Recent acquisitions a selection 1999 2000 the Met bulletin v 58 #2 Fall 2000 by alfonse K

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Acquisi Recent A

SELECTION: 1999-2000

The

Metropolitan Museum

Art

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This publicationwas madepossible throughthe generosityof the LilaAchesonWallaceFund for The MetropolitanMuseumof Art establishedby the cofounderof Reader's Digest. TheMetropolitanMuseumofArt Bulletin Fall 2000 Volume LVIII, Number 2 (ISSN 0026-I521) Published quarterly.Copyright ? 2000 by The Metropolitan Museum of Art, Iooo Fifth Avenue, New York, N.Y. I0028-OI98.

Periodicalspostage paid at New York, N.Y., and Additional Mailing Offices. TheMetropolitan MuseumofArt Bulletinis provided as a benefit to Museum members and is availableby subscription. Subscriptions$25.00 a year. Single copies $8.95. Four weeks' notice requiredfor change of address. POSTMASTER: Send addresschanges to Membership Department, The Metropolitan Museum of Art, IOOOFifth Avenue, New York, N.Y. I0028-0198. Back issues availableon microfilm from University Microfilms, 300 N. Zeeb Road, Ann Arbor, Mich. 48106. Volumes I-XXXVII (1905-42) availableas clothbound reprintset or as individualyearlyvolumes from Ayer Company PublishersInc., 50 Northwestern Drive #Io, Salem, N.H. 03079, or from the Museum, Box 700, Middle Village, N.Y. II379.

Contents

Director's Note

Contributors

Ancient World

Islam

Medieval Europe

Renaissance and Baroque Europe

Europe I700-I900

North America I700-1900

Twentieth Century

Africa, Oceania, and the Americas

Asia

GeneralManagerofPublications:John P. O'Neill Editorin Chiefof the BULLETIN:Joan Holt Editor:Jennifer Bernstein Production:Joan Holt and PeterAntony Design:Bruce Campbell Design Coordinators: MahrukhTaraporand Sian Wetherill All photographs,unless otherwise noted, are by The PhotographStudio of The Metropolitan Museum of Art. Photographers:Joseph Coscia Jr., Anna-MarieKellen, Paul Lachenauer,Oi-Cheong Lee, Bruce Schwarz,Eileen Travell,Juan Trujillo, KarinL. Willis, and Peter Zeray. Other source: Malcolm Varon (front cover and pp. 54-60). Copyrightnotices:front cover and p. 57:Joan Mir6, ThePotato(I999.363.50), ? 2000 Artists RightsSociety (ARS),New York/ ADAGP, Paris; p. 54: Henri Matisse, Viewof Collioureand the Sea (I999.363.42), ? 2000 Succession H. Matisse, Paris/ ArtistsRights Society (ARS),New York; p. 55:Henri Matisse,Laurettein a GreenRobe, BlackBackground(1999.363.43), Still Life with (I999.363.38), ? 2000 SuccessionH. Vegetables Matisse,Paris/ ArtistsRights Society (ARS),New York;p. 56: SalvadorDali, Accommodations of Desires(I999.363.I6), ? 2000 FoundationGalaSalvadorDall / VEGAP / ArtistsRights Society (ARS), New York;p. 58:Piet Mondrian, Composition(1999.363.57), ? 2000 ArtistsRights Society (ARS),New York/ Beeldrecht, Amsterdam;p. 59:Paul Klee, The One Who Understands (I999.363.3I), ? 2000 ArtistsRights Society (ARS),New York/ VG Bild-Kunst,Bonn;

Pablo Picasso, TheScream(I999.363.66), ? 2000 Estateof Pablo Picasso/ ArtistsRights Society (ARS),New York;p. 60: FrancisBacon, Three Studiesfora Self-Portrait(I999.363.1),? 2000 Estateof FrancisBacon / ArtistsRights Society (ARS),New York;Jean Dubuffet,Jean Paulhan (1999.363.20), ? 2000 ArtistsRights Society (ARS), New York/ ADAGP, Paris;p. 6I: Alberto Giacometti, Womanof Venice(1999.363.25), ? 2000 ArtistsRights Society (ARS),New York/ ADAGP, Paris;p. 62: EdouardVuillard,Interiorat Saint-Jacut(2000.197), ? 2000 ArtistsRights Society (ARS), New York/ ADAGP, Paris; p. 64: Max Beckmann,Self-Portraitwith a Stylus (1999.232.6),? 2000 ArtistsRights Society (ARS), New York/ VG Bild-Kunst,Bonn; Berenice Abbott,JamesJoyce,Paris(I999.406), Berenice Abbott / Commerce GraphicsLtd., Inc.; p. 65:WalkerEvans,Floydand LucilleBurroughs, Hale County,Alabama(I999.237.4), ? Walker EvansArchive,The MetropolitanMuseum of Art; p. 67: Anselm Kiefer, The UnknownMasterpiece (2000.96.8), ? Anselm Kiefer;p. 68: Richard Hamilton, SwingeingLondon67 (1999.314), ? 2000 ArtistsRights Society (ARS), New York/ DACS, London; RichardPrince, Untitled(Cowboy) ? RichardPrince;p. 69: Vija Celmins, (2000.272), OceanSurface(1999.293),? 1983Vija Celmins and Gemini G.E.L., Los Angeles, California;Michal Rovner, Border#8 (1999.240), ? Michal Rovner; p. 70: Kiki Smith, Litter(2000.136),? Kiki Smith; Yoichi Ohira, 'Acquaalta di Venezia"Vase (1999.292),

0 Yoichi Ohira.

On the cover: ThePotato,by Joan Mir6 (pp. 56-57)

Director's

Note

One of the most important bequestsof works of art in the history of the Metropolitan Museum, and doubtless the most important for the Department of Modern Art, was that of Natasha Gelman of the Jacquesand Natasha Gelman Collection. We featurein this Bulletinonly a very small part of it, but the whole was published in 1989,when the Metropolitan held the first public exhibition of the Gelmans' magnificentholdings. The bequest,numberingeighty-fivepaintings, drawings,and bronzes,presentsthe art of the past century,particularlyof its firsthalf, at a remarkablyhigh level of quality,with majorworksin areaswhere the Metropolitan was heretoforedeficient.For example,the Museum gains its firstpaintingby Francis Bacon throughthis bequest,and groupssuch as the fourteenPicassos,nine Matisses,and nine Mir6s add depth in criticalareas.As furthertestimonyto the importanceof collector/curatorrelationshipsin the life of a museum, the Gelmans'benefactionwas clearlyborn of their long and deeply rewarding friendshipwith William S. Lieberman, whose closenessto the couple is also manifest in the title he holds:Jacquesand Natasha Gelman Chairmanof the Departmentof ModernArt. The Gelman Collection will be installedin the LilaAcheson WallaceWing in

galleriesnamed for these most discriminating and generousdonors. Intervivos offeringscontinued to enrich the Museum as well, notably those of Ambassadorand Mrs. WalterAnnenberg, which readersof this annual Bulletinchronicling the Museum'sacquisitionswill have noted come with most welcome and admirableregularity.Degas'sRaceHorsesand Monet's CamilleMonetin the Gardenat Argenteuilareamong the highlightsof the Annenbergs'gifts to date. AnotherMonetthe enchantingJean Moneton His Hobby Horseof 1872,an earlyImpressioniststudy of the artist'sson-arrived as a gift of the Sara Lee Corporation.Also worth specialmention as an importantaddition to our Impressionist Boulogne,a holdings is The "Kearsarge"at majorseascapeby EdouardManet acquired througha combinationof PeterH. B. Frelinghuysen'spromisedgift and funds from a numberof other sources. Moving backwardseveraldecades, I cite two fine works of the Romantic period that entered the collection by purchase.Our first painting by CasparDavid Friedrich, obtained with Wrightsman funding, helps give a truersense of the merits of schools of nineteenth-centurypainting other than the French.And a splendid watercolorby Theodore Gericaultnot only is one of his

finest and most elaboratebut also is connected to the Museum's monumental Evening:Landscapewith an Aqueduct,being a sketch for a pendant to that painting. Finally, among the purchasesthat have had the greatestimpact on the Metropolitan's collection overallis the spectacularand sculpturallypowerful (but sadly unphotogenic) dragon finial, a Koreangilt bronze of the ninth or tenth century that is a star of our new Arts of Koreagalleries.Likewise,the magisterialdepiction of the Lamentationby Ludovico Carracci-a pivotal work of the early I58os, when Ludovico and his cousins Annibale and Agostino buried Mannerism and laid the groundworkfor Baroqueart-is now a cornerstoneof our collection of Italian Baroquepaintings. It is as difficult as ever to end my contribution to this publicationwithout mentioning everyobject reproducedon the pages that follow, as well as the many more listed in our Annual Report.All contribute materially to the Museum's performanceof its primary mission. I am profoundly gratefulto the donors of works of art or of the funds for their acquisition, whose generosityensures that our millions of visitors, and especially our dedicated members,who returntime and again, will never lack for new and unexpectedvisual pleasures. Philippe de Montebello Director

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Contributors

American Decorative Arts NorthAmericaI700-oo00: Alice Cooney Frelinghuysen(ACF), Curator;Peter M. Kenny (PMK), Curator;Amelia Peck (AP), Associate Curator;CatherineHoover Voorsanger(CHV), AssociateCurator. TwentiethCentury:Alice Cooney Frelinghuysen(ACF). American Paintings and Sculpture NorthAmericaI700-oo00: H. Barbara Weinberg (HBW), Alice Pratt Brown Curator;KevinJ. Avery (KJA),Associate Curator;CarrieReboraBarratt(CRB), AssociateCurator. Ancient Near Eastern Art Ancient World:Joan Aruz (JA), Acting AssociateCuratorin Charge. Arms and Armor Ancient World:Donald J. LaRocca(DJL), Curator.Renaissanceand BaroqueEurope: StuartW. Pyhrr(SWP), ArthurOchs SulzbergerCuratorin Charge. Europe 700-oo900:StuartW. Pyhrr (SWP). Arts of Africa, Oceania, and the Americas Africa, Oceania,and theAmericas:Julie Jones (JJ), Curatorin Charge;Alisa LaGamma (AL),Associate Curator. Asian Art Asia:James C. Y. Watt (JCYW), Brooke RussellAstor Chairman;BarbaraB. Ford (BBF), Curator;Maxwell K. Hearn (MKH), Curator;Martin Lerner(ML), Curator; Miyeko Murase (MM), ResearchCurator; Steven M. Kossak(SMK), Associate Curator; Zhixin Jason Sun (ZJS),Associate Curator.

Costume Institute TwentiethCentury:Myra Walker (MW), Acting Associate Curatorin Charge. Drawings and Prints Renaissanceand BaroqueEurope:Carmen C. Bambach (CCB), Associate Curator; Nadine M. Orenstein (NMO), Associate Curator;Michiel C. Plomp (MCP), Associate Curator;PerrinStein (PS), Associate Curator. Europe1700-I90o: Colta Ives (CI), Curator;PerrinStein (PS). TwentiethCentury:SamanthaJ. Rippner (SJR),CuratorialAssistant.

Islamic Art Islam:Stefano Carboni (SC), Associate Curator;Navina Haidar (NH), Assistant Curator. Medieval Art and The Cloisters MedievalEurope:Peter Barnet (PB), Michel David-Weill Curatorin Charge;Barbara Drake Boehm (BDB), Curator;Helen C. Evans (HCE), Curator;Timothy B. Husband (TBH), Curator;CharlesT. Little (CTL), Curator. Modern Art Europe I7oo-I9oo:

Egyptian Art Ancient World:Dorothea Arnold (DA), Lila Acheson Wallace Curatorin Charge. European Paintings Renaissanceand BaroqueEurope:Keith Christiansen(KC), Jayne Wrightsman Curator.EuropeI700-oo00: Gary Tinterow (GT), EngelhardCuratorof NineteenthCentury EuropeanPainting. European Sculpture and Decorative Arts Renaissanceand BaroqueEurope:Olga Raggio (OR), Iris and B. Gerald Cantor Chairman. Europe1700-1900: James David Draper (JDD), Henry R. KravisCurator;Clare Le Corbeiller(CLC), Curator;William Rieder (WR), Curator;Jessie McNab (JMcN), Associate Curator;Wolfram Koeppe (WK), AssistantCurator. Greek and Roman Art Ancient World:CarlosA. Pic6n (CAP), Curatorin Charge;Joan R. Mertens (JRM), Curator;ChristopherS. Lightfoot (CSL), AssociateCurator;ElizabethJ. Milleker (EJM),Associate Curator;Sean Hemingway (SH), AssistantCurator.

Sabine Rewald (SR),

Associate Curator. TwentiethCentury:Sabine Rewald (SR); Lisa M. Messinger (LMM), AssistantCurator;J. StewartJohnson (JSJ), Consultant for Design and Architecture; Jane Adlin (JA), CuratorialAssistant;Jared Goss (JG), CuratorialAssistant;Nan Rosenthal (NR), Consultant. Musical Instruments Europe I700-9o00: Herbert Heyde (HH),

Associate Curator.Africa, Oceania,and the Americas:J. Kenneth Moore (JKM), FrederickP. Rose Curatorin Charge. Photographs Europe I700-oo00: Malcolm Daniel (MD),

Associate Curator. TwentiethCentury:Maria Morris Hambourg (MMH), Curatorin Charge;Jeff L. Rosenheim (JLR),Assistant Curator;Douglas Eklund (DE), Research Associate;LauraMuir (LM), Research Associate.

ANCIENT

WORLD Amarnaheads,such as, for instance, those of Tutankhamen (r. ca. I336-1327B.C.),this sculptureexpressesbenign serenity,communicatingthe ancientEgyptianbeliefthat the gods aresupremelyaloof from mortalconcerns. DA

Pyxis Minoan,LateMinoanIIIBperiod (ca. I320-1200 B. C.)

Terracotta Diam. io?4 in. (26 cm) Gift of Alexander and Helene Abraham, in honor of Carlos A. Picon, I999 1999-423

Head of a Goddess Egyptian,earlyDynasty19, reignof Seti I or earlyreignofRamessesII, ca. 1295-I270 B.c. Light brownquartzite H. 6/8 in. (16.2 cm)

Purchase, Lila Acheson Wallace Gift, zooo 2000.62

This head once belonged to the statue of an unidentified female deity. The gender is suggested by the lack of a beard, and the simple hairstylepoints to the divine status of the subject:mortal women wore elaborately curled wigs at the time this piece was carved. The complete statue representedthe goddess seated or standing, either alone or as part of

a group of two or more deities and possibly the king. The sculpturewas carvedfrom quartzite,a materialin which, through the ages, Egyptian artistscreatedtheir most sensitive portrayals of humans and gods. The Museum owns several masterpiecesin this stone, most notably heads of SenwosretIII (acc. no. 26.7. 1394), Amenhotep III (acc. no. 56.I38),and Queen Tiye (acc. no. 1I.I50.26). This head joins the group with the distinction of being impeccably preserved,as even the delicatelyaquiline nose is complete. Stylistically,the piece representsthe later-Ramessid-stage of postAmarnaartat its verybest. While a somewhat earlierpostmelancholysweetnesscharacterizes

This cylindricalpyxiswith twin lifting handles stands near the end of a long ceramictradition on Minoan Crete. It is remarkablywell preservedexcept for its lid. While the painted decorationis not as fine as that of earlierworks producedin the workshopsof the Minoan palaces,the quality of potting and pyrotechnology reacheda high point during this period. Expertlythrown with a hard, palecolored fabric, it is a good example of the skill of the potterson Crete at the end of the LateBronzeAge. The shape is a less common variationof the pyxis type, a characteristicMinoan vessel, which usuallyhas a tallercylindricalbody. The abstractionof the ornament,as well as the breakingof the main decorativezone into panels, suggestsa date in the LateMinoan IIIB period ratherthan earlier.These artisticdevelopments follow mainlandHelladic pottery stylesand areseen in many Minoan worksfrom this time. The stylizedsnakeson the panels likelyrelateto the vessel'sfuneraryfunction. SH

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seal (top) was made when therewas a growing interestin portrayinganimalsin a modeled style, in the treatmentof figuresin space,and in movement-all featuresassociatedwith Westernstimuli. The winged horse has talons usuallyseen on the lion-griffin,cervinehorns, and a dragon-shapedphallus. The inscription names a court cupbearer.The second seal is a near-duplicateof an example excavatedat Enkomi, Cyprus, in I934. Both depict a hero

in a short kilt, his arms outstretchedover two lions with their forelegson altars.On the Museum'sexamplethe hero maywearthe Mycenaeanboar's-tuskhelmet. In style the two are identical and point to the production of"look-alikes"by the same hand. JA

Mare and Foal Greek, 8th-7th century B. c.

Bronze H. 3Y in. (9.8 cm) Gift of Mrs. Frederick M. Stafford, in memory of Mr. Frederick M. Stafford, 1999 I999.526

This work, which has been on loan to the Museum since 1983,representsa significant, much publishedadditionto our extraordinary collection of art of the Geometricperiod (ca. I000-700

B.C.). Among bronzes, groups

in which the principalsinteractaremuch rarer than single figures.The marewith her foal providesa fine counterpartto the famouscombat betweena man and a centaur(acc.no. I7.190.2072).

Such pieces served as dedications,

with Olympia as the sanctuaryat which animal sculptureswere given in greatestnumber. Attributedto a workshopin Elis, the regionin which Olympia is located,this group was probablymade locallyas a votive offering. JRM

Cylinder Seals and Modern Impressions Top:NorthernMesopotamia,MiddleAssyrian style, i3th century B.c.

Chalcedony H. i3 in. (3.6 cm);diam. ?2 in. (1.3cm) Bottom:Cyprus,Cypro-Aegean style, i4th-i3th century B.c.

Hematite H. /8 in. (2.3 cm); diam. 3Sin. (o.8 cm) Gift of Nanette B. Kelekian, in memory of Charles Dikran and Beatrice Kelekian, 1999 1999.325.89, .223 10

The two examplesshown below are from the important collection of 228 seals formed at the beginning of the twentieth century by the donor's grandfatherDikran Kelekian. Included in the group are cylinder and stamp seals that date from the late fourth millennium B.C. to the Sasanianand Early Byzantine periods of the early first millennium A.D. The geographicalrangeextends from Anatolia to Mesopotamia and Iran, with rich material from Syriaand Cyprus. These two seals can be dated on stylistic grounds to the late fourteenth to thirteenth century B.C., a period of intense interaction between parts of the easternMediterranean world and the Near East. The Mesopotamian

Armband with a Herakles Knot Greek,Hellenisticperiod,3rd-2nd centuryB.C. Gold,garnet,emerald,and enamel Diam. 3 2 in. (8.9 cm) Purchase, Mr. and Mrs. Christos G. Bastis Gift, 1999 1999.209

This massivearmband,of the highestqualityof Hellenisticmetalworkand in superiorcondition, belongsto a type of which thereareonly a few othercompleteexamples.It is constructed of a Heraklesknot and an openworkband decoratedwith ivy tendrilsbearingleaves and berries.The leaves are delicatelychased,

In terms of technique, the terracottawas surelypress molded but then extensively worked over by hand. There is a circularvent hole at the back. A smallerround hole at the top of the head could have servedto secure an attributesuch as a crown. This beautiful Classicalterracottais remarkablein that it echoes so vividly monumental sculptureof the period in marble and in bronze. CAP

and each group of three berriesis soldered to a triangularpallet. Their stems are made of hammeredand taperedsolid-gold wire. The knot is composedof inlaidgarnetsset betweentwo largerectangulargarnetcabochons. Its designis enrichedby the motif of a floweringplantbearingsix gold blossomsand a whorl of leavesat its base.The largecenterleaf of the whorl is representedby an emerald,and the lesserleaveswereenameledin green,which survivesonly on one smallleaf.Distal to the garnetcabochonsareimbricatedfiligreebands with extensivetracesof reddishpurple(manganese),green,and possiblywhite enamel.Of greattechnicalachievement,the piece invites comparisonwith our pairof gold tritonarmbands (acc.nos. 56II.5, .6), illustratingthe varietyof formsthis classof objectsassumed in the Hellenisticperiod. CAP

Statuette of a Draped Goddess Greek,late 5th-4th centuryB. C. Terracotta H. I43 in. (37.5cm) Gift of Robin Symes, in memory of Christo Michailidis, zooo 2000.I63

This youthful, heavily drapedwoman stands with her weight on the left leg, which is advanced.The right leg trailsbehind. She turns her head gracefullyto the left. Her long garmentfeaturesa surprisinglylow overfold, clearlyindicated at the level of the knees. Her mantle is drawn over the head and draped over the right shoulder, descending in a triangular mass at the front. A rosette earring adornsher right ear. The woman holds an edge of the mantle in her right hand. Her left arm and hand are missing, together with whateverattributeshe might have held. The majestyof the figure suggeststhat a goddess ratherthan a mortal is represented.The lack of attributes,however, prohibits a definite identification. II

for its remarkablestylistic affinitieswith both Greekand Etruscanart,typicalof Campanian works made in a region where Greek, Italic, and Etruscanpeoples were living in close proximity to one another. CAP

Aryballosin the Form of a Hedgehog East Greek,Archaicperiod,2nd halfof 6th centuryB.C. Faience

forepawsof the hedgehog and its large ruff also bring to mind the recliningleonine form of the Egyptiansphinx. EJM

EJM

H. 4/8 in. (II. cm)

Marguerite and Frank A. Cosgrove Jr. Fund, I999 1999.254

Statuette of a BeardedMan Campanianor SouthItalian Greek, ca. 500-450 B.C.

