Recent acquisitions a selection 1992 1993 the metropolitan museum of art bulletin v,51 #2 fall 1997 by alfonse K

w </z-XZ

-#yris

t ,1',t, F' ;

W(.''t' /

i #

+s .t// .

§ pf' tSj*S

/ 74''

v ^¢;

M/#//w*lts or .

ii '',lt,

1 .;t'.;.( ...

. a... X i

\\ ts

s P

-.S

t.t -f . o.

{_.,,''.se'

A;s

r.,.r ;

\- t

---1t

ks'

vE ra+

"':''

fL'

<=>

t->

t}*;

Recent

Acquisitions: A SelectZon

I992-I993

THE METROPOLITAN

M U S E U M OF ART

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

The MetropolitanMuseumof Art Bulletin FallI993 VolumeLI,Number2 (ISSN 0026-I52I) Publishedquarterly C)I993 by The Metropolitan Museumof Art,IOOO FifthAvenue,New York, N. Y. I0028-OI98. Second-class postagepaidat New York,N. Y. and AdditionalMailingOffices.TheMetropolitan MuseumofArtBulletinis providedas a benefitto Museummembersandavailableby subscription. Subscriptions $25.00 a year.Singlecopies$6.95. Fourweeks'noticerequiredforchangeof address. POSTMASTER: Sendaddresschangesto MembershipDepartment,The Metropolitan Museumof Art,IOOO FifthAvenue,New York, N. Y. I0028-OI98. Backissuesavailableon microfilmfromUniversityMicrofilms,300 N. Zeeb Road,AnnArbor,Mich.48I06. VolumesI-XVII (I905-I942) availableas clothboundreprintset or as individualyearlyvolumesfromAyerCompany Publishers, Inc., 50Northwestern Drive#Io, Salem,N. H. 03079, or fromthe Museum,Box 700, MiddleVillage,N. Y. II379. GeneralManagerof Publications: JohnP. O'Neill Editorin Chiefof the Bulletin: JoanHolt AssociateEditor:ToniaPayne Production:PeterAntony Design:BruceCampbellDesign MahrukhTaraporandSianWetherill, Coordinators Allphotographs, unlessotherwise noted,by thestaff of The PhotographStudioof The Metropolitan Museumof Art.Photographers: JosephCosciaJr., KatherineDahab,Anna-Marie Kellen,Oi-Cheong Lee,PatriciaMazza,BruceSchwarz,EileenTravell, KarinL. Willis,andCarmelWilson.Othersource: LyntonGardiner,p. 63. On the cover: Detailof WheatFiel61 withCypresses by VincentvanGogh(seepp. 50-SI)

Contributors

AmericanDecorativeArts NorthAmericaI700-I900: MorrisonH. Heckscher(MHH),Curator;AliceCooney Frelinghuysen (ACF),AssociateCurator; CatherineHooverVoorsanger(CHV), AssistantCurator.Twentieth Century: CatherineHooverVoorsanger(CHV). AmericanPaintingsand Sculpture NorthAmericaI700-I900: H. Barbara Weinberg(MBW),Curator;KevinJ. Avery (KJA),AssistantCurator;ThayerTolles (TT), Curatorial Assistant. AncientNearEasternArt AncientWorld: PrudenceO. Harper(POH), Curator; JoanAruzaA), AssistantCurator. ArmsandArmor Islam:StuartW. Pyhrr(SWP),Curatorin Charge.Renaissance andBaroque Europe: StuartW. Pyhrr(SWP).EuropeI700-I900: StuartW. Pyhrr(SWP).NorthAmerica I700-I900: DonaldJ. LaRocca(DJL), AssociateCurator. Artsof Africa,Oceania,andthe Americas Afi2ca}Oceania} andtheAmericas: KateEzra (KE),AssociateCurator;HeidiKing(HK), Research Associate. AsianArt Asia:JamesC.Y.Wattac Brooke RussellAstorSeniorCurator;MartinLerner (ML),Curator;SuzanneG. Valenstein (SGV),ResearchCurator;Barbara Brennan Ford(BBF),AssociateCurator;StevenM. Kossak(SMK),AssistantCurator. CostumeInstitute EuropeI700-I900: MicheleM. Majer(MM), AssistantCurator.

Drawingsand Prints Renaissance andBaroque Europe: Suzanne Boorsch(SB),AssociateCurator; WilliamM. Griswold(WMG),AssociateCurator;Helen B. Mules(HBM),AssociateCurator;Nadine M. Orenstein(NMO),AssistantCurator. EuropeI700-I900: ColtaIves(CI),Curator; WilliamM. Griswold(WMG). Twentieth Century: ElliotBosavickDavis(EBD), AssistantCurator. EgyptianArt AncientWorld: DorotheaArnold(DoA), LilaAchesonWallaceCuratorin Charge. EuropeanPaintings Renaissance andBaroque Europe: EverettFahy (EF),JohnPope-Hennessy Chairman; Walter Liedtke(WL),Curator.EuropeI700-I900: GaryTinterow(GT),Engelhard Curator. EuropeanSculptureandDecorativeArts Renaissance andBaroque Europe: OlgaRaggio (OR),IrisandB. GeraldCantorChairman; ClareVincent(CV),AssociateCurator. EuropeI700-I900: OlgaRaggio(OR);James DavidDraperaDD), Curator;Clare LeCorbeiller(CLC),Curator; JessieMcNab aMcN), AssociateCurator;WilliamRieder (WR),AssociateCuratorandAdministrator. Twentieth Century: ClareLeCorbeiller (CLC). Greekand RomanArt AncientWorld: CarlosA. Picon(CAP), Curatorin Charge;JoanR. MertensaRM), Curator;Dietrichvon Bothmer(DvB), DistinguishedResearchCurator;ElizabethJ. Milleker(EJM),AssociateCurator.

IslamicArt Islam:DanielWalker(DW), Curatorin Charge;MarieLukensSwietochowski (MLS), AssociateCurator. MedievalArtandThe Cloisters MedievalEurope: TimothyB. Husband (TBH),Curator;CharlesT. Little(CTL), Curator;Barbara DrakeBoehm(BDB), AssociateCurator;DanielKletke(DK), Curatorial Assistant. MusicalInstruments Renaissance andBaroque Europe: Laurence Libin(LL),Frederick P. RoseCuratorin Charge.EuropeI700-I900: LaurenceLibin (LL).Afi2ca}Oceania} andtheAmericas: J. KennethMooreaKM),AssociateCurator. Photographs EuropeI700-I900: MariaMorrisHambourg (MMH),Curator;MalcolmDaniel(MD), AssistantCurator.Twentieth Century: MariaMorrisHambourg(MMH);JeffL. RosenheimaLR), Research Assistant. TwentiethCenturyArt Twentieth Century: WilliamS. Lieberman (WSL),JacquesandNatashaGelman Chairman; SabineRewald(SR),Associate Curator;LoweryS. Sims(LSS),Associate Curator;LisaM. Messinger(LMM), AssistantCurator; J. StewartJohnsonaSJ), ConsultantforDesignandArchitecture; JaneAdlinaA), Research Associate.

Director's

Note

One wishesthateverydecisionmadeat the Metropolitan wereas easyas the selection of a coversubjectforthisfall'sBulletin devotedto recentacquisitions. If there wasanyhesitationat all,it centeredonly on how to cropourobviouschoiceto fit theverticalformat.The workof artin questionis of courseWheatFieldwith Cypresses) vanGogh'ssignalmasterpiece fromI889, a summationon one grandand vibrantcanvasof a themethatpreoccupied the artistduringhis stayat Saint-Remy. The paintingis alsothe latestof Walter Annenberg's remarkable actsof generosity towardthisinstitution.In fact,two other marvelous picturesenteredthe collectionlast yearbearingtheAnnenbergname:another vanGogh,Shoes)of I888, a painting as richin pathosas it is simplein conception, andAt theLapinAgile)Picasso'sgreat I905 composition of barelyconcealeddrama, a partialgiftwithLeonoreAnnenberg. I shouldnotealsothatWalterAnnenberg established someyearsagoan acquisitions fundat the Museumthatmadepossiblethis yearthe purchaseof one of the finest extantCambodianbronzes,a tenth-century seatedAvalokiteshvara of the Khmerstyle of BanteaySrei. This Bulletinsorganization accordingto broadart-historical periodsratherthanby curatorial departments, an arrangement begunlastfall,showsclearlyhow generally wellbalancedareouracquisitions andhow richlyrepresented, onceagain,is the ancient world.In the GreekandRomanarea,especially,worksof largescalehavebeensought, not onlybecausetheiracquisitionhasbeen neglectedin the recentpastbut becausethey will be neededwhenthe department is completelyreinstalled in comingyearsandthe vastspacenow occupiedby the publiccafeteriawill be givenoverto Romanart. One of ourmostprincelyrecentacquisitionswascertainly thatof a fabuloussixteenth-

century sword,ayatagan,oneof onlyfour of itskindfromthisperiodin theworld, andtheworkof theatelierof thecourt jeweler fortheOttoman sultanSuleyman theMagnificent; it is anobjectof stunning beautyandopulence andof a levelof craftsmanship thatleavesonebreathless. I wouldalsoliketo drawparticular attentionto anexceptionally fineworkof theJain tradition of India,a highlypolished white marble sculpture of a seatedTirthankara) fromtheeleventh century, thatwillsoontake itS place neartheelaborately carved sixteenthcentury Jaintemplenowbeinginstalled in thenewFlorence andHerbert IrvingGalleries fortheArtsof SouthandSoutheast Asia, scheduled to openin thespringof I994. Everyacquisition, whether it is a majoror minorwork,enriches thecollection in its ownindividual way;anda fewmoreareworthyof mentionherefortheespecially pronouncedimpacttheymakeon ourholdings. Thefirstin dateis anearlytenth-century northItalianivorythatrepresents thescene of theThreeMarysattheHolySepulcher withuncommon nobilityandnarrative power.Rembrandt's Portraitofa Man) paintedin I632, iS asfinea workfromthe artist's earlyyearsasit is ourprivilege to see, anditsstateof preservation iswellnighperfect.LucianFreud's largecanvas, Naked Man)BackView)is a particularly powerful andarresting imagebythiscontemporary master, arguably thegreatest representational artistworking today. Manyofouracquisitions havecomeeither asgiftsorbequests, orwerepurchased with fundsexpressly givenforthispurpose byfriends oftheMuseum. Onbehalfof allof us and I speakaswellforthemillions whowillenjoy theseworksofartattheMetropolitanI express ourdeepest gratitude.

Philippe deMontebello Director

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

Vasein the Shapeof a Monkey withIts Young Eg)/ptian (Dynasty6)>reignofPepiIn ca.2289-2255 B. C. Alabaster (calcite) H. 53/8 in. (I3.7 cm) Purchase,JosephPulitzerBequest, FletcherFund,and LilaAchesonWallace, RussellandJudyCarson,WilliamKelly Simpson,andVaughnFoundationGifts, in honorof HenryGeorgeFischer,I992 I992.338

Vasein the Shapeof a Monkey withIts Young Eg)/ptian (Dynasty6)n reignofMerenren ca.2255-2246B.C. Alabaster(calcite) H. 7l/4in. (I8.5 cm) TheodoreM. DavisCollection,Bequest of TheodoreM. Davis,I9IS 30. 8.I34

On the shipsthatbroughtgoodsbackto ancientEgyptfromcountriesfarthersouth alongthe Nile or the RedSea,captive baboonsandmonkeysclimbedin the rigging,delightingsailorswith theirnaughty pranks.Once arrivedat homeport,the apes becamehighlyprizedby membersof noble households.Eventually,theirexoticorigin andentertainingnaturemadeimagesof theseanimalsseemfittingdecorationsfor luxurycontainersof cosmeticsandperfumes. The newlyacquiredalabaster vaserepresents a particular typeamongmonkey-shaped vesselsthatwasespeciallypopularduringthe lateOld Kingdom:a femalemonkeywith its

30. d. I34

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

babyholdingtightlyto the mother's abdomen.Braceletsandankletswornby the pairscharacterize themas domesticpets.In thesegroupings,the mother-baby relationshipis endowedwith an intimacynot found in representations of humanfamilygroupsof thesameperiod. The vase,althoughhollowedout to serve asa utilitarian object,is a sculpturalmasterpiece.Itsoverallshapeis ovoid.Seenin profile,theoutline savefora humpat the centerof the back followscloselythe oval curve.The hoveringof the adult'sheadover the babyexpresses aptlythe carefulprotectivenessfeltby a motherforheryoung.Seen fromthe front,the babymonkeymerges completelywith the mother'sbody,andthe mother'sarmsagainfollowthe ovaloutline. However,the mother'shindlegsand whiskerspointoutwardin a markedlytense manner.This tension,knownfrommanyof the bestfull-scalesculpturesof the Old Kingdom,lendsa dynamicvitalitytO the narmonlouscomposltlon. Visitorsto the Museum'sOld Kingdom galleriescanappreciate the newmonkeyvase astheparticular achievement of an individual artist,becausethe Museumownsanother monkeyvase,in whichan identicalsculptural configuration hasbeentreatedin an entirely differentmanner.Thisvase(acc.no. 30.8.I34), whichcameto the Museumin I930 as part of the Daviscollection,presentsthe mother andbabyin the shapeof an uprightcylinder; its outlineis straight,not roundedas in the newpiece,andallof thedetailsareabstract andangular,not soft andnatural.The artist of the Davisvaseclearlystroveforstatuary dignitymorethanfor a sensitiverendering of the mother-baby relationship. Egyptianart,especiallythatof the Old Kingdom,is usuallynot thoughtto permit determination of individualartists,as they areconsideredto havebeenboundby the conventionsof the timeandconsequently allowedlittleroomforpersonalexpression.The twovases,seensideby side,thus opena freshapproach to ancientEgyptianart. The newvaseis inscribedon the upper armsof the motherandon the rightarmof thebaby.The inscriptionsprovideinformationaboutthe ownerof thevessel,a woman by the nameof Ny-khasut-Merira, andthe occasionon whichshe receivedthe precious flaskas a royalgift:the firstjubileefestivalof KingPepiI (ca.2259 B.C.). DOA .

CylinderSealwith GriJ7in Attackinga Stagand Humansand Lions "International style)99withNearEasternand Aegeanelements) I4thcentury B. C. Hematite H. 7/8 in. (2.3 cm) RogersFund,I992 I992. 288

Thissealis associated bybothstyleand iconography with"International-style" cylinders, whichintegrate NearEastern and Aegeanmotifsandsyntax.Itwasprobably carved in theeastern Mediterranean, possiblyon Cyprus, aroundthetimeof thefall of Knossos (ca.I375-I360 B.C.), when Minoancraftsmen mayhaveresettled abroad. A fineexample of thistypereportedlycomesfromtheLevant; another was foundamongimported Cypriot sealsin the Mycenaean palaceatThebes. Cylinder sealswithAegeanandNear Eastern features, eitherplacedsidebysideor integrated intothenew"International style,"bearwitnessto thecloseinteraction

amongthecultures in theeastern Mediterranean. Inmaterial, theme,andplacement of figures, thisexample hasparallels in Syrian andCypriotglyptic.However, individualmotifs,suchasthegriffinattacking a stag,theadorant lionbehinda livelymale figurewitha tasseled loincloth, andthe "master of animals," derivefromtheAegean stamp-seal tradition. Furthermore, thedistinctivefigural styleof supple,curvedbodies,spindlyanimallimbsmarked withsmall drillings, anddynamic postures relates it to stampsealsfoundon RhodesandtheGreek mainland datingto thelastphaseofAegean sealcarving. JA

VesselFragmentDecoratedwitha Nude FemaleFigure B.C. Iran)earlyIstmillennium Allegedly Paintedearthenware H. 51/8in. (I3 cm)

Fund,I992 Fletcher I992.52.2

Handle VesselwithRwm-shaped B. C. Iran)evrlyIst millennium Allegedly Paintedevrthenware H. 71/2in. (I9 cm) FletcherFund,I992 I992.52.

Iranianceramicssincethe earliestof times highartisticandtechnihavedemonstrated calquality.The vesselrecentlyacquiredby the luxuryceramic the Museumrepresents industryat a relativelylatestageof developmolded,andmodeled, ment.Wheel-thrown, thisdrinkinghornis madeof fine,evenly flutedcup grainedclay.The horizontally flaresat the lip andturnsup at the base betweenthe hindlegsof the figureof a leaping ram,whichservesas a handle.The ram's

vesseldecorated drinking Thefragmentary figureof a nudefemaleis withthepartial vesselin material, to theram-handled similar Redpaint technique. andmodeling coloring, faceandbelowthe on thefigure's appears on the hands;darkbrownpigmentremains Detailsof thefigandnecklace. headdress neckeyes,elaborate ure-the wide,staring gesture andthedistinctive laceandbracelets, sepaof thehandswiththumbsandfingers thefullbreasts haveclose ratedto support amongMiddleElamite(latesecond parallels foundin B.C.) clayfigurines millennium have Iran,notablyatSusa.Thesefigurines butneverthe hairarrangements elaborate typeof pointedcapwornbytheMuseum's forthisheadTheclosestparallel example. of Neoheadgear dressis thedistinctive whoseimagesarecarved rulers, Elamite in B.C. rockreliefs on first-millennium Iran. southern of thevessel, Theformanddecoration femaleimage, thefull-breasted particularly in thatit wasmadein Iran,probably suggest POH B.C. theeighthorseventhcentury

reston the madeheadandforelegs separately with alternate of fluting rim.Darkredbands thevessel. thebuffcolorof theslipcovering of bronze, containers Fluted,horn-shaped withanimalheads silver,andgold,decorated weremadeinthepre-Achaemenid andbodies, NearEast,andthefine, andAchaemenid anddetailon sharpqualityof themodeling thatthecraftsman vesselsuggests theceramic of Ceramics a metalexample. wasimitating havebeenfoundatearly material similar B.C. sitesin bothwestfirst-millennium andnorthern Ziwiyeh) Iran(notably central Asa luxury Khatuniyeh). Iraq(Khirbet datingfrom thevessel,probably product, the B.C., illustrates theearlyseventhcentury of thismediumin thehandsof a versatility POH giftedartist.

Aryballos Greek,late 6th-earlysth centuryB. C. rasence H. 2 1/8in. (5.4 cm) Classical Purchase Fund, I992 I992.II.59 rn

This beautifullypreservedfaience aryballos ranksamong the most accomplished, exotic, and ambitious examplesknown of its kind. The body of the vase combines four heads juxtaposedin pairs back to back, a remarkable integrationof different foreign elements that representsone of the hallmarksof ArchaicGreek art. We first notice two heads a frontalyouthful woman with long tressesand earringsand a daunting grotesque, surelya demon, shown open-mouthed and shrieking(right). Between them appeartwo smallerheads, a roaringlion and an enigmatic Negroid youth with terrifyingfanglike teeth. Style, typology, and iconography clearlydistinguish this vessel from the bulk of Archaicfaience perfume flaskstraditionally attributedto workshops on the Nile Delta

or on Rhodes.The styleof ourvesselis East Greek,with a NearEasternratherthanan Egyptianflavorthatis mostreadilyevident in the headof thewoman,whichrecallsthe seriesof Phoenicianivoriesdepictingan imageknownas the "womanat thewindow."In termsof typology,mostArchaic Greekfaiencevesselsfeaturea singlefigure; janiformexamples,conjoinedat the back, arerarer.The combinationof fourheads of remainsunique.Finally,the iconography ourvesselcontinuestO eludeus, eventhough the objecthaslong beenknown.One could conconceivablyarguethatsomenarrative nectionexistsamongthe fourheads.It has recentlybeensuggested,however,thatthe mayinvolvean element unusualiconography andbearsomerelationto of metamorphosis the originalcontentsof thevase.The aryballos maynot haveservedas an ordinary perfumeflaskbut as a receptaclefora medicproperties. inalsubstancewith mind-altering Be thatas it may,thevesselremainsa haunting imagein the richworldof theArchaic CAP arts. decorative 9

Pefume Containerin theForm of a Fat Boy Greekca.540-530 B. C. Terracotta H. 71/8in. (I8 cm) Purchase,Mr. and Mrs.JamesM. Vaughn,Jr. GiE, I993 I993 II 4

Duringthe secondhalfof the sixthcentury one of the mostpopularvarietiesof unguentcontainertook the formof a stocky nudeyouth,whoseabdomen,moreoften thannot, is coveredwith stackedfoldsof fat. Probablycreatedin the easternAegeanor Ionia,the typerepresents a Hellenizationof the EgyptiandeityBesandexpressedbounty or abundancein a physicalsense.Examples havecometO lightthroughoutthe Greek world.Ourrecentacquisitionis exceptionally well executedandpreserved, evento the remainsof blackandredpigment.A counterpart, probablyfromthe samemold, is in the StaatlicheKunstsammlungen, Kassel.It is interestingto note thatamong the regionaldifferences withinArchaicart thereis a predisposition in the Eastformale figureswho arefat,if not obese;thosesculpted in marbletendto be draped.Regional aestheticandfunctionalconsiderations, therefore,clearlyengenderedexceptionsto the athleticideal. JRM B.C.,

IncenseBurner Etruscvn,late6th-evrlysthrenturys.c.

