical wisdom. The Romans often decoratedtheir villas with portraitsof such distinguished ancient thinkers.This head was probablyonce displayed in the form of a bust or set upon a recEJM tangularshaft known as a herm.

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ISLAM Openwork Vesselin the Shape of a Circular Bowl ProbablySyria (Umayyadperiod),ca. 700 Bronze,piercedand chased Diam. 458 in. (i. 8 cm) Louis E. and Theresa S. Seley Purchase Fund for Islamic Art and Rogers Fund, 1993 I993.319

The decorationof this small vessel indicates that it was produced in the earlyIslamic period under the Umayyad rulers(66I-750), when all arts in the Syrianregion were stronglyinfluenced by earlierRoman and Byzantinetraditions.The vegetal patterns and birds find close parallelsin the mosaics of the Dome of the Rock in Jerusalem(dated to 69I-92) as well as in carvedstone on contem-

porarybuildings such as the palacesof Mshatta (Jordan),Khirbatal-Mafjar(West Bank of the JordanRiver), and Qasr al-Ha)yr (Syria).The decoration of the walls of the f vessel consists of a single band composed ofF eight interlacingmedallions alternatelycon taining a bird or a stylized plant design. Th e two types of birds represented,plump longnecked ones and long-billed waterbirds,are shown in pairs facing each other. The fact that the bottom is partiallypierced and decorated, except for the centraldisk, makes it likely that the object was viewed while han1ging. In this case, it probablyfunctioned as ai small lamp and may have contained a glass bowl filled with oil on which the wick float ed. Only a fragmentfrom the walls of a very similarvessel, in the David Collection in sc Copenhagen, is presentlyknown.

The Meeting between the Shepherd and the Archangel Gabriel A leaffrom a manuscriptofthe Siyer-i Nebi (The Life of the Prophet) Turkey(Ottoman,period of SultanMuradIII fr. I574-95]), ca. 1595

Ink, colors,and gold onpaper Folio: I45/8 x 10o4 in. (37 x 26 cm)

Purchase, Lila Acheson Wallace Gift, 1994 1994.141

The painting depicts the miraculous encounter on the edge of the mountains between the youthful shepherd Omar ibn Zeyd, mounted on a dromedary,and the archangelGabriel, in the guise of a young Arab prince riding a black horse and carrying a lance, who has come to sustain Omar's faith. The manuscript,in six volumes, contained 814 miniatures,produced in the imperial Ottoman painting atelier.Our leaf belonged to the fourth volume, which was copied by the calligrapherMustafa ibn Vali, the bulk of which is in the Chester Beatty Libraryin London. The first, second, and sixth volumes are in the Topkapi Sarayi Libraryin Istanbul;the third is in the Spencer Collection in the New YorkPublic Library;and the fifth is missing. The style of the paintings, while associatedwith artists working in the imperialstudio in the late sixteenth century, is yet unique and is identifiable by its emphatic drawing, bold patterning, and strong coloring. This painting is in a more delicate and lyricalmode than the MLS majorityfrom the manuscript.

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Leaf of a Diptych with the Virgin and Child with Angels North French,ca. 1340-60 Ivory H. 3/2 in. (8.9 cm) Gift of Robert L. Hermanos and Miriam H. Knapp, in memory of their parents, Mr. and Mrs. Maxime Levy Hermanos, 1993 I993.-515

Originallyadjoined to a leaf displayingthe Crucifixion (now lost), the panel depicts the Virgin and Child seated on a long bench under a trefoil arch between two wingless yet hovering angelswho place a crown on the Virgin'shead. The image emphasizesboth the glorificationand coronation of the Virgin, themes common in Gothic devotional works. The architecturalsetting and deep folds of draperyof the figuresalong with their emphatic gesturesrelatethis ivory to others made in northern Franceduring the fourteenth century.Such devotional diptychs, used as aids in prayer,were widely produced and form the largestclass of ivory objects createdin the Gothic period. CTL

Ring Englishor Italian, i4th century Goldand sapphire Diam. 58 in. (2.2 cm)

The Cloisters Collection, 1994 1994.40

While the provenanceof this ring is unknown, it clearlyhad a connection to the city of York.The inscription, readingAVE MARIA / CIVITAS CAnTOR

The Annunciation German(Altenberg-an-der-Lahn, Hesse, Praemonstratensian Conventchurch),ca. Pot-metalglassand grisaillepaint 2938 X 29 in. (74.6 x 73.7 cm) The Cloisters Collection, I993

3oo00

1993.251.1,2

The convent of Altenbergwas founded in 1178,and the church was begun a century later.King Adolph of Nassau is known to have given the church a window with his armsat its base. Adolph'sdeath in 1298 provides a convenient date for the glass,which might have been a memorial donation. The window itself is still in situ but the stained-glasspanels are now scatteredin various locations. Until recently,little was known

about the royal arms at the window's base. However, an earlydrawinghas been discovered, providing evidence that The Cloisters' Annunciation originatesfrom the window given by Adolph and that it dates to about 1300.

Few comparativeexamplesof stained glass of this period from Hesse have survived.Our Annunciation is divided into two panels by bands of red flowersand yellow strips. It is a scene of exceptionallyrich and brilliantcolor. Primaryhues dominate, from the bright scarlet of the Virgin'srobe to the rich yellow of the angel'smantle and the limpid blue of the background,with weighty draperyfalling in beak folds characteristicof the thirteenth century.This Annunciation providesthe Museum with one of the earliestexamplesof German stained glass in the collection. JH

I rVTILAnS EborACI,

may be rendered"Hail Mary. Rufus [?] Musician [or crier] of the episcopal city of York." While the place referencesuggests English manufacture,the form of the hoop, which is triangularin section, the shape of the bezel, and the projecting rosettesare generallyassociated with Italian rings. This rareexample is enhanced by its bold decoration engravedin reserveand its crisp profile. The sapphirewas accordedamuletic value and was thought to detect fraud and witchcraft, expel envy, and cure snakebites.

TBH

RENAISSANCE AND

Agostino Carracci Italian (Bologna),1557-1602 or Annibale Carracci Italian (Bologna),I560o-609 Two Children Teasinga Cat Ca.

590o

Oil on canvas 26 x 35 in. (66 x 88.9 cm) Purchase, Gwynne Andrews Fund, and Bequests of Collis P. Huntington and Ogden Mills, by exchange, 1994 1994.142

BAROQUE

Among the most innovativeworks of the late sixteenth century are a small group of informal easel paintings treatingeverydaythemes produced in the academyof the Carracci family in Bologna. The authorshipof these is difficult to establish,since they were painted by relatedartistssometimes working from the same posed models. This captivatingpicture has traditionally been ascribedto the youngest of the Carracci, Annibale. However, the calligraphicbrushwork on the boy'scollar and shirt-reminiscent of the work of Paolo Veronese-would

seem to support an attribution to his brother Agostino, and, indeed, a composition of this subject attributedto Agostino is listed in a I680 inventory of the Farnesecollections in Parma.Whether by Annibale or Agostino, the picture may date to about I590, following one of Agostino'svisits to Venice. The theme of children teasing cats probably carrieda moral lesson, but what gives the picture its enduring appeal is the way, by a fresh pictorial means, an apparentlycasual and insignificantaction is made a fit subject for art.

The Metropolitan Museum of Art is collaborating with JSTOR to digitize, preserve, and extend access to The Metropolitan Museum of Art Bulletin 速 www.jstor.org

EUROPE

Albrecht Altdorfer German, ca. I480-538

Landscape with a Double Spruce

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Ca. I520-22

Etchingprintedin blackink on ivorylaid paper 438 x 638 in. (iI. x 6. cm) Purchase, Gift of Halston, by exchange, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, and Pfeiffer Fund, 1993 I993 I097

Inspiredby the dramaticscenery of the surrounding Danube Valley,characterizedby high mountains, nestled villages, and evergreensdrapedwith moss, Altdorferproduced in his hometown of Regensburgthe earliest examplesof pure landscapein painting and print. A prolific etcher and woodcutter, Altdorfercreateda mere nine landscape prints during his career,all of which date to a relativelyshort span of time between about I518and I522.These nine etchings, however, are of greatsignificancefor the history of art as they were the firstwestern Europeanprints to representlandscapeas subject ratherthan setting.

Although undoubtedly influenced by Albrecht Diirer'scontemporaryexperiments in etching, a relativelynew medium at the time, Altdorfer'slandscapeswere etched with remarkablespontaneity and freedom of draftsmanship.They appearto have been originallyprinted in limited quantities and as a result are now extremelyrare.The small scale of Landscapewith a Double Spruce emphasizesthe impressionof vast space Altdorfercreatedwithin. It is one of only five landscapeetchings by the artist now in American museums. NMO

Pietro di Cristoforo Vannucci, called Perugino Italian, ca. 1445-1523

Landscape Ca. 1489

Brushand brownink, heightenedwith white, on gray-brownpreparedpaper 8x

in. (20.4 x28 cm)

Purchase, Lila Acheso( Wallace Gift, 1993 1993-327

With the exception of Leonardoda Vinci's celebrated Viewof theArno RiverValley (Gabinetto Disegni e Stampe degli Uffizi, Florence),scarcelyany pure landscapedrawings are datablebefore 15oo. The Museum's recentlyacquiredLandscapeby Perugino is thus of outstanding historicalas well as aesthetic significance.The leading Umbrian artistof his generation, Peruginoexercised considerableinfluence upon the development of centralItalianpainting through the work of his many pupils and followers,notably Raphael.The presentsheet is the only known landscapedrawing by the artist, and it appearsto be preparatoryfor the background in his altarpiece The Visionof Saint Bernard (Alte Pinakothek,Munich), which he executed shortly after1489 for the Florentine church of Santa MariaMaddalenadei Pazzi. The artist began by making a quick, comparativelyspontaneous pen-and-ink study of hills on the reverseof the sheet before turning it over to elaborateon the composition in the painterlysketch reproducedhere, which is drawn entirelywith the point of the brush. WMG

Jan Cornelisz. Vermeyen Netherlandish,100-I559 An Oriental Banquet: Mulay Hasan and His Retinue at a Repast

scene.Thisprint,probablyone of Vermeyen's his otherprintsare first,is his onlyengraving; in the lesslaboriousbut alsolesscertain mediumof etching.Someof Vermeyen's all printsareknownin uniqueimpressions;

Ca. I535

are rare.

Engraving 13/8 x 2/8s in. (33.3x 53.8 cm) Purchase, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, and Arthur Ross Foundation Gift, I994 1994. I2

A typical peripateticcourt artistof the Northern Renaissance,Vermeyenwas a painter and printmakerwho worked for Margaretof Austria,governorof the Netherlands, in Malines, then for her nephew, the Holy Roman EmperorCharlesV, and finally for Mary of Hungary,the subsequent governorof the Netherlands. CharlesV, who like Vermeyenwas born with the century,inherited vast territoriesfrom each of his four grandparents,and by mid-century he nominally ruled most of western Europe except France,parts of North Africa, and much of the recentlydiscoveredNew World. In I535 Vermeyenaccompanied Charleson an expedition to rescueTunis, capturedin I534by the Ottoman Turks.This print recordsan actual scene with the Moorish king of Tunis, Mulay Hasan, whom Charlesreinstatedas his vassal.The image has the added interest of being an early example of a candlelit night

Leonard Limosin French,active i532-ca. i576 Henry II, King of France French(Limoges),probablyca. i555-60 Enamel,painted andpartlygilded, on copper X 258 in. (9 x 6.7 cm) 3/2 Purchase, Ruth Blumka Gift, in honor of Kimberly Nasatir, and Rogers Fund, 1994 1994.73

King Henry II (I519-I559), one of the great royal patrons of Renaissanceart in France, commissioned two painted enamel altarpieces from Limosin in 1552 for the Sainte-Chapelle in Paris.Now in the Musee du Louvre,they depict the Crucifixion and Resurrectionof Christ, and they incorporateportraitsof Henry II, his father, Francois I (1494-1547),

and their queens kneeling in prayer.The vigorously delineated profile of Henry II in the Sainte-Chapellelikeness can be recognizedas the prototype for the Museum'sportrait,but the painter here has substituted a small plumed beret, a doublet embroideredin gold,

anda fur-trimmed jacketforthe royalrobes wornby the kingin the Sainte-Chapelle altarpiece. A nativeof Limoges,Limosinheldan appointment to FrancoisI as earlyas I545, and a document of I559 refersto him as both

enamelerandpainterto the lateking,Henry II. WhileLimosinis knownas an etcheras well,his reputationrestsuponhis enamels, andsomeof his enameledportraitsrankwith thosepaintedbyJeanClouet(1486-5I40)and Corneille de Lyon (before I500-1574) as the

bestof the FrenchRenaissance.

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I53/ in. (49.5 x 39.2

cm)

Purchase, Fletcher Fund and Gift of William H. Riggs, by exchange, 1993 I993.234

This lifesize preparatorydrawingdepicts the front saddle steel of one of the most lavishly decoratedarmorgarnituresof the sixteenth century,made for AlessandroFarnese,duke

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of Parmaand Piacenza.The complete armor for man and horse is in the Hofjagd- und Riistkammer(Court Hunting Cabinet and Armory) of the KunsthistorischesMuseum, Vienna. It was made by the Milanese armorer and goldsmith Lucio Piccinino about 1580. The exuberantlydetailed Manneristornament representedin the drawingwas rendered on the armorby low-reliefembossing, with the principalfiguressilvered,the ornamental enframementsgilt, and the background blued to createan overallspatialand coloristic effect of amazingrichness.Other

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designs for the variousparts of the Farnese armor,of which this drawing is among the finest, are now dispersedamong public and privatecollections in the United Statesand Europe. Preparatorydrawingsfor armorare exceptionallyrare.The only examplescomparable to the Farnesegroup in scope and quality are the sketches by Albrecht Diirer for a silveredarmorcommissioned by Emperor Maximilian I and a seriesby -tienne Delaune made for Henry II, king of France. DJL

Bernardo Strozzi Italian (Genoa),1582- 644 Saint Peter ~:

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chalk,heightenedwith white, on beigepaper ~~~~~~~~~~~Black 13 '4x 918 in. (35x 23.2 cm)

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Goltzius Goltzius' Hendrick Hendrick Dutch, y58-16r7 The Sense of Hearing

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Purchase, Lila Acheson Wallace Gift, 1993 19973.241r

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Along with Giovanni Benedetto Castiglione and Giovanni Battista Gaulli, Strozziwas one of the most talented and influential Genoese artistsof the seventeenth century.This drawing of Saint Peterholding a largepair of keys in his left hand is an exceptionallyvigorous and animated example of Strozzi'sdistinctly idiosyncraticwork as a draftsman. Although the rustic featuresand vivid characterizationof the saint are typical of the artist'sstyle, the image does not correspond preciselyto a known painting. Nevertheless,the drawing has many featuresin common with a painting of the same subject that was recentlyon the art marketin New York,and it may be a study for one of a seriesof octagonalhalf-length representationsof the apostles. Like the majorityof known studies by Strozzi,the sheet comes from one of a number of albums of drawingsthat are thought to have been assembled during the seventeenthcentury by the Venetian collector WMG ZaccariaSagredo.