This charmingcontainer for scented oil is made of faience, a materialfirst developed in Egypt during the early third millennium B.C. For approximatelyone hundred yearsproduction of such small containersflourishedat Naucratis,a tradingemporium founded by the Greeksin the late seventh century B.C., and at other easternMediterraneansites, including Rhodes. Many of these vases take the form of an animal-fish, goat, rabbit,monkey, even grasshopper-but the most common and perhapsmost successfultype representsthe hedgehog. This is a particularlylarge and fine example. Its compact, rounded body is well suited to a vessel:the forepawsrest firmly on the base, and the face, surroundedby a ruff of spines, has an alertexpression,a snubnosed snout, and wide-open eyes. The body is coveredwith cross-hatchingpunctuated with purple-blackdots to indicate the spines. An Egyptianizing,sphinxlikehead emerges on top of the back, just in front of the mouth and handle of the vessel. This may have been an amusing parody, for the tiny outstretched 12

Bronze H. 94 in. (23.5cm) Purchase, Jeannette and Jonathan Rosen Gift, zooo 2000.40

This statuette, a rareand unusual bronze of the fifth century B.C., is best describedas Campanian.It most likely servedas a votive offeringto the gods, presentedat a sanctuary either in anticipationof a divine favoror in fulfillment of a previouspromise or vow. The beardedman standswith his left foot forwardand arms, bent at the elbows, at his sides. His close-fittingtunic appearsto be stitched around the neck. It has a seam at the shouldersand a pleated borderaround the arms and lower torso. The tunic is short, leaving the genitals exposed. A thick roll of hair, characterizedby thin verticalincisions, framesthe face. The man wears a snug cap with a narrowborderat the front decoratedwith three rosettes.Both the headgearand the tunic are uncommon details. The statuette is especiallyinteresting

Lid of a Ceremonial Box Roman,lateIst centuryB.c-early Ist centuryA.D. Gilt silver L. 3 4in. (8.3 cm) Purchase, Marguerite and Frank A. Cosgrove Jr. Fund and Mr. and Mrs. Christos G. Bastis Gift,

2000

2000.26

Attributed to the Hunt Painter Black-Figure Kylix Greek (Laconian), ca. 550-525

hunt.) The potting here is fine and sharp. The interiorshows, at left, a fully armed foot soldier, his spearon the far side and his shield behind him. His companion bends to put on greaves(shin guards).A shield leans on the "wall"behind him, and a cuirassoccupies the center of the tondo. A bird and a bag for gear complete the picture. In the exerguetwo foxes frolic. The fame of Archaic Spartalay in its militaryorganization,which did not, however, preclude artisticcreativity.This kylix displaysbeautifullyboth aspectsof the citystate'srenown.

Its quality and iconographymark this lid as an exceptional object. The extremelyfine details of the repousseare furtherenhanced by the subtle use of gilding. The lid is decorated in high relief with sacrificialanimals and religious objects, packed tightly onto a framedrectangularpanel,while the remaining backgroundis stippled. Featuredprominently are the heads of a ram, a bull, and a goat, animals commonly used as offeringsat major public ceremonies. Below the three heads appearcultic objects, including a flaring torch, a libation bowl, a bundle of wood, a sheathed knife, and a pomegranate.Some objects are partiallyhidden by two other animals, a small bound deer and a rooster, which also representofferings. Such elaborateand symbolic decoration strongly suggests that the box to which the lid belonged had some religious function. A remarkablysimilarsilverlid preservedin the StaatlicheMuseen zu Berlin (attachedto an ancient but alien silverbox) was acquiredin Rome in I84I. Our lid has been associatedfor about three generationswith the Roman bone pyxis and the rock crystaland silver spoon illustratedon page 14. CSL/CAP

JRM B.C.

Terracotta Diam. 7 5 in. (19.4 cm)

Gift from the family of Howard J. Barnet, in his memory, 1999 I999.527

In Lakoniapotteryand metalworkflourished particularlyduringthe Archaicperiod(ca. 700480 B.C.). Although the range of vase shapes

was limited, the technical precision and, in some cases, the iconographylink the potter's and the metalworker'sproducts. Lent to the Museum periodicallysince 1981,this cup is a paradigmof Laconianvase painting. (The artist is named after two depictions of a boar 13

Scale Armor Eurasian,ca. 6th centuryB.C. Leather L. 2734 in. (70.5cm) Purchase,Arthur Ochs SulzbergerGift, zooo 2000.66

Not only is this extraordinaryarmorthe best-preservedscalearmorfrom antiquity,but it is also the single known example entirely of leatherthat survivesfrom such an early period. It consists of a sleevelessgarment made of fifty-six rows of hard scales,which are securedby rawhidelaces to a soft leather lining. The armorreachesfrom the shoulders to the upper thighs, with a wide band at the

Spoon and Pyxis Roman, ist century A.D.

Rockcrystaland silver(spoon);bone (pyxis) L. (spoon)73/8in. (18.7cm); h. (pyxiswith lid) 3 4 in. (8.2 cm) Purchase, The Concordia Foundation Gift, 2000

b 2ooo.I;2000.25a, Roman spoons often form part of lavish sets of silver tableware.Individualexamplesare also common but are usually of bone, bronze, glass, or wood. This spoon is highly unusual, since the bowl was carvedout of a single piece of rock crystal.One principaltype of Roman spoon, the cochlear,with a smaller circularbowl and long handle, was used primarilyfor eating snails, shellfish,and eggs. The present example probablywould not have been used for such purposesbecauseof its size, shape, and materials.It is best seen as a luxury item, meant to accompanythe toilet box of a wealthy Roman matron. The very fine bone pyxis was also possibly part of a cosmetic or trinket set. Although similarbone and wood containersare known, especiallyfrom Egypt, it is difficult to find a parallelof the same high quality. The two objects come from the same collection, and it is tempting to surmisethat they were found together. CSL

2000.42.2

waist wrapping around the torso and overlapping under the right arm. Strapsto close it are on one side of the chest and at the small of the back. Historically, scale armor,usually of bronze or iron, was among the most longlived and widely used forms of protection. It first appearedin Egypt and the Near East about the middle of the second millennium B.C. and continued to be worn in Europe as late as the seventeenth centuryA.D. Based on the style and construction of the Museum's example, it seems most likely that the armor was made by one of the nomadic cultures of Eurasia-possibly the Scythians,who dominated the steppes from the sixth to the second century B.C.

2000.42.4

Votive Panels Bactria(northernAfghanistan),Kushan dynasty,ca. 3rd centuryA.D. Terracottaand gouache H. (each)22 2 in. (57.2 cm) Purchase, Raymond and Beverly Sackler Gift, zooo 2000.42.2

Gift of Isao Kurita, zooo 2000.42.4

Each of these rareCentralAsian votive panels depictsa deity (with nimbus) being approachedby a maleworshiper,probably nonroyalbut portrayedas of equalstatureto the god. Compositionally,they follow scenes of homage and investiturefrom the postHellenisticWest and from Iranin which a king and a god appearside by side. On the panel at left a majesticfigurewith a full beard and long wavy hair,who has been identifiedas

the supremedeity Zeus/Serapis/Ohrmazd, receivesa suppliantin the characteristic Iranianshort tunic and leggings, hands clasped in adoration.Along with the hands of a missing worshiper,the god Siva/Oesho is depicted on the panel at right. Four-armed and three-headed,with a prominent third eye, he wears an animal skin and a belted, diaphanousgarment and holds a trident. Here, the rich interculturalstyle that developed in the Kushan realm is most clearly displayed:Indian divine iconography;the Iraniantype of two-figuredcomposition; and Greco-Roman naturalismin the draperyand pose, as well as in the use of light and shadow to suggest modeling. The panels have holes at the cornersand were probablyset up, togetherwith two others acquiredby the Museum, on the interior walls of a sanctuary,perhapsa family shrine. JA

I S L A M on Mount Lebanon. One day, afterstarving through the night, he receivessome bread from an infidel, who is depicted in this folio as the hirsute English monarch CharlesII. As the reclusepreparesto walk away, a malnourished dog catches on to his robe and reproacheshim for accepting food from an infidel.The recluse,humbledby this encounter, observes,"He who has no faith is less than the dog of the infidel." NH

Panel of Four Calligraphic Tiles Morocco,I4th-early i5th century Glazedand carvedcompositebody L. 22 4 in. (6.5 cm)

Purchase, Leon B. Polsky and Cynthia Hazen Polsky Gift, in honor of Patti Cadby Birch, I999 1999p.46

Manuscriptof the "Nan wa Hlalwa" (Bread and Sweets) India (Deccan,Aurangabad),ca. I690 Ink, gold, and colorsonpaper;leatherbinding H. 9!4 in. (23.5cm) Purchase, Friends of Islamic Art Gifts, 1999 I999.I57

The Nan wa Halwa (Breadand Sweets), a poem about the merits of the ascetic life, was composed in Persianby the Sufi poet MuhammadBaha'al-Din 'Amili(I547-I62I). This illustratedversion of the text revealsthe

lively and fertile mixture of Mughal, Rajput, and Deccani painting traditionsthat coexisted in Aurangabadat the end of the seventeenth century. The manuscriptconsists of twenty-fourfolios. Four depict episodes from the poem (in this case, with considerablewit) inside richly painted borders;severalof the text folios are illuminatedwith appealing floralmotifs; and one flyleafbearsa striking panel of anthropomorphizedcalligraphyin the form of a face. The story told here in a single frame is that of a reclusewho spends his time praying

The decorationof these tiles was achievedby carvingawaymost of the layerof purplish blackglazethat originallycoveredthe entire surface,leavingonly the inscriptionand the vegetalscrollsin darkrelief.The techniqueis calledzilij in Morocco, where this type of tile was made for decorativearchitecturalfriezes from the fourteenththroughthe seventeenth century.Although it is not possibleto identify the buildingthese tiles once embellished,it must have been an importantsecularstructure in Fez or Marrakesh.To judge from the color of the glaze,which was common in the early period of zilij tile production,the friezewas probablyassembledin the fourteenthor early fifteenthcentury.Delicate spiralsterminating in elegantsplitpalmettesprovidea background for the Arabicinscription,which was copied in a cursivecalligraphysimilarto that known as thuluth.Apparently,the friezerepeatedthe same four words over and over, the second and fourth of which rhyme;the cheerfuland welcoming phrasecan be translatedas "What excellentcompanionsarehappinessand good fortune!" SC

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M E D I E VAL

EUROPE Penannular Brooch Terminal

Jr1 , : itm(aandau. n I pana d:aattma ' Pvu4

Viking(Scandinavia),mid-ioth century Silver,gold, and niello H. 2 in. (5cm) Purchase, The Kurt Berliner Foundation Gift, zooo

nuWontbnecimi(tp1agf*

2000.140

pndosuftifgrilnutir; uxandum.i :rndi*tnpeadtbUiiw .^xpltcwuimcapmtta1. f----

I _

llj i

tfBt^

Although a fragment, this brooch terminal is artisticallyand technicallyone of the finest works to survivefrom the great age of the Vikings. The silver sphere (now slightly dented)was hollow cast,and virtuallyits entire surfaceis decoratedwith niello in an early Viking style known as Jellinge/Mammen. Raised, twisted gold wire forms a quatrefoil ring-knot pattern on a raised,circulargold panel. Two adjacenttriangulargold panels are filled with studs, and one has a medallion in its center with serpentinetendrils. The terminal bearstypological and aesthetic similaritiesto a brooch terminal and pinhead found in a largeViking silverhoard at Eketorp, Sweden, in 195o and I955, which arenow in the regionalOrebro LansMuseum, west of Stockholm. As with the present item, much of the Eketorp hoard consists of silver that, duringand afterthe Viking period,was brokeninto pieces,a common practicefor monetaryexchange.Reconstructedto its original form, this deluxebroochwould be one of the largestand heaviestknown from Viking Europe;clearlyits firstownerwas an important figure.This splendidobjectwill be the centerpiece of the Museum'sViking material.

0,5

.V-7

Initial Vfrom a Bible French,ca. 1175-95 Temperaonparchment 0o s x 6/2 in. (27.5 x I6.5 cm)

The Cloisters Collection, I999 1999.364.2

This initial comes from a five-volume Bible, imposingin size and vigorouslydecorated,that belongedto the Cistercianabbeyof Pontigny. In the twelfthcenturythis monasteryin the dioceseof Senswas a scholar'shaven and a placeof refugefor Thomas Becketbeforehis martyrdom.During the French Revolution, however, the monastery'scelebratedlibrary was confiscatedand neglected. The initial and another from the same Bible (acc. no. I999.364.I), remarkably,have survived. Their preservationis due in large part to

CTL

the nineteenth-centurybook publishers who recognizedtheir extraordinarily accomplisheddesign. The initial signaled the opening of the Book of Leviticus:VocavitautemMoysen,et locutusestdi Dominus de tabernaculo(And the Lord called Moses, and spoke to him from the tabernacle).In lieu of gold or figuralimagery,which were eschewed by the Cistercianorder, the letter presentsa bold palette and vibrantjuxtapositionsof color. With robust striding lions posed at the center of encirclingvines, it has all the energy of a coiled spring. This vitality, combined with the subtle cadence of line and the confidently painted foliate ornament, makes the initial the embodiment of the sophisticated aestheticof the yearsaroundI200. BDB

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Relief with Griffin Byzantine(Greece?),2nd halfofi3th century Marble H. 23/2 in. (59.7cm) Purchase, Rogers Fund and Jeannette and Jonathan Rosen Gift, 2000ooo 2000. 8I

This commandingimage of a griffinwith its head turnedand its wings flexed is an exceptionallyfine exampleof monumentalstone carvingof the LateByzantine,or Palaiologan,

era.Thepanel,workedin lowrelief,resembles anelaborate silkin itsarrangement Byzantine of thecreature withina roundel.SmallGreek crossesat themidpointof theborderon all foursidesidentifyit ashavingbeenmadefor Christian of thiserastillconsiduse.Christians eredthemythical figures, griffinsto beguardian oftenof thedead,andsymbolsof powerand role thanksin partto theirlegendary authority, in thelifeof Alexander theGreat. Possibly,the panelwasoncepartof a tombsimilarto thoseknownfromnorthern

Greecethatwerecarvedin a styleinfluential in Serbiaand the Balkans.On tombs griffins may have been meant both to protect the people buriedwithin and to symbolize their royal lineage. The fleurs-de-lison the griffin's shoulder and haunch typify the era'scomplex cultural interplay, as similar motifs are found in contemporaryIslamic and Crusader depictions of animals. The panel will be displayedto greatadvantagewith other important stone carvingsin the Museum'snew Maryand MichaelJaharisGalleriesfor ByzantineArt. HCE

the seated voussoir figures,carvedabout I375, in the portal of Saint Peter at the cathedralin Cologne. The king's costume suggests that it was not executed before the I350s, when close-fitting garmentswith prominent rows of buttons can be seen in manuscriptsand other works of art. PB

Praetexta German (Cologne), ca. I450-75

Tapestryweave;wool,silk, linen, and metallic threads 6/8

x 63

in. (I6.2 x 16I.9 cm)

The Cloisters Collection, 1999 I999.392a

ChessPiece in the Form of a King German(probablyCologne),2nd half of i4th century Walrusivory

This raresurvivingexample of a complete praetexta,intended to hang just below the altartable above the frontal, is in remarkable condition. The tapestry-wovenpanel retains its original color, its originalwoven edges

(selvages)at top and bottom, and the starting and end points of the weaving, which were more commonly trimmed off. Most extraordinarily,the tapestryappearsnever to have been washed. It has kept its original stiffness and surfaceintegrity, which make it one of the best-preservedmedieval tapestriesin the Museum's large collection. Cologne was known in the fifteenth centuryas a centerfor pattern-wovenorphreys, but such ornamentalbands were typically narrow,woven in a compound twill called samit,and theirpictorialdetailswere frequently enhancedwith embroidery.This praetexta featuresa Latin inscription,in white Gothic lettersagainsta blue-greenbackground, which readsAve reginacelorummaterregis angeloru[m](Hail, Queen of Heaven, Mother of the King of the Angels).A floweringvine surroundsthe inscription,and an image of the standingVirginand childappearsat the center, between the words celorumand mater. PB

H. 2 2 in. (6.4 cm)

Pfeiffer Fund, zooo 2000.153

In contrastto Romanesquekings who sit rigidlywith swords acrosstheir laps, such as those of the well-known Lewis chessmen (BritishMuseum, London), this rareexample from the Gothic period shows the rulerin a more relaxedpose, seated on a cushioned throne. His long hair falls from under his crown in ringlets,his feet rest on a recumbent lion, and he holds an orb in his left hand and the remainsof a scepterin his right. Made to function as a game piece, the carvingis at the same time a sophisticatedroyal image in miniature. The piece is not close enough stylistically to any other ivory to identify it as part of a known chess set. Cologne, however, had a long tradition of walrus-ivorycarving,and the king accordswell with the French-inspired style prevalentthere during the fourteenth century. It can be comparedespeciallywith

Detail

Devotional Diptych with the Nativity and the Adoration French(Paris),ca. I5oo Silverand niello;engravedand gilded frame copper-alloy Overall4 x 8 in. (10.2x 20.3 cm) The Cloisters Collection, zooo 2000.I52

vocabularyof facial types, stances,gestures, architecturalelements, and other motifs that were employed by the workshop over an extended period of time forthrightlylink the diptych with the Unicorn Tapestries-thus furtheringour understandingof the origins of those masterpieces,as well as of the praxis of a major medievalworkshop. TBH

The unknown makerof these niello plaques depended for their composition on designs generatedby the same workshop that provided the cartoonsfor the celebratedUnicorn Tapestriesnow at The Cloisters.This workshop flourishedfor severalgenerationsunder royalpatronage;the leading masterof the second generation (ca. I485-15Io) is known

as the Masterof the Hunt of the Unicorn, identifying his most prominent achievement. In addition to tapestries,this master designed illuminated manuscriptsand illustrationsfor printed books, the most famous of which are those in a book of hours printed in Parisby Philippe Pigouchet for the publisherSimon Vostre in I496. The scenes on the Metropolitan'splaques correspond very closely to metal-plateillustrations in the Pigouchet book of hours. A distinctive and immediately recognizablestyle and a

Workshop of Lukas Zeiner (Swiss,ca. 1450beforei519)

Stained-GlassPanel with a Coat ofArms and a Female Supporter Swiss(Zurich),i5oo-Io05 Pot-metaland colorless glass,silverstain, and vitreouspaint I5

x 22 in. (8 x 55.9 cm)

Purchase, Bequest of Jane Hayward, by exchange, 2000ooo 2000.

her left shoulder is the insignia of a chivalric orderknown as the Fish and Falcon Society, the primaryfunction of which was to organize tournamentsfor sport and entertainment. The panel was originallyincorporated into the glazingsof the assemblyhall of a chapterof the society and was not intended for a domestic context, despite the intimacy of its imagery.The perky dog and the pink, or carnation,lying under the chair are symbols of faithfulness,while the red shoe that prominentlyemergesfrom underthe woman's richly worked hem suggestssexualityand fecundity, thus promising the continuation of a distinguishedfamily line. Two very similarlycomposed panels from the same workshop, one dated 150o and emblazonedwith the coat of arms of Martin von Randegg,who was marriedto Barbara von Landenberg,are in the Schweizerisches Landesmuseum,Zurich. TBH

This panel, bearingthe arms of Kasparvon Hohenlandenberg,was produced in the Zurich workshop of Zeiner, Switzerland's foremost glasspainter at the end of the Middle Ages. The heraldicshield is supported by a woman in luxuriousgarb. Over

Sorgheloosin Poverty North Lowlands,15o1-20 Colorless glass,silverstain, and vitreouspaint Diam. 9 in. (23 cm) The Cloisters Collection, I999 1999.243

Sorgheloos ("carefree"in medieval Dutch) was the antihero of one of the most popular moralizingstories in the Lowlandsof the late Middle Ages. Looselybasedon the prodigal son of the Christianparable,Sorgheloos ignoresall admonishmentsand embarkson the life of a spendthriftwastrel.Inevitablythe money runsout, friendsabandonhim, and Sorgheloosis ruined.Unlike the prodigal,who returnsto a forgivingfather,Sorgheloos,unredeemed, is condemned to poverty.This harsh cautionarytale found considerableresonance among the God-fearing,hardworkingdenizens of mercantiletowns in the Lowlands. Here, Sorgheloossits forlornlyon an upendedwashtubbeforea boiling kettle of herringin a barren,crumblinghouse. His only companion (besidesa pitiabledog and cat) is Poverty,who can be seen throughthe doorway gleaningstrawto feed the fire.The roundel's execution-in severaltones of paint, ranging from pale umberto darkbrown, and three hues of silverstain, from pale yellow to coppery brown-is unusuallyaccomplished.The matteswere extensivelyworkedwith a badger brushto producesubtle tonal gradations. Details and outlines were addedwith both a stylusand the tip of a brush. TBH

R E N A I S S A N CE

AND

BAROQ

U E

EUROPE

the Virgin and child, now lost-is one of Daddi's earliestand most Giottesque efforts and is especiallynotable for the restrained expressivenessand nobility of its figures.The mournful attitudesof the Virgin and Saint John, seated on the ground in positions of humility, derive from figuresof captiveson Roman sarcophagi.(Interestinglyenough, similarexpressivegestureswere exploredcontemporaneouslyby Simone Martiniin Siena.) Although the figuresof Christand the lamenting angels have sufferedfrom abrasion,the picture is of great beauty and is crucialfor understandingthe mainspringsof Daddi'sart. KC

Lorenzo Monaco (Piero di Giovanni) Italian,documentedin Florencei39i-d. 1423/24 Christ Entering the Temple Ca. 1408-1I

Pen and brownink, brushand brownwash, overtracesof leadpoint,onfine-grainedvellum (fleshside);linesat right in red ink 12 X 9/2

in. (30.5 x

24.2

cm)

Purchase, Lila Acheson Wallace Gift, I999 1999.391

Bernardo Daddi Italian (Florentine),active by 1327d. probably1348

The Crucifixion Ca. I325-30

Temperaon wood;goldground x I 3/8in. (46.4 x 28.9 cm); painted surfaceI7 2 x Is/8 in. (44.5 X 28.9 cm) I84

Gift of Asbjorn R. Lunde,

1999

I999.532

Florentineartistsof the first half of the fourteenth century. His vision was shaped by Giotto, with whom he may have trained,and his paintings combine a clarityof structure associatedwith fresco painting with the jewel-like color and refinedexecution of a miniaturist. In the I33os and I34os his busy

workshop produced numerous portablealtarpieces for privatedevotion. Although these can be somewhat repetitive,his work from the I320S is of an unfailingly high order.