Bronze H. IO 5/8 in.

(27

cm)

Gift fromthe familyof HowardJ. Barnet, in his memory,I992 I992.262

Thisexceptionally finebronzeincenseburner is composedof a femalefigurestandingon a tripodsupportembellishedwith feline pawsandseatedpanthers.The womanwears a chitonthatshegraspswith herlefthand,a

himation,a veil overherhairthatis gathered at the top of herheadin the characteristically Etruscanstylecalleda tutulus, andpointed shoes.Eachof thesegarmentsbearsmeticulousornament.The calyx-shaped receptacle on herheadwasprobablysurmounted by a shaft.Utensilsincorporating humanfiguresas supportsor handleswereaspopularin Etruria as in Greece.The incenseburneris exceptional not onlyforthe rendering of thewoman, who is bothstatuesque anddecorative, but alsoforthe compositionof everypartso asto emphasizeherthree-dimensionality. JRM

Headof a Man Greeknlate6th-earlysthcenturys.c.

Marble H.s3/4in.fI4.7cm)

ClassicalPurchaseFund,I992 I992.II.

to be LateArchaic in style,thisheadappears a froma smallstatuein theround,probably Whilethe votivededicated in a sanctuary. the modeling of thefaceis softandrounded, rendering of thehairandlowereyelidsbears approach. witnessto a sharp,calligraphic Thesefeatures, aswellasthecoarse-grained marble, associate theworkmoststrongly Aegeanisland withsculptures fromnorthern workshops. inwavystrands Thelonghairradiates fromthecrownof thehead,endingin a

triplerowof flatspiralcurlsthatframethe forehead andtemples. Atthebackthehair overa fillet.Two is loopedupandbrought overthe longtresses probably descended shoulders atfront.A rowof attachment holestowardthefrontof theheadattestto elementin bronze, anadditional decorative of a presumably a wreath. Thecombination loopedhairstyle andmetalwreathaswellas thata male theabsence of earrings suggests probably a rather thana femaleis portrayed, CAP youthful Apollo.

HermHeadof a BeardedDeiC Greek(Attic)ca.450 B. C. Marble H. 61/2 in. (I6.4 cm) Purchase,LilaAchesonWallaceGift, I992 I992. II. 6I

The angulartransitionbetweenthe sidesandthe backof the neckshowsthatthe headcomesfrom a hermratherthanfroma statue.Represented is a maturemanwith a full beard,slightlyparted lips,thicklyrimmedeyes,andan elaboratehairstyleconsistingof two long, braidedplaitsthat arecoiledaroundthe headandheldin placeby a flatband.The headbandis fastenedat the back in a Heraklesknot,an unusualfeature.Unusual, too, arethe markedasymmetries of the face. Herms,the quadrangular pillarssurmounted by the beardedheadof Hermes,arefirstattested duringthe lastquarterof the sixthcenturyB.C. Theywereusedprimarilyas boundarystones andguardiansof thoroughfares andentrances. In the Classicalperiod,however,otherdivinities, suchas Zeus,werealsorepresented in herm form,andthe monumentsthemselvesserveda widervarietyof functions.If the deityrepresented herecannotbe identifiedwith certainty,the styleandchronologyof the sculptureareeasier to determine.The generalschemeof the coiffure, the heavilyliddedeyes,aswell as the dignityand composureof the portrayal pointto the end of the earlyClassicalperiod.The sculpturemaybe assignedto anAtticworkshopactiveaboutthe middleof the fifthcenturyB.C., justbeforethe constructionof the Parthenon. CAP

FourAttachments in theFormof Heads Greek) late4th-early3rdcentury B.C. Silverwithgilding H. I5/8-I 3/4 in. (4-4.3 cm) Purchase,The Judy& MichaelSteinhardt FoundationGift, I992 I992. II. 62-65

Theseheadsweredecorativeadjunctsto a utensil,perhapsa vaseor conceivablyevena pieceof armor.Theywerecast,ratherthan hammered,andembellished with goldleaf. Two of the headsrepresent Athena,identifiableby herhelmet.The emphasisin the characterization, however,is on herfemininebeauty,indicatedby the flowinghair, promlnentearrlngs,ana sereneexpresslon. The two otherheadsshowa youthfulindividualwith a wreathamongluxuriantlocks of hair,pronouncedhorizontalfolds,called .

Venusrings,at the neck,goats'ears,and two hornson the top of the head.A Panis clearlyintended,butwhetherit is a youth or quiteexceptionally a femalecounterpartremainsopenfordiscussion.The femininequalityof bothfiguresaswell as the superbexecutionsuggestthatthe pieces adornedan objectthatservedforshowand pleasureas muchas forsheerfunctionality. The styleandtechniquehaveparallelsin the metalworkof MagnaGraecia. JRM

Fragmentary Headof a Deity Wearing a DionysiacFillet Roman(probably Julio-Claudian period)) A.D. I4-68; copyofa Greek workof ca.300 B.C. Marble H. II Ysin. (o.3 cm) Purchase,AnonymousGift, in memory of ProfessorCharlesM. Edwards,I992 I992. II. 66 Althoughthe neckandbackof the head areshearedaway,the ovoidfaceandwavy hairarein exceptionally good condition, evenretainingredpigmentin the eyesand on the lipsandthe fillet,aswell as tracesof gildingin the hair.The headis froma well-executed Romancopyof a lateClassicalGreekstatue.FourotherRomanreplicas areknown,aswell as an extremelyfine marbleheadfoundin I886 on the south slopeof theAthenianAcropolis,andnow in theNationalMuseum,Athens,whichmost scholarshaveconsideredto be the original Greekwork.Thatheadis rotatedandtilted upwardto its rightandhasslightlyparted lipsandan expressionfilledwithpathos. Strutlikeremainson the rightsideof the Athensmarblemaybe thefingersof the right handraisedto the cheek.Sincethe fillet wornacrossthe foreheadis an attributeof Dionysos,theworkmayrepresent Ariadne, divineconsortof the god, perhapsat the momentof theirmeetingon Naxos,soon aftershewasabandonedby Theseus. EJM

Crab Greek,yrd-lstcentury B. C. Bronse v S/2 in. (I4 cm) Purchase,Mr. and Mrs.John Moscahlaislis GiE, I992 I992. [I. 69

Veal Hanullefrom a Hydria Greeks mid-sth censryB.G Bronze H. III/4in.(28.5cm);1E71/2in. (I8.9 GiRof Christos G. Basiis,I993

cm)

I993 I33

Oneof thehappiest conventions of Greek art,introduced asearlyastheGeometric period,wasto decorate bronze vessels andutensils withsculptural adjuncts, of whichthishandleis a particularly splendid example. Thebodyof thevesselwasraised froma metaldisk,butthehandles andfoot werecastandlaterattached withsolder. Sincewaterjarswerequiteheavywhenfilll, thehandles arerelatively largeto ensurea solidgrip.Ason manyvertical handles of thisclass,theupperparthaslateral enctenslonsthathuga goodportionof themouth: heretheyterminate in disksdecorated with gorgonheadsin relief,whilein thecenterthe headof a lion,itS mouthopenandtongue protruding, dominates andgivesanimpressionslmilar tO themarble orterracotta waterspouts on buildings. Thehandleis attached belowbya sirenshownfrontally withwingsspread, itS talons resting on a palmettefinial,thevolutesof whichconnect withthewings.Thecentral ribof thehandle 1S beaded andterminates in theheadoSaserpent,whichtouchestheedgeof thelion's maneandservedasa thumbrest whenthe hydria wastippedfiorpouring. DVB I4

The originalfiunctionof thisbronzecrab remainsto be determined,but it certainly servedas the supportfora utensil.The hole on the top of the carapace anda ringlikearea aroundit provideevidenceforan element thatwasevidentlyheldin placeby a rod,the lowerendof whichfittedinto a depression in the bottomof the piece;the depressionis visibleon the undersideof the crabas a small,flatprojectiono The entireinterioris hollow.Ournewacquisitionhasan extraordinarilysimilarcounterpart in the British Museum,London.Closerto homand on a muchlargerscate- -arethe crabsthatsupportedthe obeliskof ThutmosisIIIwhenit wasset up in Alexandria in I2 B.C., during the reignof the RomanemperorAugustus. The obeliskis betterknownas Cleopatra's Needle,whichstandsin CentralParkin New York.Two of its crabs,nowin the Eaptian Department,weregiventO the Museumin I88I (acc.nos. 8I.2.I,2). Common tO all of thesepiecesarethevigorous ratherthanmeticulousarticulation of the formsandthe granular surfaceof the primary claws.

JRM

Statueof Pan Roman,Istcentury A.D. Marble H. 265/8 in. (67. 6 cm) ClassicalPurchaseFund,I992 I992. II. 7I

Pan,the goatgod, is shownherein his usual formas a shaggy-haired, beardedmanwith thelegs,horns,andtailof a goat.His headis turnedsharplyto his right,andhis backis bentundertheweightof a vesselonceheld on his leftshoulder.The statuewasprobably designedas partof a fountaincomplex,with watergushingfromthe now-missingcontainer;a largehole drilledthroughthe statue frombaseto shouldermusthaveservedfora waterpipe.The strongtorsionof the figure andthe exaggerated facialexpressionaretypicalof the high-baroque styledevelopedduring the secondcenturyB.C., especiallyin the Hellenistickingdomof Pergamon.Cavortingwoodlandcreatures suchas Pan,nymphs, andsatyrswerepopularsubjects.The Romansalsoenjoyedtheseworksandcommissionedmarblecopiesaswellas newcreationsin thisflamboyantstyletO decorate theirvillagardens. EJM

...

Reliefwitha NereidRidinga Triton Roman(Trajanic period),cv.A.D. I00-I20 Marble 461/2 X 69 in. (II8 X I75 cm) ClassicalPurchaseFund,I993 I99.

II. 2

Thismassive architectural reliefmusthave beenoneof a seriesof slabsthatdecorated theentablature of a largepublicbuilding or perhaps anelaborate funerary monument. Thehorizontal architrave atthebottomprojectsslightlyateitherend,andit originally restedonpilasters positioned directly below. Thecentral composition depicting a Nereid rlulnga 1 rlton 1S carvea wltnlna lunette framed bydecorative moldings. A pairof symmetrically arranged seamonsters with

S-- = - -S

long,twistingfishtailsandpantherlike heads occupiesthe spaceabove.The wild-haired Tritoncarriesan ornamentedshield,andthe semidraped Nereid,an equallyornatescabbard.The iconography ultimatelyderives froma passagein the Iliadthatdescribesthe NereidThetis,motherof the heroAchilles, joiningotherNereidsin carryingnewly forgedarmsto herson. The crisparchitecturalornamentfindscloseaffinitiesin monumentsdatedto the Trajanicperiod. CAP

iss-

>---S

* K

{

^ *

Lid witha RecliningCouple Sarcophagus period),cv.A.D. 220 Roman(lateSeveran Marble L. 9I in. (2JI cm) Purchase,LilaAchesonWallaceGift, I993 I993. II. I

of a middle-aged figures Almost-lifesize lid,which couplereclineon thissarcophagus with in theformof a couch(kline) is carved adoptsidesandback.TheRomans S-shaped fromtheir sculpture edthisformof funerary whohadbeencomtheEtruscans, neighbors figtheirdeadwithrecumbent memorating on thelidsof stonesarcophagi urescarved B.C. andurnssincethelatefifthcentury weredesigned MostearlyRomanexamples placedwithin monuments asindependent withlidsof this thetomb,butsarcophagi in theearlysecondcentypebegantO appear morecombecame turyA.D., asinhumation Morethana thousand monthancremation. suchlids,datedto thesecondandthirdcenturies,areknowntoday. is not newacquisition TheMuseum's butalsohas wellpreserved onlyremarkably a ofwearing Instead iconography. unusual witha cloak tunic,themanis barechested, hisleftarmandoverhis draped around body.Heholdsa longreed,anda lizardlike forelegs withshort,powerful creature byhisside.Thefigurebringsto crouches andRomanimagesof river mindHellenistic amid gods,whowereoftenshownreclining

Thewoman animals. andamphibious of wheatin sheaves and tWO a garland holds thatsheis porherrighthand,suggesting of theearth.Ather trayedasTellus,goddess thatbearsa mammal feetliesa furry-tailed smallEroson itsback.BothTellusandriver Shownas withfertility. godswereassociated of earthandwater,the personifications couplegainscosmicsignificance. deceased of theman's rendering Thestylistic fordating thebestevidence beardprovides hairand Hisclose-cropped thismonument. irisesincisedin his thelargebean-shaped porof lateSeveran eyesaretypicalfeatures of thehairis particulartraits.Thetreatment of the ly closeto thatfoundon portraits The A.D. 2I7-I8). (r. Macrinius emperor Many headwasleftunfinished. woman's sarcophagi prepared workshops sculpture headsthat andincomplete withstockfigures whenthey couldbeturnedintoportraits theiconography However, werepurchased. thatit andunusual of thislidis so elaborate The commissioned. mayhavebeenspecially diedfirstandforsome probably husband reasonhiswife'sheadwasnevercompleted.

pUtti

EJM

Sportfor n 06lkngWatrBJuwn Rbman, SndsentuefA.z). Po*

L. y8* in. (Z+8.6em)

HamsBriOnc DiclsFund,1992 s992.Z1.70

UnderRomanrulcthcquarlying of red porphyry in thecastcrn descrtof Egypt.at MonsPorphyrites, ncarthcprnt Suet Gnal. wasanimperial monopoly. Porphyry washighlyreg;arded asa royalsconc,andits uscinarchitecture andsculpturc underslandably remained quitclimited.l hismassivesculpture, displaying a concaveresting surface atthetopbisoncof a pairthatoriginallysupported a deepoblongbathorwater

basin;halfof itsmateis SCt intoa wall in thcPalazzo Gpponi,Florcnsc. Theother halfof thcGpponisupportis lost.Watcr basinswithclaboratcly decorated supports of Ihctypcwidelycmployed forRomxn tablelegswercproduccd primarily in the secondcentury A.D. Thc prnt aampic cicarly conecysthedegreeof magnificensc atuinablein themost accomplishcd Roman decorative artsof thisperiod.Eachendis

witha lion'sheadin highrelief, carved of iichest" fromanabbreviated emerging in an whichterminates leaves, acanthus paw.Theentireouter powerful enormous, withan faceof thesupportisembellished foliatedesignemergsymmetrical elaborate, lotusmotifthatresemingfroma central Thedelicate blesthetopof a thymiaterion. withbudsand vinesinterspersed swirling degreeof showa remarkable smallflowers

inner Thesuppor{'s graceandsensitivier. a flanking simpletendrils facefeatures bold, heavy square, raisedblankpanel.The of details articulation forms,thecarefut finishof andthepainstaking throughout, allattestto to perfection, surface, polished overthis command exceptional theartist's themostnoblebutalsothemost material, difElcult to workof allcoloredstones. CAP

with of a Tenctile Fragments Beasts MythologXcal period))z4tKISthcentury Indian(Sultanate orearlier Silk II 1/2 X 7 in. (29.3X I7.8 cm) Largest#vgment GiE of MichaelandJacquelineFranses, I 993 Igg,.2a-m

whatmaybethe represent Thesefragments silkwovenon the earliest knowncompound are Fifteenfragments Indiansubcontinent. makeupthedonated knownitlall:thirteen in private group,arldtwosmallbitsremain pieces)illustrated hands.Thethreelargest mounted in a beenprovislonally here,harre maypermita further analysis singleregister; Basedon the reconstruction. moredefinitive andweaving of theoriginal selarage existence

it seems of fragmentsX flawsin a Ilumber therewouldhavebeetlatleasttworegisters. containwithbeadedframes Therectangles roundels, adapted fromPersian itlgatlimals. beastsin alterPwotypesof fantastic feature Onehasa pointedsnoutandis rlation. snarlitlg; theother,withanelephant's showrl hasa morebenignmien.Bothtypes trurlk, andhaveflaming andcollars wearanklets wingsandmanes.Suchmythological linownin Hindi leoninecreatures, hybridized foundin medieval as yali, arecommonly Itldianart.Intermsof styleandiconography Ot1 thetextilearecloselyrelated theanimals ItldiaIl painting to imagesfoundinWestertl The bronzes. of Sultanate anda number Indian hastwolaterbutrelated Museum silks)onein a pureMughalstyletheother DW fashiotl. to Rajput conforming

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

their sectingcloudbands,withgoldflowers, the in and rubies, setwithturquoise centers ca.I520-30 activein Istanbul, Iranian(.2), atthebaseof the pommel.Thegoldferrule Yatagan a gripis chasedwithfloralscrollsagainst Ca.I525-30 bladeis Thecurved matteground. recessed gold,silver,rubies, ivory, Steel,walrus on eachsidenearthehiltwitha decorated andpearls turquoise, panelenclosing long,palmette-shaped L.23 3/8 in. (59.3 cm) theblackagainst gold in encrusted designs I993 Gift, Wallace Purchase,LilaAcheson gold The high-relief ground. steel ened I993- I4 foundon thisandtherelated incrustation to beuniquein Ottoman appears yatagans andopulentuseof Exquisiteworkmanship Withineachpanela scalydragon metalwork. preciousmaterialsdistinguishthisswordas a a a phoenix,thecombatsetagainst attacks princelyweapon.It is almostidenticalto a Theliveliness madein I526-27 by the courtjeweler forestof densefoliatescrolls. yatagan by is enhanced creatures of thesefantastic AhmedTekeluforthe Ottomansultan the undercutting deeply and engraving Suleymanthe Magnificent(r.I520-66). partsandbysuchdetailsasruby anatomical Indeed,the parallelsbetweenSuleyman's andthe sword,now in the TopkapiPalace,Istanbul, eyes,thesilverteethof thedragon, A pearlsetintotheheadof thephoenix. andthe Museum'sacquisitionareso strong on thespine inscription Persian gold-inlaid thattheycanbe confidentlyascribedto the This to bedeciphered. of thebladeremains sameimperialatelier. cloud andtheChinese-inspired inscription Employingthe diversetalentsof the motifsreflect bladesmith,ivorycarver,goldsmith,andjew- bandanddragon-and-phoenix which art, of Iranian influence strong the decorativemotifs elerandincorporating traditions. Asian manycentral incorporated Ottomanpainting, foundin contemporary thatAhmedTekelu is a microcosmof the luxuryarts It hasbeensuggested thisyatagan andwasoneof the mayhavebeenIranian court.The ivory producedat Suleyman's from conscripted highlyprizedcraftsmen gripis inlaidin goldwith a patternof interWorkshopof AhmedTekelu

Tabrizfollowingitsconquestby theOttomans in

ISI4-

This is one of the earliestknownyatagans, distinctlyTurkishshortswordsthatarecharbladeand acterizedby a double-curved hilt. Yataganswerecommonplace a guardless in Anatoliaandthe Balkansin the eighteenthandnineteenthcenturies,servingas Until a standardsidearmfor theJanissaries. yataganwas recently,however,Suleyman's thoughtto be the uniquesixteenth-century yataexample.Threemoregold-encrusted gans havesincecometo light:the Museum's andtwo now in privatecollections.Of the latter,one hasa bladedecoratedsolelywith Arabicinscriptionsthatincludethe nameof SultanBayazidII (r. I48I-ISI2).The other hasa bladedecoratedwith dragon-andphoenixmotifsvirtuallyidenticalto thoseon the SuleymanandMetropolitanswords;it is alsoinscribedin Arabicwith the nameof Ahmed(I456-ISI7), GrandVizierHersekzad who is thoughtto havereceivedit from SultanSelimI in ISI7.The Museum'syatagan, thoughlackingthe owner'sname,was alsoundoubtedlycommissionedby the to a highsultan,probablyforpresentation swP rantng courtler. .