Ca. 595 -i6oo Blackchalk,stumped,heightenedwith white chalk . 2r8 x 8 in. (31.4x 20.3 cm) Purchase, Lila Acheson Wallace and Harvey Salzman Gifts, 1994

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1994.87

TheSenseofHearingbelongs to a seriesof five drawingsrepresenting the senses that Goltzius executed shortly before i6oo. Imagesof music making and stags are traditionalin allegoricalrepresentationsof hearing. The stag in this drawingmay also suggest that the loosely draped female is Diana, although she bearsnone of the usual attributesidentifying her as a huntressor moon goddess. By the time this drawingwas produced, Goltzius was no longer working in the High Manneriststyle that had brought him international fame as a graphicartist.The figure'sproportionsare exaggerated, yet she is renderedwith a classicalrestraintthat is due, in part, to a which~ he tookto Italy the early he diligent-y I5905, during which earlyI59os, diligentItaly in the trip Goltzius took ly studied the great artisticmonuments of antiquity and the Renaissance. The loose applicationof chalk and subtle modeling in this elegant drawingreflecta majorchange about to take place in the artist'scareer:from i6oo until his death, Goltzius turned to painting. Two other drawingsin the group are preservedin New York: Lucretiaas the Senseof Touchat the Pierpont Morgan Libraryand TheSenseofSmell in the collection of Mr. and Mrs. Eugene Victor Thaw. 24

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Adriaen van de Venne Dutch, i589-r662

ToEach His Own Pastime (Elck Sijn TijtVerdrijff) Probablyca. 1625-35 Redchalk 13 s x I75/8in. (35.2 x 44.9 cm) Purchase, David T. Schiff Gift, 1994

1994.52

Van de Venne, a native of Middelburgand subsequentlya residentof The Hague, was a painter,poet, and book illustratorbest rememberedfor his depictions of Dutch life and manners.In this largeand highly finished drawingan elegant couple is engaged in a game of shuttlecock, attended by two servants. Variousaccessories,from the lute on the table to playing cardsand wineglasses strewn upon the floor, complete the picture of a life of self-indulgence.Only the observer notices the unexpected entranceof the omi-

nous figure of Death from behind the curtain in the center of the composition. A sense of foreboding is also provided by the two paintings flanking the skeleton, symbolizing the misfortunesof life and the unpredictabilityof love. The use of an admonitory inscription in a banderoleto underscorethe moralisticmessage in this scene is a common featurein van de Venne'swork, especiallyin his allegorical genre paintings, which often, as here, incorHBM porate the vanitastheme.

Joachim Wtewael Dutch, 1566-1638

The Golden Age 160o Oil on copper 83a x 12 in. (21.2 x o.5 cm) Signedand dated (bottomcenter,on rock): JOACHIM Wl'E / WAr FEClT / AN I605

Purchase, The EdwardJoseph Gallagher III Memorial Collection, Edward J. Gallagher Jr. Bequest; Lila Acheson Wallace Gift; special funds; and Gift of George Blumenthal, Bequest of Lillian S. Timken, The Collection of Giovanni P. Morosini, presented by his daughter Giulia, Gift of Mr. and Mrs. Nathaniel Spear Jr., Gift of Mrs. William M. Haupt, from the collection of Mrs. James B. Haggin, special funds, gifts, and bequests, by exchange, 1993 I993.333

The acquisition of Wtewael'sexquisite painting on copper, The GoldenAge,adds to our collection of Dutch paintings one of the finest known examplesof the Manneriststyle. The Museum'searlierand very different Dutch Manneristpicture, Bloemaert's MosesStrikingWaterfiom the Rock(1596; acc. no. I972.I7I), is ideally complemented by

Wtewael'ssmall cabinet picture, which representsa mythologicalsubject and illustratesa distinctly laterphase of Mannerism. Bloemaert'scomposition is a highly stylized design in which sinuous contours and unexpected colors predominate,and the key figure of Moses is lost in a crowd of posturing nudes. Wtewael'spainting is an even more sophisticatedessay in the fashionablemanner but it belongs to the new century;one would be tempted to compareAnnibale Carracci's frescoeson the ceiling of the FarnesePalace in Rome (ca. 1597-i600) were Wtewael's painting not so distinctly Netherlandishin its

realisticlight and shade, soft modeling and many textures,and in its Jan Brueghel-like landscapefilled with fruits, exotic shells, and a peaceablekingdom of contented animals. The subject (Ovid, Metamorphoses, I, 89ff.) and execution were intended for a connoisseur'sprivatepleasure.That the composition holds its own in a galleryof largerpaintings may reflectWtewael'sexperience in producWL ing altarpieces.

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Philippe de Champaigne French, 1602-1674

Portrait ofMadame de Champaigne Ca. I628

Blackchalk,heightenedwith white, with touchesof redchalk 834 x 734 in. (22.2 x 19.7 cm) Purchase, Lila Acheson Wallace Gift; Gifts in memory of Jacob Bean, Lawrence Turcic, and Howard J. Barnet; and The Schiff Foundation, David L. Klein Jr. Memorial Foundation Inc. and Harry Liebovitz Gifts, 1994 I994.7

Not long afterhis arrivalin Parisin 1621 the young Flemish-bornartistde Champaigne collaboratedwith Nicolas Poussin on decorations for Marie de' Medici at the Luxembourg Palace,under the direction of the painter Nicolas Duchesne. Eventuallyde

Length of Furnishing Fabric (detail) Italian (possiblyFlorence),beginningof the r7th century Brocatelle,wovenof silk and bast L. (overall) 144 2 in. (370 cm); w. (selvage to selvage) 22 8 in. (56.2 cm)

Purchase, Gift of Irwin Untermyer, by exchange, 1994 1994.3

The complicated figuralcomposition and the color combination of red and yellow, as well as the choice of materialsand technique, relatethis fabricto earliertraditionsin Florentineweaving. In this example, disparatedecorativemotifs, arrangedin a fluid, nearlynarrativemanner,have a convincing coexistencedespite their symmetricalarrangement: dolphins' tails merge into a cartouche that in turn forms the support for an elaboratevase, which is simultaneouslya container for a varietyof flowers,in whose leaves nest two birds, and a ledge for two winged figures that confront the amorini,bows and arrows at their feet, below. That this particularcomposition, with motif variations,is also known in differentcolor schemes and fabrictypes atteststo its popularityas a design for a AZ number of furnishinguses. 28

Champaigne succeeded Duchesne as painter to the Queen Mother, and in I628 he married Duchesne'sdaughterCharlotte. She is rendered in this drawing in preparationfor a painted portrait,now in the Bowes Museum, BarnardCastle, county of Durham, England. The study is arguablythe finest of a very few portraitdrawingsto survivefrom the artist's hand. Preservedin an album since the seventeenth century, it is remarkablyfresh and immediate in conveying the quiet intensity of the sitter as she posed for her husband. Although trained in Brusselsas a landscape artist, de Champaigne rose to prominence in Parisas a painter of religious subjectsand portraits,counting Louis XIII and CardinalRichelieu among his most influential patrons. The sober naturalismhe brought to Frenchportraitureis rooted in his Flemish origins but also reflectsthe spirit of rationalismin mid-seventeenth-century France.

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Jacob van Ruisdael

Hunting Sword

Dutch, 1628-I682

Dredging a Canal I66o-65 Pen and blackink, graywash,overblackchalk 358 x 6 in. (9. x 15.1 cm)

Purchase, Mrs. Carl L. Selden Gift, in memory of Carl L. Selden, and Werner H. Kramarskyand Mr. and Mrs. Howard G. Lepow Gifts, I994

Swiss,ca. 600o Steel,iron, wood,andfish skin L. (overall) 321/4 in. (82 cm)

Purchase, Jerome Zwanger, Ronald S. Lauder, Mr. and Mrs. Russell B. Aitken, George A. Douglass, John K. Lattimer, John K. Watson Jr., and R. L. Wilson Gifts, 1994

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I994.206

1994.88

On the basisof style and subject, we can surmise that this fascinatinglittle drawingwas probablymade in the earlyI66os when Ruisdaelwas living in Amsterdam,having moved there from his native Haarlemabout I656-57. The carefulattention to detail, while not typical of the artist'sdraftsmanship, is comparableto his views of Amsterdam, renderedin the vicinity of the Amstel River about I663 in preparationfor a seriesof six etchings executed by AbrahamBlooteling. These topographicalviews, as well as Ruisdael'spainted panoramasand scenes, recordthe appearanceof the city when it was nearingthe end of its expansion. Similarly, our drawingof a wooden dredgingapparatus documents the technology used in the Lowlandsto accomplish the Herculeantask of wrestinglarge tractsof land from the sea. Togetherthese works show a little-known side of Ruisdael,whose reputationlies mainly in his heroic landscapepaintings, which becamea powerful influence upon the artistic developmentof the nineteenth century.

For almost two centuriesa largearmoryoccupied a suite of gallerieson the upper floor of the Uffizi, where the dynasticcollectionsof the Medici rulersof Florencewere displayed.The armorywas seen by a steady streamof local and foreign visitors, who marveledat harnessesworn by famous men, curious weapons of earliertimes, and richlyjeweled arms from the Orient. Our newly acquiredhunting sword was formerlypart of this princely collection and is describedin detail in inventories from 1631until the dispersalof the Medici

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armory in 1775. The sword reappeared in Germany by 1785, at Erbach Castle near

Darmstadt,where it formed part of one of the earliestGothic Revivalarmories. The distinctive lion's-headpommel distinguishes the sword as Swiss. The deeply chiseled iron guard,with its typicallyRenaissance foliage and grotesques,is unusuallyelaborate for a Swissweapon and indicates that the sword was destined for someone of high rank. The heavy saw-backblade, on the other hand, suggeststhat it was intended for practical use in the forest. The sword'sunusual, almost exotic, appearancemay explain why the seventeenth-centuryFlorentinecataloguer describedit as a "scimitar." swP 29

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Giovanni Battista Foggini Italian (Florence), 1652-1725

Bust of Grand Duke Cosimo III de'Medici (1642-I723) Ca. I683-85

Marble H. (includingbase)39 in. (99 cm) Purchase, The Annenberg Foundation Gift, I993 I993.332.1

Overleaf Bust of Grand Prince Ferdinando de'Medici

(1663-1713)

Ca. I683-85

Marble H. (includingbase)39 in. (99 cm) Purchase, The Annenberg Foundation Gift, I993 I993.332.2

Foggini'sreputationas the foremost Florentine Baroquesculptor restsmainly on his small bronzegroups and on the key role he played between 1694 and I725 as director of

the FlorentineMedici workshops.The luxury objects in semipreciousstones (pietredure) produced there, createdafterhis drawings and models, spreadthe fame of Florentine taste and craftsmanshipto all European courts. Lessgenerallyknown is his excellence as a portraitistand marblecarver,talents he was able to practiceonly earlyin his career, immediatelyfollowing his returnto Florence in I676 afterthree yearsof training at the FlorentineAcademy in Rome. These busts are compelling dynastic images, the embodiment of the dramaticand vigorouslate-Baroquestyle that Foggini developed during his Roman yearsunder the influence of the works of Gian Lorenzo Bernini as well as those of Bernini'sfollowers ErcoleFerrataand Domenico Guidi. The strongly contrastedforms, which take advantageof the effects of light and shadow, and decorativedetails, such as the cravats with deeply undercut bordersof lace, convey an ideal of majestyand magnificencethat was especiallyimportant to Cosimo III. Still, Foggini has differentiatedbetween fatherand son with a measureof intimacy and directness that is uniquely his own. Cosimo'spor-

I993.332.

trait conveys an impressionof dignity and authorityin his resoluteexpressionand the vigorous movement of his cloak, which is tied acrosshis shoulder and over his armor in the mannerof a classicalcommander.Ferdinando's dreamyand sensitive nature radiatesfrom his handsome, regularfeatures,framedby a mass

of cascadingcurls that merges with the folds of his generous mantle. Masterfullyconceived and executed with strength and originality,these famous busts have rightly been considered among the highest expressionsof Florentine Baroque sculpture.

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Giuseppe Chiari Italian (Rome),I654-1727 Bathsheba at Her Bath Ca. 1700

Oil on canvas 5312X3812 in. (35.9 x 97.8 cm)

Gift of Mario Modestini, 1993 1993.4 I

At the end of the seventeenthcentury the most celebratedpainter in Rome was Carlo Maratta;SirJoshua Reynolds consideredhim the last in the line of great Roman artiststhat tracedits origin to Raphael.Maratta'smost gifted pupil was Chiari, who, Reynolds noted, closely imitated his master.The present picture-among Chiari'sfinest-is based upon a composition painted by Marattafor his principalpatron, the marcheseNiccolb MariaPallavicini.Illustratingthe biblical story narrated in 2 Samuel

11:2-21,

it shows

Bathshebaat her bath, spied upon from the balcony of a palaceby King David, who later sent her husband, Uriah, to his death at the head of a militarycampaign. David then marriedBathsheba. Farfrom being a slavishcopy of Maratta's picture,which is an oval, Chiari'spainting is a more intimate interpretation,with softer modeling. Chiari has introduced a note of delicacyin the gestureby which Bathsheba arrangesher hair,studied in a preparatory drawingin the National Galleryof Scotland, Edinburgh.These changes transform Maratta'slate-Baroquebrand of classicism into a gentle rococo. Eighteenth-centuryRoman painting is curiouslyunderrepresentedin the Metropolitan Museum, and this beautifulpicture is a KC welcome addition.

Jacques Bellange French,activei195-died I6i6 Hortulana Ca. 1612

Etching,secondof threestates 2 14 x 634 in. (3i x I7 cm)

Inscribed(in theplate): (to left offigure) Hortulana;(lowerright)Bellange Purchase, Bequest of Helen Hay Whitney, by exchange, 1994 1994.177

From 602o until his death in I6I6 Bellange worked for the dukes of Lorraine,then an independent duchy with its capital at Nancy, in what is now the northeasternpart of France.In addition to painting religiousand mythological subjectsand portraits,as a court artistBellangewould also have devisedephemera, such as costumes for ducal festivities.

The designs for this etching, and three others of female gardenersin obviously unrealistic peasantdresswith which it forms a series, may have been createdfor some courtly ballet, although they cannot be linked with a particularproduction. Only a few paintings and about one hundred drawingsby Bellange have been identified today, but through his forty-sevenetchings his idiosyncraticstylewhich epitomizes the exaggerationand high artificeof Mannerism-is widely known. The gardenersare probablyamong Bellange'searly etchings. Many of the other prints, though portrayingconventional religious subjects, have a distinctly more bizarreflavorthan these, but the antique sandalson the feet of the figuresand the ornately decoratedmetal vases that three of them carryon their heads are typical of the incongruity that marksall of Bellange'swork. SB

EUROPE

1700-1900

Giovanni Battista Piranesi Italian, 1720-1778

Villa of Hadrian: Octagonal Room in the Small Baths Ca. I777

Red chalkwith touchesof blackchalk 15/2 x 23/4

in. (3.4 x 5.3 cm)

Purchase, Anonymous Gift and George

year before Piranesi'sdeath. With the exception of the disposition of the figures,the study correspondsvery closely to the print. But while the etching is distinguishedby its precision, abundanceof archaeologicaldetail, and expressivechiaroscuro,the drawing, which may have been made in situ, is more luminous and of greaterimmediacy and vigor.