A narrativeartistof exquisite sensibilities, Daddi was among the most important

This picture-one wing of a diptych that doubtless included a companion painting of

This rareunderdrawingfor an unfinished manuscriptillumination sheds light on the working practicesof Lorenzo Monaco, the Camaldolite monk who became the greatest and most versatilelate Gothic painter in Florence. It was produced at a time when most Italian studies were made on the same surfaceas the actual finished work. Tendrils of ornamentalfoliage, with exquisitelynaturalisticflowerscarefullyconstructedover ruled auxiliarylines, emanate from a historiated initial D. The elongated figures,set within the elaboratepictorialspace of the initial, are modeled atmosphericallywith wash. This and a relateddrawing, Christ's EntryintoJerusalem(now in the Biblioteca Apostolica Vaticana), originallyformed a single page in the famous Santa Mariadegli Angeli choir books-already regardedin the Renaissanceas the crowning achievementof the art of illumination in fifteenth-century Florence.The page pertainedto the sung liturgy of the Mass for Palm Sunday. Here, the figuralscene within the initial was inspiredby the recommendedreadingfor the feast (Matthew 2I:I2). The presenceof children at right alludes to the versesthat immediatelyfollow Christ'sentry into the

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s temple,/

__-_. z fi _________-_

_____ __ _. -________--_-_ his

^^^^ of the pr^he theifulf^llmen

j::^^:*' ^JThe^^^ :-?~~~~~~~~~~~ B~'~

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ProMt .]2sllngMan^^y^~ in4 Standing??^ J"2 Cai^ ;St.~ Piurchse, f aolorat

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tion of contours is expressive.To accentuate the depthof the shadows in the cloak's folds, scratchedin some contourswith the stylus. drawingwas preparatoryfor the figure of an onlooker at the extreme right in panel painting TheDiscoveryof the Cup in ' Sack(GalleriaBorghese, Rome), ^/^%~Benlamin based on an episode told in Genesis 44:12-13. That work was part of a famous narrative cycle on the life of the virtuousJoseph,which, along with panelsby FrancescoGranacci, Andrea del Sarto, and Pontormo, decorated maritalbedchamberof Pierfrancesco Borgheriniand his wife, MargheritaAcciaiuoli. Commissioned by the groom's fatherand probably executed between 1515and eis8, the Tpanelsfor the Borgherinibedroom rank the canonical

ieces of early CCB

ari, :ml

his the sion of f4a4t-e

and

Purchase, Lila Acheson Wallace, Mr. and

Hewitt Wiener Foundation Gifth mrts,999a

the youthlin of this delicate study (probablya Mrs. David M. Tobey, and Jessie Price wears the street assistant) workshop G. Sperling andclothes of Gifts, Harry Fund,

early-sixteenth-centuryFlorence:a large cap

a shirt with puffy sleeves, tight (berrettone), breeches,and an enveloping cloak, which amplifiesthe volume of his body. Bachiacca articulatedthe figure and surroundingspace 23

Siren Italian (probablyRome),ca. 1570-90 Bronze H. 32 in. (81.3 cm)

Rogers and Edith Perry Chapman Funds, 2000

6 2000ooo.

This bewitching, just-under-lifesizefigure of a siren in the guise of a beautiful nude woman wearinga crown-her hair spread over her shouldersand her hands grasping twin fish tails-immediately evokes the image of the emblematic siren of the Colonna family, one of the two most powerful feudal clans in medieval and RenaissanceRome. Given its largesize, this bronze example may originallyhave been made for the Colonna Palacein Rome. In the seventeenth century it was probablyinherited by Anna Colonna, wife of Taddeo Barberini.If this is the case, the figure may be the "sirenof bronzewith a

crown on her head"inventoriedin 1644 in the BarberiniPalace. A poetic, mythical creatureinspired by ancient statuary,this siren conveys a striking vitality through the naturalismof her masterful modeling. The harmoniousprofile of her open forms and the treatmentof her abundant, wet, tousled hair recallthe rhythmical poses and details of the four bronzeyouths of Rome's renowned Fontana delle Tartarughe, createdin I585by the FlorentineTaddeo Landini.One of the most gifted sculptorsof the day, he may well be the authorof this extraordinaryfigure. OR

Collar Platefor a Helmet of Henry III of France French(probablyParis), ca. I570 Steel W. (maximum)Io04 in. (25.9 cm) Gift of Prescott R. Andrews Jr., I999 I999.448

Design for a Sword Hilt German(probablyNuremberg),ca. I540 Pen, ink, and wash onpaper 82 X Ix 3/8in. (21.5 x 29 cm)

Rogers Fund, zooo 2000.27

Designs for Renaissanceswords are exceptionally rare,although notable examplesby such renowned artistsas Hans Holbein the Younger for the court of Henry VIII and Giulio Romano for the duke of Mantua are preserved.Previouslyunrecorded,our newly acquireddrawingis a significantaddition to this small corpus. The style and iconography point to Nuremberg and possibly to one of that city's most celebratedartists,Peter F16tner(ca. I486-I546). The design is novel and has strong Italianatefeatures,hallmarks of Flotner'soeuvre. The pommel was conceived in the round with four female heads beneath an imperialcrown, while a twoheaded imperialeagle is incorporatedinto the classicaltrophy of arms that embellishesthe grip. The asymmetricalguard has a shieldbearingdemi-lion at one end and a Janus head at the other. The trophies recallone of Flotner'swoodcuts for a daggergrip, whereasthe crowned pommel is virtuallyidentical to one in the

design for a sword of EmperorCharlesV that is dated I544 and ascribedto the Nuremberg goldsmithWenzelJamnitzer(50o8-1585).Our drawing is by a differenthand and is probably slightly earlierin date, but the imperial imagerysuggeststhat it, too, was createdfor CharlesV.

Detached elements of armorarevalued by specialistsfor their individualaestheticqualities as well as for the evidencethey provideof the originalform and decorationof the complete harness.This plate servedas the lowermost front collarlame of a helmet embossed in low reliefwith grotesqueornamentin the style of the Parisiangoldsmith-engraver Etienne Delaune (15I8/I9-I583).The helmet, now lackingits collar,is preservedin the Musee de 1'Armee,Paris,and originallyformed partof a lost paradearmorthat was made about I570 for the futureHenry III of France (155I-1589,r. I574-89). The appearanceof the harness,which was coveredwith foliatescrolls inhabitedby allegoricalfigures,lions, snakes, and fantasticbeasts,is recordedin a contemporaryportraitof the young prince. Priorto ascendingthe Frenchthrone, Henry ruled brieflyas king of Poland (1572-74),where he appearsto have left behind his splendidarmor. Our collarplate and presumablythe Parishelmet were preservedin the armoryof powerful Polishmagnates,the Radziwills,in theircastle at Nieswicz.The collarplatewas givenby Prince AlbrechtRadziwillto StephenV. Grancsay,the Metropolitan'sassistantcuratorof Armsand Armor,in 1927and was acquiredby the donor from Grancsaya half centurylater. SWP

JacopoBassano(Jacopoda Ponte) Italian, I5o0/18-159 2

Studiesfor a Flagellation Ca. I565-68

Pastel,with red chalk,on light brown(formerly blue) laidpaper Ir x 9/2 in. (38.2 x 24.2

cm)

inflections of tone, and then worked in the colors. He pressedhard on the paper to create some accents of highly saturatedhue. Pastel had not become a mainstream medium for Italian artistsuntil the I53os to I540s, when Bassanomore or less emerged as its undisputed master. CCB

Purchase, Lila Acheson Wallace Gift, I999 I999.390

The poignantfiguresin this largesheetwere basedon the live model and servedas studies for a paintingof 1565-68,TheFlagellationof Christ(Galleriedell'Accademia, Venice).The upperportionof the drawingportraysa halfdressedman beingviolentlyscourged.His thighsand high brownboots arebroadlysuggested.Sketchierstill, the headand shouldersof view. Christareseen below in a three-quarter a who led Bassano, prolificworkshop employing his family, was the most innovative Venetian draftsmanof the latersixteenth century. He was famous for his naturalism and for his daringlydirect and painterly pastel technique, which was not unlike the way he wielded the brush on canvas.This maturework, among his most monumental survivingdrawings,attains an extraordinary grandeurof expression.He first outlined the generalforms of the two figureswith long, jagged strokesof black pastel, varyingthe

Ludovico Carracci Italian (Bolognese),555-1619

The Lamentation Ca. 1582

Oil on canvas 372 x 68 in. (95. x 172.7 cm)

Purchase, Lila Acheson Wallace and The Annenberg Foundation Gifts; Harris Brisbane Dick, Rogers, and Gwynne Andrews Funds; Pat and John Rosenwald, Mr. and Mrs. Mark Fisch, and Jon and BarbaraLandau Gifts; Gift of Mortimer D. Sackler, Theresa Sackler and Family; and Victor Wilbour Memorial, Marquand, The Alfred N. Punnett Endowment, and Charles B. Curtis Funds, zooo 2000.68

This astonishingpicture of about 1582-as direct in its emotional impact as in its painterlytechnique-is a pillar of the reform of painting initiated in Bologna by the Carracci,Ludovicoand his cousinsAnnibale (I560-1609)

and Agostino (I557-I602). Based

on a returnto nature and a study of the great mastersof the Renaissancein northern Italy and Venice, the Carraccireformwould revolutionizeEuropeanpaintingand lay the groundworkfor Baroqueart.

The figure of Christ has been taken from a posed model and is painted with an almost shocking lack of idealization.His right hand is distorted, as though it had been broken in the processof taking him down from the cross. The Virgin, unconscious with grief, is shown as plain and middle-aged ratherthan conventionallyyoung and beautiful.Ludovico insistson an emotionallycharged,even dissonant, imageand has used light to enhancethe effectof a physicallypresentevent:diffuse

aroundChrist'sfeet, it fallswith increasing strengthon his chest and head. Painted for AlessandroTanari, papal treasurerin Bologna, TheLamentationremained with his descendantsuntil about I820-30. All traceof it was then lost until last year, when it reappearedat auction. It is now a keystone of the Metropolitan'sexpandingand distinguished collection of Baroquepaintings. KC

Hendrick Goltzius Netherlandish, 1558-1617

After Bartholomeus Spranger Netherlandish, 1546-1 61I

The Feast of the Gods at the Marriage of Cupid and Psyche I587

Engraving,printedfrom threeplates on three attachedsheets;secondstateoffour OverallI6 x 335s in. (43 x 85.4 cm) Purchase, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, Martha Feltenstein Gift, and A. Hyatt Mayor Purchase Fund, Marjorie Phelps Starr Bequest, zooo 2000. I3

Comprising about seventy figures,this print was the largestand most famous of the Haarlemengraver'scollaborationswith Spranger,court painter to EmperorRudolf II in Prague.Its bravuradisplayof elegant,twisting and turning nudes placed among dense, serpentinebillows of clouds was of great importancein disseminatingthroughout Europe Spranger'sManneristaestheticand Goltzius'svirtuoso engravingstyle. As is typical of Manneristworks, the main subjectsof the scene are relegatedto the background;the small figuresof Cupid, with large,jutting wings, and his mortalbride,

Psyche,who is being admittedto the ranksof the gods, can be found at the head of the table just right of center.Divine wedding guests surroundthe couple. Toward the left Bacchus poursdrinkswhile Ceres,to the left of him

with her horn of plenty, directsthe arrivalof the food. Apollo and the Muses,on the right, serenadethe company. Spranger'spreparatory drawingfor the print is preservedin the Rijksmuseum,Amsterdam. NMO

Hendrick Goltzius Netherlandish, 1558-1617

The Adoration of the Shepherds Ca. i600-I60o Black,yellow, and redchalk,accentedin pen and brownink 8 8 x 8%2in. (20.7 x 21.6 cm) The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1999 1999.I67

common visual juxtaposition in the art of the period. This delicatelyfinished composition is signed with the artist'smonogram, HG (besidefecit at lower right), and dates from about I6oo to I605, to judge from the softness

of his chalk technique.

MCP

Martin Freminet French, I567-1619

As told in the Gospel of Saint Luke (2:8-I6), an angel announced to the shepherdsthe birth of the Messiah, and they went to Bethlehem to adore him. This drawing'scircular format fits the theme perfectly,because it dictates that Mary and the shepherdsbe tightly grouped around the infant and brings an intimacy to the scene. The close relationship of the protagonistsis furtherenhanced by the four figuresin the background,who seem to have no idea of the important event that is unfolding in the immediate vicinity. The contrastof the Virgin's sinuous, courtly beauty with the nearlycaricatural depiction of the onlooking shepherdswas a

The Annunciation Ca. i6io-i5 Blackchalk,pen and brownink, brushand gray wash,heightenedwith white 7 5 x I 3/8 in. (9.3

x 28.8 cm)

Purchase, Gift from the family of Howard Jay Barnet, in his memory, zooo 2000.20

The decoration of the Chapel of the Trinity at the Chateau of Fontainebleauoccupied the senior artistsof the French court for manyyears.Followingthe deathsof Toussaint Dubreuil in 1602 and Etienne Dumonstier II in I603, Henry IV summoned Freminet back

from Italy to take over the project. This recentlydiscoveredsheet was an early idea for the lunette depicting the Annunciation above the high altar. Typical of Freminet'sMannerist-revival style is the inverted composition, in which the central figuresof the Virgin and the archangelGabrielare calm and diminutive in the middle ground while the foreground cornersof the lunette are densely packed with subsidiaryfiguresin poses of elegant contortion. Freminet'smuscular,Michelangelesquestyle had a strong impact on the development of the second school of Fontainebleau. A large presentationdrawingby Freminet for the high altar (Musee du Louvre, Paris) shows the lunette as it was actuallypainted, with some changes from the Metropolitan's study; most notably, Gabrielwas given a standing pose. The altarwas ultimately built to a differentdesign, however, beginning fourteen yearsafter Freminet'sdeath, and in the end it obscured a largeportion of the Annunciation fresco. PS

Peter Paul Rubens Flemish, I577-1640

Portrait of the Jesuit Nicolas Trigault in Chinese Costume I617

Black, red,and white chalk;bluepastel; pen and brownink 17 2 x 93 in. (44.6x 24.8 cm) Purchase, Carl Selden Trust, several members of The Chairman's Council, Gail and Parker Gilbert, and Lila Acheson Wallace Gifts, 1999 1999.222

Rubens drew this monumental yet sensitive portraitwhen Nicolas Trigault (1577-I628), a Jesuitmissionary,was visitingAntwerpin 1617. Trigaulthad lived in China since i6io but returnedto Europefor a four-yearfund-raising tour on behalfof the Jesuitmissionsin the East.Throughouthis careerRubensaccepted commissionsfrom the Societyof Jesus,providing the relativelynew and revolutionaryorder with altarpieces,book illustrations,frontispieces, and a famous cycle of ceiling paintings for their churchin Antwerp. In Trigault'stime the number of Jesuits living in China had reachedtwenty, but their position was precarious.The missionaries assumed the role of learnedscholarsamong the mandarins;in order to achieve their goals and obtain official recognition for their Catholic faith, they learnedthe Chinese language, adopted Chinese names, and emulated the local mannersand dress.The beardand costume, an amalgamof Koreanhat and Chinese robe, suited that goal. Rubens captured beautifullythe cut, texture,and weight of the robe.Trigaultdied in Nanking (Nanjing) in I628. MCP

Claude Lorrain (Claude Gellee) French, I6o4/5?-1682

The Round Tower Ruptured to Reveal the Statue of the King of the Romans I637

Etching 758 x 53

in. (19.4 x 13.7 cm)

Purchase, Marianne and Paul Gourary Gift, 1999 1999.361

Although he was born in the duchy of Lorraineand spent his entire maturityin 30

Roelandt Savery Netherlandish,1576-1639 Study of a Tree Trunk Graphite,charcoaldippedin oil, brushand gray wash, red chalk 12 x 15/2 in. (3o.6x 39.4 cm)

Purchase, Anonymous Gift, in memory of Frits Markus; Harris Brisbane Dick Fund, and Joseph Pulitzer Bequest, 1999 1999.223

Rome, Claude is considered,along with Poussin, one of the two founders of the French school of painting. He also made a body of prints, their subjects,for the most part, parallelto those of his paintings:pastoral, biblical, and historicalthemes set in expansive,light-filled landscapes.An exception is the raregroup of eleven etchings documenting the fireworksdisplayheld in Rome in 1637 to mark the coronation of FerdinandIII as King of the Romans within the Holy Roman Empire.As was the case for many Baroquepageantsand festivals,complex ephemeralstructureswere designed with

Both dead and alive, a mighty, uprooted tree trunk,togetherwith a tangleof stumps,roots, and branches,is the sole subjectof this drawing. Savery,like severalother Netherlandish artistsaround I6oo, was fascinatedby such highly chargedanimations of naturalforms. Saverymight have encountered this tree during his extended journey to the Swiss and Tyrolean Alps, from I6o6 to I6o8, on which he fulfilled the order of Holy Roman EmperorRudolf II (r. I576-I612) "to search for rarewonders of nature."This sheet corresponds with the chalk-and-washstudies from that trip; it unites a naturalist'sattentive eye with the restlessenergy of late Mannerist art. Saverydeveloped his initial graphitesketch with breathtakingassurance,alternatinglayers of colored washes with charcoal,which he dipped in oil and applied in strokesboth hatched and crosshatched,narrowand broad, dark and light. MCP

programmaticimagery. This print representsthe climax of the display:a round tower, having exploded and burned, collapsesto revealan equestrian statue of the new ruler.A segment of the tower wall is seen in the processof falling, amid a shower of fireworks.The image was achieved through the reworkingof an earlier state. By burnishingareasand rebiting the plate in severalstages, Claude imbued the print with a sense of life and movement rarelyfound in his oeuvre. PS

EUROPE

1 700

After a Model by Juste-Aurele Meissonnier French(Paris),I695-I750 Pair of Candlesticks Paris, ca. I730-50 Gilt bronze

-1900

The model was also made in silver. It was used for a three-branchcandelabra,partof a famoussilverserviceacquiredby the duke of Kingstonin I737,which is now in the Musee WR des Arts Decoratifs,Paris.

H. (each) 2 ' in. (30.8 cm)

Gift of Mrs. Charles Wrightsman, 1999 1999.370o.a, b; .2a, b

Meissonnierwas an architect,painter,silversmith, and one of the leadingRococo designers, de with the position of architecte-dessinateur la chambreet du cabinetdu roi.His boldly asymmetricalmodel for these candlesticks was recordedin three drawingsthat were then engravedby GabrielHuquier and published in DousiemelivredesoeuvresdeJ. A. Meissonnier,Livrede chandeliersde sculpture en argent(1728;pls. 73-75). The design became widely popular and was often executed in gilt bronze. Examplesof the highest quality, such as the present pair, were probablysupervisedby Meissonnierhimself.