Jali (Pierced Screen)> Oneof a Pair

Indsan(Mgghal,perzodofAkbar),2ndhalf of thez6thcentzery Sandstone H7,yl/4zn.(S86.ssm)

Rogers Fund, I993 I993. 67.2

orpierced screens, wereusedextensivelyin Indianarchitecture aswindowsroom dividersn andrailings aroundthrones, platforms,terraces) andbalconies. Thoseusedln outerwallswereidealforcuttingdownglare whilepermlttlng thecirculatlon of alr.In the courseof thedaythereflection of theirpatternsmovingacrossthefloorwoulddouble thepleasure of theirintricate geometry. Thls palr,assuggested bythearchandsome weatherlng ononeside,wasprobably partof a serlesofwlndows setln anoutsidewall

Jalss,

Originally bothbulldlngs andscreens were madeof wood,butbytheperiodofAkbar (I556-I605) redsandstone) gradually giving wayto marble) wasthefavored architectural materials Thegrandeur of theseyalzs, thelr superb designandthequalicy of theworlkmanship lndlcate anlmper1a1 context.They callto mindsomeof thestonecarving at Fathpur Sikrl)AkbarXs capltalciW,founded in I57I andoccupied byhimuntllthemldIs80s,afterwhichit beganto falllntodecay MLS

Hilt of a Sword(Talwar) Indian,I7thcentury Steel H. 63/4 in. (I7.2 cm) Purchase,

Bashford

Collection,

Dean

Memorial

Funds from various

by exchange,

donors,

I992

I992. I38

The

talwar,one

of the most distinctive

types of Indian sword, is distinguished by an all-metal pommel

hilt with a saucer-shaped

set at right angles to the grip. At

the opulent

Mughal

courts

talwarhilts

enameled in goldandsilver,orsometimes jewels.The andinlaidwithvaricolored somberin present hilt,comparatively of a much appearance, is a masterpiece technique: steel rarer andmoredifficult aredecorated with chiseling. Thesurfaces leavesworked irisesandstylized acanthus are in lowrelief,andthebackgrounds matte punched to createa contrasting arechiseled finish.Thetipsof thequillons intomultipetaled roses,andthepommel Thegripis is pierced withfloralscrolls. subtlyangledto onesidein orderto faciliswP tatetheuser'sgrasp.

were often of watered steel damascened

Flaskin theShapeof a Mango mid-I7thcentury Indian(Mughalperiod)) Rockcrystalwithgold)enamel)rubies)and emeralds H 21 in. (6.5cm) Purchase,Mrs.CharlesWrightsmanGift, I 993 I993- I8

combining theloveof precious Effectively fornatural forms materials andpenchant of theMughalperiod,this characteristic heldperfume forits exquisite flaskprobably inlaidwith owner.It hasbeenseductively of scrolling goldwirethatformsa network withblossoms of rubies vinesembellished setin goldmounts.Therockandemeralds crystal bodyof theflaskwasmadein two in partbythegold halves,heldtogether goldchainconnects the wire.A delicate andcollar.A similar bottle enameled stopper of theCecilfamilyat belongsto descendants England; it Burghley House,nearStamford, in I690 in a transfer of personal wasrecorded as"aChristall IndianBottlelike possessions withGold,Emrods and a BeaneGarnisht DW Rubies."

91 %

Cloisters +_ A _i_lil I _w_North _ _1!E _top __ with E 51 wE Italian Three are I 3i conveying =3 linear carved especially | 1X Marys (Milan.7), in thmb energy. the high Colle particularlythe at power relief. deeply the By of increasing early Holy The the undercut. soldiers tion subject; Ioth Sepulcher testimonyof the century at ornasize The thed

X ^WM

_mhTs* ? m

1 _

___

_ S

. .pH,.

Di 2.

szzneFred

hlghlycontrolled presentatlon of thechar-

theirwrappedtunicsandrrlantles,taut

* _

ofthetreestowardthetop,thelandscape settlngreverses normalspatlalrelatlon-

theimagery andis theprimaty meansof mentation, spatialdestabilization, andthe rhythmic correlation of formsprevail over naturalism. Perspective is almostarbitrarily disposedof in orderto enhancethe strengthof the staging.

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

Fewcarvingsof the earlyMiddleAges haveas compellinga visualforceandsculpturalimmediacyin presentingthe Easter miracle.Breakingawayfroma traditional formulationbasedprimarily (Carolingian) on EarlyChristianmodels,the artistinterpretsthe subjectin a newway:thevignette the linear approachto the maincharacters, rhythmof the treesechoingthe silhouetteof thesoldiers,andthevitalityof the composition,literallyburstingout of the traditionally confiningframe,allpointto the futureof medievalartratherthanits past. The ivorymaybe attributedto Milan ivorystillin becausean earlyninth-century the cathedraltreasurythereincludesa similar scenes. composltlonamongot :lernarratlve The ivorywasmadeno laterthanthe mid-tenthcentury,as is evidencedby a reducedcopyof thisimagethatexistson a casketof aboutthatdatein the treasuryof CTL QuedlinburgCathedral(Saxony). .

Silver-stainedRoundel with a Judgenentor Allegorical Scene ca. I520 SouthLowlands(Brussels.2)) Colorlessglass)silverstain) and vitreouspaint Diam. 91/4 in. (23.5 cm)

The CloistersCollection,I992 I992. 4I2

The subjectof thisroundelhasso fardefied The elegantlydressedyoung identification. manin the rightforegroundappearsto be tippinga balancescalewith coinsdrawn fromhis purse.The beardedmanbehindthe holdsa similar parapetin the background coinpurse.The seatedfigureholdsthe scales andthe swordof judgment,whileone of the severalwitnessesgesturestowardthe spectaclebeforethem.Whateverthe subject,the sceneappearsto havebeena popularone, as

basedon thesame of roundels a number Theworkshop havesurvived. composition apparently theseroundels thatproduced its modelbooksin developing employed figbytheforeground asevidenced designs, ureattheleft(seenfromthebackin a view),whichis reproduced three-quarter completely in several almostidentically roundelis scenes.Thisparticular different finetracelinesand paintedin unusually TBH subtlemattetones.

patterns oven room. fashioned The of deeply unusual tO recessed heat plasticity and decorate (and sooty) This a public back, type

= of /|

_W = ;; >_ :; 0|

0^:g>0X

Leaffroma Missal

andtheAlleluia. hymn,

OvenTilewithSamsonCombating theLion

BDB

jffi'vag

='_

i t ' th hY 1 dth and ribbed vaulting delineated sharply iS modeled group Theanimated masonry. print oftheengraved clarity withthelinear arefoliate it.Inthespandrels thatinspired

j>;_ s

heat tO trap hotairandincrease devised retention,ispreservedintact.

Echo-* d * *

_ _

js 1

j _ _D__ S0 @_

j_=t

: m

000 t 0;

g-Z1xsrS ; 0 0 1

lg ; 3

f 0tV Q-

< =

Chair Northwest European(possibly Normandyor England)}ca.s4soZ500 Oak H. 68X in. (73cm)

Giftof Dr.andMrs.PaulEckerin memoxyof V*lstoria Blunka,I 992 I992- 237

Thischairis madeof sturdyframe-and-panel construction. Itstwolateral armrests and highuprightbackarecrowned byhandsomelycarvedfinialsof foliatedesign.A Gothictracery panelwitha heretofore unidentified coatof arms likelyto bea late addition decorates theback.Although the seathasbeenreplaced, evidence of theoriginalsnipehingesremainse Theplain,slightly convexpanelson thefrontadda rusticquality to ourboxed-in chair.Removal of a dark brownglossyfinishappliedduringanearlier restoration facilitates detailed observation of theconstruction andmaterials andbrings theobjectcloserto itspristine appearance. AnX-rayradiograph indicates thattheback stileswereoriginally longerandthatthe finialshavebeenlowered, implying that carvedopentracery initiallycrowned the back.Theexistingflamboyant panelcomparesstylistically to a Frenchchestof about I480 in Romsey Abbey,England. Gothicfurniturethathassurvived unaltered is extremely rare.Secular furniture wascloselyrelated to contemporary churchfixtures, andwoodworkers on bothsidesof theChannelcopied nativearchitectural stylesin creating objects suchasourchair.ThesefactorsmaAce it difficultto determine wheresuchpieceswere manufactured. Theplainconstruction of this example suggests a provincial placeof origin. DK

i ;;iZ| 6 X $3we X

> F] H " M lltl 1t-i. :;9H lJW Jt 0MitJ t-t1 ^'-t k - nti 2\tf$tEv t . 1| a ,along ?'< ffi.#engraver thesiteofauniversity.Thoughttohave ]SA al - -Cosmico g dwith been {X} Renalssance,wasahumanlsticcenterand Vir ofmade printsof Geometrza sthe repre inpunts prints the roup, ent ls hethr (c, Eachgrouph known, co,thisn 1ll), Cethe set zaso vtheir osmicpowemusoft ico,and isPlanets e un) thz one style ofa

-Â˘% > >

1=n

I4605, LX),;

fX N =

<iz

>K;K

\ -

\ .,,

-rtN-

Frwn

'&Sw

4tt r

^ t

-this

atp

_ffi[,

Uts

depict

ArtandS

-l'

W =!

They

'EX,1,#

;*X

ca.I465 Ferrara), NorthItaltan(probably Sheet71/ x S Ysin. (I8 X 9.9cm)

an He

Mw :he >a

of Man

the Conditions

ce (,

aP.lng

U jlljUy

XXI-XXX),

lyS h r s (A,) .I

- *n: z

(E,

theSpirits L).

Thefirst

IaIdsrllesun.

the during which, linksthemwithFerrara,

3Ng

s1 & ,:Er

Italian offifteenth-century themonuments available arerarely Theprints engraving.

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

;

. f

Italian,I48I-I536 Atlas inkoverblackchalk Penandbrown 81/8 X 51/4 in. (20. 6X I3.4 cm)

Portraitof theHolyRomanEmperorCharlesV NorthItalian,ca IS30 Ensravzns O O Sheet81/4 X 61/4 in. (2I X If.9 cm) The ElishaWhittelseyCollection,The ElishaWhittelseyFund,I993

HarryG. SperlingFund,I992

I993. IOOI

Peruzzi Baldassare

I992.04

A sculptorandan architectaswell as a Peruzziwasa native painteranddraftsman, of Sienabut spentmuchof his careerin Rome,wherehe wasgreatlyinfluencedby Raphael.This elegantdesign,whichrepresentsAtlassupportingtheworlduponhis shoulders,maybe datedon the basisof style to the periodshortlybeforethe artistwas forcedto fleeto Sienafollowingthe sackof Romein I527. Accordingto Peruzzischolar ChristophLuitpoldFrommel,the drawing mayhavebeenmadeas a studyfora sculpWMkG tureor foruseby a goldsmith.

This portraitof CharlesV (I500-I558) of the houseof Habsburgis identifiedby the inscription,whichdesignateshim as Holy RomanEmperor andkingof Spain.Charleswasalsoarchdukeof Austria,dukeof Burgundy,and,by the middleof the sixteenthcentury,rulerof virtuallyallof in westernEurope,exceptFrance,aswell as of the Spanishterritories eagle,shownat the NorthAfricaandthe New World.The double-headed top rightandin the centerof Charles'selaborateornamentalcollar,wasa Habsburgemblem. The engravingwasprobablymadeaboutI530, to judgefromCharles's apparentageandotherportraitsthatcanbe moresecurelydated.The who commandeda raredelicacyof handling,remainsto be idenengraver, tified.Onlyone otherexampleof thisprintis known,andthe imagehas neverbeenrecordedin anyof the standardcataloguesof prints.Until the middleof the twentiethcenturythisengravingwasin the collectionof the andit now rejoinsseveralthousandprintsoncein princesof Liechtenstein, SB by the MetropolitanaboutI950. bought thatcollectionthatwere

. ><ss v

XsJ

* ,/

./ .F

' ,'

' v

Horseman sAJc Italian) ca.I532 Steel) gold,andwood L. (overall) So3/4 in. (78.I cm) Purchase, RonaldS. Lauder andThe Sulzberger Foundation Gifts,I993 I993- 6I

Thiselegantly proportioned anddelicately ornamented axpresumably servedmoreasa symbolof authority thanasa weaponfor mounted warfare. Thesurfaces areetched andgiltwithacanthus foliageon anobliquelyhatched ground,in themanner of early sixteenth-century Italianornamental prints. Thedecoration includes twoheraldic shields, oneemblazoned withtheMedicicoatof

MasterI FV Activeca.I540-50 ApellesPaintingAlexanderand Campaspe AfterFrancesco Primaticcio Italian,I504-I570; activein France,I540-70 Etching SheetI7Ysx I2 1/8 in. (45.3 X 30.7 cm) Purchase,A. HyattMayorPurchaseFund, MarjoriePhelpsStarrBequest,Thomas RassieurGift, andMr. andMrs.RobertJ. MassarGift, I993 I993. I029

At the Chateauof Fontainebleau, whichthe FrenchkingFrancisI developedduringthe Is30SandIs40Sfroma smallhuntinglodge into an extensivepalacedecoratedin up-todateItalianstyle,GreekratherthanRoman heroeswerepreferred, sincethe Holy Roman Empire,headedby CharlesV, wasthe prime threatto Francein the struggleforpowerin westernEurope.Accordingto Plinythe Elder,Apelles,courtartistto Alexanderthe Great,paintedthe rulerandhis mistressand, in so doing,fell in lovewith Campaspe. AlexanderpromptlyofferedCampaspeto

Apellesin appreciation of hiswork. TheMaster IFV anidiosyncratic, charming etcherwhoseidentityis still a mystery wasoneof fourprincipal etchers working atFontainebleau duringa burstof printmaking activity in theIs40S.ThedrawingbyPrimaticcio fromwhichthisprintwas madeis in thecollection of thedukesof Devonshire, Chatsworth, andthepainted versionstillexistsatFontainebleau, in the Stairway of theKing.A printbyLeon Daventof thesamecomposition lacksthe elaborate frame. SB

armsandthe otherwith the depictionof an inflatablesoccerlikeballthatwasusedas a personalbadge.Aroundthe edgesareLatin inscriptionsthatreadin translation: "Hewho confersa benefithasreceivedone if he has givenit to a worthyman"and"Trustis not againto be placedeasilyin thosewho have oncedeceived." Althoughthe "inflatableball"devicewasusedas a badgeby a number of theMedici,hereit mostlikelyrefersto CardinalIppolitode'Medici(ISII-I535), who in I532 commandedan expeditionagainstthe Turksin Hungary.Describedin an inventory of I695, ourax,togetherwith the restof the celebrated Mediciarmory,wasdisplayed untilthe lateeighteenthcenturyin the Uffizi galleriesin Florence. swP

CoulyII Nouailher French,activeI539,diedafter Alexanderthe Great French(Limoges), ca.I54I Enamel,paintedandpartlygilt, on copper Diam.9 in. (22.9 cm) Purchase,JohnH. and SusanGutfreund Gift, I993 I993. 65. I

g1$ W$: .1

J/0-tsy

Alexanderis one of the Nine Heroescelebratedin Frenchliterarytraditionwho were popularized byJacquesde Longuyonin his earlyfourteenth-century romanceLesVoeux duPaon.Longuyon'spoemwasgreatly admiredat the courtsof Franceand Burgundy,andits subjectinspiredpoetsand artiststhroughoutwesternEurope.Jande Clerks'spoemLekenSpieghelintroduced the Nine Heroesto the Netherlandsshortly afterLonguyon'sworkappeared,andthe subjectwasstillcurrentin the latefifteenth andearlysixteenthcenturies,whenseveral FlemishandDutchprintmakers illustrated the Heroesasmountedwarriors wearing

flamboyantheadgear.A woodcutbyJacob Cornelisz.vanOostsanen(beforeI470-I533) providedthe modelfor ourenamel,but the paintertransformed the imagein a stylethat is unmistakably his own. He wasthe second memberof a familyof enamelpaintersat Limogesto use the sobriquetsCoulyand Colin,shortfor Nicolas.Morethanthirty medallionsbelongingtO severalHeroesseries areknowntO havebeenpaintedeitherby CoulyII or membersof his workshop.One of the medallions,now in the Museedes Beaux-Arts, Dijon, is signedwith the painter'sinitials,C.N. Another,in the Museedes Beaux-Arts, Angers,is datedI54I. CV

Theviolenceendemicto sixteenth-century styleis andimplicitin Mannerist Europe showexplicitin thislargeengraving fiercely ingthebattlethatensuedwhenthecenwhowerehalfhuman,half taurs creatures I550 of Pirithous horse invitedto thewedding AfterLucaPenni triedto carryoffthebride. andHippodamia Italian,I500-I557; activein France thevictoryof on twoplates,printedon twosheets Thisthemeoftensymbolized Engraving here although overbarbarism, civilization I7h8 x 281/2 in. Overall(sheets) hand. upper have the seems to the latter (45. X 72-4 cm) wentto Fontainebleau Penni,anItalian, Purchase,DeraldH. andJanetRuttenberg therestof stayed in France and in the I530S Gift, I993 asa heis documented hislife.Although I99. IOOS CornelisWillemClaussone,calledBos ca.ISIo-I556 Netherlandish, TheBattleof the Centaursand Lapithsat the Weddingof Hippodamia

peintredu Roi(painterto the king),fewof his paintingshavebeenidentified,but more thanone hundredcompositionsin his elestyleareknownthrough gantclassicizing drawingsandprints.Bos,one of the earliest in northern printmakers professional Europe,wasbanishedfromhis native Antwerpin I544 forhis religiousviewsand livedin HaarlemandGroningen. thereafter a design This is his onlyprintreproducing by Penni;it is possibleBosvisitedFontainehe wouldhave bleau,andif so, presumably SB hadaccessto the designthere.

PierFrancescoMola Italian,I6I2-I666 TheReston theFlightintoEg)vpt Oil on copper 9 X II in. (22.9 X 27.9 cm) WrightsmanFund,I993 I99.20

Goltzius Hendrick Dutch,I558-I6I7 TheFaUofPhaeton 2, I) (Ovid,Metamorphosis wash,heightened ink,brown Penandbrown transfer withwhite;incisedfor 61/2 X IO in. (I6.5 X 25. cm) RogersFund,I992

Molawasbornin the villageof Coldrerio, in the cantonof Ticino,justsouthof Lugano.His familymovedto Romewhen he wasfour,and,althoughhe is rememberedas an exponentof the Romanschool, he wasdeeplyinfluencedby severalyearsof trainingat Bolognaandan equallyinfluentialstayat Venice.This charmingcabinet piecedisplayshis penchantforemphasizing the physicalqualitiesof oil paint.With fluid he conjuresup a bucolic brushstrokes, visionof the Holy Familyrestingnearthe banksof the Nile. Mola,a dazzlingdraftsin the Museum'scolmanwell represented lectionof drawings,wasone of the principal Italianartiststo establishlandscapeas an EF independentgenre.

I992.76

Mannerist I588 andI590 theHaarlem Between produced designsfortwoseriesof twenGoltzius which to Ovid'sMetamorphosis, ty illustrations afterI6IS headded anonymously; wereengraved in the setis preserved twelvemore.A complete andPrints. of Drawings Department forthis studiessurvive Veryfewpreparatory it allthemoreimperproject, making celebrated acquire the Museum ativethattheMetropolitan studyfortheFallofPhaeton newlydiscovered aucAmsterdam atChristie's whenit appeared of Phaeton's I992. Thedrama tionin November panorama tragicdemiseunfoldsin a cataclysmic master of Goltzius asthesupreme thatreveals It is a full-scale andelegantartifice. invention in reverse, of theprintforthesecond modello, in I590. Theonlyotherknown series,published withthesecondseries,for studyconnected is in thePrentenkabinet, Jupiter andPhoebus, HBM of Leiden. University

Rembrandtvan Rijn

Dutchs606-s669 Portraitofa Man _ s632 Oilonwood 293/4 X 20J/2 in. (7y.6x52.I sm) Signedanddated(eenter right):RHL vanRiCn [RHLin monogramg/Z6S2. Inseribed (renter lefi):7:40. Gift of Mrs. LincolnEllsworth, in memoryof LincolnEllsworth,I964

64.I26

Inthewinterof I63I-32 Rembrandt lefthis nativeLeidenforAmsterdam. Hewasimmediatelypressed withcommissions forformal portraits of prominent citizens; thePortrait ofNicolaesRuts(lateI63I) in theFrick Collection andtheAnatomyLessonofDr. Tulp(I632) in theMauritshuis, TheHague, areamongtheearliest of somefiftyportraits painted byRembrandt duringhisfirstfour yearsinAmsterdam. InLeidenRembrandt hadproduced smallbiblical pictures, several self-portraits, anda fewpaintings of his motherandothermodelsin historical guise. Thelargescaleandcomparatively conservativequalities of formalportraiture were entirely newto Rembrandt in I632 andI633, butin thosetwoyearsheproduced remarkablyfreshandmemorable examples in almosteveryformat,ranging fromgroup portraits andseveral pairsof largependants to smaller half-length imageson rectangular orovalsupports. Rembrandt portraits of theearlyI630S are exceedingly wellrepresented in theMetropolitanMuseum. Thelargependants from thevanBeresteyn family(acc.nos.29.I00.3, 4), eachsigned anddatedRHLvanRijn/I632, weregivenwiththeHavemeyer Collection in I929. OtherRembrandt portraits in the Museum havebeenseparated fromtheir companions in thepast:forexample, the largeandlivelyPortraitofa Ladywitha Fan (I633; acc.no.43.I25) hasanevenmore animatedcounterpart in theTaftMuseum, Cincinnati. TheovalPortraitofa Woman (I633; acc.no.I4.40.625) in theAltman Collection, however, haswrongly been assumed bysometo bethepossible pendant of thepainting here,forwhichnocompanionpiecehaseverbeenconvincingly proposed.Although probably nota portrait, theMuseum's celebrated Man in Oriental Costume (TheNobleSlav)(I632; acc.no. 20.I55.2) shouldalsobementioned, asit wascertainly basedon a modelknownto theartist.Therearealsoninelater Rembrandt portraits in theMuseum, including HermanDoomer(I640; acc.no. 29.IOO.I) andTheStandardBearer(I654; acc.no.49.7.35). ThePortrvitofa Manis equalin quality to anyof theworkscitedaboveandsurpasses theotherportraits fromtheI630S in its exceptionalstateof preservation. A recent cleaningby Hubertvon Sonnenburg, ShermanFairchildChairmanof Paintings

Conservation, hasrevealedfor the firsttir e in decadesthe remarkable subtletiesof lig rht andtexturethatarefoundin the ruggedf face andwispyhair,in the parchmentlike laye of the ruff,andevenin the blackcostume The renderingof physicaldetaillendscor victionto Rembrandt's suggestionof the Sltter'scharacter, whichis conveyedespeciallly by the slightlyskepticalslantof one eyebrrow andby the corresponding pullof muscles at one sideof the mouth. Americancollectorsbegancollecting paintingsby Rembrandt duringthe Gilded Age,the periodbetweenthe I880S andthze FirstWorldWar.Theystronglyfavoredtwhe portraits,as muchfortheirsympatheticixndividualityas for theirunassumingreserve. The Ellsworthgift thuscontinuesa traditzion thathasenrichedthe Metropolitan with Rembrandt portraitsfromgreatAmerican collectionsof the pastone hundredyears. WL

JanLievens Dutch,I607-I674 Bustof an OrientalMan Ca.I63I Etching,secondstateoffour Plate61/2 X 5 7/8 in. (I6.3 X I4.7 cm) The ElishaWhittelseyCollection,The ElishaWhittelseyFund,I993 I993.I048

Thisintrospective portraitof an old manin exoticcostumeis an earlyworkby Lievens froma seriesof lightlyetchedimaginary headsof aboutI630-32. The printwasmade at a timewhenLievensworkedin closecollaboration with Rembrandt in Leidenand whenthe tW0 youngartistsmutuallyinfluencedeachother'swork.Lievenswasinspired by Rembrandt's contemporary etchedportraitsof menin orientaldresswhenhe created thisbustof an agedmanwearingan unusual furcapboundby a stripof cloth.Rembrandt in turnetchedcopiesof thisprintandtwo othersfromthe seriesin I635. NM0

o' |

-^=t

iL 2;

iD2ta

es<.