WMG

and Lisa McFadden Gift, 1994 1994.20

Pietro Longhi Although he was trainedas an architect, Piranesiwas active primarilyas a printmaker, and his picturesqueetchings of Roman ruins are among his most celebratedachievements. This magnificentlargedrawingis a study for plate 133of the artist'stwo-volume Vedutedi Roma(Views of Rome), which was published between I745 and I778. A number of the

plates in the Vedutedi Romadepict Hadrian's villa outside Tivoli. The print that corresponds to the presentdrawing,which represents an octagonal changing room in the small bath complex of the villa, is one of the last in the seriesand was executed in 1777, a

Italian, 1702-1785

Study of a Seated Woman Blackchalk,heightenedwith white, on light brownpaper IH/2 x 8/4 in. (29.I x 21.1 cm)

Purchase, Lila Acheson Wallace, Mr. and Mrs. Howard G. Lepow, David L. Klein Jr. Memorial Foundation Inc., David M. Tobey, Stephen A. Geiger, Susan Seidel, and Alice F. Steiner Gifts and Harry G.

An important and prolific painter of scenes of everydaylife in polite Venetiansociety,Longhi is comparativelylittle known as a draftsman. This is no doubt because his drawingsare exceedinglyrareoutside Venice, the majority having been acquireddirectly from the artist's son by Teodoro Correr,whose collection constitutes the nucleus of the Museo Correrin that city. Yet Longhi'ssketches are among his most brilliant accomplishments, reminiscent of-and perhapsinspired by-the work of such early-eighteenth-centuryFrenchartists as Jean-Baptiste-SimeonChardin. The Museum'srecently acquiredstudy of a seated woman wearing a mantilla is an outstanding example of the artist'sloose, vibrant handling of black and white chalk. Clearlydrawn from life, it was presumablymade as a study for a painting, and the sheet may be preparatory for a similarlyposed figure in Longhi'spicture TheFamilySermon,now in a privatecollection in Bergamo. WMG

Sperling Fund, 1994 1994.86

The Metropolitan Museum of Art is collaborating with JSTOR to digitize, preserve, and extend access to The Metropolitan Museum of Art Bulletin 速 www.jstor.org

Matthew Boulton (designer) English,1728-I8o09 Minerva Clock English,ca. I770-82 Gilt bronze,white marble,and enamel H. ip in. (48.2 cm) Signed (on dial): cHles BALTAARD /PIARS. Gift of Horace Wood Brock, in loving memory of his parents, Hope and Horace

Brock, 1993 1993.489 The Minerva clock was designed by Boulton, the leading English makerof Neoclassicalsilverand gilt-bronzeclocks and metalwork,and executed in his celebrated Soho Manufactorynear Birmingham.The design is preservedamong the Boulton PatternBooksin Birmingham.Only two versions of this clock are known and they are among the finest objects made by him. Minervain antique-styledressrestsher right hand on a vase with a libation scene depicting Prudencemaking a sacrificeto Chronos, the

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god of time. With her left hand Minerva points to her shield, which is ornamented with a Medusa head. On the left a putto holds a scroll with an inscription from Aeneid.The original movement was by either Henri-CharlesBaltazard(1717-1772), a French makerof clockworks,or perhapshis Louis-Charles(recordedI761-83); the movement is a replacementmade 1834 and 1840 by Jean Vincenti and Theodore Rodel. WR

Luigi Valadier Italian (Rome),I726-1785 Pair of Candelabra I774 Porphyryand gilt bronze H. (each)27 in. (68.5cm) Wrightsman Fund, 1994 1994. 14.1,2

Prince MarcantonioIV Borgheseinherited the most spectacularprivateart collection in eighteenth-centuryRome. In Palazzo Borghesethe picture galleriesled to a mirroredchamberwith a Baroqueceiling and niches containing marbleand porphyrybusts of the Caesars.These candelabrastood in the mirroredgalleryon two octagonal tables of porphyry,marble,and gilt bronze, clearlyan indication of the prince'sdesire to update the room in Neoclassicaltaste. The room still exists but the tableswere moved to Villa Borghesein I902, along with the family's paintings and most of their antiquities.

Valadier,the great silversmithand bronze founder to whom the prince turned for these decorativeelements, conducted a flourishing internationalbusiness from his shop just off the Piazzadi Spagna. His shop was also expert at mounting hard stones, and it is likely that the Egyptian porphyryused here survived from imperial Roman times. The three female figureson each stem are reproductions of ancient marble statues, no doubt chosen because their poses-each with one arm raised-perform the illusion of helping to support the weight of the candelabrum. JDD

Samuel Green English, I740-1796

Chamber Organ English(Isleworth,Middlesex),ca. I790 Mahoganyand variousothermaterials H. II24

in. (286.3 cm)

Purchase, Margaret M. Hess Gift, in memory of her father, John D. McCarty, I993 1993.112

This imposing chamberorgan is typically British in style and musical disposition. Its facadedisplaysgilded dummy pipes backed by cloth panels behind brassgrillwork.Six engravedivory stop knobs control four ranks of wood and pewter pipes, of which the two ranksof highest pitch are divided into bass and treble halves, each governedby a separate stop. A detachablepedal affordsfurtherversa-

tility by drawing a preset combination of stops. The organist'sassistantpumps the bellows with a lever extending through a little door in the right side of the case; this lever's function was formerlyduplicated by another iron pedal under the organist'scontrol. When not in use the fifty-eight-note ivory-andebony keyboardslides into the front of the case, where a panel conceals it. Candles in two swing cranes illuminate the music rack. Green, a freemanof the Clockmakers' Company, became one of England'smost illustriousorgan builders. Patronizedby King George III, he enjoyed a privilegedreputation and made more than ninety instruments, some sent as far afield as Jamaicaand Russia. Few of Green'sorgans survive intact, but our example is original in all important respects and today is unique in the Americas. LL

Onefrom a Pair of Atheniennes French,ca. 1773 Aftera designbyJean-HenriEberts Giltpine; liner of brassand gilt bronze H.

3738

in. (95 cm)

Gift of Mrs. Charles Wrightsman, in honor of James Parker, 1993 1993.355.I

The atheniennewas createdin I773 by Eberts, editor of the Monumentdu Costume,a series of etchings on the history of Frenchcostume in the eighteenth century.Derived from the tripod-shapedperfume burnerof Classical antiquity,it combined the functions of washstand, perfume burner,food warmer,jardiniere, and table all in one form. Of the many survivingversions of atheniennes,the Museum'spair is the closest to the Ebertsmodel and is consideredto be the earliestknown ex ample of this important type of FrenchNeoWR classicalfurniture.

this medal, he was the first organizerof what was to become the Musee du Louvre.The medal is displayedwith the Metropolitan's famous mahogany-and-silvercoin cabinet in Egyptian taste, traditionallysaid to have been JDD made for Vivant Denon.

Pierre-Paul Prud'hon French, I758-I823

Charles-Maurice de Talleyrand-Perigord (I754-1838), Prince de Benevent 1817

Oil on canvas 85 x 55Y in. (215.9 x 141.9 cm)

Antonio Canova Italian (Rome),i757-1822

Louis-Francois Jeannest French,activelate i8th-early I9th century

Venus and Cupid

Dominique

Vivant Denon (1747-1825),

General Director of the Musee Napoleon Ca. 1798-99 Terracotta L.

193/

1994.190 1802

Bronze Diam. (includingoriginalbronzeframe) 6 in.

in. (yo cm)

Wrightsman Fund, 1993 I993.-70

Canova, one of the titans of Neoclassicism, is seen here in a relativelyrelaxedmood. The group was probablymodeled in Possagno,his birthplacein the Veneto, where he sought asylum from the pressureof the innumerable commissions that came to him in Rome from the royaltyand magnatesof Europe. He followed this composition in two paintings (one a copy), which are still in his house at Possagno,but in them he omitted the extraordinarilylong, flexed legs of the Venus. It is a rarityamong his models, being a bozzetto intended to result in a painting ratherthan a marble.The imageryconflatesthe Venusesof Titian with the Madonnas of Raphael-fittingly, for Canova thought of his art in pictorial terms and as continuing the traditionsof the greatRenaissancemastersof painting. In the Metropolitanthe model is shown near another reclining nude by Canova, the marbleNaiad completed afterhis death. JDD

Signed(lowerleft, onplinth): P. P Prud'hon pinxit. Purchase, Mrs. Charles Wrightsman Gift, in memory of Jacqueline Bouvier Kennedy Onassis, 1994

(I5. cm) Gift of Constance and David Yates, in honor of the opening of The Florence Gould Galleries, 1993 1993.404

Jeannest,a bronze founder,was no doubt responsiblefor casting as well as modeling this medal, which capturesadmirablyits subject'swit and vivacity.Vivant Denon started as a diplomat during the ancien regime and later turned to drawingand printmaking.He was a key tastemakerunder Napoleon, who later createdhim baron of the Empire. Appointed generaldirectorof the Musee Napoleon in 1802, the event celebratedby

This lifesize portraitof Talleyrand,a brilliant political figurewho servedunder every French ruler from Louis XVI to Louis-Philippe, is the last of three painted by Prud'hon,who was, along with JacquesLouis David, the principalpainter of Napoleon's court. The other canvases,depicting Talleyrandin court costume, were commissioned by Napoleon for the Chateau de Compiegne in I806 (Chateaude Valencay,Indre)and 1807 (Musee Carnavalet,Paris).After the fall of Napoleon in I815,Talleyrandobtained the two earlier portraitsand asked Prud'hon to repaint one to show him in civilian attire. Sylvain Laveissiererecently interpreteddocumentation that indicates that the artistwas unwilling to alter the earlierportraitsand instead painted the presentwork about April 1817. This canvasmay be consideredone of the most imposing of Prud'hon'sformal portraits of the great personalitiesof the imperial court. Showing Talleyrandnot as an administrativeofficial but as one of the extraordinary intellects of his day, Prud'hon presentsthe witty and treacherousambassadoras a powerful savant:in a richly appointed room he leans on the pedestal of one bust (of Marcus Aurelius)while another (of Demosthenes?) looks on, evoking associationswith the heroic GT oratorsand philosophers of antiquity.

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William Henry Fox Talbot British, I800-1877

The Pencil of Nature I844-46

Printed bookwith 24 saltedpaperprintsfrom paper negatives I2 x 92 in. (30.6x 24.2 cm)

Gift of Jean Horblit, in memory of Harrison D. Horblit, 1994 I994. 97

Talbot'scalotype, the first negative-positive photographicprocess,was destined to change the art of book production and the dissemination of knowledge as had no other invention since movable type. To fulfill the medium'spotential for widespreaddistribution of photographic images and to demonstratethe chief advantageof his process over the contemporaneous French daguerreotype,Talbot produced The Pencilof Nature.This volume, the first commercially published book to be illustratedwith photographs,was issued in six fasciclesfrom June 1844 through April 1846 and contained twenty-four plates, as well as an introduction that describedthe history and chemical principles of photography.With extraordinary prescience,Talbot'simages and the brief texts

Royal Porcelain Manufactory German(Berlin),i763-present Vase

suggest this was a presentationvase, although it is not mentioned in the factory'sarchivesas one might expect. It was probablymade for Friedrich Wilhelm III (I770-I840),

German(Berlin),ca. I820 Hard-pasteporcelain H. i714 in. (43.8 cm)

Purchase, Robert L. Isaacson Gift, I993 '993-335

whose

name appearsat the top, to commemoratehis family lineage. However, as only those family members in direct line of descent gracethe tree trunk, the most renowned of the Hohenzollerns has been omitted: Frederick the Great (I7I12-I786), who had no heirs,

An extensivebut selective genealogy of the Hohenzollernsemblazonsthe branchingtree on the front of this imposing vase. Of campana shape, it is also gilded with bands of finely tooled oak leaves bound with ribbon. On the back, set againsta ruby luster ground amid foliate scrolls,a largegilded royalcrown restson a cushion. The greatsize, the richnessof the painting and gilding, and above all the family tree 42

has been excluded in favorof his younger brother August Wilhelm (I722-1758), who

did not reign but whose son was Frederick's successor. Life dates of the family members have been included throughout, and as the latest date of death inscribed is

1820,

the vase

was presumablycommissioned about that time.

CLC

that accompaniedthem proposed a wide arrayof applicationsfor the medium, including portraiture;reproductionof paintings, sculptures,and manuscripts;travelviews; visual inventoriesfor collectors;views through the microscope;and essaysin art. Despite the revolutionarynatureof Talbot'sundertaking,or perhapsbecauseof it, ThePencilof Naturewas not a commercial success,and today fewer than forty substantially complete copies are known to be extant. The presentexample, containing all twentyfour plates and still in its rareoriginal fascicle covers,was formerlyin the collection of MD Talbot'sdaughterMatilda.

Triquetiwas one of the most sophisticated sculptorsof his day. He knew the Elgin marbles,collected Gericault,and catalogued Bonington. His earlygrounding in ornamental sculptureis still manifest in this work from the middle of his career,as is his talent for portraiture-comparisons with the swannecked beauties of Ingrescome readilyto mind. Triquetireceivedseveralcoveted commissions: the bronze doors of the Madeleine in Paris,completed in 1837;the marbleeffigy of the widely lamented duc d'Orleansat Neuilly, completed in 1843;and the marble

cenotaph of PrinceAlbert in the Wolsey Chapel at Windsor, begun in I864. The subject of the relief may be his wife, an Englishwoman whom he wed in I847. He reinvented this type of portraitmedallion, the imago clipeata,from Greco-Romanantiquity while giving it his own abstractinterplayof concaves and convexes. The type enjoyed a healthy afterlifein the portraitureof the British sculptorAlexanderMunro. The signature and date of I8o5 under the shoulder are in a later hand. JDD

Henri, baron de Triqueti French, 1804-1874

Portrait of a Woman Ca. 1850

Marble 22 s x 17 in. (58.i x 43.2 cm)

Purchase, Lila Acheson Wallace Gift, I994 1994-42

Centerpiece i866 English(Minton, Staffordshire), Porcelain,enameledand gilt H. I812 in. (47 cm) The Charles E. Sampson Memorial Fund, 1994 1994.92

Unknown Artist, French School Henri-Charles Maniglier Ca. I850

Daguerreotype 4 x234

in. (0 x 7 cm)

Purchase, Harriette and Noel Levine Gift, 1994 I994.83

About the time this photographwas taken, Maniglier (I826-I901)

was among the artists

selected to execute the monumental sculptures that ornament Napoleon III'sgrandiose New Louvre.Exhibiting in the Salons of I856, 1863,and 1868,Maniglierwas also commissioned to carvean allegoricalrelief, ScienceandArt, for CharlesGarnier'sOpera, the last extravagantpublic building designed for the capital of the Second Empire. This portraitof Maniglieris a daguerreo-

type, the first kind of photograph, invented by Louis Daguerrein I839. Immediatelypopular for portraiture,the daguerreotypewas all the rage in Parisuntil paper photography replacedit in the mid-I85os. Unlike many daguerreotypeportraits,which are emotionally cool and stiffly posed, this one, by an unknown artist, projectsan immediate physicality and strong three-dimensionalityquite appropriatefor a sculptor.By posing Maniglier with his head on his hand, brooding intently beneath a tousled mane of hair, the photographer furthersuggeststhat Maniglier is an artist of the Romantic school, one with an intense sensibilitygiven over to a passionate imagination. The photographerso well conveys the concentratedenergy coursing between Maniglier'stemples that one senses the dualism of creativity,which is part curse, part salvation-the horns and halo of the modern artist's self-image.