Alexander Campbell Scottish,d. 1790 Pair of Flintlock Pistols Doune, ca. I750-70 Steeland silver L. (each)I 3/ in. (29.8 cm) Gift of Edward Coe Embury Jr., Philip Aymar Embury, and Dorothy Embury Staats, in memory of Aymar Embury II and his wife Jane Embury Benepe, 200ooo 2000.194.1,

The Highland warriorsof Scotland carried distinctive arms of novel design. Their pistols, unlike those made elsewherein Britain, were constructedentirelyfrom metal, usually

steel, and were engravedand often silverinlaid with geometric and foliate ornament of Celtic inspiration.This pair, signed by the renowned gunmakerCampbell, of Doune, Perthshire,is a classicexample of the type. Among the defining featuresare the scrolled "ram's-horn"butts, button-shapedtriggers (without triggerguards)and prickers(to clean the touchhole), decorativepierced rosettes behind the head of the cock, and belt hooks mounted on the side opposite the locks. Our pistols are also noteworthy for their Americanassociation.The grips are inlaid with silverplaques inscribed"AbrmB. Embury/ New York 1830," identifying them as having belonged to a member of a distinguished New York family. The pistols' unusuallycrisp condition testifies to their preservationas treasuredheirlooms for almost two centuries. SWP

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

Such sheets would have been considered finished works, as suggestedby Liotard's practiceof applying colored wash on areasof the verso correspondingto hair, flesh, and clothing. Presumably,this was intended to enhance subtly the tonal variationson the recto of the sheet. PS

Jean-Etienne Liotard Swiss, 1702-1789

Portrait of a Man Red and blackchalk 92 x 7Y8 in. (24. x _r8.7cm) Gift of Mrs. Charles Wrightsman, 2000zooo 200ooo0.7

Bornin Genevaandlargelyself-taught, Liotardspent a great part of his life traveling, capturingthe likenessesof Europe'supper classeswith a steady and penetratingeye. His portraits,typicallyexecuted in chalk or pastel, exhibit a quasi-scientificclarityof observation more suggestiveof Enlightenment curiosity than of Rococo artifice. In the present sheet attention is focused on the face, where a soft network of hatching in red and black chalk gently marksthe topographyof the sitter's featuresas revealed by the fall of light. The thoughtful yet formal pose, with eyes gazingevenly into the distance, conveys a calm authority.The identity of this handsome and self-assuredman cannot be stated with certainty,though a tradition within the previousowner's recordsidentified him as a memberof the Andre family,bankers in Geneva and Paris.

FranSois-AndreVincent French, 1746-1816

Study for "Boreas Abducting Oreithyia" Ca. 1782 Red, black,and white chalk,with stumping 20

x 51/8 in. (50.8 x 39.I cm)

Inscribed(lowerright,in pen and brownink): fait par Vincent, membre de l'institut Purchase, David T. Schiff Gift, and Harry G. Sperling and Louis V. Bell Funds, zooo 2000.37

This forceful sheet is a study for the central pose of Vincent's reception piece, the painting he submitted to the Academie Royale in 1782 in orderto gain the post of academician (Musee du Louvre, Paris;on deposit in Chambery).The abduction is describedin Ovid's Metamorphoses (6.682-707). Boreas, the north wind, enamoredof the maiden Oreithyia, daughterof King Erechtheusof Athens, becomes angrywhen his gentle entreatiesfail and decides to resortinstead to his characteristicbrute force. The subjectwas a common one among Rococo artists;it had been treatedby Boucher, Deshays, Natoire, and Pierre,among others.

Vincent, however,was alone in evoking the stormy atmosphereand violence found in Ovid's version of the story. Using the trois crayonstechnique (which combines red, white, and black chalk), Vincent set forth the dramaticcontrasthe envisioned for the painting. The figuresare drawn essentially in red chalk, with highlights in white that suggest a stark,milky light falling on Oreithyia;stumping in black chalk indicates shadow and the darksky beyond. The detail of Oreithyia'sleft hand, emblematic of her resistance,is studied in the lower part of the sheet with great clarity,as if it were carvedin marble. PS

Pierre-Paul Prud'hon French, I758-1823

Andromache andAstyanax Ca. 1798

Pen and gray ink, with brushand brownwash, overtracesof blackchalk,on laidpaper I 34 x 85/8in. (29.8 x 21.9 cm)

Harry G. Sperling Fund,

1999

9999.348

Prud'hon depicted Andromacheseveral times, perhapsmost notably in the Metropolitan's painting Andromacheand Astyanax (acc. no. 25.IO.I4), which was unfinished at the time of his death but completed soon afterwardby his student Boisfremont.The Museum's new drawingwas probablyamong the earliestof Prud'hon'streatmentsof the scene in which the heroine of Racine'sdrama (basedon Greek legend) discoversin her young son's face the visageof her dead spouse, Hector. At that moment she declares,"C'est toi, cher epoux, que j'embrasse"(It is you, dear husband, whom I embrace). Although he is better known for works in black and white chalk, in this instance Prud'hon drew in pen and ink. He prepared the drawingto be engravedas an illustration for Didot's lavish edition of Racine, published between I803 and I805. Prud'hon proudly displayedthe sheet at the Salon of 1798 but lost the Didot commission nonetheless to the painter Girodet, largelyowing to the interventionof the Neoclassicist masterDavid, who vigorouslypromoted the interestsof his own students. CI

and skiff in a landscape of operatic grandeur. Alpine mountains, Roman ruins, and gigantic tropical treesdwarf the busy muscular men in the foreground,but their labor imparts energy to everycornerof the scene, as does the artist'sbrisk and lavish penwork. Other sketches by Gericault now in the Mus&edu Louvre, Paris,and the Mus&e Bonnat, Bayonne, show tiny figuresdragging boats and are probablyconnected with this project. Two more drawings,in the Fogg Art Museum, Cambridge,Massachusetts,and the Mus&edes Beaux-Arts,Dijon, are also related.The Metropolitan'swatercolor,however, is the most elaboratelyworked of the group and is closest to the finished painting. CI

Jean-Louis-Andre-Theodore Gericault French,I71-I824 Landscape with Fishermen i8i8 Graphite,pen and brownink, brushand brownand blue wash,on laidpaper 83/4 X 8/8 in. (22.2 X 20.6 cm) Purchase, Fletcher Fund, David T. Schiff Gift, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, and Harry G. Sperling Fund, zooo 2000ooo.36 Monumental despite its relativelysmall size, this extraordinarilyrich drawing is perhaps the finest of Gericault'sregrettablyfew watercolor landscapes.It is a preparatorystudy for the paintingMorning:Landscape withFishermen (Neue Pinakothek,Munich) and is thus connected to the Museum's mural panel Evening:Landscapewith an Aqueduct(acc. no. I989g.83),another in the suite of three scenes from I8I8 called The Timesof Day. To representmorning Gericaultimagined fishermenat sunrise,hauling in their nets

Caspar David Friedrich German, 1774-1840

Two Men Contemplating the Moon Ca. 1825-30

Oil on canvas 3 3/4x 7 '4 in. (4.9 x 43.8 cm)

Wrightsman Fund, ooo2000 2000.5I

Friedrichis universallyacclaimedas Germany's greatestRomantic painter, but his pictures are rarelyseen outside his native country. This fine canvas,executed at midcareer,is the first of his works to enter the Museum's collection. It is the second of three memorable paintings that show pensive figurescontemplating the rising moon; the other variants are at Dresden and Berlin. In this version Friedrichdepicted himself-wearing the old-fashionedgarb adopted

by those opposed to Metternich'spolicieswith his favoritestudent,August Heinrich (I794-I822), who had recentlydied while on his way to Italy. It is thought that Friedrich painted this picture in remembranceof their evening walks together in the mountains outside Dresden. In the vast literatureon Friedrich,the fir, the gnarledoak, and the rising moon have been given numerous interpretations,rooted in Christianityor, alternatively,in paganism.

GT/SR

Gustave Le Gray French, I820-I882

Oak and Rocks,Forest of Fontainebleau I849-52

Saltedpaperprintfom paper negative 9Ys x 14 in. (25.2 x 35.7cm)

Purchase, Jennifer and Joseph Duke and Lila Acheson Wallace Gifts, 1999 2000.I3

The Forest of Fontainebleau-forty thousand acrescrisscrossedby footpaths and dotted with ancient oaks and anthropomorphic boulders-attracted a new generation of paintersin the second quarterof the nineteenth century. Corot, Daubigny, Theodore Rousseau,and others found in the lightdappled woods south of Parisboth a spiritual antidote for the tensions of modern urban life and a perfect subject for exploring the physical and expressivepropertiesof their medium, free of academicstrictures.Working alongside these pre-Impressionistpainters and testing the limits of another medium was Le Gray, a young artistwho had recently traded in his paint box and easel for a camera and tripod.

In this earlywork,a uniqueprintformerlyin the famedJammescollection,Paris, LeGraysoughtto conveythe sensuousexperienceof the sylvaninterior.Ratherthan providingan inventoryof precisedetails,Le Gray'swaxedpapernegative(a processhe world theobservable invented)translated intoa painterly evocationof light,texture, andatmosphere. Here,the lacynetworkof branches,patchesof lichen,andsparkling vegetationarewoveninto a tapestryof allover patterning-likea JacksonPollockpainting-which mergessolidandvoid,substance andshadow. MD

Dominique Antony Porthaux French(Paris),ca. I751-I839

Bassoon Ca. 18io Maple;originalcasewith leathercoverand wool lining H. (assembled)51in. (129.5 cm) Purchase, Clara Mertens Bequest, in memory of Andre Mertens, I999 I999.307a,

Franz Hubert Doreck German(b. Austria),masterin 1822d. ca. i866

Cup and Coverwith Original Leather Case Mannheim, ca.

1822-30

Gilt silver;tooled,partiallygilded leather H. io Y8in. (27 cm) Purchase, Friends of European Sculpture and Decorative Arts Gifts, zooo 2000. 6ia-d

Doreck arrivedin Mannheim in 1821from Brunn, Austria.A label in the travelingcase of our cup states that he establisheda workshop as goldsmith and jewelerin the town's center, at "No. 5 / in der breiten Strasse." Here, the master took a simple Neoclassical barrelform and enlivened it with a playful contrastof decorativedetails and surface effects, such as the light-catchinggadroons. The perfectlypreservedcup may have been a present to a physician, as indicated by the applied reliefsof Hygeia, the Greek goddess of health, and her father,Asclepius, the god of medicine and healing. It is part of a long evolution of presentationcups from ancient times to the sport and racingtrophiesof today. The vessel'soutline is distinctly German 38

andconveysthe eleganceof inventionsby Karl Friedrich Schinkel (I78I-I84I), the most

influential architectand designerin earlynineteenth-centuryGermany. Other features, however, notably the figuralapplications,the cone finial, and the leaf-friezedecoration, recallthe French Empire style.

In I787, five yearsafter Porthauxwent into business, the composer and renowned bassoonist of his time, Etienne Ozi, furthered the maker'scareerby recommendinghis instrumentsin an instruction book entitled Methodenouvelleet raisonneepour le basson. This example featuressix keys, including a speakerkey, which came into use soon after I800 to facilitatethe "speaking"of the highest notes. Its bearingarrangementis unusual in that the keys are tucked over an oblong socket in the wood instead of having metal capsules.The bassoon was acquiredwith its original extrawing joint (for lower pitch) and original bocal (curvedmetal tube), as well as two boxes of period reeds. The survivalof such a complete set in its original case is rare. Porthaux'sbassoon foreshadowedwhat later in the nineteenth century came to be called the French, as opposed to the German, bassoon, featuringa colorful, slender, and slightly nasal sound; long tenons; characteristic key flaps;and a particularturning profile of the bell section. HH

Jean-Louis Antoine French(Paris),I788-186I Valve Horn Ca. 1850-55

Brass;originalwoodencasewith moroccolining H. (assembled)163 in. (42.6 cm);diam. (bell) 7in. (17.8cm) Purchase, Clara Mertens Bequest, in memory of Andre Mertens, I999 999g.304a-h

This horn is a so-called corsolo,pitched in G and equipped with internalcrooks for the lower keys down to C. As the name indicates, it was designed to play solos. It representsthe firstFrenchversionof the valvehorn, invented by Heinrich Stolzel in Germany in I814. In 1827 Antoine worked with Pierre-JosephEmile Meifred, horn playerfor the Theatre Italien and the Opera in Paris,to improve the German model. None of the earlyexamples have survived,but the corMeifred,as this horn was also dubbed in France,continued to be manufacturedthere as late as the I85os. The horn was executed in "high pitch," which was just beginning to be supersededby the "low pitch" standardof 435 hertz-soon universal.Thus the instrumentwas little

played and has remained in excellent condition. Antoine, who in I825had become proprietor of the renowned instrument-making firm of Jean Hilaire Halari-Aste,signed the

Jean-Martin Renaud

horn on the bell "HALARI-ANTOINE BREVETE

Wax on slate 43/4 x 62 in. (12.1 x 16.5 cm) Signed(lowerleft):J M Renaud Purchase, Gift of Mrs. Benjamin Moore, by exchange, and Rogers Fund, I999

RUE MAZARINE A PARIS.

French, 1746-1821

Family Portrait Ca. I790-1810

I999.40I

Renaud was a prolific modeler of small portraitsand scenes in wax and clay, which he exhibited regularlyat the ParisSalon. Here, he vies with his Neoclassical contemporaries in painting by presentinga tender vignette, using hints of costume and posture to define the generations:the burly man at right, in a fashionablehigh collar, has dismounted, still wearing his spurs, to be greeted by his wife, their four children, and an older man-his fatheror hers, or perhapsa tutor. Bewigged and taking a pinch of snuff, the latter adheres to a bygone style of life, which Renaud, a diehard royalist,surelysavored. The modeling of wax in relief on a slate ground had been a preliminarytechnique of medalistssince the Renaissance,but Renaud used it as an end in itself, confident that the pleasing contrastsof color and texture achieved in this miniaturewould cause it to be framed and treasuredas a keepsake. JDD

Charles Toft (designer and potter) English, 1832-1909

Minton and Company (manufacturer) est.1796 Stoke-on-Trent,Staffordshire,

Potpourri Lead-glazedwhite earthenware H. 3 /8in. (34 cm) Signed:C. Toft; marked:Minton & Co., 1871 Purchase, Gifts of Mr. and Mrs. Luke Vincent Lockwood, Sidney H. and Helen M. Witty, Mrs. Roger Starr and Julien A. Garbat, Louise Rorimer Dushkin and James J. Rorimer, by exchange, and funds from various donors, zooo

almostuniversally recognizedashavingbeen at Saint-Porchaire, a villagein Poitou. This secondtechniqueconsistedof painting on the surfaceof thewhitebodywith coloredstains,whichwerethengivenbrillianceby a clearleadglaze.Whilethe shape of thispotpourriis orientalizing, the symmetricaldecorationis takenwithlittleadaptation fromSaint-Porchaire originals,includingthe H around the foot, a referenceto repeated the kingfoundon numerouspiecesof the earlierperiod. JMCN

2000.I44a, b

Froment-Meurice Franqois-Desire In the mid-Victorianera there was great interestin the decorativestyles of the sixteenth century,which is reflectedin many fields and even in women's fashions. The leading firm of Mintons made copies of the raresixteenth-centuryFrench court ceramics then known as "Henri II"ware. Such copies were first produced by Leon Arnoux, the factory'sFrenchart director.In the late i86os Toft, a member of a line of prominent seventeenth-centurypotters, turned out exact reproductionsat Mintons of sixteenthcentury models, with darkclay ornament inlaid on a white body-the equivalentof niello on silver-and also larger,original works. The latter,very much to contemporarytaste in form, utilized a second technique practicedat the "Henri II"workshop, now 40

French, I802-1855

Ewer and Basin Paris,ca.i85o Giltsilver H. (ewer)i5 in. (38.1 cm); 1. (basin)i83/4in. (47.6 cm)

suavelycurvedprofilesspeakforthemselves, themthroughthe useof a single emphasizing allovertrellisandflower-head pattern, in to scale and rhythm eachchange adjusted andnew of surface.Combiningtraditional introduced Froment-Meurice techniques, bothchromaticandtexturalvarietythrough chasing,engraving,andelectroplated gilding in two colors-yellow andgreenishwhite gold-on a groundthathadbeenpartly polishedandpartlyacidetched. Froment-Meurice frequentlyrepeated his models,andthisensembleis one of three knownversions.It wasperhapsanexperimentaldesignmadeforstock,astheunidentified ciphersetintothehandleis of a differentcolor gold;thissuggeststhatthecipherwasinserted at thetimeof purchase. CLC

Purchase,Friendsof EuropeanSculpture

Table German(Berlin,RoyalPorcelain

and Decorative Arts Gifts, 1999

Manufactory), 1834

1999.2I7.1,

Froment-Meurice, amongthemostrenowned silversmiths of mid-nineteenth-century Paris, wasa historicistwhoseworkembraced andIslamicstyles, medieval,Renaissance, whichhe chargedwith an abundanceof sculpturalornament.Here,in a radicaldeparturebothfromhis own mannerandfrom the prevailing tasteof the period,he let the

Hard-pasteporcelainand gilt bronze H. 35Y in. (89.9 cm) Wrightsman Fund, zooo 2000. I89

By about 1832new production methods and a broad range of new colors enabled Berlin's porcelainfactoryto createobjects of exceptional size and brilliance.Even so, tables made entirelyof porcelainare rare,and this is

the only Berlin example known to survive. The monochromatic pedestal, its refinedgilding simulating metalwork,is composed of porcelainsections slipped over a thin metal rod and providesstately support for the dazzling polychromy of the top. Within a central medallion Apollo driveshis chariot amid the constellations,a scene framedby signs of

the zodiac.Encirclingthisaretwo luxuriant wreaths,the innerof fruitsandvegetables andthe outerof glossyleavesalivewith darting insects.The entiretablemayhavebeen

camefromthePrussian kingFrederick WilliamIII,whosepatronageof the royal wasextensive.We arenot cermanufactory tainthathe commissionedthistable,but on

designedby KarlFriedrichSchinkel(I78I-184I),

June I, I835,it was recordedas a gift from

the versatilearchitectwho createdboth andporcelain fortheBerlinfactory. furniture The impetusforsuchvirtuosopieces

of him to GrandDuchessHelenaPavlovna Russia (I807-I873).

CLC

Eugene Boudin French, I824-1898

PrincessPauline Metternichon the Beach Ca. 1865-67

Oil on cardboard,laid down onpanel II 5 x 9X4 in. (29.5 x 23.5 cm)

The Walter H. and Leonore Annenberg Collection, Partial Gift of Walter H. and Leonore Annenberg, 1999 I999.288. i

PrincessMetternich (Pauline, Countess Sandor;I836-I921), the wife of the Austrian ambassadorto the court of Napoleon III, called herself the "best-dressedmonkey in Paris."Here, Boudin takes her at her word, devoting a scrapof board to capturingthe effect of her voluminous skirtsbillowing in the gusts of the Norman shore. Boudin achievedsuccesswith his scenes of fashionablydressedfamiliestakingthe airat Trouvilleand other beach resorts,and apart from EmpressEugenie, no woman would have arousedmore intereston the beach than PrincessMetternich. A close friend of the empress,she became the face of fashion in Second Empire Paris.According to the acidtongued Goncourt brothers,she was ubiquitous: "Her,alwaysher!In the street,at the Casino, at Trouville,at Deauville,on foot, in a carriage,on the beach,at children'sparties, at ballsfor importantpeople, alwaysand everywhere,this monster ... who has only the elegancethat she can buy from the dressmaker for one hundredthousandfrancsa year." GT

Jean-Baptiste-Camille Corot French, 1796-I875

The CuriousLittle Girl Ca. 1860-64

Oil on wood 6Y4x i 4 in. (41.3 X 28.6 cm)

The Walter H. and Leonore Annenberg Collection, Partial Gift of Walter H. and Leonore Annenberg, 1999 1999.288.2

In 188I, six yearsafterCorot's death, Vincent van Gogh observed:"Corot'sfiguresare not as well known as his landscapes,but it cannot

be deniedthathe hasdonethem.Besides, Corotmodeledeverytreetrunkwith the samedevotionandloveas if it werea figure." 42

Perhapsit would be better to say that Corot painted people with the same devotion as he gave to trees, for in his figuresone also finds the quiet absorptionand unaffectedgracewhat the French critics called naivete-with which he imbued his landscapes.Although Corot had alwaysmade figure studies, at the end of his life he painted a large number of genre scenes destined for eagercollectors. His friends recalledthat he looked forward to them as a refreshingholiday from routine. Here, the girl closely resemblesEmma Dobigny, who later became one of his favoritemodels. Like most of Corot'sfigurepaintings,this work was not exhibitedduringhis life. The title, which directsour attentionto what might lie beyond the wall, was probablyassigned later,perhapsby the firstowner, Corot'sstudent GeorgeCamus. Corot gave the picture to Camus in February1864,when Dobigny would have been thirteenyearsold.