TheImmaculateConception Italian(Rome)> I635-45 Probably aftera modelby GianLorenzo Bernini Italian I598-I680 Bronzepartlygiltandpolychromed andsilver H. 30 1/2 in. (77.5cm) WrightsmanFund,I992 I992.56

Accordingto a Christiandoctrineof long standing,theVirginMarywasfreefrom * * 1 * r1 * 1 orlglnal sln. olnce no alrect scrlptural text existsto helpartistsvisualizeMary's ImmaculateConception,its representation wasofteninspiredby a passagefrom Revelationthatdescribesa woman"clothed with the sun andthe moon underherfeet, anduponherheada crownof twelvestars" (I2:I). In the sixteenthandseventeenth centuriesthisimagewasoftenaccompanied by the depictionof Satanas a serpentcrushed underherfeet,an allusionto a passagefrom Genesis(3:I5). In thisstatuetteMaryImmaculate and Maryas the newEvearefused.Standing abovethe moon andserpentandsupported by the earth,whichemergesfromthe abyss, sheliftshergazein adoration,herexpression enhancedby the spiralingof hermantle. The designof the draperies, Mary'seloquentpose,andthe conceitof the serpent holdingthe applein its mouthrevealan originalityof inventiontypicalof Bernini's works.The differentiation betweenstippled, matte,andburnishedgoldsurfacesandthe chasedsilverrecallshis interestin polychrome effects.Comparisons with Berniniworksof the I630S andI640S suggestthatthisVirgin wasprobablycastaftera sketchor model fromthatperiodby the master. OR

JoachimTielke German,I64I-I7I5 Violin German(Hamburg),ca.I685 Wood L. (body)I4 in. (35.6 cm) Purchase,ClaraMertensBequest,in memoryof AndreMertens,I992 I992-333

In lateseventeenth-century Hamburg,north Germany'scommercialcapital,a thriving operacompanyandlong-standing oratorio tradltlonattractedmanytorelgnmuslclans, who boostedthe demandforexceptionally fineinstruments. Tielke,BaroqueHamburg's mostfamousluthier,mayhavestudiedhis craftin Italyduringthe I660S. Manyof his nearlyone hundredextantinstruments, both s.

plucked andbowedtypes,arelavishly ornamentedanddoubtless wereintended foraristocratic amateurs orelitemusical institutions. 36

Giuseppe Passeri Italian,I654-I7I4 TheEcstasyof theBlessedHyacintha Marescotti

Penandbrown ink,brown andredwash, overredchalk,heightened withwhite I2 1/4 X 9 in. (32.2 X 22.7 cm) HarryG. Sperling Fund,I992 I992. I95

Thissuperbdrawing is a compositional studyforanaltarpiece thatwasexecuted by Passeri shortlybeforeI695 fortheChurchof theCollegiata atVignanello, nearViterbo. Thedrawing represents theecstasy of Hyacintha (bornClarice) Marescotti, a seventeenth-century Franciscan, whowas

beatified in I726 andcanonized during thefirstdecadeof thenineteenth century. Further compositional studiesforthealtarpiecearein theAcoledesBeaux-Arts, Paris, andtheAlbertina, Vienna,anda number of sketches in redchalkforindividual figures arein theKunstmuseum, Dusseldorf; of thesepreparatory drawings, thepresent sheet is closestto thefinished work. A pupilof theRomanBaroque artist CarloMaratti (I625-I7I3), Passeri is better knownforhisdrawings thanforhispaintings,andtheextensive useof brownandred washandwhiteheightening thatcharacterizesthissheetis typicalof hisworkasa draftsman. WMG

Ourcollectionalreadyholdsimportantwork of Tielke's,includinga cittern,guitar,and violada gamba;the additionof thismarvelouslypreserved violinfromthe private collectionof the distinguished London luthiersWilliamE. Hill & Sonsgivesus a previouslyunrepresented instrument,made aboutthe timeof Bach'sbirth.Obviously influencedby Cremonesemodels,thisviolin'srefinedproportions andgracefuloutline aredecidedlyfeminine.Ratherthanbeing replaced,aswasusual,its originalshortneck wasresetat a greaterangle,probablyin the lateeighteenthor nineteenthcentury,to accommodate performance in newermusical styles.A carvedfemalefigurehead, insteadof the customaryscroll,anda floralopenwork pegbox,bestviewedfromthe back,are delightfulfeaturesof thisviolin,madeprimarilyof medium-grained spruceandhandsomebird's-eyemaple. LL

iekoEf zar _r__ _l -Fw |

|_ -

ou | l_grotesques cos Jpett | ^ _1|1 umemmsr >93 suggests _ worn of

thefortr that s7a,b z oal seventeenth-century adle itspecialwas desirtble s intended occasion. is

Cn 9

Casaquin andPetticoat Italian(probably Venice), ca I725-40 Linenembroidered withpolychrome woolthread Casaquin: L. (center back)323/4 in. (83.2cm);petticoat: L. (center back)371/2in.

2 N

urchase,IreneLewisohnBequest,lgg3

r ts highlyoriginal ornamenco bineschinoisericimagery

^ _

_ It1_

century woman's dress.Theexecutlon of the

_ -

lfi uresoftheF urConti-

andexotic flowers arefamlllar elements of thechinoiseriestyleof thelateseventeenth andearly

- - -

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

FrancescoGiardorli I lsn (Rome),s692z757 ThcVirginand the ChildTrixmphing oacrEvil Ca.z73s 4째 and wood gilt coppers SilvcrX H. 2 3/8 in. (S94 cm) WrightsmanFund,I992 1992.339 Throughoutthe eighteenthcenturyaristocraticpatronsand foreignprincescommisliturgicalsilverfromthe sionedsumptuous courtin Rome.This rare papal the artisbof

devotionalreliefreflectsthe LateBaroque stylewith classicisticovertonesepitomized by the CorsiniChapelin SanGiovanni Laterano,Rome. The inscriptionIPSA CONTERET CAPVT TUUM (shewill crushthy head[seeGenesis 3:15]),engravedin thecartoucheat the top refersto the relief'ssubject,an of the frameX allegoryof Redemptionand the Church's TriumphoverHeresy. The exquisitehandlingof the silver medallion,itS mattesurfacescontrastedwith brilliantlyburnishedhighlights,is set off to advantageby thevibrantdesignof the frame.

with a largevertical The convexentablature prececartoucheharksbackto architectural (xS99dentsset by FrancescoBorromini justas the maskat the bottomis remiI667), niscentof GianLorenzoBernini'sfamous Sout The successful marblebustof a Blessed synthesisof differentHigh Baroquemotifs,heldtogetherby the beaded-andguillocheborderof the centralmedallion, is typicalof the bestworkof Giardoni,who fromI731 to I754held the postof OilCiM silversmithof the CameraApostolicaand to whomthe presentworkmaybe most OR convincinglyattributed. 39

GasperoBruschi(probablemodeler) Italian,ca.I70I-I780 MassimilianoSoldaniBenzi(sculptor) Italian,I656-I740 Corpus f oma CruciMix Italian(Doccia),ca.I745-50 Hard-paste porcelain H. 263/8 in. (67 cm) Purchase,LilaAchesonWallaceGift, I992 I992- I34

This quietlyemotivefigurederivesfrom a modelby the Florentinesculptor Massimiliano SoldaniBenzi.Soldani'swax modelhassurvived,havingbeenbought afterhis death,togetherwith othersin his studio,by CarloGinori(I720-I7s7)for use by the porcelainfactoryhe hadestablished at Doccia,nearFlorence.Ginori'saim,as we interpretit today,wasto demonstrate thatsculptureis as aesthetically persuasive in porcelainas it is in bronzeor terracotta, and fromaboutI743 untilhis deathhe oversaw the productionof a daringandoriginal

repertoire basedon a largecollectionof modelsof classicalandmodernsculptures. Muchof the productionat Docciawas on a largescalethatstretchedporcelain craftsmanship beyonditS usuallimits.In thisversionsomeof the draperyof the wax modelhasbeensimplifiedor eliminatedfor technicalreasons,probablyby Bruschi, headof Doccia'ssculpturestudio,but the tactilehandlingof the materialandglaze, with its unexpectedpassagesof brushwork, andthe finenessof detailinvestthe figure with compellingauthority. CLC

suchasstamping processes savingindustrial tradiwereusedalongside andsheet-rolling suchasraistechniques tionalhandcrafting The andchasing. engraving, ing,casting, wine froma typeof classical formis derived on ancient oftendepicted jug(oenochoe) buttheslight steleandfamilyaltars, funerary Jug Hot-warter in the pattern, fromtheclassical deviations I770S (Birmingham), English facetedneck, highloophandle,elongated Silver andsuaveprofile,revealtheproportions I9 in. (48.3 cm) H. (withtripod) of theI770S. Thedesignsof characteristic Museumof TheMetropolitan Purchase, Wyattandothersof his theyoungarchitect Gift,I993 Anniversary ArtVolunteer lighter,moresparingly timeweresimpler, I993- 73 thanthose andmoredelicate ornamented, thepioneerof Adam(I728-I792), of Robert Tripod in thelateI750S. Neoclassicism LilianaTeruzzi,I966 Giftof Madame of thisewerhappily Theacquisition 66.I72.sa,b,c giftof thetripodspirit anearlier completes ensuite,theset designed was stand that tendencies several jugreflects Thehot-water drawings in analbumof Wyatt's appearing anddesignof silvermanufacture in English of the in thecollection forsilver(formerly of Boulton's theI770S. It is theproduct aswellasin Boulton's forthemetaltradesestablished vicomtedeNoailles) manufactory JMCN tradecatalogue. wherelaborin Soho,nearBirmingham, JamesWyatt(designer) I746-I8I3 English, BoultonandJohnFothergill Matthew (manufacturers) anddiedI782 I728-I809; English,

to Josephde Frfas Attributed oftheI8th lastquarter flourished Spanish, century Guitarr ca.I780 (Seville), Spanish materials andvarious Wood in. (46.5cm) I81/4 L. (body) ClaraMertensBequest,in Purchase, memoryofAndreMertens,I992 I992. 279

ofWilliamE. Hill in thecollection Formerly to guitarwasattributed & Sons,thisdelicate by whenauctioned Sanguino Francesco s in I99I. OurI99I-92 specialexhiSotheby alloweda rare Guitar" bition"TheSpanish manyrlne to compare opportunlty sidebyside;as examples eighteenth-century hasbeenreattriba result,thisinstrument Joseph Sevillecraftsman, utedto a different byFriasexist: deFrias.Twootherguitars a giftfromQueenMaria one,reputedly Diego deBorbonto theguitarist Cristina in theMuseodelaFesta, Ortiz,nowresides withsemiwhiletheother,covered Alicante, of the stones,is in thelibrary precious Allthreeinstruments Real,Madrid. Palacio ofworkmanship characteristics showsimilar expensive thatindicate andornamentation Ourguitar,withrosewood commissions. backandsidesandsprucetopinlaidwith anddarkwooddecoration, mother-of-pearl thanfive,aswas hassixpairsof stringsrather of pattern Frias's guitars. normalin earlier guitar underthetopof theAlicante bracing of ourguiThefragrance is alsoinnovative. pleasure a particular tar'scedarneckaffords LL to itsplayer. o

Wor F

->Y

i S 5|

SamuelBrunn(gunmaker) English,activeI795-I820

MosesBrent(silversmith) English,activeI763-18I7 Pair of FlintlwskPistols English(London),I800-I80I Steel, wood,silver,and gold L. (overall)I6in. (40.6c7n)

Purchase,HarrisBrisbane Dick FundandGift of George D. Pratt,by exchange,I992 I992.330.I,2

Thesepistols rankas the mostlavishly embellishedNeoclassicalEnglishfirearms known.The barrelsandlocksareof blued steelengravedandgold-inlaidwith trophies of armsandfoliage.The decorationof the inlay stocks,combiningengravedsheet-silver andheavycastandchasedsilvermounts,was FrenchEmpire inspiredby contemporary motifs firearms.Severalof the ornamental arebasedon ancientRomansources:the Nereidridinga sealeopardon the sideplate derivesfroman engraving,publishedin Romein I762, of a wallpaintingfoundin the ovalmedalthe ruinsof Herculaneum;

lion on the triggerguard,representing Herculeswith a defeatedAmazon,is based on an antiquegemknownfromcontemporaryengravings andcastsafterthe original. The Medusaheadon the buttalsoderives fromclassicalart,but herethe idealized modelhasbeentransformed into a grimacof the ing yet almosthumorouscaricature legendarygorgon.Thesepistolsepitomize the opulenceandsophistication of English decorativeartsproducedduringthe reign of the PrinceRegent,laterGeorgeIV (I762-I830), forwhomtheywerereputedly swP made.

Sctte Italgan (Sicily), ca.I790-I800 Carued) gXldud, andpainted walnutJ mounted withpanelsofrcuase-painted gLass> upholstaud withat andvoided s7th-centu1y mson velact L.78&8 in. (I99.I Ct) GiE ofJohnRichardson, I9 9 2 I992. I73. I

Thisserteeis froma largesetof seatfiurnituremadein Sicilyin thelateeighteenth century. It wasformerly thoughtto have beerlcommissioned fortheVillaPalagonia, nearPalermo, butthatsuggestion is now doubtedbecause theinterlaced irlitials PPL at thecenterof thebackdo notcorrespond to thoseof anyof theprinces of Palagonia. Thereverse-painted glasspanels,which imitateagate,lapis,andmarble, area distinctivefeaturethatalsoappears on related furniture madeforLaFavorita, thepavilionbuiltforlCingFerdinand IVin I799. Thisformof decoration wasoftenusedon Neoclassical Sicilianfiarnirure in thelate eighteenth century. Theoriginal configurationof thesetis notknown;in theIg30ss whenit wasownedbytheearlof E)udley at DudleyHollse,London,it consisted of foursetteesandtwelltysidechairs.Pieces fromthesuiteareslOW in theRingling Museum, Sarasota; theChicago Art Institute; theMuseumftirKunsthandwerk, Frankfian; andseveral private collections. Thissettee,together witha sidechairfrom theseepresented bythesamedollorX is an important additionto ourcollection of Italianfirniture. wR

Attributedto V. Dijon French

FarmyardScene EarlyI850S Albumensilverprintfrom paper negative I05/8 X II3/4 in. (27 x 29.9 cm)

Purchase,The HoraceW. Goldsmith FoundationGift, SamuelJ. Wagstaff,Jr. Bequest,and PfeifferFund,I993 I9937째

This scene,modeledin strongchiaroscuro, is thoughtto be by an amateurphotographer who workedin the regionof Vichy.Few photographs by the artistareknown,andno otherprintof thisstrikingimageis believed to exist. Althoughmadeby a virtualunknown, the photographpossessesthe aesthetic sophistication andtechnicalmasteryof the mostadvancedworksof the I850S. Unlikehis Parisiancounterparts, however,the artisthas exploitedthe largescaleanddramaticlighting commonlyreservedforthe depictionof monumentalarchitecture andhistoricstatuaryfora rustic,vernacular scene.

Renewed attention toseventeenth-century Dutchgenrescenesspurred aninterest among pre-Impressionist painters in themotifof the humble cottage, mostoftencentering onthe structure in thecontextof a landscape orits roleasa settingformanual labor,asin the workofJean-Franc,ois Millet.Inthisphotographawhirlwind of disorder andpatchwork of intense lightandshadow, thehalf-timbered, thatch-roofed barn,andfarmyard implements rakes, baskets, butterchurns, buckets- suggest theactivity ofrurallife.The innovative pictorial approach, withmultiple andcompeting pointsof focus,closelyparallelsa natural wayof seeingtheworld. MD

JulienValloude Villeneuve French,I795-I866 Untitled I85I-53

Saltedpaper printfrompapernegative in. (II.2 X I5.5 cm) Purchase,LilaAchesonWallaceGift, I993

41/2 X 61/8

I993- 69a3

Between I85I andI855 Vallou, earlier a lithographer of costume, erotica, andscenesof dailylife,madea seriesof small-scale photographs of femalenudes,whichhemarketed asmodelsforartists; evidence suggests that theywereusedassuchbyGustave Courbet. Despitea longartistic tradition andobviousdelightin thefemalenude,decorum in mid-nineteenth-century France required thatthesubjectberemoved fromthereality of thepresent bybeingshownin mythologicalguise(Cabanel's Birthof Venus,forexample)orasanexoticcreature, distant andthereforenonthreatening. Theneedto provide a

legitimizingcontextfor the depictionof the nudewasparticularly compellingin photography,andVallouoftenappointedhis modelswith the paraphernalia of the painter's studio- rugs,shawls,spears,beads,anklets, andturbans.His mostsuccessfulpictures, however,arethoseleastencumberedby artificialtrappings; revealingmoreandborrowing lessfrompainterlytradition,theseare the mostpoetic.Whiletantalizingly realin bothweightandtexture,Vallou'sreclining nudeseemsnonethelessto floatin indeterminateanddreamlikespace,a crescentmoon in a starrysky. MD

RogerFenton British,I8I9-I869 Spoilsof Woodand Stream I858-59

glassnegative AlbumensilverprintJiSom cm) I3 XI41/4 in. (32.8X36.2 Purchase,JoyceandRobertMenschel Gift, PfeifferFund,andMargaretW. and MatthewB. WestonGift, I993 I993- 68

Afterstudyinglawandpaintingin London andParis,Fentonfoundin the cameraa perfectvehicleforhisvisualintelligence. BetweenI853, whenhe helpedestablishthe Society,andI860, when RoyalPhotographic he returnedto practicinglaw,Fenton'slarge and architecture, of landscapes, photographs stilllifesset an unequaledstandardforthe useof the mediumin VictorianBritain. Althoughstilllifewasrarein French in the midandAmericanphotography nineteenthcentury,in Britainthe statusof Dutch seventeenth-andeighteenth-century andFlemishstill-lifepaintingmadeit a traditionworthemulating.In I860 Fenton in a exploredthe genrephotographically

of studiocompositions seriesof sumptuous game,andtableware. fruit,flowers, of Wood and Spoils Madeoutdoors, Stream is verylikelythebridgebetween of theI850S andhislater Fenton's riverscapes articulatvirtuoso stilllifes.No lesselegantly thanthe if lessbelabored edthantheformer, seemsto slowlyeddy latter,thecomposition basketof rivertrout.From arounda bellying rockto thesuavearcof the theglistening log trophysalmon,andfromtheweathered rabbits, to thedampfurof thependant howthetradition Fentondemonstrated bya fresh revitalized couldbesensuously MMH eye anda goodcatch.