LS/MMH

The elements of this commanding Victorian centerpiece-a stand, or tazza, and a goblet-are derived from similar shapes current in Italy and Germany in the sixteenth century. Combined one above the other, which neverwas done in the earlierperiod, they present a form characteristicof the I86os, in which a soaringvertical emphasis replacesthe rounded, broad-basedshapes that had been preferredin the preceding decade. The decoration revivesthe mid-sixteenth-century enamel-on-coppergrisaillesof Limoges. Form and ornament together are an example of the unabashedeclectic "historical"designs of the period that were precursorsto the purely imitative historicism that prevailedin the closing decades of the nineteenth century. The grisailles,placed in reserveagainst a superb blue-blackenamel ground, represent the hero Perseusand the goddess Diana (on the goblet), cupids amid acanthus scrolls (on the rim of the tazza), and heads of Roman emperors (on the knop of the stand), - --..

while lion masksand fabulousbeastsform a band around the foot. The monogram SMH painted in white enamel on the undersideof the foot is an unidentified signature,possibly for an independent enamelerwho had access to finished unglazed (or at least undecorated)

David Johnson British,activei85os American Barque 'Jane Tudor,"Conway Bay

Minton porcelain wares.

Saltedpaperprintfrom glassnegative 858 x i012 in. (21.9 x 26.7 cm) Purchase, Nancy and Edwin Marks, Joyce and Robert Menschel, and Harriette and Noel Levine Gifts, I994

JMCN

Ca. I855

I994.I82

Little is known about Johnson, and no other picture by him has been identified. He was listed as a "PhotographicArtist"in the directory of the industrialcity of Blackburn, Lancashire,during the mid-I85os, suggesting that he ran a professionalstudio. Whether or not this photographwas made for some commercialpurpose, it is clearlyan application of

the still-new medium to the traditionalsubjects of art, and Johnson showed it at the I856 exhibition of the PhotographicSociety of London. The intricateweb of masts and rigging of the listing Jane Tudor,an American vessel in the port of Conway, perhapswaiting to be loaded with Welsh slate, recallspicturesque aspectsof painted harborscenes. But in a departurefrom painterlyprecedents,Johnson focused his entire composition on a single surprisingelement-the ship'sanchor, shown in perfect frontal silhouette, black against white, hanging in midair like a plumb. Although the anchor helps orient the viewer spatiallyby providing the only true vertical in the photograph, it also, paradoxically, destabilizesthe composition, as it seems to pull the ship over with the sheer force of its graphicdesign.

Edouard Manet French, 1832-I883

Still Life with Flowers, Fan, and Pearls Ca. i860 Oil on canvas 1818 x 14 2 in. (46x 36.8 cm)

Signed(lowerright):Ed. M. Partial and Promised Gift of Douglas Dillon, I993

I993.399

The pearlyopalescenceof glass and the broad leaves and delicate hues of a rose or peony were perfectvehicles for Manet'ssensuous brushworkand masterfulhandling of subtle color harmonies.Indeed, this lovely still lifein pristine state-manifests the "undeniable painterlyqualities"that criticTheophile Thore admiredin Manet'sflower pieces in I865. Traditionallyknown as Bouquetde Pivoines,this work has been thought to belong to the seriesof peonies that Manet painted in I864-65, of which there is an example in the Museum'scollection (acc. no. I976.201.16). This is, however,a much more elaborateand fastidiouslyhandled arrange-

ment, and unique as well, with such details as the closed fan and strand of pearls.The conception, thicker application of paint, warm tonality, and even the manner in which the artistsigned his name all suggest an earlier date, of about i86o. The distinctive mottling and shading of the backgroundat left may be found in Manet'sPortraitofa Man (Rijksmuseum Kr6ller-Miiller,Otterlo), while the same gold-and-blue patterned tablecloth appearsin Portraitof theArtistsParents (Musee d'Orsay,Paris);both works are signed and dated I86o. This handsome addition to our collection may well be the artist'searliest known flower painting. SAS

Adolphe-William Bouguereau French, 1825-I905

YoungMother Gazing at Her Child I871

Oil on canvas 56x 4012 in. (142.2 x 102.9 cm) Signed and dated (lower right): W-BOVGVEREAVI871

Bequest of Zene Montgomery Pyle, 1993 1993.402

Despite the calamityof the Franco-Prussian Warand the terrorsof the Commune, Bouguereauremainedin Franceand continued to paint his Raphaelesquepeasant women and maternityscenes as if war had not occurred.Bouguereauallows nothing to disturbhis remarkableeffects of luminosity and seamlessillusionism nor his timeless theme of the pleasureadults take in contemplating their children. The resolutecalm projected by this picture seems to be his response to the chaos in the streetsof France. GT

J. C. A. Brun (gunmaker) French,active1849-72 Double-Barrel Percussion Shotgun French(Paris),datedi866 Steel,walnut, and gold L. (overall) 44 /8 in. (II2 cm)

Purchase, The Sulzberger Foundation Inc. Gift and Rogers Fund; Bashford Dean Memorial Collection, Funds from various donors, Gift of William H. Riggs, The Collection of Giovanni P. Morosini, presented by his daughter Giulia, and Gift of Charles M. Schott Jr., by exchange; and gifts and funds from various donors, 1993 I993.4I5

The Second Empire markedthe twilight of Frenchgunmaking, which had dominated Europeanfirearmsdesign since the period of Louis XIV. The internationalexhibitions held in Parisand London in the I85os and I86os offeredFrench,especiallyParisian,gunmakers the opportunity not only to advertisetheir skills but also to demonstratethe place of arms in the decorative(or so-called industrial) arts.The Parisgunmakersconsistently employed the finest contemporarydesigners, goldsmiths, sculptors,and engraversto trans-

form functional hunting and targetweapons into works of art. This exquisitelydecoratedshotgun reflects the period'spredilectionfor historicalrevivals, in this case the styleLouisXV Especially noteworthy is the harmonious combination of rococo ornamentalvocabularyand blueand-gold coloring, which together evoke eighteenth-centurytaste. Exhibited by Brun at the Exposition Universelleof I867, the gun is, in fact, a collaborativework by some of the leading artistsand craftsmenof the time: the damascustwist barrelsby Leopold Bernard; the gun'sdesign and its intricatelychiseled steel mounts by the silversmithsAuguste and Joseph Fannieres;and the delicate engravings on the barrelsand mounts, encrustedin twocolor gold, by the engraverTissot. swP

Paul Cezanne French, 1839-I906

Dominique Aubert, the Artists Uncle, as a Monk I866 Oil on canvas 2378 x 2i2

in. (60.6 x 54.6 cm)

The Walter H. and Leonore Annenberg Collection, Partial Gift of Walter H. and Leonore Annenberg, 1993 9I93.400.1

In the autumn of I866 Cezanne worked on a remarkableseriesof picturesfor which his uncle Dominique Aubert posed. Six of them are studies of Dominique's head, and one is a bust-length portraitof him in street clothes. Three, however,show Dominique with accessories that denote professionalpaths that the artist might have pursued:the toque and cravat of a lawyer;the cap and smock of an artisan; and, here, the habit of a monk. Art historian Gary Wells has suggestedthat "the lawyerrepresentseducation, success and social status;the monk representsstudy, meditation and dedication;and the artisanrepresents training, talent and skill."However, it is

entirely possible that Cezanne portrayedhis uncle as a Dominican monk simply to pun on his name. Each of these pictures is thickly impasted with paint applied with a palette knife. This tool was closely associatedwith Courbet's rebelliousrealism,but in these works Cezanne did not use the knife as Courbet did to make splatteredeffects;rather,he sought to achieve broad, luminous passagesreminiscentof the contemporarywork of Manet. Cezanne'sportraits remain startlingand imposing pictures that constitute, in the opinion of art scholar LawrenceGowing, "thebeginning of modern art." GT

Paul Cezanne French, I839-I906

The House with Cracked Walls 1894

Oil on canvas 31i2 X 2334 (80 x 60.3 cm)

The Walter H. and Leonore Annenberg Collection, Partial Gift of Walter H. and Leonore Annenberg, I993 1993.400.2

In the I89os Cezanne was attractedto abandoned sites that lay east of Aix-en-Provence on the way to Mont Sainte-Victoire.Even more than the ruins of the Chateau Noir or the disused quarryat Bibemus, this unique painting of a house with crackedwalls evokes a sense of disintegrationand desolation. There can be no doubt that there was such a house, poised on the edge of an escarpment and surroundedby the pines and sycamores of Provence,becauseby this time Cezanne was an extraordinarilyfaithful recorderof the

perceptionshe experienced.Nevertheless, the image is so provocativethat art historian Theodore Reff has suggested that Cezanne may have known EdgarAllan Poe's"Fallof the House of Usher,"in which Poe described the fissure,"extendingfrom the roof of the building, in a zig-zag direction, to the base," that tore the great house asunder. GT

Camille Pissarro French, 1830-o903

The Cabbage Gatherers Ca. 1878-79

Gouacheon silk 62 x 2o12 in. (I6.5 x 52. cm)

Signed(lowerleft): C. Pissarro Purchase, Leonora Brenauer Bequest, in memory of her father, Joseph B. Brenauer, 1994 1994I.05

At the turn of the century Louisine and H. O. Havemeyerassembledan unrivaled collection of Impressionistpictures,bequeathed in largepart to the Museum in 1929. Yetwell in advanceof the Havemeyers' foray into the field, and prior to their marriagein 1883,the young Louisine Elder became a pioneeringAmericancollector of modern Frenchpainting with her purchases, in the late I87os, of Degas'sBalletRehearsal (Nelson-AtkinsMuseum of Art, KansasCity, Kans.), Monet's TheDrawbridge(Shelburne Museum, Shelburne,Vt.), and our new Pissarro,The CabbageGatherers.In her Memoirsshe credited these precocious acquisitions to her friendshipwith Mary Cassatt,who was always"firmin her judgment,"and to the "manylittle economies and even some privations" that enabled her to purchasethem "out of [her] spending money."The Pissarro, which she probablybought directlyfrom the artistin 1879, has the distinction of being among the first of his works to enter an Americancollection, which today is intimately associatedwith the MetropolitanMuseum. The CabbageGatherersis contemporary in date with the dozen fan paintings that Pissarroshowed in the fourth Impressionist exhibition of 1879 and with the Museum's two fan paintings by Degas, also from the Havemeyercollection (acc. nos. 29.I00.554 and 29.I00.555).

SAS

Paul Gauguin French, 1848-o903

The Siesta Oil on canvas 34 4 x 455/8in. (87 x II5.9 cm)

The Walter H. and Leonore Annenberg Collection, Partial Gift of Walter H. and Leonore Annenberg, 1993 1993-400.3

Gauguin consideredthe unselfconsciousease of native Tahitianwomen one of the great attractionsof life in the South Seas. Here he has made their unaffectedgrace, as art historianJoseph Richel aptly put it, the subject of a picture. For once ignoring the beauty of their faces, Gauguin has made these women

on a porch look anywherebut at the spectator. Close examination of the canvasreveals that Gauguin worked long and hard on the arrangementof the women, correctingthe profiles, eliminating another figureat the far left, and painting the basket of fruit where there once was a dog. He also changed the sarong of the dramaticallyforeshortened woman at the center from bright red to navy blue. It is not known when Gauguin painted this impressivework, and historianscannot agreeon a date. The large canvaswas a size (size 50) he frequentlyused during his first trip to Tahiti, from 1891to 1894;however,it is also possible that he returnedto this format when he was back in Francein I894-95. GT

Vincent van Gogh Dutch, I853-i89o

Bouquet of Flowers in a Vase June orJuly i89o(?) Oil on canvas 25/2 X 2I1/8 in. (64.8 x 53.7 cm)

The Walter H. and Leonore Annenberg Collection, Partial Gift of Walter H. and Leonore Annenberg, 1993 1993-400.4

Vincent van Gogh Dutch, I853-1890

Vaseof Roses May 1890

Oil on canvas 365/ x 29/8 in. (93 x 74 cm)

The Walter H. and Leonore Annenberg Collection, Partial Gift of Walter H. and Leonore Annenberg, 1993 I993.400.5

In May 1890, at the end of his year-long internment at the asylum in Saint-Remy,Van Gogh painted a majesticgroup of four still lifes to which both this exquisite Vaseof Roses and the Museum'sIrises(acc. no. 58.I87) belong. Remarkablefor their facility of execution and their elegant simplicity of design,

these bouquets and their complements a horizontal composition of roses and an upright composition of irises-were no doubt conceived as a decorativescheme, similar to the seriesof sunflowerspainted earlierin Arles. Within the Saint-Remygroup Van Gogh pairedthe works by subject, format, and style and engaged them in a rich dialogue of color harmony and contrast.The "softand harmonious"effect that he attributedto the "combination of greens, pinks, violets"has been mitigated somewhat by the fading of the pink-to almost white-in the background of our Irises.In the Vaseof Roses,however,not only are the pinks more fully preserved(especially along the edges of the tabletop) but together,as the Annenbergs'gift ensures,they "strengtheneach other by their juxtaposition." SAS

This incomparablestill life is not mentioned in Van Gogh'sletters and continues to challenge scholarsas to its place in his oeuvre. Ostensiblyit is closest to the fulsome summervarietybouquets that he produced in quantity in Paris(I886-87). However, it was not until yearslater,at Saint-Remy and Auvers (I88990), that his work would again evince the same intensity,vigorous handling, or peculiaritiesof style. The entire surfaceis animated by a restless rhythm of stippled, crosshatched,and curvilinear strokesof high impasto, and insistent contours of blue articulateindividual forms and bind them in a tapestrylikeeffect. These features,along with the Bouquet'sdistinctive palette, first appearin 1889in certain latesummer and autumn views of Saint-Remy and become more conspicuous in landscapes painted the following summer in Auvers. Hence a corner detail from the Bouquet might be mistaken for that of Crowsoverthe WheatField of July 1890 (RijksmuseumVan Gogh, Amsterdam),and, seen as a whole, the disposition of the still life'scolor zones is nearlyidentical to the way the paths, constructed of brown and green tones, cradle the section of golden wheat and extend to the inky blue sky. Most certainlya late work, our Bouquet would seem to be a singular instance in which Van Gogh applied the rigorsof his mature landscapestyle to a still-life motif. SAS

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.....

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American(Philadelphia,Pennsylvania), ca. I8o8 Gessoed,painted, and gildedyellowpoplar,oak, maple, whitepine, and cane H. 34 ? in. (87.6 cm) Purchase, Mrs. Paul Moore Gift, by exchange, I994 1994.189 This elegant klismos-form side chair was originally part of a large suite of furniture from the drawing room of the Waln house in Philadelphia. William Waln, a successful merchant enriched in the China trade, commissioned Latrobeto design the house in 1807, giving the architect full artistic control from landscape to interior decoration and furniture. Latrobe responded with designs in the most advanced classical taste. The drawing room, richly documented in Latrobe's published correspondence, demonstrated his knowledge and enthusiasm for Classical Greek styles. Writing to his decorative painter George Bridport in August i8o8, Latrobe instructed: "I have resolved to decorate his [Waln's]drawing room frieze... with Flaxman'sIliad or Odyssey in flat Etruscan color, giving only outline on a rich ground." The set of chairs melded seamlesslywith the program established in the frieze. Their form is a relativelypure adaptation of the ancient Greek klismos chair, while the rich blackand-red "Etruscan"palette derives from the contrasting painted decoration on Greek or, as they were then sometimes mistakenly called, Etruscanvases. The source for the beautifully renderedgilded-tablet decoration, also probably prescribedby Latrobe, appears to be plate 36 in Thomas Sheraton'sCabinet Makers and UpholsterersDrawing Book

(London,I791).