Edouard Manet French, I832-I883

The "Kearsarge"at Boulogne 1864

Oil on canvas in. (8. 6 x 1oo cm) Partial and Promised Gift of Peter H. B. Frelinghuysen, and Purchase, Mr. and Mrs. RichardJ. BernhardGift, by exchange, Gifts of Mr. and Mrs. Richard Rodgers and Joanne Toor Cummings, by exchange, and Drue Heinz Trust, The Dillon Fund, The Vincent Astor Foundation, Mr. and Mrs. Henry R. Kravis, The Charles Engelhard Foundation, and Florence and Herbert 3278 X 39/8

Irving Gifts, I999 I999.442

One of the most sensationalnaval battles of the American Civil War took place off the coast of France.The Federalcorvette Kearsargesank the Confederateship Alabama near Cherbourgon June 19, 1864. Manet, a former sailor,was captivatedby the reportsin

the Parisianpress and rushed a painting of the battle (now in the PhiladelphiaMuseum of Art) to a dealer'swindow. A few weeks later, during his habitualsummervacationat Boulogne, Manet was keen to see the victorious ship, which was being provisioned and repaired.He wrote a friend: "The Kearsage [sic] was anchored at Boulogne last Sunday. I went to have a look. I had got it about right. So then I painted her as she looked on the water.Judge for yourself." This picture is the result. It is the first in a seriesof seascapesthat would profoundly affect the course of French painting. Here, Manet introduced severalpictorial devicesthe bird's-eyeperspective,the reduction of sea and sky to flat, flaglikebands of color, and the boats' inky silhouettes-borrowed from Japanesewoodblock prints, an art form that had only recentlycome to his attention. Monet quickly followed suit. Soon French critics would identify the founding of Impressionismwith the assimilationof Japaneseart into contemporarypainting. GT

Claude Monet French, i840-1926

Camille Monet in the Garden at Argenteuil .876 Oil on canvas 32 8 X 23 58 in. (8I.6 x 60 cm)

The Walter H. and Leonore Annenberg Collection, Partial Gift of Walter H. and Leonore Annenberg, zooo 2000.93.1

Standing before the couple's rented house in Argenteuil, a short distance by train from Paris,Camille Monet (1847-1879) is little more than an accessoryto a splendid mass of hollyhocks. Monet's love of gardening,fully expressedin.later life at his house and ponds at Giverny, became evident whereverthe artistput down his roots. In summer 1874 he had rented the house shown here before construction was completed; hollyhocks planted at the end of that summer would not bloom in force until June or July 1876. This painting and relatedcanvasesthus commemorate the garden'sfirst full flowering. Historians have determined that in front of his modest house, painted pink with green shutters,Monet

installed a largecentral flower bed circled by a path. Gladioli, more hollyhocks, and underplantingsof nasturtiumsand geraniums filled the intersticesof the rectangularplot. This audaciouscanvasdisplaysthe Impressionisttechnique that Monet had only recentlyperfected.In contrast to the fluid, Corot-like brushworkof his earlypictures made at Argenteuil, here the paint is applied in dabs and licks, the entire surfaceanimated by flickeringlight and bright local color. It was preciselythis technique that Seurat systematizedinto pointillism. GT

his little house with trees, roses, dahlias, his big or little garden, his ruralargentea mediocritas."Previouslythe middle class had consisted of urban apartmentdwellersand ruralgentry, but the development of railroads under Louis-Philippeand their expansion underNapoleon III made possiblea hitherto unknown suburbanmode. This new phenomenon is perfectlyillustratedby the life and work of Monet, who adopted bourgeois mannersand aspirationslong before he could afford them. Accordingly, Monet made his life in Argenteuil, an agreeablesuburb of Paris, the stuff of his art. In this famous portraitof his five-year-old son, Jean (I867-I913), he was

Claude Monet French, I840-1926

Jean Monet on His Hobby Horse 1872

Oil on canvas 23 4 X 283/4 in. (59. x 73 cm)

Gift of Sara Lee Corporation, zooo 2000.I95

As a Frenchjournalistopined in the i86os, "Everyonein the middle class wants to have

sure to display the boy's expensive tricycle and chic clothing, but his primaryaim was to capturea likeness. He painted him with the deep-set-almost world-weary-eyes that his mother, Camille, also possessed.Here, Monet did not lavish his usual attention on brushwork, allowing the white canvasprimer to show in the highlights, and he used a restrainedand sophisticatedharmony of tan, green, and red. This may be Monet's most ingratiatingpicture, but it is no less intelligent for all that. GT

,:0

f,,

Edouard Vuillard French,I868-I940 The Birth ofAnnette Ca. i899

Colorlithographon Chinapaper;trialproofof undescribedearlystate in. (42.9 x 56.8 cm)

6I68 x 223

Purchase, Anonymous Gift, in honor of Janet Ruttenberg, zooo 2000.35

Hilaire-Germain-Edgar Degas French, 1834-1917

Race Horses Ca. i885-88 Pastelon wood

In his multicolored prints of the late I89os, made under the influenceof the then-current wave ofjaponisme,Vuillardcompressedthreedimensionalspaceinto sheets of pulsating hues. For most of his careerhe was absorbed in the study of cozy interiorsand the atmosphereexuded by theirpatternedwallpapers, drapes,and upholstery.Friendsand family, who posed passivelyfor the artist,were pictured in equilibriumwith their household furnishings;bathed in indoor light, they often appearto dissolve into the decorative materialsof their rooms. Domestic intimacythus becamea sonorous theme in Vuillard'sart, as it and its converse, domestic estrangement,were in the plays of Ibsen and Strindberg,for which he designed stage sets and playbills.Into his own life, dramaarrivedin the rosy form of his sister's newborn baby. Little Annette can be seen here: the pink spot at the center of a nest of eiderdown and familialaffection.

Theodore Duret, a clevercollector and critic who championed Manet and the Impressionists,was the first owner of this picture. Degas was displeasedwhen Duret sold it for a good price at auction in I894. GT

I 8 X 16 in. (30.2 x 40.6 cm)

The Walter H. and Leonore Annenberg Collection, Partial Gift of Walter H. and Leonore Annenberg, I999 I999.288.3

Degas remainedfaithful to racing scenes throughout his long career,but he stepped up their production in the I88os. As with dancersin his balletcompositions,he manipulated a cast of horses and jockeys from one picture to the next, enlargingthem, reversing them, or reducingthem to fit the background. Indeed, all of the figuresin this picture can be found in earlierworks, and some of the poses have pedigreeseven more distinguished than the horses'own: the prancingmount and riderat the center of the composition derive from Benozzo Gozzoli'sJourneyof the Magi (I459), which Degas copied in Florence in I859. But this work is quite unusual in one respect:Degas made it with pastelon a plain, unvarnishedwood panel.With skillfuleconomy of means,he allowedthe wood to color the sky and distantlandscape-the suggestion of a villagein Normandy-and to providea warmundertonefor the turf in the foreground. 46

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Gustave Courbet French, I8I9-1877

Young Communards in Prison i87i

Blackchalk,rubbed,on wovepaper o1 x 7 in. (25.4 x 17.8 cm)

Signed(lowerleft,in pen and ink):G. Courbet; inscribedand dated (top, in pen and ink): Les Federesala ConciergerieI871 Gift of Guy Wildenstein, 1999 1999.25I

The intensity of Courbet's political views landed him in prison in I871.As a leading dissident of the liberalParisCommune, he was held responsiblefor the destruction of the Vendome column and was locked up in the stablesof Versailles.Later,he was sentenced to six months at the prison of SaintePelagie in Paris. To judge from an attachedinscription, Courbet must have been at Versailleswhen he made this drawingof fellow jailed Communards;he sent it to the magazine where it was published. The L 'autographe, artistevidently wished to emphasizethat among those held under dreadful,terrifying conditions were juveniles, some scarcelymore than infants. Courbet's gritty illustration shows a graffiti-markedprison cell in which a boy, slumped on the stone floor, and a child crying on a bed direct their hopes toward the barredwindow. With so few drawingsto his name, Courbet remainsan elusive draftsman.Although the Museum owns twenty-six of his paintings, this is only our second drawing.Very different in function and appearancefrom the academicstudy of a nude male in the Robert Lehman Collection (acc. no. 1975.1.589), this work gives vent to the artist'sanger and misery when he was only months away from exile in Switzerland. cI

Taxile Maximin Doat French, 1851-1938

Bottle Sevres(Doat atelier),ca. 1902 Stonewareand hard-pasteporcelain H. 92 in. (24.1 cm)

Signed:TDOAT [with interlockingT and D] Sevres Bequest of Robert Louis Isaacson, 1998 1999.179a, b

Doat was among the earliestceramiststo use pate-sur-pate,the technique of creating translucentlow-relief compositions from layers of porcelainslip. First produced at Sevres in 1849, it became a central featureof Doat's work, both at the national manufactory, where he was employed from 1877 to 1905, and in his own ateliernearby,the Villa Kaolin. Uninterested in the currentfashion for japonisme,Doat chose allegoricalor whimsical subjects, frequentlysetting them as plaqueson a stonewarebody, the sheen of the porcelain contrastingeffectivelywith the roughertexture of the ground. On this bottle two oblong plaques depict children picking grapesand apples, while a wineglass and cider jug are seen in medallions below the handles. As if to emphasizethe peasant-flaskcharacter of the model, the plaques have been attached

the model; one, now in the Musee des Arts Decoratifs, Paris,was exhibited in 1902 with the title "Champagneet Normandie." CLC

to the body by porcelainthongs. This is one of three known examplesof 47

NORTH

AMERICA

1700

-1900

epitomizehis talentsfor the collection.The featuresof the subjectsarestronglydelineated, with largeround eyes, slightlycurlinglips, pale skin tones, and hairrenderedin his characteristicallydecorativehatchwork.The artist includedhimself in the composition in a large locket worn by his wife. CRB

Pierre Henri French, ca. 1760-I822

The Artist's Family Watercoloron ivory W (withfame) 38 in. (9.8 cm) Purchase, Martha J. Fleischman Gift, in memory of Keren-Or Bernbaum, 1999 2000.25

Portrait of Catharine Lorillard American(New YorkCity), ca. i8io Oil on silk, with silk and silk-chenille embroidery 2o3 x I8 in. (52.7 x 45.7 cm)

Purchase, Friends of the American Wing Fund, The Masinter Family Foundation Gift, and funds from various donors, I999 I999.I44

Among the most highly skilledof the many Frenchminiaturistsin America,the Paris-born Henri arrivedin New Yorkin 1788and placed a notice in the New YorkDailyAdvertiser: "AMiniaturePainterLatelyarrivedfrom France... drawsLikenesses... at the lowest price,and engagesthe paintingto be equal to any in Europe."From 1789to 1820 he took commissionsin Alexandriaand Richmond, Charleston,Philadelphia,New York,Baltimore, and New Orleans,paintingportraits"fromthe size of a smallring to that of the largestlocket." Henri's unusualfamilyportraithad long been known to the Museum througha reproduction in an early-twentieth-century genealogicalpamphletabout the artist'sdescendants and had been singled out as a work that would

CatharineLorillardwas a daughterof New YorkCity tobacco magnatePeterA. Lorillard. She was born in I792 and, accordingto family history, died from cholerawhile still in her teens. Her expressiveportrait,painted with oils on silk and embellishedwith silk and silk-chenillethreads,is unlike any other needleworkpicture in the collection. Most early-nineteenth-centurysilk embroideries illustratescenes from mythology or pastorals, copied from prints. Memorials, usuallycalled mourning pictures,were also popular and often included full-length figuresstanding at gravesites in landscapesappropriatelyfeaturing weeping willows. Catharine'sportraitis also a memorial, but in a different,possibly

unique, form. It was almost certainlypainted posthumously:the drape over her head is a symbol of recent death. Her head and neck were painted by a professional,perhapsafter a portraitfrom life, while the embroiderywas probablyby one of her female relatives. It is particularlyfitting for Catharine Lorillard'sportraitto be in the collection of the Metropolitan. Her niece and namesake, CatharineLorillardWolfe, the firstwoman Benefactorof the Metropolitan, left an important collection of 143paintings to the Museum at her death in 1887. AP

Marc Schoelcher (manufacturer) French, est. 1798-1834

Pair of Vases Paris, ca. I815-20

Porcelain H. (each)I3/8 in. (4 cm) Marks:Schoelcher Purchase, Thomas Jayne and Peter Terian Gifts, and Friends of the American Wing Fund, by exchange, I999 I999.I9I.I,

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

Attributed to Charles-Honore Lannuier French, i779-i819

Side Chair American(New YorkCity), ca. 181f Mahogany,mahoganyveneer,maple,gilded gesso,and gilded brass;die-stampedbrassborder H. 33%2 in. (85. cm) Purchase, The Sylmaris Collection, Gift of George Coe Graves, by exchange; and Bequest of Flora E. Whiting, Gift of Mr. and Mrs. William A. Moore, and Gift of Mrs. Russell Sage, by exchange, 1996 1996.366

This rareand beautifulversion of the New York lyre-backchair, part of a large set once owned by the BaltimoremerchantJames Bosley, is firmly attributedto the Frenchborn and -trained cabinetmakerLannuier, who worked in New York City from I803 until I8I9. Comparedwith examplesoften attributedto the great Scottish mastercrafts-

man Duncan Phyfe, which survivein far greaternumber, Lannuier'slyre-backchair is more richly ornamented in gilded brassand has a hard-edgedrectilinearquality closer to French Empire precedents.But it is not a slavishcopy of a French design. The chair is a freshand innovativevariationon a theme that melds Lannuier'shighly refinedsensibilities with the New York vernacular. Throughout his relativelyshort but brilliant careerin the city, Lannuiercast himself as the French alternativeto the illustrious Phyfe, who worked more in the English Regencystyle.This chairwas acquiredto serve as both a complement and a counterpoint to the Museum's preeminent collection of New York furnituremade under Phyfe's influence. PMK

By I800 the French enjoyed a thriving porcelain tradewith the United States, and many Parisianmanufacturersprovided both forms and decorationto suit Americantastes.During the second decade of the nineteenth century ornamentalvases became popularparlor accessoriesand were often brought back from travelsabroad.This elaboratepair was originally owned by Nathan Appleton, a wealthy textile merchantand member of Boston's culturalelite. The vasesfeaturefinely painted landscapes and seascapes,probablybasedon prints.With theirlavishgilded decoration,they are among the most ornateknown from the Federal periodwith a historyof Americanownership. They displaythe classicalidiom fashionable for the day in their shapeand molded masksat the handle terminals.They are furtherdistinguished by tooled gilding on the neck and base in a patternof palmettesand classicalrosettes. The vasesare markedby the Parisianfirm of Marc Schoelcher,which establishedan importantpresencein America.In I829 Schoelchersent his son Victor to the United Statesto markettheirwares.Appleton's Beacon Streetneighbors,Mr. and Mrs. David SearsJr., also acquireda pair of sumptuous vasesattributedto Schoelcher. ACF

Rembrandt Peale American,I778-1860 MichaelAngelo and Emma Clara Peale Ca. 1826

Oil on canvas 3 x 25 in. (76.2 x 63. cm)

Purchase, Dodge Fund, Dale T. Johnson Fund, and The Douglass Foundation, The Overbrook Foundation, Mr. and Mrs. Max N. Berry, BarbaraG. Fleischman, Mrs. Daniel Fraad, Mr. and Mrs. Peter Lunder, Mr. and Mrs. Frank Martucci, and Erving and Joyce Wolf Gifts, zooo

P i?

Michael Angelo (I814-1833)and Emma Clara (I816-I839),he used as a source an 1824 lithographof a similarcomposition by the FrenchartistJulien de Villeneuve and translated that image into his own idiom. Peale adaptedtheir compelling likenessesfor his captivatingpicture, eschewing all narrative device. In lieu of employing a background setting and specific iconographicprops, as appearedin the print and as his fatherhad recommended,Peale rathersubtly and brilliantly articulatedhis composition through facialexpressionand pose.

2000. I5

James Kidder American,I793-1837 Interior of a Lottery 182I

Watercolor and gouacheonpaper, mountedon stretcher I5 x Iro in. (38. x 27.3 cm)

Purchase, Morris K. Jesup Fund, Lois and Arthur Stainman Philanthropic Fund and Robert and Bobbie Falk Philanthropic Fund Gifts, 1999 I999.35 This disquieting interior, executed with a depth of tone and refined technique suggestive of oil painting, is the masterpieceof the little-known Kidder.Born in Boston, the artistspecializedin topographicalviews of his native city, which were typicallyengraved. His digressioninto interiorperspectivesof this kind was evidently prompted by contemporaneousfascinationwith Francois-Marius Granet'sI8I5painting The Choirof the CapuchinChurchin Rome,a replicaof which was importedinto Boston in I820. (The original may be the version in the Metropolitan; acc. no. 80.5.2.) Granet'sreplicaelicited a direct copy by Thomas Sully and inspiredat least two paintings of Boston interiorswith figures.The picturesall sharea voyeuristic conceit, of peering into a chamberinto which the viewer has not been invited. Kidder'smay be the most enigmatic for being desertedand adornedwith cobwebs yet offering, in the signs posted in the window, "High Prizesfor sale here." KJA

Peale'sstudies of French Neoclassical painting during a sojourn in Paris (80o8-Io) helped free him from the eighteenth-century British conventions he had learnedfrom his portraitistfather, CharlesWillson Peale. In Francehe examined not only the works of modern artistsbut also those by Rubens, Van Dyck, and other Baroquemasters.The resultsof this course of study are seen most vividlyin his familyportraitsof the mid-I82os. In these works-among which the present painting is especiallysuccessful-Peale adopted a resplendentpalette and demonstratedhis command of the techniques for capturingwarm flesh tones, manipulating light, and emphasizingtextures. For this picture of his youngest children,

CRB

Thomas Brooks American, 81o0/-1i887;active1844-76 Armchair Brooklyn,New York,ca. 1847 and Rosewood;replacementunderupholstery leathershowcover;casters H. 63 in. (160 cm) Gift of Lee B. Anderson, i999 I999.46I

Although not labeled, this imposing Gothic Revivalarmchairis ascribedto the early careerof Brooks, an important Brooklyn cabinetmakerwho supplied the New York marketthroughout the mid-nineteenth century. It is relatedto a documented suite of furnituremade by Brooks in 1847 for

Henry C. Bowen of Brooklyn Heights and Woodstock, Connecticut. American Gothic Revivalfurnitureof such quality is uncommon, especiallyin rosewood, and this is the first piece by Brooks to enter the collection. The chair is animated by pierce-carved, acorn-studdedvines that lead the eye to Gothic traceryframedby clusteredcolonnettes. The tall backculminatesin a pointed archsurmountedby a bold crocket.A symmetricalsprig of leaves and acorns stretches acrossthe front seat rail, the arms meet the side railswith a foliate flourish, and the handholds are drapedwith an unusual motif resemblinga thick wilted leaf, a detailthat is considereda Brookstrademark. CHV

Attributed to John H. Belter American(b. Germany),1804-1863; active in New YorkCityi833-63 Sofa New YorkCity, ca. 1855-60 and Rosewood;replacementunderupholstery showcover L. 66 in. (67.6 cm) Purchase, Friends of the American Wing Fund and Lila Acheson Wallace Gift, 1999 I999.396

This five-leggedsofa exemplifiesthe Rococo Revivalstyle, popular in America during the I84os and I85os, which combined curvilinear forms and cabriolelegs from eighteenthcentury French sourceswith the extremely detailed, naturalisticornament favoredin the mid-nineteenth century. A number of Americancabinetmakersproduced such furnishings for the luxury market, but the German-bornBelter has long been recognized for his extraordinarytalent. A prolific makerwith a large factoryby I856 on what is now the Upper East Side, he was particularly known for his rosewood drawing-roomfurniture and for his thin, laminated construction and molded forms-as demonstratedherewhich were achieved by using a patented method of steam and pressure. Although hundredsof American pieces in this genre survive,few are documented and the best are almost alwaysascribedto Belter. Few examplesare as accomplishedor exuberantas this sofa, however, which is distinguished by a voluptuous serpentinecrest: luxuriantbouquets emanating from vases flanked by pairedgriffinsculminate in a central floralgarland,which issues from cornucopias and is supported by a Renaissancestyle urn and paired dolphins. CHV

Lilly Martin Spencer American,1822-1902 Young Husband: First Marketing 1854

Oil on canvas x 243 in. (74.9 x 62.9 cm) 29/2 Promised Gift of Max N. Berry The only woman painter of note to pursue a careerin America'santebellumperiod,Spencer used a highly controlled technique to achieve exacting representationsof domesticity. She was unique among her colleaguesin her ability to offer an insider'sview of the woman's sphere and gifted at portrayingprecisedetails of family life. Her work found steadypatronage in Cincinnatiand New York,where she moved in 1849. Spencerused her husband as a model (as she often did) for this meticulously composed parodyof the Cincinnati tradition of gentlemen going to market.The paintingis carefully made up of angularmovements and suggestive facialexpressions.As is typical of her best efforts,the iconographyis rich without being highly charged,descriptiveratherthan politically motivated. She exhibited the work with its companion, YoungWife:FirstStew 52