CamillePissarro FrenchX I83>I903 Womanat a Well I89I Etchingandaquatinton laidpaper, secondstateof three Plate9 l/4x 73/4in. (23.5x I9.7cm) Signedinpencil:C. Pissarro; inscribed: 2e etatno2 / paysanne aupuits/ (2) The ElishaWhittelseyCollection,The ElishaWhittelseyFund,I993 I9g.Ioss

Althoughhe wasthe mostconsistently activeprintmaker amongthe Impressionists,Pissarroseldomprintedhis platesin greatnumbers,generallybecausethe unconventional techniqueshe usedwere too delicateto permitlargeeditions. He madeonly nineimpressions of the Woman at a Well,of whichthisis a fine,evocatively tonalexample.

Asdevotedashewasto studying the shapesandilluminations of thelandscape, Pissarro neversurrendered hisinterest in the humanfigure,particularly asit wassculpted bysunlight andshadowin theout-of-doors. Theadmiration hefeltforMillet'sidealized portrayals of thepeasantry oftenemerges in hispictures of countrylifeandseemsto have beenpassedalongto hispupilGauguin. CI

Michelangelo Caetani,dukeof Sermoneta opener,wltnltSeclectlcmlxture ortarly (possible designer) motifs, Christian, classical, andmedieval Italian,I804-I882 design, probably belongs. Thesymmetrical Castellani Firm(manufacturer) identical on bothsidesof theblade,features Italian,I8If-I930 geometroundels andcarefully proportioned LetterOpener of thework riccompartments characteristic Ca.I863 a friendof of thedukeof Sermoneta, Goldandenamel similar designs Alessandro's, whoprepared L. I0 1/4 in. (26 cm) forthefirmin I859. Theangelsoneachside Gift, of thehandlerecallfigures Purchase, Mrs.Charles Wrightsman ona later I993 evidently saw medieval jewelthatAlessandro I993- 66 in England in I86I-62, ofwhichheis known to havemadefivecopies. Thereputation of theCastellanisenrondebosse, Theangelsareenameled Fortunato Pio(I794-I865) andhissons a technique practiced in theearlysixteenth Alessandro (I823-I883) andAugusto century; theremainder of theletteropeneris (I829-I9I4)-rests principally onClassical cloisonne enamel, withthecloisonsformed Revival jewelry theyproduced fromabout constructed of goldfiligree wire.Although I863, when Alessandro established a branch aneffectof of nineteen individual sections, of thefirmin Naples,untilhisdeath.Earlier, seamless bytheharmony unityis achieved however, thefirmhadexplored a rangeof of designandcolorandbytheimpeccable styles,andit iS tO thisperiodthattheletter CLC craftsmanship. *

Deck Joseph-Theodore French,I823-I89I Dish

French(Paris),I866 Earthenware Diam.I6 in. (40.6 cm)

Sculpture Purchase, Friendsof European ArtsGifts,I992 andDecorative I992. 275

BorninAlsace, Deckcameto Parisin I85I and established a studiotherein I856. Hiswork styles,buthe incorporated a gamutof revival of sixteenthis bestknownforhisversions technique anddecoracentury Isnikceramic cerulean blue,the tion,enlivened bya brilliant afterI863. so-called bleuDeckdeveloped HereDeckis seento havebeenin the He mayhavebeen forefront ofjaponisme. motifsbyFelix introduced toJapanese theprintmaker Bracquemond (I833-I9I4), ofJapanese printswho andpioneercollector workedin Deck'sstudiofora fewyears aroundI860. Inthedesignof thisdishDeck hasbrokenawayfromhisusualformalcomin favorof naturalistic positional manner thatsweepin fromthe flowering branches object:thedish rim.It is a purelydecorative hastwoholesin thefootringforsuspension fordisplay. Signed andwasclearly intended THD, anddatedI886, withhismonogram, expression thedishappears to betheearliest interpretations of of Deck'svividandoriginal CLC Japanese style.

SirAlfredGilbert English,I854-I934 Thede VesciSeal I89I-96

Patinatedsilver,gold,enamel,heliotrope, glass,andturquoise H. 71/2in. (I9.I cm) Purchase,Friendsof EuropeanSculpture and DecorativeArtsGifts,I992 I992.302

Thisimpressive bibelotwascommissioned on New Year'sDay I89I by the fourthviscountde Vesci,who presentedit to his wife, bornLadyEvelynCharteris, as a silverwedding-anniversary gift in I896. Theirarms

areenameled on thegoldshieldssteadied by theknightandareengraved in theheliotrope sealunderneath. Gilbert, greatest ofVictorian sculptors, wasbyhabita procrastinator and tinkerer withpatinations, whichpartly explains thefive-year gapbetween theseal's commission andcompletion. Another reason fortheobject's lengthygenesiswasthat Gilbert wasimmersed in working outthe detailsof histwomostspectacular creations, theErosFountain in Piccadilly Circus, London(I886-93), andtheTombof the Dukeof Clarence in theAlbertMemorial Chapel, Windsor Castle(I892-I928). The swelling organic ornament of thosemonuments1S nererelterated ln mlnlature. JDD *

I Vincentvan Gogh Dutch,I853-I890 Shoes AugustI888 Oil on canvas I73/8 X 20 Y8 in. (44.I X 53cm) Purchase,The AnnenbergFoundation Gift, I992 I992-3/4

WheatFieldwith Cypresses JuneI889 Oil on canvas 283/4 X 363/4 in. (73 X 93.4 cm) Purchase,The AnnenbergFoundation Gift, I993 I993. I32

"Inmyyellowroomtherewasa smallstill life:thisoneinviolet.Twoenormous shoes, worn,misshapen. TheshoesofVincent. Thosethat,whennew,heputon onenice morning to embark on a journey byfoot fromHollandto Belgium." SoPaulGauguin reminisced in anarticleof I894. Although he misremembered thecolorof theterracotta tilesin thebackground-he thoughtthey wereviolet,thecomplementary ofyellow hisrecollection of theworkinforms usthat vanGoghhimselfvaluedthisstilllifeso highlythatheplacedit in theroomin his houseinArlesthatGauguin occupied in late I888. Thepainting wasprobably executed in AugustI888. Whilesomescholars havespeculatedthattheshoesarethoseof Patience Escalier orsomeotherfriendof theartist (indeedit is notevenevidentthattheyarea pair),Gauguin sawin themthedistinctive markof Vincent's personality andassociated themwithvanGogh'sexperience asanitinerantpreacher to coalminers. VanGoghmadefivepaintings of boots whilehewasin Parisin I887, butthisis the onlystilllifeof shoeshemadeinArles.It is amongthebest-known and-lovedpictures

bytheartist.Owingto thestrength of the imageandtherichpotential of thesubject, it hasprovoked numerous studiesexploring its meaning andsignificance in theartist's work.

Thisexceptionally beautiful landscape, WheatField with Cypresses, is oneof themost important worksexecuted duringvanGogh's year-long internment attheasylumof SaintRemy(MayI88g-May I890). Thethickly impastoed andvigorously brushed canvas is amongthemostsuccessful of hiscompositionsand,in termsof subject matter, it is one of themostevocative. Asscholar Ronald Pickvance putit, "VanGogh'sdiscovery of thecypress wasthecardinal eventofJune I889." Theartist himselfwasastonished "that theyhavenotyetbeendoneasI seethem." Thetreeswereatonceanemblemof death, whichhaunted himduringhisbreakdowns in thewinterof I888-89, andoneof salvation,forit wasonlyafterhewaswellenough to takewalksoutsidetheasylumgrounds thatheperceived thecypresses' beauty.

series anambitious VanGoghlaunched whichhe devoted to cypresses, of paintings hopedwouldrivalhisstilllifesof sunflowers. compositions, Hebeganwithtwovertical Cypresses oneofwhichis theMetropolitan's (acc.no.49.30);theotherbelongsto the in Otterlo,the Kroller-Muller Rijksmuseum Hethenmovedon to a horiNetherlands. three executing ultimately zontalformat, This composition. of thepresent versions trees, sky,ragged withitsturbulent canvas, in thewind,is andwheatfieldundulating it in thefirst.Hementioned unquestionably of a letterof earlyJuly:"Ihavea canvas withsomeearsofwheat,some cypresses

inwhichvanGoghreproduced Amsterdam) a blueskylikea pieceof Scotch poppies, ot t.SllS palNtlNg. witha thickimpas- t.:lecomposltlon painted plaid;theformer of thiswork,the acquisition With the andthewheatfieldin to liketheMonticellis, nowhastwoof theinitialcypress Museum heat, theextreme thesun,whichrepresents and fortheirstrength pictures-unrivaled it conveys verythick,too."Theimmediacy immediacy-anda totalof fourpaintings which setsit apartfromthesecondversion, fromtheperiodwhentheartistworkedin in size,nowin theNational is identical with contrasts Thecomposition Saint-Remy. canvas London,andthesmaller Gallery, theverticalCypresses madeforhismotherandsister,nowin a pri- andcomplements unliketheformer, in thecollection; aremore already Bothlaterpaintings vatecollection. study of trees,this a is essentially which in themore whether andrefined, controlled by landscape firstmajestic is theMuseum's in thecloudsorthe patterns regularized enormously vanGogh,onethatenhances of the arabesques art-nouveau alternating, in groupof hispaintings thegreatest drawing trees.Thereis aswella reed-pen GT NorthAmerica. VincentvanGogh, (Rijksmuseum .

HenrideToulouse-Lautrec French,I864-I90I Natanson(Misia MadameThadete at the Theater I872-I950) Godebska, I895 24 1/2 X 29 on cardboard, Gouache X 74.9 cm)

1/2

in.

(62.2

Rodgers, Giftof Mr.andMrs.Richard of a lifeinterest termination

I964,

64. I53

Thisfineworkis a studyforthecoverof albumof a quarterly Originale, L'Estampe byyoung engravings and original lithographs in printmaking: interested French artists Denis,Ibels,Maurin, Bonnard, Anquetin, and,of Vuillard, Vallotin, Ronson,Roussel, wasa goodfriendof Lautrec course,Lautrec. AndreMarty, of thejournal, thepublisher thecover to contribute whoaskedLautrec forthefirstissue,in I893, aswellasthelast, in I895. fittingly Forthefinalcover,Lautrec beingrungdownon a depicted thecurtain anklescanbeseenas Dancers' performance. fallsattheleft,whileattheright thecurtain

theropes.Inthe operating weseestagehands usedin previously elephant, middle,a plaster The play, for a Hindustani anillustration Chariot,standsguardatopa carTerracotta Seatedat toucheforthetableof contents. theglamorous leftis MisiaNatanson, in fin-deof artistsandwriters patroness siecleParis. Thisworkwasslicedintotwopiecesand so astO revealonly formanyyearsframed the in herloge.However, MmeNatanson leftandrightsideshavenowbeenskillfully Marjorie byconservator piecedtogether Shelleyso thatit maybeseenin itsoriginal GT format.

EdgarDegas French} I834-I9I7 Studyof a YoungWoman'sLegs Blackchalk I63/8XII3/8 in. (4I.6X28.8 cm)

Giftfromthefamilyof Howard J. Barnet, m nlsmemory, I992 *

I992.60

This superbdrawingbelongsto a groupof history studiesDegasmadeforan unrealized painting,SaintJohntheBaptistandtheAngel, whilehe wasin ItalyfromI856 to I859. The figure'sstanceandthe faintindicationof the bentrightarmcorrespondcloselyto other sketchesforthe angel,frequentlyshownclassicallydrapedandblowinga trumpet.A black-chalk studyforthe upperhalfof the nudemodelis in the ClevelandMuseumof Art.This is an importantadditionto the Metropolitan's richcorpusof DegasdrawHBM ings,especiallyhis earlywork.

AlfredSisley Britishn I839-I899 A Roadin Moretin Winter I89I

Oil on canvas in. (46.7

I83/8 X 221/4

X 56.5

cm)

Bequestof RalphFriedman, I992 I992.366

In I867, at an exhibitionhe organizednear the Parisworld'sfair,Courbetdisplayeda de numberof worksunderthe rubricpaysages neige-landscapesin snow.Monet,Renoir, andSisley,youngartistswho laterwouldbe wereveryexcited calledthe Impressionists, executedin by the possibilitiesof landscapes whiteor graywithjusta fewtouchesof brightcolor.Withina shorttimeall three executedsnowyscenes,but MonetandSisley continuedto do so forthe restof theirlives.

Thisfinework,withitssubtlynuanced brushstrokes, is paletteandexpertly rendered oneof several thatSisleymadein thewinter of I89I in Moret-sur-Loing. It depictstherue by EugeneMoussoir, whichhereis bordered thewallof thevillagehospital. Withthisgift,addedto thosemade recently byDouglasDillonandJaniceH. finallyrepreLevin,theMuseum's collection sentsin several excellent worksthedistinctive GT achievement of Sisley.

EdgarDegas Frenchn I834-I9I7 TwoMen Ca.I865-69 Oilonwood I0 5/8 X 81/8 in. (27 X 20.6 cm) GiftofYvonneLamon,I992 I992.380

Oneof themostsignificant traitsof Degas's portraiture washishabitof capturing individuals offguardin theirownenvironments, whichenabled himto discover characteristic gestures orposesthatsubtlyrevealtheirpersonalities, if nottheiridentities. Yetwhile Degas's portraits arealmostalways tellingin thismanner, a surprising number of thesubjectshavecometo usshornof theirnames bythevagaries of history. Themenin this intriguing workwereamongthem.However,on thebasisof a photograph, P.A. Lemo isne, themid-twentiethcentury cataloguerof Degas's work,identified theman on therightasEmileLevy(I826-I890), a painter whostudiedattheFrench Academy in RomewhenDegasresided therein the lateI850S. Gustave Moreau introduced Levy to Degas,whofoundhim"worthy and charming." Theyremained friends after returning to Paris,through theI860S, but in theI870S Degassawlessof Levy,who became increasingly conventional in hisartas Degasbecame a leader in "thenewpainting." Thesettingof thisinformal scenemay wellbeanartist's studio.No namehasbeen proposed forthemanon theleft. GT

ThomasTucker(decorator) American, I8I2-I890

TuckerPorcelain Factory (manufacturer) American(Phikilphia, Pennrylvania), I82638

Pair of Vases I828-38

Porcelain H. z41/4in. (36.2 cm)

Friends of theAmerican W*mg Fund,I992 I992.362.I,2

Theporcelain factory foundedin PhiladelphiabyXllliamEllisTuckerwasthefirstin America to becommercially successful. Thesevasesareamongthelargest andmost ambitious formsthatTuckerproduced. In theirdassicurnshapewithgildedwingedcaryatidlike handles, theyarereminiscent of earlynineteenth-century European porcelains.Thefinelypaintedlandscape scenesare

I ohnLocke Froma deskandbookcase American (Phikilphia, Pennsylvania), I76S-7S Mahogany H.Io%in.(26.7sm) Gift of BernardandS. Dean Levy,Inc., New YorkCity,in honorof BernardIwvy,I992 | I992.I8I.I

Thisbustis oneof themasterpieces of American figural sculpture fromtheperiod jUSt before theAmerican Revolution. The unidentified carver hasinfusedhisrendition of thephilosopher JohnLocke(basedupon anoft-copied portrait bySirGodErey

Kneller) withremarkably expressive qualities. Thisexample is oneof a number of diminutivebustsof LockeandJohnMilton conceived asfinialsto beplacedwithinthe broken pediments of Philadelphia-made desksandbookcases. Theuseof suchimages of renowned literary figures sprang froma tradition of library bustsplacedon bookcases thathaditsrootsin antiquity. Inthehouses of ColonialPhiladelphia, wheretherewere noseparate roomsforbooks,thedesk-andbookcase-with-bust served asa movable library formembers of thecity's cognoscenti. TheMuseum's bustwasgiventogether with itS original bookcase (acc.no.I992.I8I.2), butwithoutthedeskunituponwhichthe latteroriginally stood. MHH

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

of ThomasTucker'sdecorative indicative viewssthey style.Mostlikelyromanticized copiedfromimported wereundoubtedly printsthatwereavaillandscape European ablein portfoliosin Tucker'spossession. delicatelycoloredandsubtly Suchscenesw shaded,aretypicalof the moreprestigious producedby thefactory.On commissions aregildedmorifsof a lyrewith thereverse by a floralgarcrossedtrumpetssurrounded landandenclosedin a laurelwreath.This motifis moretypicalof Tuckerpitchers. Thevasesarenearlya marchedpair,yet onlyone featuresa technicaldevelopment of thewinged-caryatid in thetrearment on handles.Typically,wingsof thecaryatids handlesof Tuckervasesin thisformaresupthevaseon portedbysmallstruts.However? therightlacksthisbracing,andthehandles slumpeda bit towardthebodyof thevase ,

dUrlNg

ItS tIrlllg.

ACF

HenryKirkeBrown r8S4-1s86 AmericanX TheFikttrice /850 Brozzze H.20in.(so.8rm) Purchase,GiRssn memory of JamesR. Graham,and MorrisK.JesupFund,I993 I99J. 4

artistto attain wasthefirstAmericarl Brown domestically sandcasting success consistent garbed l hisclassically thaninEurope. rather has efforts, pleasing most oneof his spinner, American of beingtheearliest thedistinction colin theMetropolitan's sculpture bronze figureholdsa distaS lection.Thedemure her andspindleandwindsyarnthrough bobbinbelowe ontothedangling fingers basedon wasapparently Whilethissubject bythe spinner seatedmarble a well-known (I786RudolfSchadow sculptor Germarl andform of surface treatment 1822), Brown's of his characteristic in thiscastisespecially lifelike to Attention approach. naturalistic in thewire evident detailis particularly thebobbinin imitation around wrapped differences ofwoolandehesubtletexturat skinandpeplos. TT thespinner's between S7

JuliusGrudchosand SelmarEggers American, activeca.I856-60 PercussionTargetRifle American(NewBedford, Massachusetts), ca.I856-60 Walnut,steel,silver,gold,ebony,andivoC L. 49l/4in. (I25 I cm) Purchase,BashfordDean Memorial Collection,Fundsfromvariousdonors,by exchange,I992 I992*375

Targetshootingwith the crossbowwasa well-organized sportin Germaniccountries

bythelateMiddleAges.Shooters formed clubsthatweremodeled aftercontemporary craicguildsandserved manyof thesame socialandcivicfunctions. Duringthelate fifteenth century firearms gradually replaced bowsasthecustomary weaponfortarget snootlngm mostareas.1hlS actlvlty belng a long-established partof theirsociety, bermanlmmlgrants ln thenlneteenth centuryquicklyfounded shootingclubs(Schutzenvereine) in theUnitedStates.Suchclubs remained a popular fixtureof GermanArrlerican culture intotheearlytsventieth century. s

Mostschutzen rifleswererelatively plain, unlikethisfinelymade,unusually decorative example. It is distinguished bydelicate floral ornament engraved on thesteelandsilver mounts,goldinlayhighlighting thebrowned barrel andlock,andexuberant floraldesigns carved in thestock.Grudchos andEggers, whosenamesappear on thelockandbarrel, werewellknownfortheirinnovative whalingguns.Alltheelements of thetargetrifle arestamped withthenumber I, suggesting thatit wasthefirstof thefewfirearms of this specialized typethatGrudchos andEggers madeduringtheirbriefpartnership. DJL

ornaCeltic,Viking,andothermedieval mentinformsmuchof thecarvedpatterns designsof thechairaswell andembroidered Ameritnn,s848-rg33;vnd I832-I920 theroom.Inher throughout detailing asthe Armehair Colman credits Havemeyer Louisine memoirs Americnn(New YorkCity), ca. I89I whichshe withthedesignof thefurniture. Oak tzndsilk usluet Viking byNorwegian saidwasinfluenced Purchase,HarryW. Havemeyerand also Havemeyer Mrs. prototypes. Celtic and The FrelinghuysenFoundationGiSs, in wherebv process, thefinishing described memoryof H. O. HavemeyerI992 wereappliedand manycoatsof varnish I992 . I 25 aneffectakinto tO create buffedlaboriouslv upholoriginal The lacquerwork. Japanese deThe interiorsthatTiffanyandColman olise and amber in deep stervof silkvelvet slgnedbetweenI889 and I892 forthe Fifth in a Celticdesignin Avenueresidenceof the preeminentcollectors greenandembroidered bythe hasbeenreplicated silkthreads Louisineand HenryOsborneHavemeyer of theupholsheen lustrous The lMuseum. important and magical most the wereamong ofJapanese ceiling elaborate the steryechoed of theirera.Eachroomwithinthe eclectic byColman. silks,whichwasalsodesigned househada thematicunstvof its own;each LouisComfortTiffanyand Samuel Colman(designers)

GeorgeJakobHunzinger I835-I898 American,

SeÂ˘ee s876-8S (NewYork Americotn nd cotton-corered cherry Ebonized seel woven L.67-Sin. (I7I I X]) Ci)J

C4.