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John W. Forbes American, I781-I864

Plateau American(New YorkCity), ca. I825 Silver,glass,and walnut L. 63'2 in. (I6i.3 cm)

Purchase, The AE Fund, Annette de la Renta, The Annenberg Foundation, Mr. and Mrs. Robert G. Goelet, John J. Weber, Dr. and Mrs. Burton P. Fabricand, The Hascoe Family Foundation, Peter G. Terian, and Erving and Joyce Wolf Gifts, and Friends of the American Wing Fund, I993 1993.167a-c

The plateauwith mirroredbottom was an elegant accoutrementof formal dining designed to decoratethe table center and hold ornamentsor accessoriesof service.This example, adjustablein length, is shown with a contemporaryEnglish centerpiecelong associatedwith it (acc. no. I993.210). The only other such Americanplateau known is a similarpiece by the same maker,now in the collection of the White House. Our splendid plateau is characteristicof late-Federalsilver in its relianceon borders and cast ornament and its use of American motifs, such as the eagle finials,with a predominantly classicalvocabulary.A trophy composed of an anchor,a caduceus, a liberty cap on a pole, and an Americanflag adorns

each end pedestal. These symbols of navigation, commerce, and public life appearsolely on this plateau, in accord with its traditional history of having been presented to Governor DeWitt Clinton of New Yorkin I825, the year of the opening of the Erie Canal, a project he promoted. A notice by Forbesin the New-YorkDaily Advertiserof Januaryii, I825, inviting the public to his shop to "examinea superb Silver Plateauof his own manufacture,"may well referto this imposing piece. FGS

Alexander Roux French,18I3-I886; activein New York,1837-86 Sideboard American(New YorkCity), ca. 1853-54 Blackwalnut andpine H. 9234 in. (235.6cm) Purchase, Friends of the American Wing Fund and David Schwartz Foundation Inc. Gift, I993 I993. 68

The "etagere"sideboard,typicallydecorated with hunt and harvestmotifs, originatedin the mid-nineteenth century,first gaining popularityin Americaabout I853,and remaineda nearlyubiquitous featureof dining rooms for almost a quartercentury.A stag'shead framedby snarlingdogs crowns this example,which is furtherembellishedby carvedbouquets and clustersof fruits, vegetables, nuts, and berries.Dead game-three birds and a hare and fish intertwinedwith a lobster,an eel, and a braceof oystersare sculpted in high relief on the center doors. At the New YorkCrystalPalaceExhibition of I853Roux displayeda nearlyidentical sideboard,which was praisedfor the carver's skill and for its domestic scale. No doubt as a resultof this success, Roux was commissioned to make a pair of relatedsideboards,of which this is one. Unusual not only for their superbquality,earlydate, and firmly documented maker,these are also the only known pair of Americansideboardsof this kind, a fact that suggestsan unusuallywealthy patron. The iconographyof the other from this set (NewarkMuseum, New Jersey) includes a steer'shead and sheavesof wheat on the crest, suggestiveof the domesticated, CHV ratherthan the natural,landscape.

John William Hill American, 1812-1879

The Palisades Ca. i871

Watercolor and gouacheon white wovepaper x in. 958 (24.5 x 4I cm) i6/8 Morris K. Jesup Fund, I993 1993.528

A topographicalartistby training, the English-bornHill became the first president of the Association for the Advancementof Truth in Art, the Americancounterpartof the Pre-Raphaelitemovement in England, championed by John Ruskin. This exquisite

morning view up the Hudson River from Yonkers,with the Palisades,Nyack, and Hook Mountain in the distance, combines the plein air brillianceand meticulous stipple technique of Pre-Raphaelitepainting with a measureof the scenic breadthand conscious staging of landscapefeaturesfamiliarin the work of the Hudson River School. The mansion on the far right is reportedlythe former residence (now demolished) of William E Cochran, a prominent Yonkersmanufacturer and philanthropist,but its presencein this picture evokes the memory of the sumptuous Hudson Rivervillas of the school's own artists.

KJA

Augustus Saint-Gaudens American, 1848-I907

Rodman de Kay Gilder 1879

Bronze 1/2 x

I678 in. (34.3 x 42.9

cm)

Purchase, Morris K. Jesup Fund and Mr. and Mrs. Richard J. Schwartz Gift, 1994 1994.50

In the late I870s Saint-Gaudenslived in Paris and was hard at work on his first major public commission, the statue of Admiral David Farragut,now in New York'sMadison Square Park.As a respitefrom the monumental piece, the sculptor completed highly personalized portraitsof friends. He undertook this handsome profile relief of two-year-old Rodman Gilder in September1879, while the boy visited Pariswith his parents,Helena de Kay and RichardWatson Gilder.After modeling an ambitious portraitof the entire family in May, Saint-Gaudensdepicted little Rodman alone. The composition, one of

Saint-Gaudens'sfirst portrayinga child, demonstratesa masteryof the sketch technique in bas-reliefsculpture.The youth's cherubic head blends into the background, and his wispy curls are echoed by the faint etched marksthat surroundhim. The result is an intimate and charming likeness. Such technical virtuosity accounts for SaintGaudens'srevitalizationof the portraitrelief in late-nineteenth-centuryAmerican sculpture. This cast, given by Saint-Gaudensto the Gilders, complements the Museum'sdistinguished holdings of other works by this prominent American Beaux-Artssculptor. TT

H. Goodwin American Misses Pattens' School American(Harford, Connecticut) Embroidered Coat ofArms Ca. i800-810o Silk,gold and silvermetallicthreadson silk 203o X I7/8 in. (52.7 x 43.5 cm)

Gift of Alvin and Davida Deutsch, 1993 I993.496

Throughout the eighteenth and into the early nineteenth century coats of arms in various media were createdby genteel young ladies from New England. H. Goodwin, a student at Misses Pattens'School in Hartford, Connecticut, embroideredthis stylish piece sometime between I800 and I8Io. Neoclassical in style, sewn with delicatelytinted silk highlighted by metallic threadsand "spangles"(or sequins) on a white silk ground, this composition was probablyMiss Goodwin's crowning achievementin needlework.Her patternfor the Robertscoat of arms (perhaps her mother'sfamily name) was most likely copied from a design by the senior John Coles (ca. I749-I809), a well-known heraldic painterfrom Boston. The embroiderydisplays the hallmarksof coats of arms completed at Misses Pattens'School, such as the raisedwork eagle stitched of metallic threadsand the swaggedgarlandof roses suspended from spangledbowknots at the top corners.Not

truly academic,the school was presidedover by Ruth Wheelock Patten (I740-I83I) and her three daughters,Sarah,Ruth, and Mary. Between I785 and I825,when it closed, the school taught the arts of embroidery,painting, and music and provided instruction in morals and mannersto almost four thousand AP young women.

VP"

J. and J. G. Low Art Tile Works (manufacturer of case) American(Chelsea,Massachusetts), I877-I9o7 W. L. Gilbert Clock Co. (clockworks) American(Winstead,Connecticut) Clock Ca. I885 Brassand glazed earthenware

I ...

H. 12 in. (30.6 cm)

Purchase, William Cullen Bryant Fellows Gifts, 1993 I993.514

The second half of the nineteenth century saw a tremendous resurgenceof interest in tiles in Europe and America. The J. and J. G. Low Art Tile Works, founded in I877, became one of the most important and influential tile manufacturersin America, enjoying national and even internationalrecognition for the quality and artistic nature of its work. Low Art tiles are distinctive in their relief designs of various plant forms and their velvety glazes in rich colors that pooled against the relief shapes to accentuatethe patterns. Here the asymmetricalarrangementof a winged insect and sprayof leaves recallsthe interest in Japanesedesign and subject matter then in vogue. The swirling vine tendrils form whiplash curls, presagingmotifs characteristic of the Art Nouveau movement. The pattern on the cast brassworkis reminiscent of Chinese ornament. The free mixing of various eclectic non-Western sources is typical of the Aesthetic Movement of the I87os and i88os. The clock is one of the more unusual and decorativeobjects made by the Low firm. Severalvariantsof this form are known; they incorporateworks by different clock companies, usually from Connecticut. This example differs from most in its tile face and its pleasing deep aubergineglaze.

ACF

Irving R. Wiles American, I86i-1948

The Green Cushion Ca. I895

Watercolor, graphite,and gouacheonpaper 22 x 28 in. (55.9 x 7I. cm)

Promised Gift of Ann M. and Thomas W. Barwick, and Purchase, Ann M. and Thomas W. Barwick Gift, 1994 1994.76

The GreenCushionis one of Wiles'sfinest watercolors.After studying with his father,a landscapepainter,Wiles enrolled in the Art Students League,New York,as a pupil of J. CarrollBeckwith and William Merritt Chase. Like many of his contemporaries, he completed his art education in Paris,at the AcademieJulian and in the studio of Carolus-Duran,who had been Beckwith's and John Singer Sargent'steacher.The bold, painterlyapproachof most of his teachersis evident in Wiles'smatureworks:illustrations for popular magazines,portraitsand figure studies in oil, and plein air landscapesand seascapes. Our watercolorportraysa young woman reclining on a recamiercouch in the Empirerevivalstyle fashionablein the I88os. The pose reflectsa theme popular in American

painting of the late nineteenth century: the woman at leisure. Its composition and mood also manifest Wiles'sdebt to a number of his contemporaries,especiallySargentand Chase. An exceptionallyfresh demonstration of Wiles'swork in the medium, technically sophisticated,graphicallydistinctive, and original in composition, The GreenCushion certainlyseems to have merited the William T. Evansprize awardedto it as the best entry at the AmericanWater Color Society's1897 exhibition.

HBW

enamel scroll ornamentation,which recalls cloisonne. The piercing of the cover indicates that the vase was technically intended to hold fragrantpotpourri, yet it was most likely a purely decorativework. The elaborateinitial T featuredprominently on both sides suggests that it was originallya presentation piece. It is not yet known, however,for ACF whom the vase was made.

Herter Brothers American,1864-1906 Side Chair

Ott and Brewer (manufacturer) American(Trenton,New Jersey),1871-92 Potpoumr Vaseand Cover American,ca. 1884-90 Porcelain H. 1/2 in. (34.2 cm)

Purchase, Barrie A. and Deedee Wigmore Foundation Gift, I994 I994.46a,b

The Ott and Brewerporcelainfirm was one of the few manufacturersin Americaduring the late nineteenth century to produce eggshell-thin Belleek porcelainequal in material and quality of decoration to the finely ornamentedvesselsproduced in England at the Royal Worcesterand Derby factories. Such high-style porcelains,which sold at specialty china and silver stores, like Tiffany & Company of New York,were a separateartistic line for the firm, which operateda steady and successfulbusiness making hotel ware. Although of all of the eclectic forms popular during the I88os Ott and Brewermost favoredthe Anglo-Japanesquestyle, here they embracedthe exotic Near East as inspiration for the shape and decoration of our potpourri vase. The unusuallylargepiece is distinctive in its alloverdecoration, its rich purple ground, and its elaborategilt-edged, polychrome-

American(New YorkCity), 1879-82 Englishoak, brass,and embossedand gilded leather(replacement) H. 35 in. (88.9 cm) Purchase, Margery Masinter, Sheila Wood Schwartz, Gloria Wells Sidnam, Julie Graham, Diana C. Landreth, and Steven M. Kossak Gifts and Friends of the American

iconographyof bounty governed the room, drawn from Renaissanceprecedentsas was popular during the period. The lush swag of flowers, nuts, and berriessculpted on the chair'screst rail was one of severalsuch motifs unifying the room'scarved oak furnishings and paneling: contemporaryphotographs show that on either side of the built-in buffet pairs of plump putti held similar swags aloft. The legs and stretchers,however, bear no relationshipto Europeanprecedentsand distinguish this chair as one of Herter'smost original designs. The stretcheris a complex composition of interlocking parts held in taut balance by equal forces of vertical and horizontal tension. A pendant bow-shaped loop is connected to a pair of square rings mounted on a rod, which is braced against the legs by spreadingpalmettes;a carved sash, woven through the rings, curls around this element. Shaped brassmounts and gilded leather upholstery,seen here in a modern replacement, contrasted brightly with the richly CHV colored oak.

Wing Fund, 1994 1994.80

This is one of only two side chairsknown to survive from the dining room Christian Herter designed for William H. Vanderbilt's house at 640 Fifth Avenue, New York.An

E N T I E T H

Charles Rennie Mackintosh Scottish, 1868-1928

Washstand I904

Oak, ceramictile, leadedcoloredglass,and mirrorglass H. 631 in. (60.5 cm) Purchase, Lila Acheson Wallace Gift, 1994

CENTURY

Mackintosh designed this washstand as part of the furnishings for the Blue Bedroom in Hous'hill, the residence he remodeled for Miss Cranston (Mrs. Cochrane) and her husband. As Miss Cranston she was the proprietressof a group of highly successful tea-

rooms in Glasgow, many of which she had Mackintosh design, and was one of his most important clients. With its uncompromising shape and brilliant abstractpanel of glass, the washstand shows the architect/designerat the JsJ height of his powers.

I994.I20

The Metropolitan Museum of Art is collaborating with JSTOR to digitize, preserve, and extend access to The Metropolitan Museum of Art Bulletin 速 www.jstor.org

Charles Rennie Mackintosh Scottish, I868-1928

Peonies I920

and gouacheoverpencil on buff Watercolor paper i7 x i7 in. (43 x 43 cm)

Purchase, Lila Acheson Wallace Gift, 1993 1993.339

Mackintosh made his reputationat the turn of the century as an architectand designerof great originality.In I914, however,he abruptly left his native Glasgow,and by the time he painted Peonieshe was living in London, where, although his work had never been fully appreciatedby the English, he was attempting to reestablishhis career. This is one of a group of eight still lifes of flowershe painted and sent to exhibitions in the hope of supplementing his meager income. Although it did not find a buyer until some time after his death, it revealshim as a superbwatercolorist,artisticallyimaginative and in full control of the medium. jsj

Otto Prutscher Austrian,i880-I949 Plant Stand Ca. 9o00 Paintedwoodand metal H. 36'2 in.

(92.7

cm)

Purchase, Lila Acheson Wallace Gift, 1993 I993.303

Edward Landon American, I911-1984

Coal YardII 1942

Silk screenprinted in colors Sheet:

714

X 23 78 in. (43.8 x 60.6 cm)

Purchase, Reba and Dave Williams Gift, 1994 1994-55

Bold color placardsproduced by the silkscreenprocess under the auspicesof the poster division of the FederalArts Project inspiredLandon and his colleaguesat the Art Students Leagueto experimentwith that medium during the late I93os. Recallingthe industrialthemes of the muralsLandon painted for the Springfield,Massachusetts,

TradeSchool, Coal YardII fracturesfactory walls looming above a bleak winter landscape into an assemblageof planarshards.The arrangementof acute white and colored planes-interlocking and spewing steamsuggeststhe rhythm of a piston-driven machine that measuresthe plodding paces of the coal-yardautomatons. Landon'simage of the American industriallandscapeevokes earlier innovations of the RussianFormalists, whose work was featuredat the Museum of Modern Art in I936. The robotic miners created by shaded parts recallKasimirMalevich's Cubist paintings of workers,while Landon's articulationof the coal yard, which comprises variedtexturesof ruddy brick, snow-covered sheet metal, and wooden planks, is reminiscent of the multifacetedcorner constructions EBD designed by Vladimir Tatlin.

In about I900 Viennese avant-gardedesigners made an abrupt switch from the flowing organic lines of Jugendstiland Art Nouveau to a strict geometry.A favoritemotif was a checkerboardof black-and-whitesquaresvery similarto a theme employed at the same time in Glasgow by CharlesRennie Mackintosh, whose work was well known and much admiredin Vienna. Prutscher,a prominent member of the Wiener Werkstatte,designed this plant stand in the most advancedtaste. With its strong, simple lines and cantilevered trays, it has a compelling architectural jsj presence.