(unlocated),at the National Academy of Design in New York in 1856to mixed reviews from critics accustomedto her pleasing family scenes and grinning housewives.Spencer revealedherselfin the presentwork to be a more talented and insightful artistthan had been previouslyrecognized.As her career evolved, Spenceroften lampooned women at their daily chores, but she never again subjecteda man to her satiricvision. CRB

of his time. The work for which he made this fine wash drawingof the PuritanclericJohn Eliot has not been identified. Eliot, imbued with the mission to convert the Algonquin Indiansto Christianity,translatedthe Bible and other religioustexts into theirlanguage, Massachuset,in which he becamefluent. Here, in a seeminglydeliberateattemptto evokethe figureof John the Baptistfrom traditional Christianiconography,Darleyrepresented Eliot wearingIndianbreeches,standingnearly at the apexof a conicalarrangementof figures in a wildernesssetting.The artistshrewdlycontrastedthe auraof sunlightsilhouettingthe divinewith the deep forestshadecloakinghis raptyet resistantaudience. KJA

Nelson Norris Bickford American, 1846-1943

In the TuileriesGarden,Paris i88i Oil on board

Felix 0. C. Darley American, I822-i888

John Eliot Preaching to the Indians Watercolorwash,graphite,and gum arabic on wovepaper i5Xx I94 in. (38.7x 48.9 cm)

Gift of Martha J. Fleischman and Barbara G. Fleischman, I999 I999.368.2

Darleywas the most accomplishedand prolific Americanillustratorbefore the centennial, supplying thousandsof drawingsfor engravings published in novels, books of poetry, and historicalworks by the principalauthors

2 x i6 in. (30.5 x 40.6 cm)

Promised Gift of The Honorable Marilyn Logsdon Mennello and Michael A. Mennello In the greatparkin the heartof Parisa gentleman peersthroughhis monocle at a stylish young woman, while a girl, perhapsher charge,digs in the pathwaybeforeAugusteNicolas Cain'shuge bronzegroup Tigerand Crocodile(ca. I874). Bickford'scharmingpicture is a rareearlyexampleof an American artist'sportrayalof a public park,an emblematic modernspaceand a subjectidentifiedwith FrenchImpressionism.John SingerSargent

had painted the LuxembourgGardensin Paris in I879, and William MerrittChasewould begin a seriesof Impressionistviews of the new parksof New Yorkin I886. In the mannerof contemporaryFrenchpainterssuch as Jean Beaud, Bickfordutilizeddeliberatecomposition, meticulousdetail, and high finish, which reflectedhis studiesin Parisat the Ecole des Beaux-Artsunder Henri Lehmannand at the AcademieJulian.In 1882 Bickfordshowed this paintingat the National Academyof Design in New York,where he often exhibited.He workedfrom1905 until I93Ias a sculptureattendant at the MetropolitanMuseum, became interestedin the medium, and specializedin animalsculpturein his lateryears.

the preceptsof the Modern Gothic style espousedby Britishand Americanreformers as an antidote to prevailingFrenchtaste in interiordecoration.As prescribed,the piece is architectonicin character.Mounted on a

trestlebasewith stiff, diagonalfront legs and mortise-and-tenonconstruction,it bears medieval-styleornamentationof shallowincising, nickel-platedhardware,carvedlinen-fold panels, and chamferededges. The projecting shelf opens to become the writing surface, which retainsits original red baize and goldstamped red leathertrim, and the pitched roof above the projectingcentralcabinet lifts up to reveala small storagespace. The firm of A. Kimbel and J. Cabuswas among the first in Americato work extensivelyin the Modern Gothic mode, introducing the style to Americansat the 1876 PhiladelphiaCentennial Exhibition with furnitureshown in a roomlike setting. The following year this desk design was illustratedin an advertisement depicting the company's showrooms at 7 and 9 East Twentieth Street in New York. The same image documents a hanging key cabinet by the firm, the only known example of which is also in the Museum's collection (acc. no. 1981.211). CHV

HBW

A. Kimbel and J. Cabus (designer and manufacturer) American, 1862-82

Desk New YorkCity, ca. i877 Oak, nickel-platedbrass,and nickel-platediron H.

558

in. (I40 cm)

Purchase, Barrie A. and Deedee Wigmore Foundation Gift, in honor of John Nally and Marco Polo Stufano, zooo 2000.58

One of the most memorabledesignsproduced in Americaduring the Aestheticmovement of the I87os and i88os, this desk epitomizes 53

TWENTIETH

CENTURY to this painting as Le vitrail,and it is often listed as such in earlyexhibition catalogues. Through the foliage some red-roofed houses appearin the distance, along with the tower of Collioure'schurch, Notre-Damedes-Anges.Dating to the thirteenth century, this tower was built as a lighthouse on a rock that juts into the sea. It servedthis function until, at the end of the seventeenthcentury, it was attachedto the church, which was erected right next to it. SR

Henri Matisse French, 1869-I954

Laurette in a GreenRobe, Black Background I916

Oil on canvas 283/4

213

in. (73 x 54.3 cm)

Signedand dated(lowerright):H-MATISSEI6 Jacques and Natasha Gelman Collection, 1998 1999.363.43

Henri Matisse French, 1869-1954

View of Collioure and the Sea 1907

Oil on canvas j6'4 x 25 8 in. (92 x 65.7 cm)

Signed(lowerright):Henri Matisse Jacques and Natasha Gelman Collection, 1998 1999.363.42

Between 1905 and 1914Matisse spent various summers and one winter in the small Mediterraneanport of Collioure. From his rented studio it was only a seven-minutewalk to the Roca-Altad'en Beille (Catalanfor "high rock"),which was surroundedby cork oaks and umbrellapines on a hill just outside the village. From a picturesquespot above the rock he painted this view. The sinuous black lines of the trunks and branchesof the stylized umbrellapines enclose flat areasof greens, blues, mauves, and earth tones, evoking an Art Nouveau stained-glasswindow. Not surprisingly,the Matisse family referred

Matisse hired Lauretteon the recommendation of a friend and fellow painter, Georgette Sembat, who thought that the Italian model might be his "type."She was. Between December 1916and the end of 1917,Matisse painted Laurettealone at least twenty-five times, and he made some fifteen additional picturesof her with her sisterand another model named Aicha. For some works Lauretteposed wide awake, as in a seriesof close-up portraits.At other times she wore the exotic costume and headdressof an odalisqueand loungedlanguorously on a daybed.This work is different.Here, Laurette,in floppy slippers,without decorative accessories,and apparentlynude underthe voluminousgreen robe, restsbetweensittings. With no indicationsof the room or surrounding space,the curvilinearshapeof the plush Second Empirearmchairresemblesa fluffy pink cloud on which Laurette,like an earthy Madonna, seems to float through a pitchblack void. A tiny version of this work appearsas a picture-within-a-pictureon an easel in Matisse's ThePainterin His Studioof I917, now in the collection of the Musee National d'ArtModerne, Centre Georges Pompidou, Paris. SR

Until that summer Matisse had experimented with a varietyof styles. In I891 he had set out for Parisfrom Saint-Quentin in the north of France,supported by a small allowance from his reluctantfather. Over the next fourteen years, he had responded most strongly to Cezanne'ssimplificationof pictorial structureand space through color alone, as well as to the brillianthues and flat, decorative patternsfound in Gauguin'swork. Matisse integratedthese elementswith his own Fauvist discoveriesin this small still life, painted in Collioure.The potteryis typicalof the region, and the vegetableslook as if they have just tumbled out of a shopping basketafter a trip from the local market. SR

i 58 x i8'8 in. (38.4 X 46 cm)

Signed(lowerleft):Henri-Matisse Jacques and Natasha Gelman Collection, I998

I999.363.38

Matisse and Andre Derain first introduced unnaturalisticcolors and bold brushstrokes into their paintings during the summer of 1905, when they were both working in Collioure (see opposite). In the fall of that year,when these pictureswere exhibited at the Salon d'Automne in Paris,the critic Louis Vauxcellescalled themfauves (wild beasts), a term later applied to the artists themselves.

iv ,

Salvador Dali Spanish, I904-1989

Accommodations of Desires 1929

Oil and cut-and-pasted printedpaperon cardboard 834 x 3 /4 in. (22.2 x 35 cm) Signedand dated (lowerleft):SalvadorDali 29 Jacques and Natasha Gelman Collection, 1998 1999.363.6

Until he fell in love with Gala Eluardin the summer of I929, Dali had never known a woman's embrace-or so he confessed in his 1942 autobiography.The thirty-six-year-old Gala awakenedviolent desires,as well as fears,in the twenty-five-year-oldartist,who welcomed and cultivatedhallucinationsand paranoiacvisions as subjectsfor his paintings. Strewnon the Spanishplain of Ampurdan, nearCadaques,the seven magnifiedpebbles with shiny white surfacesact as screensfor imagesthat seem to be unrelatedepisodesin an unknown story.The elementson and among the pebblesinclude severallion's heads, a toupee, variousvessels(one in the shapeof a

woman'shead), threefigureson a platform touching their hairand teeth, and a colony of ants. Favoritecreaturesof Dali's since childhood, ants figuredstartlinglyin his and Luis Bufiuel'scollaborativefilm Un chienandalou, also of 1929. If Dali expressedhis sexualanxieties here in Freudianmetaphors-as suggested by the emphasison hairand teeth-those metaphorsmight also have qualifiedas vignettesin a children'stale. Gala,just like a good fairy,was to cure his symptomsand remainhis muse foreverafter.

For two weeks in the spring of I928 Mir6 visited Holland, where he fell in love with the intimate and minutely renderedrealismof seventeenth-centuryDutch genre paintings. He emulated aspectsof them in a group of three canvasesentitled Dutch InteriorsI-IIL, which he painted in Paristhat summer, using postcardsof specific picturesas points of departurefor a fantastickind of organic surrealism. This painting,the next in sequence, togetherwith a fifth, relatesin style to this group, although it is not based on any

particularpicture. Against a deep blue sky and above a patch of earth-perhaps a potato field-a gigantic female figure stretchesher armswide. The billowing white shape of the figure is attached to a red bar in the center of the composition like a scarecrowon a post. Elfin creatures, some of them winged, flutter in the sky. Mir6 endowed his merry"potato-earth-woman" with deft touches: one brown-and-black breast,which "squirts"a long, winding thread;a brown banana-shapednose; what might indeed be a potato floating in the "cranium";and, hovering on a stick at the right, a largeflamelikerenderingof a vagina.

Joan Miro Spanish, 1893-I983

The Potato I928

Oil on canvas 39 34 x 32

in. (Iro x 81.7 cm)

Initialed (centerright):M. Jacques and Natasha Gelman Collection, 1998 p999.363.50

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Piet Mondrian Dutch, I872-I944

Composition 1921

Oil on canvas i9/2 X 19?2 in. (49.5 X 49.5 cm)

Initialedand dated (lowerleft):P M 21 Jacques and Natasha Gelman Collection, 1998

1999.363.57

Mondrian grew up in strict Calvinist surroundings in the small town of Winterswijk, near the German border,where his fatherwas a schoolmaster.At the age of nineteen he was brieflytorn between religion and art as a career.After that it took some thirty yearsfor his style to change from somber realismto pure abstraction.The style that made him famous, which is shown in this 1921 painting, had been born in Paristhe previousyear, when he published a manifesto entitled Le Its sole practitioner,Mondrian Neo-Plasticisme.

went on perfectingit for more than twenty years, until his death in New York. Compositionis one of the artist'searliest Neoplastic works. Firsthe sectioned off the squarecanvasinto eleven rectangles.Some he filled with primarycolors-here, red and blue. Other hues he obtained by mixing primarieswith white, which resultedin areas tinted light blue and light yellow. The pale colors mark this as a transitionalwork, becausefrom 1922 on he used pure white and primarycolors almost exclusively. SR

Against a starkbackgroundof one white and two brown verticalbars, Picasso drew, with a continuous black line, what looks like a misshapen boomerang. He then added elements that evoke a ferocious female head seen in profile:two odd-sized eyes, a set of tiny nostrils, three long, scrawnyhairs, and four naillike teeth. Between I925 and I932 Picasso'sradical recomposition of the human figure escalated, focusing mostly on the femalehead and body. The artisthad a largearsenalof sourcesfor these brutishcreatures:among them were Oceanic and Inuit sculptures,interestin which was being reawakenedby the Surrealistsat this time. Membersof the lattergroup, who saw women as eitherMadonnasor monsters,also encouragedthe free expressionof all the wickednessthey perceivedwithin humanity. Similarly,it has been suggestedthat Picasso's pictorialmonstersalludedto personalones, and more specificallyto his wife, Olga, as by then their marriagewas rapidlydeteriorating. TheScreamwas reproducedin the October at the 1927 issue of La revolutionsurrealiste, time still unsigned. SR

Paul Klee German(b. Switzerland),I879-1940 The One Who Understands I934 Oil and gypsumon canvas 2I 4 x I6 in. (54 x 40.6 cm)

Signed(centerleft):Klee; datedand numbered (lowerleft):I934 K 20; titled (lowerright): ein Verstandiger Jacques and Natasha Gelman Collection,

Austereand pensive, The One Who is a fine exampleof the artist's Understands laterstyle. That style consistshere in the image'slargerscale,simple design, and patches of white, rust,and beige in the areasof unprimedcanvasthat Klee left untouched. The paintingbelongs to a group of some thirteen worksfrom 1933-34,mostly drawings, that evoke the schematicdiagramsof the human craniumfound in medicaltextbooks. SR

1998 I999.363.3I

When the National Socialistsdeclaredhis art "degenerate"in 1933,Klee returnedto his nativeBern.He had spent the previoustwentysevenyearsstudying,working, and teachingin Germany.Now in Bern, Klee lived in a small three-roomapartmenton the outskirtsof town. He was internationallyknown, yet he had no following in Switzerland.He sold little and was supportedonly by a smallgroup of faithfulfriends.

Pablo Picasso Spanish, I881-I973

The Scream I927

Oil on canvas 2 3/4x I3 V4in. (55.2 x 33.7 cm)

Signed(upperright):Picasso Jacques and Natasha Gelman Collection, 1998 I999.363.66

Francis Bacon

Jean Dubuffet

a writer and critic. Paulhanedited the French

British, I909-I992

French, I90o-I985

Three Studies for a Self-Portrait 1979 Oil on canvas

Jean Paulhan

Each I4 3x 12 3 in. (7.5 x 31.8 cm)

42 7 X34 5/8in. (o09 x 88 cm)

Jacques and Natasha Gelman Collection,

1998

I999.363.

1999.363.20

At seventy the artistappearsageless,not a day older than in his first self-portrait, painted in I956. Bacon had begun to make close-up portraitsin I96I, filling canvases measuringabout a squarefoot with heads slightly smallerthan lifesize.After a while he began to combine three such canvases,turning them into triptychs,a format that was central to his artisticapproach. Bacon disdainedwhat he called "literal" painting. Instead,he offered an abbreviated, but also more intense, perception of the model. To that end he used distortion, fragmentation, and a fluid and swift stroke that invited accidentsand chance. In this work his own face, rathernormallyproportionedin the center painting, is flanked by grotesquely distorted, blurredversions at the sides. The overalleffect is of the artist'shaving subjected himself to a quick yet probing examinationin a mirror,an effect accentuatedby the word "studies"in the title.

BetweenJuly 1945and August 1947 Dubuffet drew and painted about twenty-eightportraitsof his friendJean Paulhan (1884-I968),

literarymagazineLa nouvellerevuefranfaise from I925 until his death. His collected works fill five volumes and encompassbooks on modern painting;essayson rhetoric,language, logic, and love; and prefacesto erotic literature, including the novels of the marquisde Sadeand PaulineReage'sHistoired'O (I954). In 1945 Dubuffet had begun creatingwhat he referredto as hautesptes, paintingsin which a thick pasteservedas the ground, color was used sparingly,and contourswere scratchedlike graffiti.Consistentwith his

1946

Acrylicand oil on Masonite

"anti-art"position, Dubuffet rejectedtraditional portraiture,which he regardedas facile imitation. Insteadof attemptingto convey a sitter'slikenessor personality,he focusedon certainodd featuresand exaggeratedthem. In this case, Paulhan'sclose-seteves, long nose, broadupper lip, prominentfront teeth, and thick mane of hairareeasilyrecognizable. siR

Alberto Giacometti Swiss, 1901-1966

Woman of Venice i956

Painted bronze H. 47 ~ in. (121.6 cm)

Signedand numbered(on the base,at left). Alberto Giacometti I/6 Jacques and Natasha Gelman Collection, 1998 1999.363.25

Earlyin I956, in preparationfor exhibitions of his work at the Venice Biennale and the Kunsthallein Bern, Giacometti produced a largegroup of plastersculpturesof female figures.Ten of these were shown in Venice and five in Bern. Of the fifteen, it appears that only nine were later cast in bronze. They became known as the "Women of Venice," regardlessof whether the plasterversion had been exhibited in Venice or in Bern. The thin, gaunt bronzes are all between forty-one and fifty-two inches high, but they seem much taller. Supported on stiltlike legs held tightly together, the figuresstand motionless. All have tiny heads and enormous feet, which anchor their extremelyemaciated, concave bodies on plinths of varyingthicknesses.The figureslook as if they have withstood centuries of rough weather,which has left their surfacescrustyand eroded. This Womanof Veniceis the only one of the nine bronzes that was painted. It is a matte beige color. The figure'shair, drawn back severelyinto a bun, rendersthe sculpture even more austere,despite the painted blue eyes and red mouth. SR

The experienceat Saint-Jacutinspired Vuillardto produce severalinteriorviews, as well as a few sun-filled seascapesand landscapes,often peopled with his acquaintances. Here, in the rosy darknessof a cloistered room, we can make out the shadowy forms of four protagonists-in the doorway, the nattily dressedAlfred Natanson; on the left, his eight-year-olddaughter,Annette; the elegant Mme Hessel working at the desk; and her loyal dog Basto sprawledon the floor. LMM

Lucien Gaillard French, 1861-1933

Moth Pendant Ca.

900o

Gold, enamel,citrine,and horn W. 3 5 in.

(9.2

cm)

Purchase, Dorothy Merksamer Bequest, in honor of Cynthia Hazen Polsky, 200oo 2ooo.i76a

Gaillardwas the son and grandsonof Parisian jewelers.In 1892 he took over the directorship of the familyfirm, shifting the emphasisto larger-scalemetalwork.His designsoften incorporatedinlaid metals,likely inspiredby Japaneseexamplesexhibitedat SiegfriedBing's influentialshop L'ArtNouveau. (Gaillard's brother,the noted furnituredesignerEugene, was one of the threeprincipalEuropeans whose work was displayedthere.) Around the turn of the century, at the encouragementof his friend Rene Lalique, Gaillardturned back to jewelry.His designs, like Lalique's,combined unusual materials, such as horn and ivory, with more conventional precious stones, gold, and enamel. In keeping with typical avant-gardejewelry design of the time, focus was placed on the

EdouardVuillard

andfriends.Manyfriendships datedbackto his daysasa Nabipainterandas a graphic artistforsuchliterarypublicationsas La revue foundedby the Natansonbrothers. blanche,

French, 1868-1940

Interior at Saint-Jacut I909

Pasteland distemperonpaper,mountedtopaper 24 4 X

7 4

in. (6i. 6 x 43.8 cm)

Signed(lowerleft):EVuillard Gift of David Alien Devrishian,

2000

2000. 97

Vuillard'spastel, like many of his paintings, drawings,and lithographs,offers a glimpse into the harmoniousworkings of his social circle, which was filled with extended family 62

During the summer of I909, when this inti-

matescenewascaptured,Vuillardwasthe guestof LucyandJosHesselat theirrented on the Channel countryvillain Saint-Jacut, coast.The couplewereimportantfiguresin the artist'slife.Jos,his dealer,amasseda large privatecollectionof his work,whileLucy frequentlymodeled for him and, after1900,

hadbecomehis unofficialsocialsecretary andconfidante.

overallartistry,thus downplaying spectacular stones. This masterfulpendant imitates naturewith consummate accuracy,both in scale and in visual effect: it depicts two opposing moths with intertwinedgold antennae. The realisticwings were carvedfrom a single piece of horn and set with applied brown and iridescentwhite champleveenamel to simulate naturalmarkings,while each body was formed from a cut citrine. JG

Like many potteries, Paul Reverestartedout as part of a vocational workshop, founded as an associationknown as the SaturdayEvening Girls, with the purpose of educating and trainingyoung immigrant girls of Boston's North End. They began producing pottery, primarilysets of dinnerware,in I907. Individual forms typicallyfeaturedmonochromaticmatte glazesin limited colors or a narrowband of simple repeatedmotifs of stylized animals or birds, often in combination with nursery rhymes or mottoes. This vase, possibly intended as a lamp base, is impressivein its large size. The complex and striking floral design reflectsthe highly developed skills of its decorator,rarely seen in examplesfrom Paul Revere.Although little is known of Gainer, who signed the vase, she was clearlyone of the pottery'smore ambitious artists.Here, she interpreted Queen Anne's lace in a stylized manner with a heavy blackoutline from severalpoints of view and at varyingstagesof bloom. As is typicalof Paul Reverepottery,the design appearson a solid matte ground. Broadbands shift from white throughthreeshadesof blue to a grayishyellow-green,which merges with the plants' foliage. This effect reveals the influence of color theories espoused by tonalist artistArthurWesley Dow.