Friendsof the AmericanWing FundsI992 I992.269

HunzingerestabIn I866 the German-born lisheda successfulNew Yorkfirmthatmanufacturedpatentedfurnitureof his own invention.This raresettee,one of his most ambitiouspiecesaillustratesthe protoof Hunzinger'sbest moderncharacter designs.Likehis Britishcontemporary Dresser,Hunzingerattempted Christopher freefromhisrorto forgea designvocabulary Althoughthe setteevaguely icalreferences. furniture,in vogue recallsfaux-bamboo aroundI880, andalludesto the traditionof joineryxits strongestreferenceis to the machine.Skillfullvconstructedof lathecomturnedpartsathe setteeis hierarchically and posedof interlocking,contiguousw repeatedelementsthatconvey rhythmically energyand implymovement.One of only nvo Hunzingerobjectsknownin thisform andamongthe few finishedin black,the settee belongsto a groupof relatedpieceswith wovenmetalseats.The blue-and-gold steelbands}stretchedtightly cotton-covered acrossthe frame,wereHunzinger'sakernativeto caneandupholstery.The bands,an inventionpatentedon AprilI8, I876, arein condition.The patentdate, extraordinary stampedon the backof a rearleg)establishes theearliestpossibledatefor rhesettee;on the basisof its sWle,however)ir is unlikelytO havebeenmadeafterthe mid-l880s. CHV

decorativeelementcontributedtO the harmonyof the whole.This armchairis from s library,or Rembrandt Mr. Havemeyer Room,as it wasaIsocalled,a roomrhatepitomizedthatconcept.

ACF

I ono;ff-whzte andgreen papers gouache, inpencil(lower left):Del.Co./964 Inscribed J. Schwartz P rchase,SheilaandRichard F ndandGiftsin memoryof StephenD. Rubin,I992 I992-373

whiletheminute HudsonRiverSchoolartists, of thepencilworksugprecision andfactualism withtheaesthetic standards of gestssympathy Pre-Raphaelite movement, thenat theAmerican Theoverall impression is itspeakof influence. journal of observations butof notof aninformal albumof picturesque vignettes. KJA a souvenir

MaryCassatt American> I844-I926 in a PortraitofAdalineHavemeyer V0hite Hat BeguninI898 Pastelonwove paper 25 X 2I 1/4 in. (63.5 X 54 cm) Signed (upper right): MaryCassatt

X kE9ffi_'45i'S vivacious expression and

vivaciou

i :

WilliamLightfoot Price(designer)

i; Americvn> I86I-I9I6

Leaded-glass Window,f omgzSetof Four Americvn(Philvdelphiv> Pennsylvaniv)> c C4. I905

40 x 24 in

(IOI.6X

6I.6

cm)

Giftand Purchase, JaneD. Kaufman . Sansbury-Mills Fund,I993

;

I993

architect Pricebecame a notedPhiladelphia American Arts of theturn-of-the-century dndCraftsmovement andin I903 cofounded in RoseValley,a utopiancolonyof artisans windows feaPennsylvania. Theseunusual through a turemedievalized motifs,created lead silhouette effectachieved byarticulated glass. linessurrounding panesof colorless Smalljeweled highlights in red,amber,and olivegreenglassprovide theonlycolor.The from medieval huntingscenewascarried windowto window,unifiedbythecontinuouslinesof leading. Thedesignis rootedin and theEnglish ArtsandCraftsmovement, atthesametimeresembles turn-of-theillustrations. century woodblock storybook Thewindows werepartof thearchitecturalschemeconceived byPricefora house hedesigned forFrank VanCampin Indianwasinspired by apolisin I905. Thisstructure that theGothichousenearPhiladelphia for Pricedesigned somefiveyearsearlier decorative JohnGilmore. TheGilmore winschemefeatured similar leaded-glass Museum of dows(nowin thePhiladelphia Art),whichwereno doubttheinspiration windows area forthese.TheMetropolitan's American stained departure fromthetypical glassmanufactured duringtheperiod.More commonwastheuseof mottledcoloredand bythe opalescent glass,materials promoted Tiffanyand glassstudiosof LouisComfort ACF JohnLaFarge.

4,4

c-, 4,4 4,4

PabloPicasso Spanish,I88I-I973 At theLapinAgile I905

Oil on canvas 39 X 39 1 in. (99 X I00.3 cm) The WalterH. andLeonoreAnnenberg Collection,PartialGift of WalterH. andLeonoreAnnenberg,I992 I992.39I

The destituteoutcastsfeaturedin Picasso's BluePeriodgaveway,in I905, to circus performers andharlequinsin morecolorful

settings.At theLapinAgile,a canvasnearly squareandbroadlypainted,wasoriginally conceivedto decoratea barin Montmarte, the interiorof whichis depictedhere.Since the paintingwouldbe seenacrossa crowded andsmokyroom,Picasso'scompositionwas of posterlikesimplicity.He alignedglasses andfigures hattedandshownfromfullfaceto profileview alongseverediagonals, endingwith a seatedguitarist,Frede,the cafe'sowner.As identifiableas the musician arethe two diffidentpatronsat the bar,their colorful,theatricalgetupstillaccentuating theiremaciatedpallor.The melancholyhar-

lequinin the red,green,andocherdiamondpatternedcostumeis Picassohimself.The poutingwomandeckedout in an orange dress,boa,choker,andgaudyhat is GermainePichot,a notoriousfemmefatale. In I90I GermainehadcausedCarlos Casagemus, a closefriendof Picasso's,to commitsuicidebecauseof his unrequited loveforher.The melodramacontinuedto hauntPicasso,who evokedhis deadfriendin severalpaintingsat the time.GermainesubsequentlymarriedRamonPichot,another closefriendof Picasso's. SR

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

PabloPicasso Spanish,I88I-I973 Headof a Peasant(JosepFontdevila) I9086

Oil on canvas I73/4 X If 7/8 in. (45 X 40.3 cm) AnonyinousGiE, I992 I992.37

of I906 in Gosol, spentthesummer Picasso There a remotevillagein thePyrenees. tooka fancyto theninety-year-old Picasso andformer aninnkeeper JosepFontdevila, InPicassoet sesamis (I933) smuggler. Olivier Fernande companion Picasso's oldman, proud as "a Fontdevila described in a strange beautiful extraordinarily with wildway.. .meanandcantankerous Picasso . .exceptwithPicasso." everybody. withthe sucha strongrapport developed tougholdmanthathewouldcometo idenhis shaved tifywithhimandevensimilarly

head.Moreor lessignoringthe surrounding landscape,Picassocomposeda largegroup of drawings,gouaches,andthisoil of asceticheadthatbecamea Fontdevila's metaphorfor the austerePyreneesregion. Afterhis returnto Paris,Picassorendered the absentbandit'sfaceevermoreabstract andmasklike,andusedit at the sametime forinspirationwhenhe repaintedthe face of GertrudeSteinin his I906 portraitof the writer,whichwasacquiredby the Museum SR in I946.

lifein thestreetsearlyin hiscareer, capture people,preferring photographed Atgetrarely aswellasthegardens, thestreetsthemselves, andotherareasthatconstituted courtyards, I92 stage. thecultural Albumensilverprint AftertheGreatWarAtgetfrequently cm) 7X85/8 in. (I7.8X2I.9 andother statues, focusedon mannequins, Purchase,SamuelJ. Wagstaff,Jr. wherehe AtVersailles, "actors." substitute Memorialand DavidHunterMcAlpin sinceI90I, hecameto seethe hadworked Funds,andThe HoraceW. Goldsmith butas ornaments notasfelicitous sculptures Foundation,PaulF. Walter,andMr. and In this play. in an immemorial characters Mrs.JohnWalshGifts,I992 of theDying whichshowsa replica picture, I992.5I52 humanpainandartisGaul,Atgetcontrasts ticbeauty,mortalmanandtheimmortal in Parisin the hestudieddrama Although in onhislongexperience soul.Drawing andwasanactorforsomeyears, mid-I87os nearandfarobjectsandvistasin relating founditS best sensibility Atget'stheatrical juxtaposed thephotographer thesegardens, outletin a purelyvisualartform.InI898 he so thattheApolloin thebackthestatues oldParis,andwithina beganto photograph decadehehadmadea nameasanassiduous groundseemsto riselikethelivingspirit MMH thebodyatdeath. of the escaping of theartandarchitecture documenter to ancienregime.Exceptfora briefattempt EugeneAtget French,I857-I927 Versailles

LucianFreud bornI922 British, NakedMan,BackView I99I-92

Oiloncanvas 72 1/4 X 541/8 in. (I83.5 X I37.5 cm) LilaAchesonWallaceGift,I993 Purchase, I99S- 7I

FreudhasconcenForalmosthalfa century thehumanfigureand tratedon depicting face.IntheUnitedStatesheis bestknown I979. These forhisworksfromI945 through in a crafted anddrawings, earlypaintings are precision, stylewithextreme meticulous majorcompositions smallin format.Freud's areconsidof thelastdozenyears,however, areheavily Theirsurfaces larger. erably areasare andin many,certain worked, impastoed. amongFreud's picture, Thisastonishing not a subjectquitefrankly portrays largest, man,a broken Anenormous handsome. atticstudio.The giant,is posedin theartist's heis nude,and,back man'sheadis shaven, stoolthathas turned,hesitson a covered stand. beenplacedon a model'sred-carpeted thefigure thatsilhouettes Thegraybackdrop hidestherestof thesmallroom.Attheright hangsa clusterof ragsusedbytheartistto andhands.Themodel, wipecleanhisbrushes personality is a theatrical LeighBowery, in London. Freudrecords Withstarktruthfulness, Themanipuappearance. physical Bowery's textures different lationof paintto describe of a landscape andtherendition isvirtuosic, of flesh,herebeatenbytimeandabuse,is Inessencethisis nota portrait extraordinary. a stilllifeof skin,themembrane butrather thatclothesthehumanform.Oneis remindby depicted singlefigures edof theterrifying is said, "Flesh once who Kooning, de Willem wasdeveloped." whyoilpainting thereason WSL

. t

4ful*+E} { #o

u w

;g ;'

4 w

i'.

.,j,is w%

}

e a

*-;4

;

^ .e

.v7 .

*\^e

]f".

',*

-, , X F- Sw1g3

-S

8 t .

o.'/18 StuartDavis American, I892-I964 ReportfromRockport I940

Oil oncanvas 24x3oin.(6Ix76.2cm)

EdithandMiltonLowenthalCollection, Bequestof EdithAbrahamsonLowenthal, I99I I992. 24. I

Whenthe Metropolitan Museum'sretrospective"StuartDavis,AmericanPainter"opened in I99I, two of the artist'smostimportant paintings,ReportfRom Rockport (I940) and Arboretum byFlashhulb (I942), wereborrowedfromthe EdithandMiltonLowenthal Collection.Whenthe exhibitionclosedat the SanFranciscoMuseumof ModernArtin I992, bothpaintings andfouradditional works,byArthurB. Dove, CharlesSheeler, andMaxWeber,wereassignedto The Metropolitan Museumof Artby the trustees of Mrs.Lowenthal's estate. Davisoftenreprisedearliercompositions in hiswork.ReportfRom Rockport is basedon TownSquareof I92S-26(NewarkMuseum) andshowsthe sameviewof Rockport, Massachusetts, with a garagein the distance, the facadesof storeson eachside,anda kiosk, gasolinepump,andtwo treesthatdirectthe

viewer's attention intothespace.InReport fiSomRockporttheyellowroadleadstheeyeto thegarage situated atthecenterof thecomposition.Thestorefacades in thisversionof thescenearegeneric trapezoidal planes-the leftoneblack,therightoneblue- andthe treeis enclosed in itsownsliceof space.In thedistance is a bluehillcovered withcross forms,andabove,in a pinksky,arewhite, black,red,andmaroonclouds. Thesenseof deepspaceis countered, however, byDavis'suseof fullysaturated coloroverthepainting's entiresurface. Davis alsocoversthecanvas withwords,letters, and straight andcurvedlinesandshapesthatcreatean"all-over" feeling.Thissceneis oneof vitality,disjunction, andspeed,reflecting Davis'sinterest in conveying theexperience of modern American lifeatmid-century. LSS

Searching forwhathedescribed asthe"very essence" of anAmerican tradition in art, Spruance responded in anextraordinary manner to theprecisionist styleof Charles I940 Sheeler (I883-I96S), whosedepictions Lithograph, printed of in tanandblackon American barnsandfolkartin paintings, wovepaper drawings, andphotographs 73/4 X I4 in. (I9.7 X 35cm) wereexhibited of Modern Artin I939. Purchase, Giftof RebaandDaveWilliams, attheMuseum Spruance, I 993 alongwithotherAmerican printmakers duringthelateI930S, celebrated I993 -I 054 lithography astheartistic mediumof the people,andhereheboldlyusesthemedium to transform rough-hewn planksandsplit shingles intoplanesof tone. Byjuxtaposing lightanddarkblocksanddashes,Spruance creates a lively,syncopated surface thatis harmoniously piecedtogether likethepatches of anAmerican quilt. EBD

BentonMurdoch Spruance American, I904-I967 American Pattern Barn

JaneWilson American,bornI924 AmericanLandscape I959

Acrylicon canvas 60 1/8 X 50 in. (I52.7 X I27 cm) Inscribed (onthereverse): American Landscape/Jane WilsonI959 Gift of Ione UlrichSutton,I992 I992. 2I4

Whenrecentlyaskedaboutthe specificsite depictedin American Landscape, Wilson remembered thatthe picture'sgenesisgoes backto an excursionto the Rocky Mountainsduringherchildhood.When descendingthe Rockies'EasternSlope towardthe GreatPlains,a panoramaof such vastnessandluminosityopenedup thatit remainedetchedin hermind.In I949, after movingto New York,whereshehasexhibited herstilllifesandlandscapes eversince,her

longingforthelandscape of hernativeMidwestintensified. Consequently, sheevoked in paintthatdistantpanorama, whichshe called"aseaof grasswhosecolorchanges withtheseasons." Inthislargeandbroadly brushed work,autumnal fieldsin muted greensandyellowsstretchtoward a distant lowhorizonundera cloudyyetluminous sky.Asin allof herlandscapes, nohuman 1

belIlg

1S in signt.

FredWilliams I927-I982 Australian, withRocksI Landscape I957-58

OilonMasonite in. (II6.2 X 9I.4 cm) Signed(lowerright):FredWilliams Giftof LynWatsonWilliams,I992 453/4 X 36

I992.3I2.

iswellknownin hisnative Williams hisearlyart wherehe received Australia, Hethenstayedin Londonfrom training. from I95I untilI956, anduponhisreturn of chosethelandscape Williams Europe, HisfirstAusashismainsubject. Australia of theinfluences revealed landscapes tralian of Cezanne. especially thePostimpressionists, withRocksIis basedon sketches Landscape madein frontof standsof saplings Williams a region androcksin theBlueMountains, of milessouthwest someonehundred No doubt,thechoiceof thissitewas Sydney. atthetime byhispreoccupation determined

of a given structure withtheunderlying motif.Forgoinga horizonline,he compressedthe spacebetweenthe riverbedin the foregroundandmountainslopebeyond, aligningthemin parallelbandsof muted tonescloseto the pictureplane.And as Cezannewouldsometimesdo in his forest interiors,Williamsset up a dialoguebetween opposites,the bulkyrocksbelowandthe reedysaplingsabove. This paintWilliamsdiedin mid-career. ing is the earliestof threeof hisAustralian givento the Museumby his wife. landscapes SR

SigmarPolke German,born Untitled

I94I

I975

Gelatinsilverprint in. cm) Purchase,DavidSchiff,LilaAcheson Wallace,HarrietandNoel Levine,and NancyandEdwinMarksGifts, I61/8

3/4

(4I

52.5

I992

I992-5I54

Oneof themostprovocative artistsof postwarEurope, Polkehascreated workscritical ofWestern culture sinceI963, whenheand fellowartistGerhard Richter beganusing photography asthebasisforpaintings that satirized thelookandmessage of consumer culture. SincethattimePolkehascontinued to usephotography asa breeding ground torlnnovatlon. DuringtheI970S theartistpaintedlittle buttraveled widelywithhiscamera to Paris,NewYork,Brazil, Afghanistan, and Pakistan. Hissubjects werenightlife,low life,theunderworld, andtheThirdWorld r

arenasin whichlife is livedin defianceor ignoranceof established Westernsocialrules. The basisof the imagehereis one of a series of negativesexposedin a barin SaoPaulo, Brazil,showinga groupof men drinking. Polkeconsidersthe darkrooma sortof alchemiclaboratory in whichhe canexplore infinitemutationsof imagery.With the negativein his enlarger,the artistdevelopedthis largesheetselectively,pouringon photographicsolutionsandrepeatedly creasingand foldingthewet paper.The resultingabstract organicformsthusissuefromandre-express the boozy,convivialenergyof the scene. MMH

SusanRothenberg AmericvnbornI945 GalisteoCreek I992

Oil on cvnvas in. (284.5 X 375.9 cm) Purchase,LilaAchesonWallaceGiE, I992 II2 X I48

I992-343

Thisis a dramatic scene:a whitepredator, perhaps a rodent,closesin forthekillon a smaller black-and-ocher fishatthetopcenter of thecomposition, whileotherfish,unconcerned, swimpast.Thesecharacters converge atthecruxof a Y-shape formedbythecurve of a fallenbranch andthebodyof thepredator.Otherpartially obscured formscanbe seenin theblood-red environment. Incongruously, a small,whitehumanheadextrudes fromthebranch atthelowerright. Rothenberg firstshowedherpaintings and drawings in themid-Ig70s. Usingthehorse

asa singleiconographic elementforreintroducingcontentintopainting, sheproduced someof themostcompelling imagesof the decade.Herworkhasalways beendistinguishedbyitsforceful, gestural paintsurface, whichdominates anecdotal detail.Thiscanvas1S contemporary Wlteseveral palntlngs executed in theearlyI990S, in whichthe vieweris confronted withclose-ups of the hindquarters of horsestrampling hapless dogs,whichin turntearrabbits to bits. GalisteoCreekpresents a similarly brutalyet compelling imageof nature. LSS .

JenniferBartlett

bornI94I American, FiveP.M. I99I-92

Oiloncanvas in. (2I3.4

84 X 84

X 2I3.4

cm)

Purchase,LilaAchesonWallaceGift, I993 I993- 63

alongwithFiveA.M., iS part Thispainting, in cycleexecuted of a twenty-four-painting a different represents Eachpainting I99I-92. lifeata sceneof dailyeventsin theartist's at8 A.M.). hourof theday(starting different in theseriesareseven Allof thepaintings andincludetwogridelements: feetsquare andground structure oneof theunderlying to plaidpatterns, color;theotherrelating likes.A clockin whichtheartistparticularly indicates thetime,thus eachcomposition ltStltle. glvlngeacnpalntlng in the Thisis a viewintoa fishpond matterinvites garden. Thesubject artist's *

withworksby Matisseand comparison Monetthatexploresimilarthemes:domesticatedfishlife on the one handandpondflora on the other.Bartletthasdistributedthe lily padsandflowers,rocks,andgoldfishacross the compositionto achievean overallcompositionof seeminglyrepeatedelements.Here, in evidence, the underlyinggridis particularly andin tandemwith the artist'slooserand handlingof the fishandlily moretranslucent pads,thevieweris awareof Bartlett'smediaanda tion betweena modularorganization LSS sumptuouspalntlngtechnlque. .