Georges Braque French, 1882-1963

The Studio '939 Oil on canvas 44 12 x 571/2in. (I3 x 146 cm) Signedand dated (lowerleft): G. Braque/39 The Walter H. and Leonore Annenberg Collection, Partial Gift of Walter H. and Leonore Annenberg, 1993 1993.400.6

Braqueand Picasso, the cofoundersof Cubism, did not continue their intense relationship afterWorld War I. Braquewithdrew and, living in semiseclusion, createdworksstill lifes, interiors,and, occasionally,landscapes-that combine the formal innovations of Cubism with greateremphasison the decorative,sensuous, and lyricalaspectsof painting. In this oil Braquepresentsa view of his studio, which he had built in 1931 at Varengeville,a small village on the Norman coast near Dieppe. Light from the central window streamsinto the room, illuminating the flower still life and palette with brushes on the left and the wicker stool and easel holding a painting on the right. The colorful interior is a sea of merrypatterns:floralwallpaper,simulatedwood grain, and the basket weave of the chair seat. The patterning

continues to the exteriorin the clouddappled sky. This oil and the series of large paintings of the same interior that Braqueexecuted between I946 and I956 might be regardedas the artist'smeditations on his works, both past and present, and his surroundings,both real and imagined. SR

Charles James American, I906-1978

Wedding Gown I949 Silk L. (center back) 54 in. (137.2 cm) Gift of Jane Love Lee, 1993 1993.427

This wedding gown, executed in seashellpink satin and ivory taffeta,is one of the two hundred so-called thesis designs that James reworkedand refinedthroughout his career. It exemplifiesthe exacting tailoring that made him America'spreeminent couturier. Jamesdedicatedmeticulous, often obsessive attention to cut and construction, approachingdesign as a problem to be solved with a few basic structuresand a pair of calipers.Infamous for failing to delivercommissions on time, Jameswas reluctantto consider a piece finished, and his entire oeuvre equals in quantitywhat most designersproduce in a season. Adeptly combining inspirationfrom organicforms such as waves and flowerswith geometric reversecurves,highly structured corsetting,and elaboratelyengineeredfolds of material,Jamesimposed an idealizedimage of the female body on his devoted patrons. In this design, which was produced in several color and fabriccombinations, the bustlestyle draping,contrastingunderskirt,extended and boned bodice, and exaggerated S-curvesilhouette reflectJames'stranslation of I88os fashion. While the distinct bodice seams and calculateddrapingfocus attention on the erogenouszones, these areasare sheltered beneath boning and yardsof stiff taffeta. Jameshas diffused and abstractedthe sensualinto a paradigmof visual and proportional perfection. JAL

't .\

Thomas P. Anshutz American, 1851-r912

A Rose I907

Oil on canvas 58 x 43 78 in. (147.3 x III.4 cm)

Marguerite and Frank A. Cosgrove Jr. Fund, 1993 1993.324

One of the most gifted Americanart instructors, Anshutz links the realismof his teacher Thomas Eakinswith that of the members of

the Ashcan School, some of whom were his students. PerhapsbecauseAnshutz spent so much time teaching, he painted only about I30 oils. Some of the most impressiveof these belong to a late seriesof images of Rebecca H. Whelen, daughterof a trustee of the PennsylvaniaAcademy of the Fine Arts, where Anshutz taught. The motifs of the woman at leisure and the beautifulwoman as a flower are common in late-nineteenth-centuryAmericanpainting. They reflectthe then-currentdefinition of a woman'spropersphere:the realm of leisure, beauty,and the aesthetic,harmonious

domestic environment. A Roseevinces Anshutz'ssimultaneous appreciationof Eakins'sacademic rigor and psychological probing and John Singer Sargent'spainterly freedom; it also suggests the influence of Diego Velazquezand James McNeill Whistler upon late-nineteenth-centuryartists, including Eakins and Sargentas well as Anshutz. In portrayingthe young woman as contemplative and yet intellectuallyand emotionally alert,Anshutz anticipatesthe earthierwomen painted by the Ashcan School artistsand other twentieth-centuryrealists. HBW

Loren MacIver American, born 9po9

Hearth '957 Oil andplasteron Masonite 495/8X3458

in. (126.I x 87.9 cm)

Signed(lowerleft):Maclver Purchase, Maria-Gaetana Matisse Gift, 1993 1993.280

In I993 the Museum was fortunateto acquire nine paintings by MacIverthat range in date from I940 to I967. As a group they reflect the

poetic natureof her art, which at its best combines subtle color harmonies,luminous washes of thin paint, and a romantic sensibility. Togetherthese qualitiesproduce fleeting impressionsof familiarsubjects.City scenes (of New Yorkand Paris),rurallandscapes(of France),and delicate groupingsof flowers predominatein her paintings. There are, however,other subjectsand ways of painting that appearoccasionallyin her work with equallyfine results.Hearthis one such example, which shows MacIver'sgreatpowers of observationand her sensitivityto the poetry of even simple elements of everydaylife. Here she suggeststhe sights, sounds, and tactile sensationsassociatedwith watching a blazingfire. Like the stuccoed wall of the room'sinterior,the painting support is thickly texturedwith troweledplaster,its surface blackenedby time and soot. Below the stucco, within a metal grate, is a ragingfire of red, orange, and yellow that visibly cracklesand flares.The viewer is left alone to contemplate the raw beauty of this intense moment. LMM

Fairfield Porter American, 90o7-i975

The Trumpet Vine 1958

Oil on canvas 28 x 20 in. (7I.I x 50.8 cm)

Bequest of Arthur M. Bullowa, 1993 1993.406.5

Porterfound his subject matter in intimate scenes of his family and friends and in the locales where he spent most of his adult life: Southampton, Long Island, and Penobscot Bay,Maine. As seen in this painting, Porter's work demonstratesan appreciationof the luminous possibilitiesof color, which has earnedhim the sobriquet of the last American Impressionist. Despite the artist'scultivation of recognizable imagery,his subjectswere primarilythe means to an end, that being the exploration of the plastic values of paint. He sharedthis interestwith the AbstractExpressionists,who

were his contemporaries.This depiction of two chairsand a table under the shade of trees at the side of a house demonstratesthat mutual concern. Certainly,Porter'senergetic application of paint to define the diagonal shadows cast by the branchesof the tree and the particularsof the color areasof the leaves and the wall are relatedto the broad gestural styles of FranzKline and Willem de Kooning. The TrumpetVineis one of fifteen works by Porterexecuted between I955and I975 that came to the Museum in the bequest of Arthur M. Bullowa. This gift included two LSS portraitsof Bullowa by Porter. 69

Alexander Liberman American,bornI912 Two Circles

pean avant-gardeart of the period between the two world wars providesthe bridge to Minimalist styles in America in the I96os. TwoCircleswas included in the I954 exhibition "YoungAmerican Painters"at the Guggenheim Museum, one of the first major surveysof the New YorkSchool afterWorld War II. LSS

1950

Enamelon canvas 40/8 x 40/8 in. (101.9 x o10.9 cm)

Gift of Mr. and Mrs. Calvin Tompkins, 1993 I993.-452

Libermanhas had a distinguishedartistic careeras both a sculptor and a painter. Two Circlesexemplifieshis signaturestyle, with its focus on geometric shapes,which evolved

Paul Cadmus

during the 1940s.

American, born I904

The circle has alwaysfiguredprominently in Liberman'swork. Critics have suggested sourcessuch as Tibetan mandalasand the principlesof optics for this motif, thus illuminating the dialogue between chance and premeditation,spiritualityand science that characterizesLiberman'sapproachto his art. His use of enamel paint and the suppression of any evidence of personalexpression,which is usuallyrecognizedin an artist'sbrushwork, resultsin a pristine imagerythat is at once classicaland rooted in a modern industrial sensibility.It also demonstrateshow Liberman'suse of vocabulariesfrom Euro-

The Seven Deadly Sins: Anger

41--?-------~

......

I947

Eggtemperaon Masonite 24 x rII3 in. (6i x 29.8 cm)

Signed(lowerright):Cadmus Inscribed(on verso):ANGER (egg-yolk tempera) / by / PAUL CADMUS / 1947

Gift of Lincoln Kirstein, 1993 I993.87.4

Since the 1930SCadmus has been a keen observerof American moralsand behavior, reportinghis findings in many complex nar-

-_-

.."-

rativesand satiricalfigure studies. His preference for the meticulous method of painting with egg tempera, taken from his study of the Northern Renaissancepainters, enhances the slick hyperrealismof his compositions. Although Cadmus most often recorded scenes from everydaylife, he sometimes produced visions from a surrealimagination. His series titled The Seven Deadly Sins exemplifies this aspect of his art. Executed over a four-yearperiod (1945-49), each of the seven panels is inhabited by a different quasihuman being, whose physical characteristics and deviant behaviorpersonify the particular sin depicted. Angeris a violent display of powerful wrath embodied in the equally powerful body of a science-fiction/cartoonheman. Bulging muscles, plated arms and chest, quilled hair, and spiked teeth and nails characterizethis brutish monster. In an act of uncontrollablerage the monster breaks through a glass barrier,spurting blood all around. The entire series,plus an eighth sin, Jealousy,painted in 1982-83, was given to the Museum by Lincoln Kirstein. LMM

George Rickey American,born1907 Space Churn with Triangles 1969

Stainlesssteel H. 3214 in. (81.9 cm)

Gift of Dr. and Mrs. Sheldon C. Sommers, 1993 I993.519

Rickey is the most prominent figure working in kinetic sculpture in this country. He first studied art and art history in Scotland (where his family had moved from the United States in 1913)and then in England. During the late he traveledto Germany severaltimes I920s and studied with Andre Lhote in Paris.He returned to the United States in 1934 and over the next decade taught at several American colleges. Rickey began to concentrate on sculpture in the I95os and adapted the geometric language of Constructivism to a highly personal idiom. Rickey'ssculpture moves in response to currentsof air ratherthan being impelled

by motors. His ideas were initially stimulated by the mobiles of Alexander Calder. His mature work may be divided into five categories: lines, planes, volumes, rotors, and, in his terminology, "spacechurns." This sculpture featureseight triangles that revolve with and among interrelatedcircles or orbits. It is set into motion when slight breezes propel the triangular"sails."This in turn initiates the successive movement of the inner rings. Rickey made his first space churns between I953 and I955.This sculpture was made after he resumed exploration of this format in I968.

LSS

Jim Dine

Between 1961 and I964 Dine made a series of

American, born 1935

paintings and drawingsin which an artist's palette is both the backdropfor other imageryand a surrogateself-portrait.In this version, arguablyDine's finest such painting, the familiarnotion of a palette as the site where an artist mixes colors is played with: The painting is not brightlyhued but black, white, and gray on beige canvas,and the palette shapes themselvesare not painted but formed by a borderof black acrylic.The selfportraitmotif is extended by faint outlines of the artist'shead and ears. In its use of quotidian imagery (heating ducts the artistsaw in a Searscatalogue) Dine's imposing diptych exemplifiesPop Art at its most significantmoment. Oil paint gushing forth from a pipe labeled "WARM," gently mocks the characteristicpaint drips and emotional climate of AbstractExpres-

Two Palettes (Sears, Roebuck; Francis Picabia) I963

Oil, acrylic,enamel,and charcoalon two primed canvases Overall 93/2 x 20oin. (27.5 x 304.8 cm)

Inscribed:(leftcanvas,centerright) WA R M; (rightcanvas,centerright)E P. Signedand dated (on the reverse):(leftcanvas) 2 Palettes(Sears,Roebuck;FrancisPicabia) / 1963 /Jim Dine /panel #r; (rightcanvas)panel #2 /2 Palettes (Sears, Roebuck; / Francis Picabia)/Jim Dine / I963 Purchase, George A. Hearn Fund and Milly and Arne Glimcher Gift, 1994 1994.25a, b

sionism. Dine's interest in Dadaism emerges in the upper right quadrantof the right canvas, in a bent stovepipe and a mechanical form resemblinga female torso. Both elements derive directly from a mechanomorphic drawing of I915by FrancisPicabia, Voila Elle (There She Is). Dine "signed"this areaof his painting with the tiny initials F P. to NR acknowledgethe artisthe admired.

James Rosenquist American,born1933 Gift-WrappedDoll #i6 1992

Oil on canvas 60 x 60 in. (I52.4 x 152.4 cm)

Purchase, Lila Acheson Wallace Gift, 1993 1993.34 0.

Gift-WrappedDoll #23 I993 Oil on canvas 60 x 60 in. (152.4 x 152.4 cm)

Purchase, Lila Acheson Wallace Gift, 1993 1993.340.2

Between 1992 and 1993 Rosenquist, whose

recentwork develops directlyfrom his Pop Art canvasesof the I96os, made a seriesof some twenty-fourpaintings depicting dolls' heads wrappedin cellophane. Dramaticallylit from variousangleswith colored lights, the dolls were first photographedin close-up frontalportraitsby the artist. Then the photographswere used to make five-foot-square paintings in oils that carefullyreplicatethe distortionsand abstractionscreatedin the photographs.The variationsin imageryand feeling that Rosenquistachievedare astounding, as one can see in a comparisonof the Museum'stwo new acquisitions Gift-Wrapped Doll #i6and #23. The formerpresentsa more straightforwarddepiction of the doll'spristine featuresand suggeststhe benign memories of childhood play.The latter,more refracted, image is a study of light and shadow on a highly reflectivesurfaceand conveys a malevolent foreboding. Each in its own way is a metaphorfor the artist'sstated concern for the changing quality of life for the current and future generationsof children, as they are forced to deal with the effects of the AIDS epidemic.

LMM

Walker Evans American, I9po-I975

Untitled

In I973 Evansbegan to work with the innovative PolaroidSX-70 cameraand an unlimited supply of film from its manufacturer.The virtues of the camera, introduced in 1972, fit

I973-74 Instantcolorprints Each 318 x 3/8 in. (7.9 x 7.9 cm)

Purchase, Samuel J. WagstaffJr. Bequest and Lila Acheson Wallace Gift, i994 1994.245

perfectlywith Evans'ssearchfor a concise yet poetic vision of his world: its instant prints were for the infirm seventy-year-oldphotographerwhat scissorsand cut paperwere for the aging Matisse. The unique SX-70 prints are the artist's last photographs,the culmination of half a century of work in photography.With the new camera,Evansreturnedto severalof his themes-among the most important of

which are signs, posters, and their ultimate reduction, the letter forms themselves. In the 1930s he had been the firstAmerican artist to draw emphatic attention to the impact of the sign in the landscape. His continuing interest in quoting the written language of commercial signs and translatingthem into selfsufficient pictureswas fueled by his literary ambitions and by his understandingthat the essential "stuff"of the contemporaryworld was to be found in these often unconscious symbols of modern life. The prints here are selected from a group of 15o acquiredby the JLR Museum from the artist'sestate.