Marianne Brandt German,1893-1983 Tea Infuser and Strainer ("Tee-Extraktkannchen ) Ca. I924

Silverand ebony H. 2

in. (7.3 cm)

The Beatrice G. Warren and Leila W. Redstone Fund, zooo 2000.63a-c

During its brief existence (I919-33) the Bauhausproduced a group of architectsand designerswhose work profoundly influenced the visual environment of the twentieth century. These men and women believed that everydayobjects, stripped of ornament, could achieve beauty simply through form and color. Brandt'stea infuser is the quintessential Bauhausobject. Only three inches high, its diminutive size resultsfrom its function. Unlike conventional teapots, it is intended to distill a concentratedextract,which, when combined with hot water in the cup, can produce tea of any desired strength. While incorporatingthe usual elements of a teapot, the designerhas reinventedthem as abstractgeometric forms. The body is a hemispherecradledon crossbars.The thin circularlid, placed off center to avoid drips (a common fault of metal teapots with hinged lids), has a tall cylindricalknop. The handle, a D-shaped slice of ebony set high for ease of pouring, provides a strong verticalcontrast to the object's predominant horizontality. Although the pot is carefullyresolvedfunctionally, its visual impact lies in the uncompromising sculpturalstatement it makes. It is defiantlymodern. JSJ

Paul Revere Pottery (manufacturer) American, 1908-42

Sara Gainer (decorator) American, 1894-I982

Vase Boston, 1915

Glazedearthenware H. i6 in. (40.6 cm)

Marks:SEG / SG 6-15 Purchase, William Cullen Bryant Fellows Gifts, zooo 2000. 3

Max Beckmann German,1884-1950 Self-Portrait with a Stylus 1916

Drypoint Imagei 8 x 9X4in. (29.5x 23.5cm) Purchase, Reba and Dave Williams Gift, 1999 1999.232.6

Here, at the age of thirty-two, Beckmann studies his reflectionin a mirror.One hand holds a stylus while the other supportsthe metal plate on which he incises this very image. The melancholy eyes in his drawn face seem at odds with his formal dressof white wing collar and smoking jacket. Beckmann took up drypoint in 1914, while volunteeringas a medical orderly during World War I. He servedfirst at the easternfront and later in Belgium but was releasedfrom his duties afterhe suffereda nervous breakdownin I915.His choice of this medium had been determinedby his preference for the most direct and immediate means of expression,and it was his only means at the time. As in a diary,he recordedhis surroundings:views of wounded or dead soldiers, operatingrooms, hospitals,and morgues. Nineteen of his drypoints made from 1914 to 1918,including this haunting self-portrait, were selected for the portfolio Faces(I919)now regardedas his most important series of prints. SR

Berenice Abbott American, 1898-I991

JamesJoyce, Paris I926

Gelatinsilverprint 9 x 634 in. (23.2 x 7.3 cm) Purchase, Gifts in memory of Harry H. Lunn Jr., and Anonymous Gifts, 1999 I999.4o6

When Abbott photographedhim in 1926, JamesJoyce (I882-I941)was one of the most importantwritersin Parisand the starof the expatriateliterarycircle that frequentedSylvia Beach'sbookshop,Shakespeareand Company. Beach had publishedJoyce's revolutionary novel Ulyssesin I922 and was doubtless responsiblefor arrangingthis session with the young Americanphotographer.Although 64

Abbott had taken up the cameraonly the previousyear, while working as a darkroom assistantto Man Ray, like him she was rapidlybecoming a favoritephotographerof the avant-gardeset in Paris. At the time of this sitting Joyce was engaged in his most ambitious undertaking, FinnegansWake,and was sufferingboth from earlycriticism that it was unreadableand from a painful eye condition that requiredhim to wearan eye patch and kept him home at 2 squareRobiac (wherethis photographwas made). More like a mirror'sreflectionthan a professionalportrayal,Abbott'sperceptive portraitseems to peer deep into her subject's psyche,revealingthe complex and sympathetic characterthat writerDjuna Barnesso aptly describedas "theGrand Inquisitorcome to judge himself."

Walker Evans

Let Us Now Praise Famous Men (I94I). A

American, 1903-1975

journey to the limits of direct observation, the book presentsin words and pictures "a portion of unimagined [human] existence," as Agee wrote in the preface. This portraitof fatherand daughter,barefoot and at ease, is a superb example of the dignity and austerebeauty Evans discovered in the lives of ordinarycitizens during his half-centuryphotographiccareer.With seeming transparencyand characteristicgraphic equipoise, Evans composed an image as much about individual family traditionsas about broaderagrarianissues. Strong and long-limbedlike her father,LucilleBurroughs at age ten could pick 50opounds of cotton a day. She also inherited a less useful legacy: her parents'lifelong debt to a landlordwho owned their cabin, farm, tools, mules, and the product of all their labor.

Floyd and Lucille Burroughs, Hale County, Alabama I936

Gelatinsilverprint 7

x 9 /8 in. (8.9 x 23.7 cm)

Purchase, Marlene Nathan Meyerson Family Foundation Gift, in memory of David Nathan Meyerson; and Pat and John Rosenwald and Lila Acheson Wallace Gifts, I999 1999.237.4

In the middle of the Great Depression, Fortunemagazinecommissioned Evans and staff writerJamesAgee to produce a feature on the plight of tenantfarmersin the American South. The two New Yorkersspent several weeks documenting the harsh routine of three familieswho grew cotton on a dry hillside seventeen miles north of Greensboro, Alabama.The unpublished articleeventually became one of the era'sliterarymasterpieces,

JLR

Herman Rosse American(b. Netherlands),I887-I965 Dining Room 1928

Paintedand chrome-platedmetal,steel,Monel metal,and corduroyupholstery H. 8fl. 4 in. (2.54 m) Gift of S. Helena Rosse Trust, 2000ooo 2000oo.64.I-.44a,b In 1928 Rosse-a Dutch-born architect, decorator,theatricaldesigner,and teacher working in New York City-became the founding presidentof the short-livedbut importantAmerican Designers' Gallery. Members included the best-known architects and designersof the day:Donald Deskey, WolfgangHoffmann, Raymond M. Hood, Ely JacquesKahn, Ilonka Karasz,Henry Varnum Poor, Ruth Reeves,Winold Reiss, Joseph Urban, and Ralph T. Walker. The organizationwas the first in the country to promote Americanmodernist design, but it disbandedin 1930 after mounting only two well-receivedexhibitions. The inauguralexhibitionfeaturedfifteen room settingsand alcoves.Rosse contributed 66

this dining room made entirelyof metal,with the walls and ceiling enameleda rich darkblue and the floor patternedin matchingblue and creamlinoleum. The curvedwalls opened to revealgleamingmetal cabinetsdisplayingvases and tureensof Monel metal, an alloy of nickel and copper.The furniturewas chromeplated

and the chairswere upholsteredin blue corduroy. In 1930 Rosse installedthe dining room in his own house in New City, New York, where it remainedintact until his familydonated it, completewith its originalfurnishings, to the MetropolitanMuseum. JG

Knud Lonberg-Holm American(b. Denmark),I895-p972

[Billboardsat Night, Detroit] I924

Gelatinsilverprint 3/8 4 in. (7.8 x Io cm) Purchase, Alfred Stieglitz Society Gifts, 2000

2000.127

When the GermanarchitectErichMendelsohn returnedfrom a visit to the United Statesin 1924, he brought with him a portfolio of

remarkableimagesby Lonberg-Holm,a Danish architectwith de Stijland Constructivistassociations.Lonberg-Holmhad moved to the Statesin I923and scannedits fabled modernist cities with a fresh European eye and a 35-millimeterhandheld Leica. Mendelsohn published Lonberg-Holm's "worm's-eye,"bird's-eye,and neon-lit photographswithout credit in Amerika(1926), his phenomenally successfulpicture survey of a country made of steel and concrete, electricityand advertisements. Throughout the I920SLonberg-Holm's and viewsof skyscrapers dazzling"lightscapes" in cropped up design and architecturemagazines in Holland, Germany, and Russia;they also appearedin two important sourcebooks of the new photographyand clearlyinfluenced the artistsAlexanderRodchenko and El Lissitzky.By the I930s, however, LonbergHolm had given up architecturefor advertising, and his photographs,never signed or dated, no longer circulated. Happily, a recent study by architectural historian Marc Dessauce clarifiesLonbergHolm's precocious contribution to the New Vision of the earlymodern age. The Museum acquireda spectacularnight view of New York City and this glowing paean to electric advertising,together with five other images, from the artist'sestate. MMH

Anselm Kiefer German,b. 1945

The UnknownMasterpiece I982

Watercolor, gouache,graphite,and cut-andwoodcuts on paper pasted 25X8 X I192

in. (63.8 x 49.5 cm)

Inscribed(lowerleft, on pastedpaper):le chef d'oeuvre inconnu Gift of Cynthia Hazen Polsky, in memory of her father, Joseph H. Hazen, 2000ooo 2000.96.8

One of fifty-fiveworks on paper by Kieferin the Museum's collection, this watercolor takes as its mise-en-scene the Soldiers'Hall, a planned but never-builtmonument of the Third Reich. Designed by Wilhelm Kreisbut first sketched by Hitler himself in 1936as part of his scheme to reconstructcentralBerlin on

a huge scale, the Soldiers'Hall was to be a memorial to war heroes. The vast, barrelvaulted space would have culminated in an apse containing an oversizestatue of a muscular, sword-bearingwarriorflanked by enormous eagles. Kieferhas transformedthe function of the building by covering the apse statuarywith an abstraction:pieces of paper printed with black ink in the medium of woodcut. Kiefer'sinscription refersto Honore de Balzac'sLe chefd'oeuvreinconnu (I831), the bittersweetstoryof an aging Baroque painter named Frenhofer,who works for many yearsto perfect a woman's portrait, painting layer upon layer, until only a hint of the image remains-an undecipherable abstraction.Among the ironies here is Kiefer'suse of delicate washes to renderthe hard-edgedmasonry of the Nazi building. NR

Richard Hamilton

Richard Prince American,b. I949 Untitled (Cowboy)

British, b. 1922

Swingeing London 67 1968

I989

Etching,aquatint,photoetching,and collage; embossedand die stampedwith metallicfoil 22 3/ x 28 8 in. (56.8 x 7I.4 cm)

Chromogenic print

2000.272

Gift, 1999 I999.I4

On February12, 1967, British police raideda partyat the home of Keith Richards,guitarist for the Rolling Stones rock group. Two guests, the group'slead singer, Mick Jagger, and Hamilton's art dealer,Robert Fraser, were arrestedand sentenced to jail for unlawful possessionof drugs. Hamilton's etching, basedon a pressphoto, shows Fraserand Jaggerthroughthe window of a police van as they arriveat the court. They arehandcuffed together,a detail the artisthighlightedwith elementsof metallicfoil. The print is one of nine works, includingsevenpaintings,that Hamilton made on the subject.As he wrote, they expresshis "indignationat the insanityof legal institutionswhich could jail anyone for the offenseof self-abusewith drugs."The title of the work puns on the reputationof London in the I96os as a "swinging"city and on the Britishexpression"swingeing,"meaning "whopping"or "capital."The judge presiding over the case reportedlysaid, "Thereare times when a swingeing sentence can act as a deterrent."Hamilton's skill and originalityat blending photoetching with areasof aquatint and embossing (for the creasesin Jagger's white shirt) are manifest in the print. NR

50 x 70 in. (127 x I77.8 cm)

Purchase, The Horace W. Goldsmith Foundation and Jennifer and Joseph Duke Gifts, zooo

Signedand numbered(lowercenter): R. Hamilton 64/70 Purchase, Reba and Dave Williams

intensify their originalartifice.In doing so, Prince undermined the seeming naturalness and inevitabilityof the images,revealingthem as hallucinatoryfictions of society'sdesires. Untitled (Cowboy)is a high point of the artist'songoing deconstructionof an Americanarchetypeas old as the first trailblazersand as timely as then-outgoing PresidentRonald Reagan. Prince'spicture, it has been noted, is a copy (the photograph)of a copy (the advertisement)of a myth (the cowboy). Perpetuallydisappearinginto the sunset, this lone rangeris also a convincing stand-in for the artisthimself, endlesslychasing the meaning behind surfaces.Createdin the fade-out of a decade devoted to materialism and illusion, Untitled(Cowboy)is in its largestsense a meditation on an entire culture's continuing attractionto spectacleover lived experience.

In the mid-1970s Princewas an aspiring painterwho earnedhis living by clipping articlesfrom magazinesfor staffwritersat Time-Life Inc. What remainedat the end of the day were the advertisements,featuring gleaming luxury goods and impossiblyperfect models; both fascinatedand repulsedby these ubiquitous images, the artistbegan rephotographingthem, using a repertoireof strategies (such as blurring,cropping,and enlarging)to

Vija Celmins American(b. Latvia), b. i939 Ocean Surface 1983 Drypoint Sheet261s x 208s in. (66.4 x 51.I cm); image 7 58 X 10 in. (20 x 25.4 cm) John B. Turner Fund, 1999 I999.293

Celmins has worked in a varietyof media, including painting and sculpture,but she is most regardedfor the refineddraftsmanship of her drawingsand prints. As a printmaker, she relieson traditionalintaglio, lithographic,

and relief processesto produce quiet scenes of ocean surfaces,desert floors, and star-filled night skies that are highly modern in their eschewing of conventional composition. Instead of relatinga narrative,Celmins seems interestedin exploringthe detailsof our natural environment. Elements normallyassociated with a sense of the infinite are presented in an encapsulatedversion for the viewer's carefulconsideration. Although reminiscentof Abstract Expressionismin its allovercomposition, OceanSurfacepossessesa cool and impersonal touch more akin to Minimalism. The rhythmic motion of the water is frozen in time, as if capturedby the instantaneousclick of a camera'sshutter. In far more laboriousfashion, however, Celmins manipulatedthe feathery line of drypoint, building up certain areasto createsubtle contrastsof light and dark,which provide the illusion of spatialrecession.

Michal Rovner Israeli,b. 1957 Border #8 1998

Paint on canvas 504 x 6634 in. (128.9 x 169.5 cm)

Purchase, The Horace W. Goldsmith Foundation Gift, i999

Over the past decade Rovner, an Israeli-born artist now based in New York City, has produced an evocative body of work concerning the intersectionof reality,feeling, and memory. This powerful image derivesfrom the prologue of Rovner'svideo Border(I997), in which she explored the psychological and political meanings of geographicaland national borders,using the military access road from Israelto Lebanon as a site and herselfas a model. Working with a still from the video, which she deftlyand variously enhancedin color, scale, and texture, Rovner generatedfifteen differentcomputerized image files. An outdoor sign company then digitally airbrushedthese images onto canvas, creatingfifteen unique, large-scalevariations on this brooding landscape,each in a slightly differentmood. In order to expressthe intensity of her personalexperienceadequately,but in terms generalenough to apply to the broader human condition, Rovner often marriesphotography,video, digital art, and painting in a melange that ignores traditionalcategories of medium and process. This technological fluency helps her generatepictures of unusual authorityand resonance:fusions of the real and the imaginaryas familiaras scenes in our own dreams,and just as spare,haunting, and ultimately elusive. MMH

1999.240

SJR

numeralsand the name Elton in polychrome beads. These appliquesmay be an homage to Los Angeles designerNudie Cohn, a.k.a. Nudie the Tailor, who createdsparkling, studded suits for countless rhinestonecowboys, cowgirls, and Hollywood starsuntil his death in I984. Versaceenjoyed the camaraderieof many celebritiesin fashion, music, and theater,but his relationshipwith Elton John was based on devoted mutual admiration.Both took center stage, and their muselike influence on each other is evident in this jacket. MW

Kiki Smith American,b. '954 Litter Gianni Versace

999 Lithograph,with hand-appliedplatinumleaf

Italian, 1946-I997

22/8 X 29/8

Man's Jacket

Signedand dated (lowerright):Kiki Smith 1999; numbered(lowerleft):I3/50 Purchase, Reba and Dave Williams Gift,

Ca. 1997

Silk with beading L. (center back) 34

in. (87.6 cm)

Gift of Donatella Versace, I999

in. (56.2 x 75.9 cm)

2000 2000.I36

1999.328.1

This dynamicsingle-breastedjacketwas created for rockstarElton John. Both functional and flamboyant,it has the bold graphicquality that was a Versacesignature.The blackand-whitezebrapatternis reminiscentof op art motifs, and its larger-than-lifeswirlsrelateto the personalenergyof both designerand client. The collar is drapedhigh and soft, with notches near the shoulder line. The placement of the welt pockets emphasizesthe refinedtailoringand attention to detail. Randomly scatteredon the printed silk are

This large lithographwas printed in cobaltblue and white ink at UniversalLimited Art Editions in West Islip, Long Island, New York.Publishedto benefitthe Pollock-Krasner House and Study Center, the print depictsa white cat in bird's-eyeperspective.She is nursinga litter of four white kittens,which arenearlyobscuredby her fur. The mother cat'seyes and nose, two of her paws, and a nipple arehighlightedwith hand-appliedplatinum leaf. Likemany of Smith'ssculptures, includingthe wall-hungbronzeLilithat the Metropolitan (I994; acc. no. I996.27), the

subject concerns female sexuality.The work joins thirty-threeintaglio prints and one Iris (ink-jet) print by Smith also in the Museum's collection. NR

Yoichi Ohira Japanese,b. 1946 'Acqua alta di Venezia" Vase 1998 Glass H. 43/4 in. (12.1 cm) Gift of the artist, 1999 1999.292

At age twenty-sevenOhira left Japanto study sculptureat Venice's Accademiadi Belle Arti. His dissertationon the aestheticsof glass and his proximity to the glassmakingfacilities of Murano led him to resumehis youthful experimentswith the medium by collaborating with Livio Serena,a masterglassblower, on a seriesof goblets, bowls, vases, and bottles. Many of these earlyforms, as well as their colors, referencedclassicsixteenthcentury Italianwares. This recent vase, however, combines restrainedJapaneseeleganceand simplicity of shape with Italiantechniques:the fusing of lengths and slices of murrinecanes to produce patternand battutocarving,in which the glass appearsto have been beaten. The upper body of the vase, in semitransparentaqua blue, is reminiscentof Venetian lagoons and canals,while the polished white lower portion is opaque but punctuatedby translucent "windows"of blue glass-the whole evoking the phenomenon of acquaalta (high tides that cause flooding). A thin red band running along the narrowlip adds the only other color to the vase. JA

AFRICA,

OCEANIA,

AND

THE

AMERICAS

Pectoral Peru (Chavin),9th-2nd centuryB.C. Hammeredgold W. 94 in. (23.5cm) Jan Mitchell and Sons Collection, Gift of Jan Mitchell, 1999 1999.365 The earliestsignificantworks in gold known from Peru are those in Chavin style, which is identified with the north, primarilythe Jequetepequeand Lambayequevalleys and adjacenthighland Andean areas.Found in the burialsof high-rankingindividuals,the gold objects are principallypersonalornaments of types long favoredby ancient Peruvianpeoples: adornmentsfor the neck and chest, for the center of the forehead,and for the nose and ears.This pectoral,of generalized cross shape, was perhapsattachedto a leatheror textile support through the pair of holes at the center. At the ends of the two largerprojectionsare profile bird's heads in mirrorimage, which meet at the neck. When the pectoral is rotated ninety degrees,however, the two heads become a single image, appearingas the frontal face of a wide-nosed animal with no lower jaw. Such intricacyof design is characteristicof Chavin art, in which patternsintermix and overlapand are meant to be read from multiple viewpoints. Fanged faces, with either feline or serpent references, are commonly used in these patterns,as are bird elements, particularlythose of raptors.

with a continuous depiction of large, undulating featheredserpents.Betweenstrictlydefined outlines, two serpentsunwind with regularity. Profile figuresseated before the open jaws of the serpents-symbolic of caves-are an earlyversion of a depiction widely used in later Maya times. The beardedand feathered serpent, known by many authoritiesas the

BeardedDragon, is thought to be the personification of the underworld.An unusual featureof this bowl is the incised series of barsand dots on the inside nearthe rim. They appearto be Maya numbers;if a date is indeed meant, the bowl was inscribedin A.D.539. JJ

CarvedBowl Mexicoor Guatemala(Maya), 6th centuryA.D. Ceramic H. 6Y4in. (17.1 cm)