JenniferBartlett FiveA.M. I99I-92

Oilon canvas in. (2I3.4 X 2I3.4 cm) JosephH. HazenFoundationPurchase Fund,in honorof CynthiaHazenPolsly, 84 X 84

I 992 I992.342

with Five P.M., thissceneis In comparison A cartoonlike bizarreandhallucinatory. couple,copiedfroma drawingby the artist's daughter,embracein a nocturnaldanceto the barsof a themeby Mozartshownat the bottomof the composition.Bartlett'scultivationof the gridmotifis seenin the red at the upperright,aswell as in latticework the kitchenfloor,the individualtilesof which,however,varyin sizeandscale.In of the floorseems addition,the perspective to descendto the middleof the composition

andthenswoopup to the rear.The mottled treatmentof the ordinarytile flooris yet anotherelementthatamplifiesthe lively visualqualityof thispainting. Bartlett,likeSusanRothenberg,is one of severalartistswhosecareerbridgesthe Formalistsensibilityof the I960S andthe new figurationof the I980S. Bartletthasbeen but she calleda MinimalistExpressionist, oncenotedthat,whilebelievingin the work of Minimalistartists,shewasincapableof LSS beingone.

sewed completed, _ ontos

| E -

21 l

1 |

1 iil lll 11

ElT i i |1i

i11 l 1* t l

| |;l

111 |m 1! l; d | | il | _

0 t _

and'

17 F9 4

I959 born American) Tenth Street, #5

| _

thr after Street, I99tt andI993 titledTenth o secaproduedbetween East Village. Like inNewYorkCity's of isstudio h location ofmanyrectangular #5iS composed lnthlsserles, theotherworks arranged alongan edges, loosely withcutout elements andcurved however, is Eachworkintheseries, gridstructure. underlying color,andtherelationship ofcomposltlon, interms verydlfferent ofboth isalivelysyncopation Thispainting toground. offorms the thatjuxtaposes forms andcurved andsmallandstraight large agalnst themoreamorphous shapes ottherust-colored solldlty ofstillmore Darker residues ground. painted andgesturally themanylayarevisible beneath painting, deleted during shapes, maybeseen doseofwhimsy paint. Astrong ersofthinoff-white tothe lines,andcircles twists, ofsmallblack intheadditions livelyrhythm. shapes andinthecomposition's edgesofthelarger in studied artandtraveled descent, ofUruguayan Fonseca, to I978 andI992. Returning America between andSouth Europe to tribute thismemorable inMayI99Z, heproduced NewYork LMM Latin beat. hishomecity withadecidedly r

....

Noel Georges born I924 French,

Lohengrin I988

andglueoncanvas Oil,sand, in.(209. 6X I65.I cm) NOEL; dated right): Georges Signed (lower I988 88; (upper right): (lower leff): I993 Emmerich, GiftofAndre 82 1/2X 65

I993. 86

;

andlinear signs,symbols, Sincethemid-Ig80s,

tivelymonochromaticcanvases.Movementthrough

^S svics

Eu. 1s

w I9605,

I Zmob

\H ir:X:na r:chp:ltch

stoRc. Overallofthese z 1..: :X1 weathercd

.....

Icrylicoz

a '*}

mottledground. of the forms

the because Caio beige-and-white the Fonseca rhythms

withthe whenhewasassociated

ai s

l"_

I BarnettNewman American, I905-I970 TheSongof Orpheus I944-45

Oilpastelonpaper 20 X I4 7/8 in. (50. 8 x 37. 8 cm) Signed(lowercenter): B B Newman Gift of AnnaleeNewman,I992 I992. I79. I

Untitled I960

Brushandinkonpaper I4XIOiS.(35.6X25.4Cm)

Gift of AnnaleeNewman,I992 I992-I79-4

Newmanfirstcameto prominenceas a writerandphilosopherwithintheAbstract Expressionist circleduringthe periodfrom the lateI930S to the mid-Ig40s.He stated theirbeliefthatmodernabstractartshould conveythe samepoweras primitiveartand myth.His ownworkas an artistbeganin the earlyI940S with someprivate,exploratory drawings,andby I945 he wascommittedto beinga painter.Newman'sTheSongof Orpheus is amongthe earliestof his extant drawings.Its biomorphic,myth-inspired imagerycamedirectlyfromhiswritings. Manypodlikeshapesquiveron the surface, likemotileamoebasundera microscope. The generallybrown-and-yellow coloring suggeststhe earth,andthewrigglingblack, brown,andgreencirclesandverticallines evokeseedlingsandrootsgrowingunderground.The formsfloatfreelywith no definitespatialorientationandno specified horizonline.The titleof the pastelrefersto the mythicalGreekpoetwho wasfamedfor his skillwith a lyre.His musicalpowerswere so extraordinary thathe couldevencharm

wild beasts,trees,androcks.It is thisdivine unionof man,animal,earth,andplantthat Newman'sdrawingconveys.

By I948 Newmanhaddevelopedhis mature "zip"format,whichhe continuedto employ untilhis death.In theseworksa minimum of pictorialmeansachievesinnovativeand movingresults,whichin theirapparentsimplicityaredifficultto comprehend. As in Newman'suntitledI960 brush-and-ink drawing,a largefieldof a singlecoloris articulated by a verticalband(orsometimes bands)of anothercolor.His aimwasnot to painta geometricabstraction, but ratherto createa picturein whichspacealone,without the aidof narrative detail,imparted meaning.The zip wasthe fieldthatbrought life to the otherfields.AlthoughNewman's earlyzipsweregenerallyunappreciated by theAbstractExpressionists, theywererecognizedin the lateI950S to earlyI960S as the precursors of color-fieldpaintingand MlnlmalStart. LMM .

DorothyDehner American) bornI90I Target I950

Penandinkandwatercolor onpaper I8 1/8 X 22 7/8 in. f46 x 58. I cm) Signedanddated(upperright):DorothyDeAner50 Purchase, Mrs. Fernand Leval GiE, I99.

DennisOppenheim

American) bornI938 Study for ChainofPearls I984

Pencil) coloredpencil) oilwash)oil) andpastel onpaper 77x 99 7/8 in. (I95. 6 x 253. 7 cm) Van Day TruexFund,I992 Igg2.37ga-d

Oppenheim is considered a pioneerof Conceptual art.DuringthelateI960S and I970S suchartists focusedonactivities that tookplaceoutsidethegallery ormuseum, eschewing theobjectasa "commodity." Oppenheim's workis oftenpredicated on site-specificity andeffectsa proactive and interactive relationship between artandits environment, andbetween artandsociety. Thisdrawing is related to ChainofPearls, a fireworks piecethatOppenheim planned in I98I fortheAceGallery inVancouver, Canada. Theartisthasdescribed theseprojectsas"anattempt to drawin space," andfor themOppenheim conceived a fixedpattern forthesequential detonation of fireworks, appropriating themeansof popular entertainment to anartistic end.Aswithmostof suchprojects, thisdisplay wasrecorded in photographs anddrawings. Oppenheim madetwopreparatory sketches forChainof Pearlsin I980. Thisdepiction, whichhas anexuberance thatseemsto mirror thatof theactualevent,wasdoneafterthefactin I984 andamply demonstrates Oppenheim's virtuoso draftsmanship. LSS 76

I993

II8

In I950, the year of this drawing, Dehner left her twenty-three-yearmarriageto metal sculptor David Smith and their home in Bolton Landing, New York. Her work at this point centered on painting and drawing in an abstractidiom, reflecting her earlierstudy of American and European Modernism. Dehner's adoption of sculptureas het primarymedium occurredin I955. This beautiful drawing is an example of the linear, geometric abstractionscreatedbetween I949 and I955 that provided the visual vocabularyfor her subsequent prints and sculpture. Here, Dehner has createda form that resemblesa horizontal arrow.Within its thinly penned bordersare irregularsubdivisions filled with solid washes of black, red, and yellow watercoloror with thin straightlines of black ink. The combination of solid planes and diagonal lines createsthe illusion of shallow depth, as if looking into a room interior. Numerous influences might be cited, most notably the drawingsof Paul Klee, the earlysculpture of Alberto Giacometti, and David Smith's two-dimensional sculptureand his drawings. LMM

JohnWonnacott British,bornI940 NightPortrvitwithBlueEasel I990-9I

Oil onMasonite 84 3/4 X 451/4 in. (2If.3 X II4.9 cm) Purchase,LilaAchesonWallaceGift, I993 I9939 I Lookingat Wonnacott'spaintingof his studio in Essex,England,thevieweris immediatelythrownoff-balanceby the shiftingand collidingspatialplanesthatactivatethis otherwisestaidrealisticrendering.Concernedwithdescriptive details(window reflections,wallmoldings,floorandceiling shadows,easel,andpalettestool),aswellas with an accurateself-portrait, Wonnacott createda compositionof greatvisualand intellectualcomplexity.It is forthe viewerto discoverandreconcilethe shiftsin perspectivethatexpandthe two-dimensional paintlng lnto a three-dlmenslonal envlronment. Forexample,in the curvedbaywindows behindthe easel,partsof the roomnot withinthe pictureplanearereflectedin the mirrorlike panesof glass.Similarly,in the squaremirrorproppedup on the easel,we cansee the reflectionof the seatedartist surrounded by the cabinets,tables,andartworksthatfill the restof the studio.Most dramatically, the floorandceilingfallaway precipitously, as if in a distortedphotograph. It is onlythhe strongcentralpresenceof the verticalblueeaselandthe solidbodyand steadygazeof the artistthatanchorsall of thepartsof thiscomposition. LMM .

GordonMatta-Clark American) I943-I978 Splitting I974

Three chromogenic printsmounted onboard 30in. (IOI. 6X 76.2 cm) Purchase, TheHoraceW. Goldsmith Foundation Gift,I992 40 X

I992.5067

Inthedecadebetween hisreceiving hisB.A. in architecture fromCornellUniversity and hisdeathin I978, Matta-Clark wasa key member of theNewYorkavant-garde. His work,likethatof DennisOppenheim and RobertSmithson, wasformedoutsidethe parameters of gallery presentation, andas withmanyartists whomatured in theI960S, hissubversive activities wererootedin a critiqueof bourgeois American culture. Compelled to focusattention on the dehumanization of themodern world, Matta-Clark developed a personal idiomthat combined Minimalism andSurrealism with urbanarchitecture. Usingabandoned buildingsforhismediumandwielding a chainsaw ashisinstrument, he cutintothestructures, creating unexpected apertures andincisions. InI974 Matta-Clark operated on a twostoryhomein NewJersey slatedfordemolition,effectively splitting it downthemiddle. Thelightfromtheincisioninvaded theinteriorandunitedtheroomswitha swathof brilliance. Theartistphotographed hiswork andcreated a collageof prints,theunconventional disposition ofwhichre-creates the disorienting experience of theunprecedented destruction. Theseamless cutslicingthrough thespacememorializes thelivesof the house'sformer tenantsasdramatically asa strokeof lightning. MMH

Jean-MarcBustamante French)bornI952 r s tSumzere I99I

Silkscreen onvcrylicresin cm) Purchase,HowardGilmanFoundationGift, I992 43 3/8 X 72 7/8 in. (IIO X I85

I992.5I58

EdwardSteichen American, bornin Luxembourg Brancusis Studio Ca. Gelatinsilverprint in. cm) Gift of GraceM. Mayer, I879-I973;

I920

95/8

75/8

(24.4

I9.4

I992

I992-5I49

Steichenlivedin Parison andoff fromI900 to I924, makingpaintingsandphotographs. A cofounderwith AlfredStieglitzof the Photo-Secession, Steichen offeredhis formerNew Yorkstudioto the fledgling organization as an exhibitionspacein I90S.Known firstas the LittleGalleriesof the Photo-Secession and latersimplyby its addresson FifthAvenue,29I, the galleryintroducedmodernFrenchartto America throughtheworksof Rodin,Matisse,Cezanne,and, in I9I4, ConstantinBrancusi. SteichenandBrancusimet at Rodin'sstudioand soonbecamelifelongfriends.Thisviewof a cornerin Brancusi's studioon the impasseRoncinshowsseveral identifiableworks,includingCup(I9I7) andEndless Column(I9I8). The photograph's centerpieceis the elegantpolishedbronzeGoldenBird(I9I9), which soarsabovethe otherforms.DistinctfromBrancusi's studiophotographs subjectivemeditationson his own creations Steichen'sviewis moreorchestrated, geometric,andobjective.GoldenBirdis centered,the lightmodulated,andthe constellationof massescarefullybalancedin the spacedefinedby the camera.A respectfulacknowledgment of the essentialabstraction of the sculpture,the photographseemsdecidedly modernandpresagesthe formalstudiophotographs Steichenmadein the serviceof VanityFairandVogue magazlnesbeglnnlngln I923. JLR .

Following hisapprenticeship to WilliamKlein,anAmerican photographer livingin Paris,Bustamante abandoned painting forsculpture andphotography. InI989 hebegana seriesof largeimagessilkscreened on acrylic resin,mountedabouttwo inchesfromthewallbymetalbrackets. Beingpartially transparent,theLumieres seemto glowbecause theyareilluminated by lightreflected through themfromthewallbehind.Whileeach construction hasanaustere andundeniable corporeality, the imagesfloatingon themareoddlytenuous.Likefilmsuspendedin air,yetsubstantial enoughto castshadows, theseworks havea presence bordering on absence andresonate in theviewer'smindlikememories. Theschoolroom, hererephotographed fromananonymous document, is commonto allsystems ofWestern education. If itsutilitarian architecture, serialpatterning, darkness, and anonymity arefreighted withovertones of incarceration, no particular regimeis implicated. Rather, thewaythedesks glowlikeindividual wellsof consciousness, theirilluminated topsrhyming withthewindows, suggests thedichotomy between innerandouterrealities a principal concern of Bustamante'sandhintsattheabilityof lightandimagination,impalpable transgressors, to commute between thesestates. MH

CharlesSumnerGreeneand Henry MatherGreene(designers)

American, I868-I957; andI87째-I9S4 PeterHall Shop (manufacturer)

Pasadena, California Armchair I907-9

Honduras mahogany, ebony, f uitwoods, silver,copper, andmother-of-pearl H.42in.(Io6.7cm)

Purchase,I992 I992. I27

GreeneandGreene,twobrothers, were prominent WestCoastarchitects whodevelopeda high-style, regional versionof the ArtsandCraftsthatshowedtheinfluence of Asiansources. Between I907 andI909 they designed fivegreathouses(theso-called UltimateBungalows) forwealthyclients, whogavethemvirtually unlimited budgets andcomplete artistic control.Thisarmchair is oneof twofromthediningroomof the RobertR.Blacker house(stillextant,though altered)-thefirst,largest, andmostlavishof thesecommissions. Thechairwasdesigned ensuitewiththewoodwork andfurnishings of theroom,whichincludedtensidechairs,

diningandbreakfast tables,a sideboard, a vitrine,anda chandelier. Theform,comprisinga tallnarrow backsplat,trapezoidal seat,widespread arms,andlowstretchers, recalls a particular sixteenth-century French prototype, hereinterpreted byGreeneand Greenein theirownsignature style.Inspired bycontemporary orientalexportfurniture withsimilardecorative motifs,suchasthe cloud-shaped crestrail,ebonypegsand splines,andinlaidvinesandflorets,thechair is a harmonious composition of solidsand voids,craftsmanship andrichmaterials, and delicatedetails. CHV

HansCoper British,I920-I98I; Pot

bornin Germany

I975

Stoneware H. I81/8 in.(46cm)

GiftofJaneCoper,I993 I993-230

InI939, whenhewasnineteen, Coperfled hisnativeGermany to settlein England. He hadintended to bea sculptor, butin order to sustainhimselfashebeganhisnewlifehe foundworkin thepotterystudioof Lucie Rie,a fellowrefugee. Theybecamelifelong friends, andunderherinfluence heturned to potteryashisprincipal meansof selfexpression.

Coper's oeuvreis powerful, oftenmonumental,andthispot,oneof hislast,is among hismostimpressive. Thelargescale,subtle irregularity of shape,andnuanced texture of thesurface combineto makeit a keywork. It is thefirstCoperto entertheMuseum's collection of modernceramics andwillbe featured in thejointexhibition of Coperand Riethatis scheduled forlateI994. JSJ

Archibald Knox(designer of model) British,I864-I933

W. H. Haseler& Co.(manufacturer) English(Birmingbam), foundedI87o Decanter

English,I900-I90I SilverandcArysoprase H. SI 7/8 in. (30 cm)

HarrisBrisbane DickFund,I992 I992.34

Knox's nameis inextricably linkedwiththe firmof Liberty & Co.,forwhichhewasthe principal designer of silverandpewter. Founded in I875 byArthur Lasenby Liberty (I843-I9I7), thecompany developed fromits beginnings asanimporter of oriental goods to becomea producer of textiles, furniture, andmetalwork of a modernism thatwas

stylistically poisedbetween theforthrightness ofArtsandCraftsandtheseductiveness of ArtNouveau. Liberty hiredKnox,whohadcometO LondonfromhisnativeIsleof Man,in I899, thesameyearLiberty entered intopartnershipwiththeHaseler firmin Birmingham forthemanufacture of hisnewlineof silver. AsLiberty insisted on theanonymity of his artists, Knox'spiecesmustbeidentified from signedsketches andcharacteristics of style. Typicalfeatures thatestablish thisdecanter asKnox's workarethestreamlined elegance of formenlivened bytheCelticinterlace ornament hefavored, thedashing flyaway thumbpiece that,whenlowered, restsalong thesmoothcurveof thehandle,andtheflat diskbase.

CLC

StickleyBrothers(manufacturer) American(GrandRxpids,Michigan) Desk I904

sedarybrasss Qxrter-sawnoakJoak2veneer, pewter,andleadedglass copperX H. 60 in. (I52.4 cm) Friendsof the AmericanWing Fund,I 992 I992. 90

deskis anunusual fall-front Thislabeled madein of ArtsandCraftsfurniture example a majorcenterof production GrandRapids, andearlynventieth in thelatenineteenth who (I863I928), AlbertStickley centuries. foundedhisfirmin I89I, wasoneof thefirst inlaidpieces to manufacture inAmerica British, of innovative showingtheinfluence such designs, decorative Scottish, especially floralmotifsintaidin metals astherectilinear doorsof thisdesk.The on thecupboard cutoutstraphingesarea charheart-shaped earlyproducBrothers' of Stickley acteristic Theuseof leadedcoloredglassis rare tion. inArtsandCraftsirniture:a fewfirms,

Brothers andLimbert, Stickley lncluding withit fora shorttimearound experimented Unlikemostof the theturnof thecentury. a onedesk is perhaps this firm'sproduction, in object:theformdoesnotappear of-a-kind andno knowncatalogues anyof thefirmws hasyetcometo light.The otherexample animportant FurnitxreRecord, GrandRwpids in the this desk shows tradepublication, JuneI904 issuewithotherpiecesmadefor Expositions Purchase displayattheLouisiana wona Brothers St.Louis,gnI904. Stickley whichwas GrandPrizefortheirsubmission, 38-Office andHouseshownin "Group CHV holdFurniture.'l

Jr.(designer) EttoreSottsass, Austrian,bornI9I7; worksin Italy

Memphis(manufacturer) Italian (Milan) "Murmansk"Fruit Bowl I982

Silver H. I2 in. (30.5cm)

Giftof RonaldS. Kane,I992 I992.2I6.I

RonArad I95I British, borninIsrael, 2 " Drawingfor"BigEasy,Volume Armchair I988

heightened andmetallic crayon, Graphite paper withwhite,onsynthetic II 1/2 X I61/2 in. (29.2 X 4I.9 cm) The CynthiaHazenPolskyFund,I993 I993- 29

One Aradopenedhisownstudio/showroom, impaof hiscontinuing Off,in I98I because stylesof Modern tiencewithconventional anddesign. architecture andPostmodern acquired Museum TheMetropolitan "BigEasy, armchair, Arad's sheet-metal and Volume2," in I99I andhisgraphite forit thisyear. metallic crayondrawing hisdesireto sketchreveals Arad's fanciful of anoldcombinetheeasycomfort of hardclubchairwithsensations fashioned aneffecthe ness,power,andstrength, material, in this achieved byusingrugged caseweldedsheetmetal,to formsoftlycurvAradhasusedsteelalmostexcluingshapes. it is an designsbecause sivelyin hisfurniture andaffords material easilymanipulated of finishes. witha multitude experimentation in matteAradchairshavebeenproduced graymildsteelwithareasof rust;burnished surface; and metal,whichhasa hammered sleekstainless steel.Thehumorous glittering, in thelittle aspectof thisdesignis apparent figureof a mousedrawnto theleftof the Mouse" the"Mickey chair,whichmirrors withtheshinyweld outlinethatAradcreated JA seamson thearmsof thechair.

fruitbowlis oneof thefirstdesignsproThe"Murmansk" thegroupof ItaliandesignforMemphis, ducedbySottsass to the formedin I98I to createalternatives ersandarchitects WarIIera.The of thepost-World Modernism prevailing wastakenfromtheBobDylansong name"Memphis" BluesAgain." Insideof MobilewiththeMemphis "Stuck thenamerefersto boththecityin Tennessee, ForSottsass townanda homeof contemporary American asa typically andhis music,andto theancientcapitalof Egypt.Sottsass of ambiguity usedthepurposeful partners founding theirownvarieddesign asa meanstO express "Memphis" objects,andtextiles. theirfurniture, through philosophies sub(andespecially interests includemiddle-class Sottsass's anda love andThirdWorldtraditions, urban)taste,Eastern nature. of unspoiled silversittingon six Thisshallow, sleekbowlof glistening in the legsevokestheexoticcityof Murmansk stepped andicy regionof Russia-acityof isolation northernmost is alsoa workof great Thefruitbowl,however, coldness. andelegance of design.JA foritS usefulness beauty,desirable