Hiroshi Sugimoto Japanese,born1948 Boden Sea, Uttwil I993

Gelatinsilverprint 20 x 24 in. (50.8 x 61 cm)

Purchase, The Horace W. Goldsmith Foundation Gift, 1994 1994.144.8

Conceptual and perceptualrichness,impeccable craftsmanship,and minimalism-these qualitiesof twelfth-centuryJapanesepainting inspire Sugimoto and characterizehis work, especiallythe seascapes.Since 1980 the artist has traveledthe world to stand on remote cliffs overlookingthe ocean. Sugimoto is not interestedin boats, bathers,or spectacular sunsets but ratherin the particularityof light and atmospherein any specific region and in the way those effects play in front of the horizon, which alwayspreciselybisects his frame. The horizon is centralto Sugimoto'swork; it describesthe contact between Earth'ssurface and the ether and is also a metaphor for

the bounds of our mental and visual perceptions. Viewed in a group, the photographs align along the horizon, suggesting the continuity of its compass while revealingendless variations.Rippling tides, luminous haze, shreddingmists, windswept air-these aspects in the shifting envelopes of air and water covering the earth have the featureless purity of the world'sfirst day. The depth of field within each picture is as far as the eye can see. This visual approximationof the infinite is an apt expressionof the sublime for an age that has forgotten that such majestyexists on a shrinking and polluted planet. MMH

Andrew Bush American,born1956 Untitled (Envelopes) I990-93

Chromogenic prints in woodand metalframes Left 6s8 x 8s8 in. (I5.4 x 20.5 cm); center i614 x 31/4in. (41.3 x 33.7 cm); right434 x 678 in. (11.9 x I7.5 cm)

Purchase, Anonymous Gift, 1993 1993.195-.4,4,15

Bush's four-year (1979-82) investigation

of Bonnettstown Hall, a deteriorating eighteenth-centuryestate near Kilkenny, Ireland,focused on how, in the artist'swords, the manor house itself "disclosedvarying degreesof intimacy and privacy."A similar investigationof the sharedboundariesof public and privatelives informed the artist's next body of work-color portraitsof drivers in their carsspeeding along Los Angeles freeways oblivious to the presenceof a fellow travelerand his camera. The seriesof envelopes revealsBush'scontinuing interestin the boundariesof communication and relieson the notion that if the representationis convincing enough (in the

trompe l'oeil tradition of Harnett and Peto) the mind can be confused into believing that the framed envelopes are real. The artist has carefullyconsidered the shape, color, and size of each envelope and framed them in secondhand photographicprinting frames, negative holders, or X-ray film holders, giving each a particularpersonality.Meant to be seen in familial congregationsof three or more, each envelope seems to enclose a confidential message. In the late-twentieth-centuryworld of electronic communication, Bush'sunderstanding that-like painted portraitsof one's ancestors-envelopes, with their untold secrets,will graduallydisappearis both JLR poignant and prescient.

Jan Henle American,bornI948 La Jibarita IV 1991-94

"Filmdrawing'"silverdyebleachprint 762

x 80o2 x33/8 in. (194.3 x204.5 x 8.6 cm)

Purchase, The Howard Gilman Foundation Gift, 1994 1994.269

This large "filmdrawing"concerns a sculpture made by Henle in the southwestern region of Puerto Rico in I991-92. With four

ruggedjibaros,Puerto Rican mountain men, Henle worked for eight months clearinga site on an abandonedcoffee plantation. He and his crew laboredwith machetes, axes, a bulldozer,and hoes to revealgraduallythe swelling shapesof the land, the resulting sculpturemeasuringup to 225 feet. The red clay they passionatelytended was no more (nor less) special than any other patch of earth, except insofaras their efforts brought to light its inherent structureand intense color. Through photographythe land'sown "drawing"-the subtle modulations of texture, shape, and color-became the image itself. The artist'spoetic idea is elemental.A collaborationof man and world, involving physicalwork to reveala naturalsite, the Jibaritaimagesyield a contemplative,aesthetic effect that recallsZen gardens.However, this particulargardenis distinctly New World;it is hot, sensual,and full of potential. LaJibaritais the essence of the land, and like many artists'muses, she needs to be bare: returningart to the earth, she regroundsthe spirit in the sacrednessof basic physical experience.

MMH

Howard Hodgkin British, born 1932

When did we go to Morocco? 1988-93

Oil on wood Overall 77/2 x Io6 in. (196.9 x 269.2 cm)

Purchase, Lila Acheson Wallace Gift, 1994 1994.4ra,b

Hodgkin has said, "I am a representational painter but not a painter of appearances. I paint representationalpicturesof emotional situations."His oils begin with efforts to describeintense yet evanescentfeelings.Hodgkin started Whendid wego to Morocco?in I988 in his Bloomsburystudio following several trips to Tangier.It is his largestpainting to date. Moroccois a diptych painted directly on the wood support, which Hodgkin constructed from two old wooden framesthat he found and backedwith plywood panels. The support has withstood many scrapingsand other revisions.The framesare painted over

as part of the whole to prevent the imposition of a distancing device that would separatethe work from the viewer'sspace. The brushstrokesin this lush landscape are from Hodgkin's repertoryof enlarged commas, dots, splotches, and fat, slightly modeled curves. The viewer observesa luxuriant garden-perhaps a garden of Eden, certainly one of pleasure.A tree is planted firmly in each panel, and blue sky pokes through flame-redfoliage on the horizon, creating a sense of depth, while the reworkedlayers of thinned oil paint refocus attention on the surfaceand thus on the act of painting NR itself.

Richmond Burton American,born1960 Sapphire Skin I993

Oil andpencil on canvas Overall 74 l8 x 94 14 in. (188.3 x 239.4 cm)

Purchase, Dr. and Mrs. Robert E. Carroll Gift, 1993 I993.417a-c

When recentlyasked about this work, the artist explained that it evoked his memory of "underwaterdiving in the brilliantblue watersof the Virgin Islandsin May I993." For the last two yearsthe thirty-four-yearold artisthas createdpaintings in a gestural style that explore gridlikepatterns.His earlier pieces were hard edged and in black and white. Becausehe was confined to working in a small studio but wanted a large composition, Burton joined three canvasesinto a triptych. He crisscrossedthe entire surfacewith

equally spaced vertical and diagonal pencil lines, then filled in the resultingloose diamond shapeswith all the colors of the rainbow, adding the cobalt blue and burgundy last. By allowing the raw canvasbetween the diamond shapes to shine through, he effected a glittering pattern reminiscent of rippling light reflectedon darkwater or, in his own words, "thejewel colors of underwatercreatures."As for the descriptivepoetic phraseof SR the title, the artist made it up.

AFRICA,

Mahdist Tunic (Jibbeh) Sudan,Igth century,probablyI88I-98 Cottonand wool L. 4IV4 in. (I04.8 cm) Rogers Fund, 1993 1993.370

AND

OCEANIA,

Elaborateappliqued tunics were worn in the late nineteenth century by officersin the army of the Mahdi, or "expectedone," a Muslim religiousleaderand self-proclaimed prophet. At that time the Mahdistswere engaged in a holy war againstoccupying Egyptianand British forces in the Sudan, a war they ultimately lost at the battle of Omdurman in 1898.Mahdist uniforms were inspired by the simple tunics worn by the original followersof the Mahdi. These men, dedicated to reformthrough piety and austerity, patched their worn-out tunics with scraps of colored cloth. On laterjibbeh the functional patches became decorativesymbols of the Mahdist creed, a symbolism strength-

THE

ened, as seen here, by the use of material from the uniforms of enemy soldiers. This jibbeh, tailored from handwoven cotton with patches of industriallyproduced cloth, is identical front and back. The articulated neckline and scrolled breastpockets and side patches are typical of Mahdist officers' uniforms. Embroideryembellishes the neck, sleeves, hemline, pockets, and side patches. The large patches on the sleeves and flared skirt are borderedby thin appliqued strips and secured by quilting. Such detailing, showing greaterindividualityand ornateness than ordinaryjibbeh, indicates the prestige KB associatedwith rank.

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I CAS

AMER Carved Tuskand Finial

Zaire, Loangocoast(Kongo,Vili), rgth century Ivory H. 634 in.

(17.2

cm)

Gift of Marcia and Irwin Hersey, 1993 I993.382a,b Europeantradingposts, establishedalong the coast of the Vili kingdom of Loango as early as the seventeenthcentury,flourishedwith the dramaticincreasein the ivory trade in the nineteenth century.Small or broken tusks unsuitablefor tradewere carvedwith narrative scenes and sold to Europeantradersas souvenirs. Made between I830 and I900,

these objectsvividly portrayscenes of the daily life of both Europeansand Africansduring that period. Carvedfrom a small portion of a tusk, this example, like largerLoango carvedtusks, is nonfunctional. Whereasmost Loango carvingspresentAfricansand Europeans intermingling,sometimes amicablyand sometimes quite violently, here the African figuresare restrictedto the lower registerand Europeansto the upper.One European, wearingplaid trousersand carryinga rifle, presentsa fowl, perhapsthe product of his

.e - VJ?i

:i ^:

hunt, to his companion. Below them two Africansgraspa third, who seems to be either strugglingin resistanceor falling in distress. Little is known of the artistswho produced these ivories, but their carvingsare remarkable for their wealth of detail, dramaticgestures and facial expressions,and illusion of depth, all reflectingthe adaptationof local artistictraditionsto meet the demands of KE foreign patrons.

Nfukula (Chest Drum) Zaire (Tabwa),early20th century Wood,acacia thorn,and Nile monitorskin H. II34 in. (29.8 cm)

Purchase, Rogers Fund and Mr. and Mrs. Thatcher M. Brown III Gift, 1994 1994.23

This drum was used by a sikaomba,the traditional praisesinger of the Tabwapeople, to encouragewarriorsand exalt leaders.The sikaombalevered the open, concave base of the drum against and away from his chest while he sounded its skin with his hands. This action providedvariationsin pitch and timbre as the performerplayed, sang, and executed highly acrobaticdance steps. A hole on the side of the drum was once fitted with a spider's-egg-casemembrane to generatea buzzing noise that enhanced the instrument's sound quality.This construction detail is found on other Zairian drums in the Museum'scollection, such as the hourglass-shaped mukupielaof the Kuba and Chokwe and the goblet-shaped ngomadrums of the Kuba, Pende, and Hembe. The carvedhead projecting from the drum is a raredecorativefeature; only one similar example is known. The head servesas a decorativesuspension block and interruptsa band of incised chevrons and line-filled triangularmotifs that spans the drum'sentire circumference. JKM

Ceremonial Sword, Sheath, and Panels Nigeria (Yoruba,Owo), pgth-20thcentury Glassbeads,cottoncloth, wood, brassbells,and rope L. (sword and sheath) i9p7 in. (50.5 cm); I. (panels)28 in. (71.1 cm)

Gift of Dr. and Mrs. Jeffrey Hammer, in memory of William B. Fagg, 1993 I993.500.1,2

The leadershiparts of Owo, an ancient Yorubatown, reflectthose of Benin, the Edo kingdom that dominated Owo in the sixteenth and eighteenth centuries. This ceremonial sword and sheath (udamalore)and the matching lozenge-shapedpanels (apete)recall the chiefly regaliaillustratedon Benin brass plaques of the sixteenth and seventeenth centuries. The udamaloreis worn by Owo chiefs on the left hip above the panels, which are hung over a belt. A voluminous wrapped skirt, tall miter-shapedhat, brassand ivory pendants and armlets, and a fan-shapediron sword (also of Benin origin) held in the right hand complete the ceremonial attire. The udamaloresword is made of wood, and both its sheath and the panels are lavishly embroideredwith brilliantlycolored glass beads. Imported from Europe, the beads are a sign of wealth and status among the Yoruba. Although the beaded figuresand animals are arrangedsymmetrically,their jagged outlines and vivid colors createa dizzying, dancing composition. The motifs-human figures, ram'sheads, crouching monkeys, birds, chameleons, and other animals-refer to the protective role of the ancestors,the chief's inalienablepowers and privileges,and the mystical forces that protect and strengthen the wearerof such lavish costume ornaments. KE

Small stone sculpturescreatedin the shapes of temples or houses are among the most enigmatic of PrecolumbianMexican works. Intimate in scale (seldom tallerthan eight inches), sober of color (worked in stones of gray or green tonalities), and restrainedin detail, they no longer revealtheir ancient purpose. These temples sharecertain basic characteristics,including a raisedplatform, sometimes with a central stair;an even number of uprights that can flank a central figure; and a roof supporting articulatingelements, figures,or birds. Although many explanations of their purpose have been put forwardperhapsthey served as models for ancient buildings, as architecturein miniature, or as burial objects, possibly "housesfor the hereafter"-all such suggestions remain hypothetical. From the BalsasRiver region of the mountainous Mexican state of Guerrero,the temples form part of a large group of sculpture worked in the same green and gray stones; other works in the group depict human figures,masks, and animals. All are carvedwith the same minimalist tendencies and were made over a period of many centuries. The sculpturesare known by a local Guerreroname, Mezcala, and have been grouped by the salient distinction of their Vesselwith Ritual Scene Mexicoor Guatemala(Maya),8th century Ceramic H.

II12

in.

(29

cm)

Gift of Mr. and Mrs. Charles Diker, 1993 1993.441 Maya ceramicvesselsof the eighth century have long been admiredfor the colorful and intriguing scenes painted on their outer surfaces. Many of the elaboratemultifiguralnarrativesinvolving sumptuouslyattired individualsreferto mythologicalevents, while others, as here, depict ritualactivities. Around the straight-sidedneck and globular chamberof the jar are two registerswith six and eight male/femalecouples respectively, shown in profile, seated, and facing each other.A wide decorativeband of geometric designs encirclesthe shoulder of the chamber, separatingthe two registers.The figures'halfopen mouths and eye contact as well as the lively gesturesof their hands indicate communication; they appearto be engaged in the preparationof substancesin jars, placed

between them, identical in shape to the vessel itself. The males are portrayedwearingvarious types of headdresses,clothing, and decoratedear spools; the women all wear long hair, long patterneddresses,and simple headbands. Two of the male figureshave syringes tucked into their belts at the back, elements of the paraphernaliaused in the ritual.The jar is impressivefor its size and shows strong HK signs of use around the flanged lip.

style.

Temple B.C.-A.D. Mexico (Mezcala), 500oo

1500

Stone H. 5y8 in. (12.8 cm)

Bequest of Arthur M. Bullowa, I993 I994.35.7o6

I 1--^

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Figure of a Man (Lampstand) Chinese(WarringStatesperiod),4th-3rd century B. C.

Bronze H. 758 in. (i9.4 cm)

Gift of Enid A. Haupt, in honor of the Director, Philippe de Montebello, 1993 I993.387-15

This solid-castfigurewearsa short tunic, a garmentfavoredby migratorypeoples who roamed the northern bordersof China during the Warring States period

(403-22I

B.C.).

the late fourth century B.C. this form of clothing began to be adopted by the Chinese. A short sword is worn at the back. Although the surfacepatina has been lost, the details of the fine casting remain.The meanderpattern on the garmentis no doubt meant to represent an embroidereddesign. The narrow groovesmight once have been inlaid with silver wire or pigment. Previouslypublished as a "charioteer,"this figurewas most likely part of a lampstand. The ceremoniousstance and expressionare characteristicof the human figuresthat form part of the lampstandsof the period. The slots in the outstretchedhands were obviously meant to hold another object. It is probable that two or more such figuresonce supported the base of an oil lamp. The lampstandsof the WarringStatesmark the end of the archaicstyle in the representationof the human figurein Chinese art. At about this time sculpturesof human forms began to displaygreateranimation and sense of movement.