Purchase, Fletcher Fund and Arthur M. Bullowa Bequest, zooo 2000.60

A well-made, glossy-surfacedblackware ceramicwas produced in the Maya lowlands of southern Mexico and central Guatemala during the sixth century.Actually a lustrous brown-blackor red-blackcolor, the ware was used mainly for important ceramicvessels of significantsculpturalshape and for bowls with meaningful incised or carvedimagery. The present example illustratesthe latter type: the wonderfully round shape was carved 71

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Double Whistle in Bird Form Mexico (Maya),7th-8th century Ceramicwithpolychromy

Cylindrical Vesselwith ThroneScene

H. 814 in. (20.9 cm)

Guatemala(Maya), 8th century Ceramic

Purchase, Gift of Elizabeth M. Riley, by exchange, zooo

Gift of Charles and Valerie Diker,

2000.44

in. (2i.6 cm) i999

999-.484.2

Pre-Hispanicclay whistles frequentlyimitate the sounds of the figuresthey represent.This owl-like bird is no exception. The whistle contains two discretehollow chambers:the rotund body produces a deep, mellow twotoned call when air is blown into a mouthpiece concealed in the bird's tail, while the smallerchamber,in the bird's head, emits a higher-pitchedscreechwhen a small pipe located on the back of its neck is blown. The Maya sculptedand paintedpotteryof greatvarietyduringthis period, and this wellpreservedexampleretainsmuch of the blue and yellowpigmentappliedafterfiring.It is believedthat people used vesselfluteslike this to communicatewith spirits.The instrument's visualreferencesto the mythologicalharpy eagle, its deerlikeears,and the five solardisks in the ruffaroundits face reflecta complex iconography,the meaningof which remains speculative.The blendingof three-dimensional form with multiple sounds illustratesthe exceptionalcreativityand ingenuityof Mayaartists. JKM

Maya straight-sidedcylinderswith palace and mythological scenes on their exteriorsurfaces carrysome of the most illuminating imagery createdin the ancientAmericas.The complicated, and not alwaysunderstood, renditions of Maya life and myth detailed on the vessels allow for a greaterperception of the world that made them. The scenes provide insight into the elaboratecustoms of a powerful

people at a high point in their history. Depicted on this vessel is an elegantly dressedyoung lord-wearing a grand feathered headdressand a large collar of beads and pendants-seated on a throne with a jaguarskin bundle behind him. Two men of lesser ranksit before and below him and pay homage. In front of his throne is a vessel, in a shape much like that on which he is shown, which contains a foaming liquid, perhapsa Maya drink made either of honey or of cacao. Another wide-mouthed bowl, possibly filled with fruit, is below the throne. Although there are referencesto death elsewhereon the vessel, the luxuriouslife of a wealthy and powerfulyoung lord is most assuredlyevoked. JJ

Mukudj Mask Gabon (Punupeoples),Igth century Wood,pigment,and kaolin H. 32 in. (81.3 cm)

Purchase, Louis V. Bell Fund, and The Fred and Rita Richman Foundation and James Ross Gifts, 2000ooo 2000.177

When works from equatorialAfrica in this refinedstyle began to enter Western consciousnessin the early twentieth century, they were a great enigma to art critics. Many speculatedabout the sourcesof their exotic aesthetic and even proposed possible Asian influence, though the art form was in fact indigenous to southern Gabon. Such masks as this are worn by virtuosic male performers of a stilt dance called mukudj,which involves

towering impressivelywhile executing complex choreographyand astonishing feats of acrobatics. The creatorof a mukudjmask attempts to capturethe likeness of the most beautiful woman in his community. The subject of this particularidealizedand stylized portraitwas embellished in classic nineteenth-century fashion with a coiffurecomposed of a central lobe and two lateraltressesand with cicatrization motifs on the foreheadand temples. Kaolin taken from riverbeds,which was associated with healing and with a spiritual, ancestralrealm of existence, was applied to the surfaceof the face. By using this material, the artistboth celebratedthe beauty of a mortal woman and transformedher into a transcendentbeing. AL

Crucifix Angolaor DemocraticRepublicof the Congo (Kongopeoples),i6th-early i7th century Brass H. Io34 in. (27.3cm) Gift of Ernst Anspach, 1999 I999.295.7

This work documentsthe convergenceof two distinctiveworldviews.When Christianicons were firstintroducedinto centralAfricaby the Portuguese in the late I40os, elements of their

design resonatedprofoundlywith local spiritual precepts.Then, in the earlysixteenthcentury, the king of Kongo was baptized,adopted Catholicismas the state religion,enteredinto exchangeswith the king of Portugaland the pope, and emphasizedthose alliancesthrough courtlypatronageof Christianartifacts. The Kongo designerof this prestigepiece significantlytransformedthe Western prototype that servedas its model. At the center of a flat cruciforma Christ figurewith African featuresand broad, flattened feet and hands was cast in relief, arms extended. The abstractmodeling of four smallerfigures whose hands are clasped in prayercontrasts with the more expressionistictreatmentof Christ. His torso is given definition by the incised ribs, raisednipples and navel, and wrapperaround his pelvis. While the suppliants depicted at the apex and base kneel, the other two sit comfortablyon the top edge of either arm of the cross. AL

Marionette Nigeria (Ibibiopeoples),20th century Wood H.

238

in. (6o cm)

Purchase, Discovery Communications Inc. Gift and Rogers Fund, zooo 2000.32a,

This finely renderedIbibio marionettetakes the relativelynaturalisticform of a freestanding male figurewith rounded muscular contours. The figure'seyes are lidded voids, its hinged jaw is set in a meditativeexpression, and decorativecicatrizationbisects its torso. Its arms are extended at either side

Prestige Panel DemocraticRepublicof the Congo(Kuba peoples),i9th-2oth century Raffiapalmfiber L. 4534in. (116.2 cm) Gift of William Goldstein M.D., I999 I999.522.I5

The variousstagesof textilepreparation,production, and adornmentengagethe collaborativeeffortsand skillsof all membersof Kuba society.The cultivationof raffiapalm and its subsequentweavingon a verticalheddle loom arethe responsibilityof men. Individual woven units (mbala)arerelativelystandardized panelsthatwomen embroiderwith dyed raffia

with hands held so that each thumb touches the tips of the other fingers,a stylized gesture designed to accommodateprops. To control its movements, the hollow figurewould have had a rod insertedthrough its back. Objectssuch as this belongedto a distinctive dramaturgicaltradition in southern Nigeria. Ibibio marionetteperformanceswere at once a form of popularculturalexpression and entertainmentand an importantvehicle for socialcommentary.The theatricalpresentations for which this sculpturalaccessorywas createdwould have been highly topicaland would havesought to influencesocialattitudes. AL

to createa plush pile. These cloths areintended as independentprestigeitems. The classictechniques have been applied female embroiderersover the centuries by with considerableinnovation and have yielded a dazzlingspectrumof formal solutions. Distinctive motifs introduced into the Kuba repertoryare assignednames that often acknowledgethe ingenuity of individual designers.In the complex composition of this symmetricaldouble panel, a central interlacingmotif appearsin the foreground of a dense arrangementof concentric lozenge forms. Through their combined tonal and texturalarticulation,these patternsproject dramaticallyfrom the gold field. AL

ASIA Despite the grim political atmosphereof the late Ming world, Chen Hongshou prepared for a government careerbefore turning to painting. This album, which contains four leaves by Chen and seven added later by his son, reflectsthe artist'smood after a number of personaltragedies,including the death of his firstwife in I623. It alreadyexhibits the broad range of subject matter, vivid color, and psychologicaledge that became typical of his maturework. The bird on a branchof blossomingplum may have been inspiredby the intimate,highly descriptive,and vividlycoloredviews of flowers and birdsfavoredby artistsof the Southern Song (1127-1279)imperialpaintingacademy. But Chen Hongshou gavethis conventional image a strongformaland expressivetwist. The manneredemphasison the knots of the branch and the disquietingstareof the bird add an unsettlingdimension.Chen'saccompanying poem conjuresup a wintry mood appropriate to the seasonwhen the plum blooms:

Notched Disk (xuanji)

When the sky darkensover the lofty paulownia and old cassia, Boiling tea with snow water createsa good

Chen Hongshou

Chinese,Neolithicperiod,Longshanculture

Chinese, I598-I652

(ca. 2400-1900

Chen Zi

B.C.)

Jade (nephrite) W. (maximum)632 in. (6.5 cm) Purchase, Barbara and William Karatz

Chinese, i634-I71I

Figures, Flowers, and Landscapes LateMing dynasty(1368-i644) and earlyQing

Gift, 1999

dynasty (1644-1911)

1999.302

Album of II paintings;ink and coloron silk Each 8Y4x 858 in. (22.2 x 21.9 cm) Dated on one leaf:1627 Gift of Mr. and Mrs. Wan-go H. C. Weng,

Neolithic culturesalong the east coast of China are noted for the large number of jade artifactsthey produced. Many took the shapes of common stone tools such as adzes and knives. Others have forms that suggest no obvious function. Among the latter is the notched disk, which first appearedin the Middle Neolithic period (ca. 4000 B.C.)and was graduallydiscardedfrom the jade repertory during the first millennium B.C., in the early BronzeAge. Our recentlyacquireddisk is representativeof the type found at sites of the Late Neolithic Longshanculture in Shandong Province. Longshanjades are known for their fine workmanshipand the sheer quality of the stone-as can be seen in this example.

feeling. I wrote this for a visitorto hang on his wall, Sitting in an empty studio as the snow flies in the cold moonlight. MKH

1999 I999-521

JCYW

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This elegantpairof six-panelfoldingscreens

Kano Sanboku Japanese,activelate I7th-early I8th century Flowers and Birds of the Four Seasons Edoperiod (i615-i868) Pair of 6-panelfoldingscreens;ink, color,and gold onpaper

Anonymous Artist of the Tosa School Japanese Activities of the Twelve Months Edoperiod (6I&5-i868),late I7th century Album ofI2 paintings;ink, color,and gold onpaper Each 9 /4x

132 in. (23.5 X 34.3 cm)

in. x 12ft. /2 in. (I. x 3.67 m)

Each 4ft.

Purchase, Friends of Asian Art Gifts, I999

I999.6I

IP999.204.,

Since the tenth century in Japanone of the most important subjectsin secularpainting has been the twelve months of the year, depicting the typical or most representative events of each. This album from the late seventeenthcentury consists of twelve paintings that describefestivalsor special events integralto the lives of Kyoto citizens. This scene, representingthe ninth month, includescourt ladiesadmiringchrysanthemums, the flowersof the season,while indoors othersenjoy a partyin front of a small table set up for the dolls' festival.The event, known today as the girls' festival,has been celebrated on March 3 ever since the date was changed in the earlyeighteenth century. The autumnal celebrationof the dolls helps to date this charmingalbum to the late seventeenth century.These images servenot only as testimonialsto the long-lasting tradition of genre painting in Japanbut also as valuable historicalrecordsof Japaneselife. MM

depict flowersand birdsof the four seasons. On the right-handscreen(not shown) both white plum blossoms,the harbingersof spring, and the irisesof summerarein bloom; nightingalesand cuckooscelebratethe two seasons. The left-handscreen(shownhere)illustrates autumn and winter,represented,respectively, by hibiscusand bamboo dotted with snow, as well as by a kingfisherand pheasants. Each screen bearstwo seals of Kano Sanboku, a student of Kano Sanraku(1559I635), leaderof the Kano school active in Kyoto. This school, known as Kyo Kano (Kyoto Kano), has startedto receive attention from scholarsonly recently. It developed a distinct style of its own, easily discernible from that of the Edo (modernTokyo) branch of the Kano school, which prosperedas the official paintersto the shoguns. Little is known about the life of Sanboku, and only two dated works-from I664 and 1706-have come to light. This pair of screenswill help us understandthe artistic development of Kyo Kano works in the second half of the seventeenthcentury. MM

Toyohara Kunichika Japanese,1835-Io00 Ichikawa Sadanji in "Keian Taiheiki," from an album of thirty-two triptychs Meiji period (1868-1912),i883-86 Woodblock prints;ink and coloron paper Oban size; each I4

x 94 in. (36.2 x 23.5 cm)

Gift of Eliot C. Nolen, I999 I999.457.2

This bold composition, spanning three single-sheetprints, depicts the Kabukiactor IchikawaSadanjiat the climactic moment of his starringrole in the play Keian Taiheiki. Infused with the new spirit in actor prints of the Meiji era,the young man'sposereflectingnot only his just-completed sounding of the depth of the moat by dropping a pebble into it but also his discoveryby the watchdog (played by a human actor)-stands out againstthe vista of the shogun's castle enshroudedin mist. The eight-act play set currentsocial and political events in the guise of two famous rebellions:one in the fourteenth century, as told in the epic Taiheiki,and the other in the fourth year of Keian (I65I) at the outset of the Tokugawaregime,in its death throeswhen the playwas firstperformedin MarchI870. KawatakeMokuami (1816-1893),the major dramatistof the late Edo and Meiji eras,wrote it to launch the careerof the twenty-nineyear-oldSadanjiin gratitudeto the actor's adoptivefather,KodanjiIV. This triptych commemoratesa productionin June 1883.It is one of thirty-twoin an album illustratingthe leadingKabukirolesfor the seasonsI883-86. BBF

RafterFinial in the Shape of a Dragon's Head and Wind-ChimeBell Korean,lateUnifiedSilla-earlyKoryb dynasty, ca. late9th-earlylothcentury Giltbronze H. (finial) iiX3in. (29.8 cm); h. (bell)i54 in.

(38.7cm) Purchase,The VincentAstorFoundation Gift, 1999 Benefit Fund, and The Rosenkranz Foundation Inc. Gift, 1999 1999.263a, b

Thisexpertlycast,lavishlygiltbronzefinialin theshapeof a dragon's headandtheaccompanyingbellareamongthefinestpiecesof metalwork of thelateUnifiedSillaandearly whenKoreanarthaddigested Kory6dynasties, Chineseinfluenceanddevelopeda mature nativestylecharacterized and by refinement The imposingdragon's head sumptuousness. originally gracedoneof thecornerraftersof a Buddhisttempleora royalhall.The bell, whichfunctionedasa windchime,would havebeensuspended fromtheironloopat the mouth an dragon's by S-shapedironhook, whichis corrodedbutintact. An auspicioussymbolaswellas a decorativemotif,the dragonis one of the most popularimagesin Koreanartandculture.It is viewedas a guardianfigurethatprotects humansandwardsoff evilspirits.The dramaticfeaturesof thisexample-largestaring eyes,flaringnostrils,wide-openmouthwith protruding sharpfangs,andbrawnysingle andinvincibilityin horn-convey a fierceness with such keeping apotropaicfunctions.The themeof protectiveness is echoedin the decorationon the bell,whichfeaturesa svastika, a Buddhistsymbolof safetyandpeace. zjs

Maharaja Sital Dev ofMankot in Devotion Indian (Punjabhills, Basohli),ca. 690o Ink, opaquewatercolor,and silveronpaper 7X

x 64 in. (18.4 x 15.9 cm)

Purchase, Cynthia Hazen Polsky Gift, ooo 2000.24

Although portraitsof maharajaswere an important genre in hill-state painting, this image of a blind rajastands apart.Most depict rulersin formal poses with servants profferingintoxicants:either pan (betel nut, lime, and spices) or tobacco smoked in a hookah. Here, the rajais shown unattended and saying his beads, a privatedevotional act. There is a rarepoignancy in the artist'ssubtle characterizationof pose and features. Given the immediacy of the image, it is startlingto learn that Sital Dev ruled from

about I630 to i66o, long before this portrait could possibly have been completed. Its style relatesto the second phaseof late-seventeenthcentury Basohli painting, when earliercoloristic and decorativeexuberancegave way to a more subdued palette and less dramaticjuxtapositions of pattern.A Mankot provenance has been posited for the portrait,but its more refineddrawingand its palette, particularly the soft buttery yellow of the background,are closer to works from the nearbyprincipality of Basohli. SMK

sampot,tied at the upper hem and drawn between the legs to be fastenedat the rear. A sash around the hips helps to secureit. He also wears a decorateddiadem and ear pendants. This superbsculpture,well proportioned, beautifullymodeled, and with precise,clearly articulateddetailing, is a rareearlyexample in bronze of the classicalperiod of Khmer art. It has a most appealingexpression,a commanding presence,and a fine patina. It is a particularlysignificantaddition to the Museum's important collection of Baphuon sculpturesof the eleventh century becauseit is stylisticallyearlierthan any of our others. ML

Dish with Mounted Hunters and Animals Vietnamese,Chamstyle,ca. 8th century Bronze Diam. sX8in. (28.i cm) Purchase, Friends of Asian Art Gifts, I999 I999.26I

EarlySoutheastAsian bronze objects with narrativescenes are exceptionallyrare,and nothing like this fine and fascinatingdish has been recordedin the art-historicalliterature. Depicted in low relief are three armed, mounted hunterswith elephants,tigers, and a deer, interspersedamong differentspecies of trees. The centralpart of the dish has a small depressedreceptaclesurroundedby lotus petals, then a circle of floretsfollowed by a band containing six differentanimals, including a rhinoceros,enclosed in a band with a patternof double rectangles.The perimeterhas a narrowband of stylized florets.The undecoratedundersideis supported by a shallow flaredfoot. The creator of this dish skillfullydepicted the animals and hunters in a varietyof lively postures, manipulatedthrough the shallow space in a very convincingmanner.This dish was possibly intended for secularuse but more probably servedsome unknown ritualpurpose. Based on cognate representationson stone reliefs,the dish could be dated as earlyas the late seventh century or as late as the ninth century and must be considereda very significantaddition to the corpus of early SoutheastAsian art. ML

Four-ArmedAvalokiteshvara,the Bodhisattva of Infinite Compassion Cambodian,Angkorperiod,Khmerstyleof the Baphuon,ca. ist quarterofiith century Bronze H. io 4 in. (26 cm) Purchase, Friends of Asian Art Gifts, Cynthia Hazen Polsky Gift, and Josephine L. Berger-Nadler and Dr. M. Leon Canick Gift, 1999 1999.262

This four-armedmale deity standing on a pedestalis identifiableas the bodhisattva Lordof InfiniteCompassion, Avalokiteshvara, the small seated BuddhaAmitabha through in front of his conical crown and the vertical third eye on his forehead.After the historical Buddha, Shakyamuni,he is the most popular deity in Buddhism.Avalokiteshvarawears a short pleated wraparoundgarment, the 80

STATEMENT OF OWNERSHIP, MANAGEMENT, AND CIRCULATION

Publication title:THE METROPOLITAN MUSEUM OF ART BULLETIN

Publicationno: 885-660 Dateoffiling:OctoberI, 2000 Issuefrequency: Quarterly No. ofissuespublishedannually: Four Annualsubscription price:$25.00, or freeto MuseumMembers Complete mailingaddressofknownofice ofpublication:Iooo FifthAvenue,New York,N.Y. oo028-o198 Complete mailingaddressofheadquarters orgeeml businessofficeofpublisher: 1oo0 FifthAvenue,New York,N.Y. 0028-0198 Fullnamesand addresses ofpublisher,editor,and managingeditor: Publisher:.The MetropolitanMuseumof Art, ooo FifthAvenue,New York,N.Y. 10028-o198 Editor:JoanHolt, Iooo FifthAvenue,New York,N.Y. Iooz8-0o98 ManagingEditor;None OwnerThe MetropolitanMuseumofArt, Iooo FifthAvenue,New York,N.Y. 10028-0198 Knownbondholders, and othersecurityholdersowningor holdingonepercent mortgagees, ormoreofthe localamountofbonds,mortgages, and othersecurities: None Taxstatus:Thepurpose, finction, and nonprofitstats ofthis organizationand thetax exempt hasnotchangedduringtheprecedingJ2 months. statursfrfederal incometaxpurposes

Averagenumberof copies duringprecedingit months (Ocr. 99-Sept. oo) A. Totalcopiesprinted(net pressrun) B. Paidand/orrequestedcirculation 1. Paidand/orrequestedoutside-county mailsubscriptions 2. Paidin-countysubscriptions 3. Salesthroughdealers,carriers,streetvendors, countersales,and other non-USPS 4. OtherclassesmailedthroughUSPS C. Totalpaidand/orrequestedcirculation D. Freedistributionby mail i. Outside-county 2. In-county 3. OtherclassesmailedthroughUSPS E. Freedistributionoutsidethe mail F Totalfreedistribution(sum ofDi, Dz, D3, and E) G. Totaldistribution(sum of C and F) H. Copiesnot distributed I. Total (sumofG and H) J. Percentagepaidand/orrequestedcirculation

Singleissuesnearest to filingdate (uly oo)

121,127

119,585

72,291 33,067

70,874

None 8,286 I13,644

None 7,994 I1I,359

None None 175 6,467 6,642

None None

32,49I

200

6,o85 6,285

120,286

117,644

841 121,127 94.48%

119,585

1,941 94.66%

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