Yu (Bowl) with Painted Geometric Design Chinese(WesternHan dynasty),2nd centuryB.C. Lacqueredwood Diam. lo38 in. (26.5 cm)

Purchase, Florence and Herbert Irving Gift, 1994 I994.44

During the Han dynastythe production of lacqueredutensils attained a high level of artistry,and lacquerwarewas valued above objects in other media, including bronze. Our sturdilyshaped bowl owes much of its livelinessto the decorativebands on its upper portion. Richly painted in two shades of red and black lacquer,the geometric design consists of a frameworkof diagonal lines and spi-

ralsthat in turn contains a high-spirited pattern. This bowl marksa fresh phase in lacquer ornamentation. Here the tightly organized geometric scheme that characterizedpainted lacquersfrom the fifth to the third century B.C., best exemplified in the lacquerwarefrom Ch'u, a major southern state vanquished in 223 B.C., recedes to the background;over the dark surfacea lively line quality emergesand permeatesthe entire length of the bands, from the large sweeping spiralsto the small details. The energizedstrokesare done in a free and expressivemanner, and the minute hooks, dots, and circles,which appearrandom at first glance, are playfully interspersed. This new style would dominate the design of painted lacquer over the next few centuries. AS

JCYW

Back detail, 1993.387.15

Lin Liang Chinese, ca. 143o-ca. 1490

Two Hawks in a Thicket Chinese (Ming dynasty [1368-1644]), second

halfof the isth century Hangingscroll,ink andpale coloron silk 5858 x 338 in. (149 x 84 cm)

Gift of Bei Shan Tang Foundation, 1993 1993-385

Lin was one of the two preeminent early Ming court paintersof bird-and-flowersubjects; this painting is one of his finest extant works. It is not only typical of his dashing monochrome brushworkand vivid imagery, but its unusual treatment of the subject demonstratesthat Lin could endow conventional themes with deeper social and psychological implications. The painting depicts two hawks perched on the shatteredboughs of an ancient tree. The birds, amid a dense thicket of branches, bamboo, and vines, turn toward one another, creatinga tightly focused vortex of energy at the center of the crowded composition. In contrast to the usual image of hawks silhouetted against the sky, surveyingtheir surroundings from a high perch, these noble birds appearwithdrawn and reclusive-like talented scholarswhose aspirationsof government service had been thwarted by lack of recognition or by the wish to remain aloof from the MKH intrigues of court politics.

Palanquin Korea (Choson period

[1392-1910]),

igth

century Woodand lacquer H. 40 in. (Ior.S cm) Gift of Stanley J. Love, 1993 1993.447

As exuberantin its abundant decoration as it is elegant in its compact form, this wooden palanquinwas the traditionalconveyancefor membersof the aristocraticclass of Koreain the final centuriesof the long Choson period under the Yi dynasty.Enteredfrom above when the hinged roof was open, this carriage enclosed its riderin a small but luxurious space padded in silk. Its exterioris covered with a lively melange of plant and animal motifs in a friezeof rectangularpanels of various sizes.A largecentralsquareat the front framesa dragon and tiger, a pairingsymbolic of the complementaryforces of yin and yang, but here the particularlylively interpretation, distinctive to Koreanart of the eighteenth and nineteenth centuries,includes meaning as an apotropaicimage. Surroundingthis squareand coveringall surfacesis an encyclopedic rangeof auspiciousmotifs. Exotic animals,such as camels and elephants, as well as the familiarhorse are depicted. The horse, shown beneath a willow on a largevertical panel borderingthe window, appearsagain on an inconspicuous smallerpanel in an idioview, exemplifyingthe syncratic"worm's-eye" intimate, earthyhumor that is so delightfully characteristicof much traditionalKoreanart.

Detail, front panel, 1993.447

BBS

Noh Mask: Ko-omote Japanese(Edoperiod [I65i-r868]), i8th century Lacquer 82 x 1/2 in. (2T.5x 14 cm)

Purchase, Lila Acheson Wallace Gift, 1993 I993-341.1

Noh Mask: Chijo Japanese(Edoperiod [i6i-s-8681), i8th century Lacquer 812 x 1/2 in. (21.5 x 14

cm)

Purchase, Lila Acheson Wallace Gift, 1993 1993.341.2

Noh masksdistill essentialhuman emotions-love, anguish, envy, anger,and joyin set forms that evolved during the Muromachi period and have been transmittedby generationsof craftsmenin a theatricaltradition that continues to flourish.The mask embodies the soul of the dramain Noh, which originallydeveloped in the late fourteenth century,became the official ritual of the shogunate, and remainsone of the world's most refinedand sophisticatedtheatrical forms. These masks representtwo major types used in Noh: Ko-omote,literally"little mask,"a term that in Japaneseconveys the sense of the endearingyouthful beauty of a girl not yet twenty yearsold; and Chujo,the mask worn for young aristocraticmale roles. Ko-omote,with its impassiveexpression, allows the actor to use his movements to

imbue the role with subtle emotion. It is the prototype for the more than twenty other types worn by the male Noh actor for female roles, which subtly vary from the innocent beauty of this mask to those with expressions that convey sensuous, passionate,demented, or supernaturalcharacteristics.Chujois likewise central to the repertory,indicating the anguish of love or human tragedyin its youthful beauty marredby a furrowedbrow. It is used for protagonistsof plays of the warrior category,which are based on the twelfthcentury battles between the Heike and Genji clans. These dramasrevolvearound the conflict between the values of Japan'scourt culture and those of its warriorsociety, a theme that resonatesthroughout the subsequent BBS artisticand literaryhistory of Japan.

Scenefrom the Life of Buddha Japanese (Nambokucho period [1333-92]), i4th

century Ink, color,and gold on silk x 43 7/8 in. (75 x III.5 cm) 292 Gift of Dr. Alvin E. Friedman-Kien, 1993 I993.478.

The five panels in the seriesto which this painting belongs illustratescenes from the life of Buddha, one of the most fundamentaland significantthemes in Buddhist iconography. The episodes depicted are the Birth of Buddha, the Encounterwith the Four Sufferings, Sariputra'sDefeat of the Heretic Raudraksa,King Bimbisara'sConversion to Sakyamuni'sTeachings,and Sakyamuni's Abandonment of PalatialLife. The painting reproducedhere illustratestwo events from the birth of Buddha. To the right is the

Lumbini Garden,where Queen Maya gives birth to SakyamuniBuddha from her side. To the left the newborn ShakaBuddha is washed by dragons, auspicious creaturesfrom Chinese lore transformedfrom Indian water spirits called nagas.After entering this world, the ShakaBuddha takes seven steps and looks to the four cornersof the Earth. Raising two fingersof his right hand toward heaven and extending his left hand toward earth, according to Buddhist texts, he pronounces, "I alone am prince of that above and below the heavens." The paintings are skillfully executed, with well-controlled lines and a clear configuration of forms. The beautiful color scheme, notably the use of light green, reflectsfourteenthcentury practices.In their iconographythese five panels are similar to a set executed about I300,

now in the Jikoji, Hiroshima.

Bhima, Kesu Ram, Bhopa, and Nathu Maharana Ari Singh with His Courtiers at theJagniwas Water Palace Indian (Rajasthan,Mewarschool),datedi767 (samvat 1824)

Ink and opaquewatercoloronpaper heightened with gold and silver 2634 33 in. (68 x 83.8 cm) Purchase, Mr. and Mrs. Herbert Irving, Mr. and Mrs. Arthur Ochs Sulzberger, and Mr. and Mrs. Henry A. Grunwald Gifts, in honor of Mr. and Mrs. Gustavo Cisneros, 1994 1994.I6

This miniature is one of the finest large-scale paintings createdfor the MaharanaAri Singh (r. I761-73). It depicts a bird's-eyeview of a portion of the interiorof the JagniwasWater Palace(now the Lake PalaceHotel) in Udaipur,which was built by the maharana's father between 1743 and I746. A performance

of "RasaLila"(Krishnadancing with the cowherdesses)takesplace in the checkerboardpaved courtyardbefore the maharanaand his officials,who are ensconced at the back in a raisedpavilion. As is typical with such sizable works, more than one artistparticipatedin its production. Stylistically,however,it is clearthat most of the painting can be attributed to Bhima, one of the principalartistsof the court. Although there are a number of earlierminiaturesof the Mewar school in the Museum'scollection, this is our first example of a painting from the second half of the eighteenth century.

SMK

Standing Buddha Sri Lanka (Polonnaruvaperiod), iith-12th century Gilt bronze H. 23/2 in. (59.7 cm)

Gift of Enid A. Haupt, 1993 1993-387.8 Of all the majorart-producingculturesof South and SoutheastAsia, the rich civilization of the small Buddhist island nation of Sri Lankasuffersmost from poor representation in Westerncollections. The acquisition of this very fine standing Buddha is therefore of considerablesignificance. The Buddhawears two garments:a skirt, its lower hem visible above the ankles, and a long robe arrangedto leave the right shoulder bare.The configurationof the robe and the distinctive system of draperyfolds derive from South Indian traditionsof the second and third centuries.The raisedextended left arm causesthe lower hem of the robe to be pulled up in front, creatinga swag as it ascends.The sizableaccumulationof cloth then falls down the left side of the Buddha. The energeticsweep of the ridges of the garment as they round the body on the right side adds to the visual tension establishedby the complex draperyfolds. The robe clings tightly to the body, emphasizingthe somewhat sensual treatmentof the well-modeled figure.The waist is narrow, the hips and thighs are full, and the stomach is rounded. This is an effectivecontrastto the broad shouldersand the forcefulfrontal stance.

Standing Uma Cambodia(Angkorperiod, Khmerstyleof ca. 975 Srei), Banteay Stone H. 28 in. (71.r cm)

Gift of Enid A. Haupt, I993 I993.387.3

Among the many pinnacles of aestheticexcellence attainedby Khmer artistsduring the rich history of Cambodian art, the celebrated temple of BanteaySrei is outstanding. Dedicated to Shiva and completed in 967, Banteay Srei is about twenty kilometersnortheastof Angkor.The female deity here is not from the temple itself but closely follows its figural style. The image is identifiableas Shiva'sconsort, Uma, by the faint crescentmoon in the front of her high chignon. She stands in a gracefultribhanga(thrice-bent)posture, wearinga long unpleated sarong that adheres tightly to her body, accentuatingher graceful silhouette and reminiscentof garmentson sculpturefrom the last quarterof the seventh century. Her hair is pulled back, carefullybraided, and arrangedin a tall cylindricalshape with loops of plaits descending in three levels. A stylizedlotus decoratesthe top of the chignon. The powerful thighs, full shoulders, and firm breastsof this Uma reflecta mature, strong body made more emphatic by her authoritativeexpression. The volumes of the body flow harmoniously, forming an uninterruptedorganic unity. The subtle posture, with a curve prompted by the bend of the left knee, causes slight shifts of volume and energizesthe figML ure by creatingvisual tensions.

Standing Buddha Thailand(Monstyle),8th-gth century Silver(?) H. I5/2 in. (39.4 cm) Gift of Enid A. Haupt, 1993 1993-387.6

One of the high points in earlySoutheast Asian art is the Buddhist sculpturecreated from the seventh through the ninth century by the Mon peoples of centraland southern Thailand. The standing Buddha here is a particularlyfine example of the mature Mon style, datableto about the end of the eighth or beginning of the ninth century. The Buddha stands in a subtle hipshot posturewith the weight of his body on the right leg; the left leg, positioned slightly forward, displaysjust a hint of a bend at the knee. He wearsorthodox monastic garments, which in this case are arrangedto leave the right shoulder bare and adheretightly to the body. The left hand makes an approximationof the boon-bestowing mudra.Judging from the remainingfingers,the right hand would have been in the teaching gestureoften seen on Mon Buddhas. Along with the very refinedmodeling there is a high level of precision in depicting the curls of hair, the facial features,and drapery details. The sereneexpression,animated by the compelling gaze;the fine modeling of the features;and the crispnessof the surface detailing unite to form an unusuallybeautiful face.

Seated Crowned andJeweled Buddha Indian (Bihar,Palaperiod, Kurkiharstyle),late ioth century Bronzewith silver,lapis lazuli, and rock-crystal inlays H. (with halo) I23 in. (32.4 cm) Gift of Miriam and Ira D. Wallach Foundation, I993 1993.31a, b

The Pala style of easternIndia had a profound impact on the arts of Asia. The Pala territoriesincluded most of the major Buddhist pilgrimagesites, and pilgrims often returnedhome with portable icons, which exerteda heavy influence on the artistsof their native lands. This Buddha was purportedly found in Burma;another similar example in the Museum'scollection (acc. no. I990.I2I)

has a replaced halo of Thai manu-

factureof earlydate, indicating that it was exported to Thailand, probablyby the eleventh century.Stylisticallyboth Buddhas are relatedto the hoard of bronzes found in I930 around the remainsof the monastery of Kurkiharnear Bodhgaya.This Buddha is a particularlyfine example of the style and is one of the few Palabronzes to retain some of its original stone inlays. SMK

Bust of a Five-Headed Shiva Cambodia(Angkorperiod,Khmerstyleof Pre Rup), ca. mid-ioth century Stone H. 3IV2 in. (80 cm) Gift of Enid A. Haupt, 1993 1993.387.I

This large bust of a five-headedShiva is one of the most significant recent additions to the Museum'scollection of Cambodian sculpture of the Angkor period. It is a work of very high quality;it belongs to a short but important Khmer-dynastyart-historicalperiod not previouslyrepresentedin our collection; and, iconographically,it is very rare. The style is called Pre Rup (947-ca. 965) after the great temple of that name consecrated in 96I and dedicated to Shiva. The temple was commissioned by RajendravarmanII (r. 944-68) to honor the memory of his parents and was the largestroyal temple built during his reign. While the faces of Pre Rup sculpturesare somewhat abstractand hieratic, the expressions are less severeand the forms of the faces softer than those of the first half of the tenth century. On this bust a verticalthird eye, a cognizance of Shiva, appearson each of the five foreheads,and in the matted locks of the hair arrangementof the upper head there are a crescentmoon and a serpent, also standard ML indicatorsof the great Hindu deity.

Ceremonial Vesselin the Form of an Axhead B. C.Indonesian(Bronzeand Iron ages),500oo A.D. 300

Bronze H. 43/8 in. (10o.1 cm)

Purchase, George McFadden Gift and Edith Perry Chapman Fund, 1993 1993.525

Although the Museum'scollection is rich in Indonesian bronzesof the classicalperiod, this vessel, one of only two known examples in the shape of an axhead, is our first from BronzeAge Indonesia. Both its pared-down form and low-relief decoration are pleasing; its scale, however,transformsit into a grand work of art. BronzeAge culturesflourishedthroughout SoutheastAsia, and artifactsin distinct but relatedstyles were produced in Thailand, Vietnam, and Indonesia. Some of the castings, notably the widely dispersedkettledrums, are of daunting size. Until now our

holdings have been restrictedto a group of small-scalebronzesand associatedceramics from the Ban Chiang culture of Thailand. Some of the designs in the raised, cast decoration on both faces of this vessel are comparable to those found in the ancient Lapida culture (2000-500

B.C.) of Melanesia and

Polynesia.The provenanceof the only other known example similar to ours is the small island of Makassarin the Southern Celebes, which suggests that the Museum'svessel was probablymade for and then traded to one of the island chiefs as a prestigeobject for cerSMK emonial use.

PHOTOCREDITS: All photographs, unless otherwise noted, by the staff of The Photograph Studio of The Metropolitan Museum of Art. Photographers:Joseph Coscia Jr., KatherineDahab, Anna-Marie Kellen, Oi-Cheong Lee, PatriciaMazza, Caitlin McCaffrey,Bruce Schwarz,Eileen Travell,Karin L. Willis, and Carmel Wilson. Other sources: ? Bruce White for Michael Ward Gallery,p. I9 (ring);James Graham & Sons Inc., p. 6o; Richard YorkGallery,p. 67.

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