Sword Nigeria(Edo,Courtof Benin), 5th-Igthcentury Iron L. 283/4 in. (73cm)

Giftof ClaireE.MebelandFrederick R. Mebel,I992 I992-J94

Thepower,wealth,andextentof thekingdom of Benindepended to a greatdegreeon itsmilitary prowess. Warriors bearing utilitarian swords and chiefsbearing ceremonial onesarefrequent subjectsin Beninart.Although theMuseum's collectionof Beninworksis oneof thefinestin the world,it hasuntilnowlackedanexample of Beninweaponry. Thenarrow, sharply pointed bladeof thissworddiffersfromthemorecommonleaf-andsickle-shaped bladesof Beninceremonialexamples, aswellasfromthecurvedand tapered bladesof theutilitarian weapons commonlyrepresented in Beninbrassplaques. The hilt,forgedin onepiecewiththeblade,is also unusual, although itsfinelyincisedlineardecorationis consistent withotherBeninweapons, and thedoublespiralformsof itsfinialarereminiscentof thosefrequently seeninsidethelargeloop handles of ceremonial swords. Thelongsinuous snakes, usually identified aspythons, incisedon eachfaceof thebladeareanaptembellishment foranimplement of aggression. Theyaresymbols of thepowers of boththekingof Benin,sometimesknownbythepraisename"Python of the GreatWaters," andhisspiritual counterpart, Olokun,thegodof thesea. KE

Bondjo(Side-blown Trumpet) Zaire(Ekonda people), ca.I9If Ivoryandpolychrome wood L.55in. (I39.7 cm) Purchase, RogersFund,RogerL.Stevens FamilyFundGift,Giftof Herbert J. Harris,by exchange, Giftof BrianandAnnTodes,by exchange, KayT. Krechmer Bequest,in memoryof herhusband, HaroldH. Krechmer, andfundsfromvariousdonors,I992 I992.26

TheEkonda peopleof equatorial Zaireusehollow^ ungulate hornsandelephant tusksto makelczud impressive trumpets calledbondjo, whosematerialsanddecoration areno lessmeaningful than theirsound.Insub-Saharan Africa,similar ivory trumpets, symbols of strength, prestige, androyalty,areoftenembellished bycarving orapplying skinsormetalwork. Occasionally, asin ourrare Ekondabondjo, a carved-and-painted wood extension is attached to theendof theconical tusk,greatly increasing itslengthandenhancing itstonalgravity. Suchimposing trumpets, producedforvariousnkumu (leaders), whooriginally usedthemin battle,nowaddprestige to ceremoniessuchasinvestiture ormarriage of the nkumu, announcement of thebirthof twins,and propitiation of huntingandplanting spirits.Our bondjo, perhaps madein thevillageof Mpendjwa on LakeMayiNdombeandgivento R.Tonnoir, commissioner of theformerBelgian Congo,hasa facetedtuskwitha raised, diamond-shaped mouthpiece on theconcave side.Theflanged woodextension, paintedwithblack-and-white stripesandchecks,resembles in shapetheheadpieceswornbyEkonda leaders. Thisform,characteristic of royalmotifsattheturnof thecentury, appears alsoin specialdrumsandrhythm-keeping stamplng StlCtS. JKM .

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

Pair of FigureVessels Mexico(Colima,Mixtec),I2th-Isthcentury ceramic Polychrome H. 95/8 in. (24.3 cm)

LouisV. BellFund,I993 I993.I6.I,2

ceramicvesselsin the formof Sculptural humanandothereffigieswerecreatedin largenumbersforritualusein manypartsof era. Mexicothroughoutthe Precolumbian to the prior few centuries the last During SpanishConquest,however,ceremonialvesselswereoftengivensimplerforms,with a

decoraon paintedsurface strongemphasis tion.Thispairof maleandfemalefigure saidto havecomefroma burialof a vessels, personof highrankatthesiteof E1Chanal stateof Colima,comin thewestMexican to thearea traditional form binestheeffigy timeswiththe duringearlypre-Conquest typicalof elaboration surface iconographic beforetheConquest. thelastfewcenturies in redslipandhave Bothvesselsarecovered atthebacksof their largeflaredopenings spoutsprojectfrom necks.Longtapering on theirbacks. protuberances humplike withareasof resist Theirbodiesarecovered red-ongeometric anddetailed decoration faceswith Theflat,square whitedesigns. andbeardifmasklike hatchetnosesappear whiletheheadsarecrowned ferentpatterns, The headdresses. crescent withidentical femalefigureholdsa child,whosefaceand Thechildhas decorated. bodyaresimilarly herwaistandlooks around itslegswrapped HK upather.

Yamantaka-Vafrabhairava earlyIsthcentury Chinese(Mingdynasty), thanka,silk,flatgilt-paper Embroidered threadonsatin strips,andgilt-paper-wound 571/2 X 30 in. (I46X 76 cm) Purchase,LilaAchesonWallaceGift, I993 I993- IS

is oneof a smallgroupof fine Thisthanka Buddhist subjects of esoteric embroideries in ChinaforTibetanmonasteries produced duringthelateYuanandearlyMingperiods It is century). to earlyfifteenth (fourteenth of thesilkfloss,the notableforthefineness andsubtle thebrilliant densityof stitches, useof avariety andtheingenious coloration, to achieve techniques of embroidery effects.Theembroiandtextural chiaroscuro on a darkblue dery,in silkandgiltthreads satinground,is edgedon thesidesby brosatinandgilt-thread reddish-brown cadedbluesatin.Aboveandbelowthepanel on lightbluetwillbrocades aregilt-thread weavesilk.At thebottomis a trapezoid withthesametechniques. embroidered isYamanThemainimageon thethanka taka,alsoknownin thisaspectasVajrabhairava.He hasnineheads(ofwhichthelargest arms,and thirty-four is thatof a buffalo), on humans, sixteenlegs,andhetramples anddemons that birds,demigods, animals, Thisfierceimage form of being. is,onevery thebodhiof Manjusri, is a manifestation whosebenignformappears sattvaofwisdom, in theupperleftcornerof theembroidery. pedestal onwhich Infrontof theelaborate standsarethreeminordeities: Yamantaka sword holdingthebroad-bladed Mahakala, khatvanga, ofwisdomanda trident-shaped staff,in hisraisedhands,anda oradept's andskullbowl chopper vafra(thunderbolt) in thehandsheholdsin frontof him,in a a Kubera, to Yamantaka's; posesimilar holdinga tasseled godin armor, guardian in the staffin onehandanda mongoose holdinga other;andYama,orDharmaraja, clubanda lasso.Above skull-headed (wisdom eagle) is agaruda Yamantaka kings)in the by nagarajas (dragon flanked whosebodiesend humans formofyouthful Thecolumnsoneither in thetailsof snakes. (fabulous supportmakaras sideof Yamantaka and thatspewflowers seaanimals) composite

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

jewelsandhavefoliatetailsthatriseto meetthenagarajas. DuringtheYuanandearlyMingdynasworksof artwere tiesmanysumptuous in Chinabyrichandpowercommissioned andbytheChinese fulTibetanmonasteries lamas. courtasglftsto important Imperlal bearrelThelmagesln theseworksusually sectfor religious evanceto theparticular was whichtheyweremade.Yamantaka to theGelukorder,asits important was (I357-I4I9) Tsong-kha-pa founder, * * trl . . . 1ne orrolvlan)usrl. sale to Deanlncarnatlon attheupper lamawhoseimageappears is likelyto bea rightcornerof thethanka Ye-shes Sakya of Tsong-kha-pa, disciple of thelama, A portrait (I345/47-I435). to theonehere, whichbearsa resemblance in the (ko-ssu) in a silktapestry ispreserved Ye-shes. bySakya founded SeraMonastery, andthat portrait Inboththemonastery's thelama thanka on theMetropolitan's for wearsa blackhat,whichis unusual lamasof theGeluksect,whonormally JCYW wearyellowhats. 1

s |_

_ _I _ _

_ _

| |

_ |

_ _ _

Basefor a Mandala earlyIsthcentury (Mingdynasty), Chinese onbrass Cloisonne' lmng vrchae,Plonllce:rd He:rben

epresenta-

century. canbedatedto theearlyfifteenth

Detail oJ the embroideredthanka

Shonsui-ware Bottle Chinese(Mingdynasty)) probably Chnung-chen reign(I628-44) Porcelain paintedin underglaze blue H. 81/4 in. (2I cm) Bequest

of Mildred

I992.332.

Shonsuiwares

J. Linburn,

were produced

Chen kiln complexes

I992

at the Ching-te

in Kiangsi

Province

during the last years of the Ming dynasty (I368-I644).

These

lains, whose

shapes and decoration

Japanese

blue-and-white

taste, were made to the special

order of Japanese tea ceremony.

tea masters for use in the

ware, as are the decorative

lines of poetry,

landscapes,

brilliant would

The qual-

a man riding a donkey.

favorably with

compares

that of the finest contemporary

domestic

such as

and small ogival medallions

Shonsuiwares

produced

Shonsui

elements,

the large birds, diaper patterns,

containing

shape of

The rather eccentric

this sake bottle is characteristic

ity of

porceare in

at Ching-te

porcelains

Chen for both its

and European

markets.

Indeed,

blue color of the painting be exceptional

the

here

on any Chinese

porce-

lain of the late Ming period.

Shonsuiwares

are highly

treasured in

Japan, and few pieces have left Japan to find their way into Western the addition Museum

now has four examples

ware, all of which, double-sectioned

collections.

With

of this piece, the Metropolitan

coincidentally, sake bottles.

Shonsui

are SGV

KosodewithDesignof Shellsand Sea Grasses

Japanese (Edoperiod/I6If-I8680, early I7th century Plain-weave silkwithwarpfloats, embroidery, andimpressedgoldfoil L.551/2 in. (I4I cm) Gift of Mr. andMrs.PaulT. Nomura,in memoryof Mr. andMrs.S. Morris Nomura,I992

Thebolddesignof thissumptuous robewas inspired bythescenery ofJapan's coast,particularly thebeaches of itssandbar islands, whicharestrewnwithshellsandseagrass. Thefabric, wovenin anintricate fretpattern withfloralmotifs,is likelyto havebeen imported fromChina.Itwasresistdyedto achieve theeffectof a wave-washed shore

andthenembroidered withmarinemotifs. Thebandsof lightbluewerefurther embellishedbyaccenting thewovenpattern with impressed goldfoil.Thisrobeis amongthe earliest extantkosode andrepresents thestyle of apparel wornbybothmenandwomen fromthelatesixteenth to earlyseventeenth century. BBF

I992. 253

*'r'

Anonymous

M7ild Geese Descending to a Sandbank Korean (Early Choson periodEYidynastyO) Isthcentury Hanging scroll) inkonsilk 493/4 X I91/8 in. (I26.4 X 48.6 cm) Purchase,HarrisBrisbaneDick Fund,JohnM. Crawford,Jr. Bequest,andThe VincentAstor FoundationGift, I992 I992-,B7

This fifteenth-century masterpiece, amongthe few early Koreanlandscapes known,represents thatculture's interpretation of China'sNorthernSung(960-II27) landscape-painting tradition.Whilerootedin the idiom of earlySunglandscapes andinspiredby a Sungpoetic theme,the paintingpreserves the momentwhenthese conventionsbeganto be reworkedaccordingto a Koreanvisionof nature. The subject,identifiedby the painting'stitle, Wild Geese Descending to a Sandbank, is one of the Eight Viewsof the HsiaoandHsiangRivers,a classicseriesof scenesthatoriginatedwith the eleventh-century ChinesepainterSungTi. The style,calledLi-Kuo,is so namedforthe mastersLi Ch'eng(9I9-967) andKuo Hsi (ca.I000-I090), whoseworkswereseminalto the developmentof ink paintingin Korea.The mostnoted interpreter of thistradition,preserved as a courtstylein the fifteenthcentury,wasAn Kyon,who flourishedin the latterpartof the reignof KingSejong(r. I4Ig-so) underthe patronageof PrinceAnp'yong.The artist responsible for thisexampleadoptedthe ink-washrocks and"crab-claw" treesof Li-Kuostyle,but the open spatialorganization, with distinctfore-,middle-,and distantgroundplanes,andthe simplifiedbrushwork givethispaintinga distinctiveKoreanquality. BBF

o tn

'-;)s

Ps,.

....a

* .

. '. t}

" __Fo4

ed balanced isISt1 that asymmetric posed r they by within a, hairstyles; large, . served centu a a* conical aporch votive r |hisflower supported purpose may 1 |w l! (probably be SMK 1dy speration aor I by turban, were * a narrow B.C. foxtail the 2used 1 Hindu and pillars. for lily). Sgods herspersonal created | is Below g aThe counterDurga Xs S U man _s__-_ as F _|their is __- _ rchamB -_ __ T.

lndian(Palapergod), I2thcentuy

@ i| |r

H. 53/8 in. (I3.5 cm)

l lF

Gift of Diana and Arthur Altschul, I993 I993- 7 T is sculptureportraysa sixteen-armedfigure o the goddess Durga in her most common manifestationas the slayer of a buffalo inhabited by a ferocious demon. This demon t reatenedworld stability and seemed unconquerable.In

i '|

. . . plon, ancleace presentedher wlth a weapon. So armed, she prevalec over t le monster. ze scene 1S set on a cWoub e lotus on top of a stepped plinth. It is surroundedby a nimbus with stylized flames. As is typical, the demon emerges trom t le cWecapltatec carcassot t le butta o. Here, in tWO particularlyamusing details, Durga holds him by the hair whi e his foot is bitten by the lion that serves as her vehicle. This sculpturemust rank as one of the most superb Indian miniaturesknown. Its astonishing plasticity and subtlety vies with that of the finest large-scalePala-periodsculptures, while its size affordsthe viewer the delights of personaldiscove . The artisthas realizedan icon of extraordinary power and humanity. SMK .

,s,^

i .s x

I2g4

x Sol/4 in.

(32.4

x 26cm)

This is one of the finest earlyIndian molded-terracottaplaques known from the important site of Chandraketugarh.It beautiful Iy complements another superb example in the Museum's collection (acc. no. I990.Z8I), which shows the goddess Durga with attendantsIn a style characterizedby a profusion of miniaturized details. This plaque portraysa secularsub)ect In a more robust style. A royal family, bound together by a subtle medley of caresses,

_ s

_ -

_ e;i

-E

a<-niJE_

seated on a throne and hls wife stands to his left. Both have large

the two SitS their child, clad in a heavy draped costume and holding a howling dog by a chain. Two ducks and a monkey (partially

1 hetunctlon orsuchplaques Isunknown. lt hasbeensuggest-

devotion. Asisusualtherearetwoholesintheupper partofthe plaque, whichprobably allowed ittobesuspended byacord.

SeatedJainTirthankara Solanki Indian(GujeratSorRajasthanJ) period))ca.Isthalfof theIIthcentury Marble H. 39 in. (99 cm) Purchase,Florenceand HerbertIrving Gift, I992 I992. I3I

and traditions of Hinduism Thesculptural in ourIndian arewellrepresented Buddhism butuntilnowtherewasno collections, traditions of the of theearlyartistic example of India Jainism. thirdgreatreligion sculpture reprewhitemarble Thissuperb Tirthankaras sentsoneof thetwenty-four of theFord)orJinas(Victorious (Crossers of desire)of theJain Ones,i.e.,conquerors differThereisverylittlephysical religion. of seated representations encebetween or Tirthankaras in Indianart;both Buddhas enlightened beingsanddisareconsidered forsuchperappropriate playthemarkings therearea Inaddition, however, sonages. or fewmarksspecificto eitherBuddhas

srivatsa mark Tirthankaras. Theauspicious on thechestandthelackof theurna(tuftof thatour hairbetween theeyes)indicate lmage 1S a 1zrttanara. ofJain"saints" followa Representations andartistic veryconservative iconographic almostnude, tradition. Sincetheinactive, expression doesnotlend figurewitha passive sculptural interpretaitselfeasilyto dramatic success restson tion,theburdenof aesthetic rendition and theskillfulandsensitive manipulation of simpleformsintoa wellpleasing sculptural proportioned, visually theartisthas unity.Withthissculpture ML attained a highdegreeof success. .

rTY

Bodyof a KneelingMaleFigure KohKerstyle), Cambodian (Angkorperiod, ca.92I-45 Stone H. (withhead)approx.461/4 in. (II7.5 cm)

in honorof Giftof DouglasLatchford, MartinLerner, I992 I992 .390. I

Head

Giftof Spink& SonLtd.andDouglas Latchford, in honorof MartinLerner, I987 I987-4IO

The mostsignificantgift to the Southand SoutheastAsiancollectionsin I992 was undoubtedlya rarepairof largeCambodian kneelingmalefiguresdatingto the firsthalf of the tenthcentury.Evenheadlessthese forward splendidbodieswouldsignificantly ourgoalof displayinga synopticassemblage of the Khmer of the artisticachievements gratifyingthatthe empire.It is particularly monumentalbodiesjoin up with heads alreadyin the collection. Thesesculpturesaredatablestylistically to the briefKohKerperiod(ca.92I-45), of whenJayavarman IV, the brother-in-law the legitimateKhmerking,revoltedandset

fiftymiles up a newcapitalapproximately northeastof Angkorat KohKer.This styleis figureswith by broad-chested characterized powerfulshoulders,full stomachs,andwide hipssupportedby heavysetlegs.Thereis a treatment tendencytowarda diagrammatic are of the facialfeatures,andthe expressions abstractandhieratic emotionlessin spiteof the slighthint of a benevolentsmile.The figures'garmentsarequitethick,the upper hemprojectingfarfromthe hips.ManyKoh Kersculpturesarelarge,perhapsintending to symbolizethe militaryconfidenceof the regimeandthe legitimacyandpermanence ML of the newcapital.

\-i-

Avalokiteshrara, theBodhisattvaof InfiniteCompassion, Seatedin RoyalEase Cambodian (Angkor period)styleofBanteay Srei))ca.Iastquarterof theIothcentury Bronzewithsilverinlay H.223/4in.(s7.7cm) Purchase,The AnnenbergFoundation Gift, I992 Igg2.336

Fromthebeginning of theAngkor period, whentheKhmer dynasty wasfounded (A.D. 802), tO theearly twelfthcenturya spanof threehundred yearsthatmustbe considered thegoldenageof Cambodian art nomorethantwodozenlargebronze sculptures of highqualityareknowntO havesurvived. Of these,approximately a dozenbelongto theeleventh century. Each of thesesculptures is of inestimable arthistorical value because of theirrarity, obviously, butalsobecause whencompared to theinnumerable surviving stonesculptures,theychartparallel butseparate culturalandsocioeconomic developments. Inthegreatcollection of Khmer artin theMuseeGuimet,Paris,thearthistoryof theAngkor periodis revealed through an almostsynoptic display of stonesculptures. However, ashasbeenclaimed byBernard Groslier, theformer curator of ancient monuments atAngkor, thechiefsculptural gloryof theKhmer empire wasin metal.It seemsincontestable thatbronze, a morelux uriousmediumthanstone,reflects thetalentsandaesthetic sensibilities of themost highlyregarded artists of theirday,particularlyin largesculptures likelyto beroyal comm1sstons. 1neacquts1tton ortntsun1que sculpture enables theMetropolitan Museum, morethananyotherinstitution in theWest,to drawon a handful of truly greatbronzes in itscollection to highlight majorchanges in thedevelopment of Khmer art. Therecently acquired Avalokiteshvara is datable to thesecondhalf,andprobably the lastquarter, of thetenthcentury andis stylistically indebted to someof thesculptures attheexquisite templeof Banteay Srei (completed in 967)in theAngkor region.It is oneof thetwofinestKhmer bronze *

sculpturesfromthewholeof the tenthcenturyandmustbe includedwith theveryfew Cambodianbronzesat the apexof thatcivilization'sartisticachievement. No other comparable bronzesculptureis knownto havesurvived. The bodhisattva Avalokiteshvara, the Lordof InfiniteCompassion,identifiedby the smallseatedBuddhaat the baseof his elaboratehairdo,is shownin a variantof rajalilasana-the poseof royalease.His eyebrows,mustache,andchinbeardhavebeen hollowedout to accommodate an inlayof somesort,probablyglasspaste.

Inmanywaysthebrilliance of thissculpturerestsin itsaesthetic subtleties. Conceptually,thereis nothingovertoraggressive in eitheritscomposition ormodeling. The iconicandhieratic natureof so muchKhmer artpriorto thisperiodhasbeenreplaced by therelaxed, secular posture of thisbeautifully modeled seatedfigure,whichhasbeensuccessfully conceived fromeveryviewingangle. Thecommanding figureestablishes andsustainshispowerful presence byradiating a senseof greatinnercharacter anddignity, projecting analtogether majestic andsomewhatentgmat1c aura. ML .

Presentation Bowl Vietnamese) Isth-I6thcentury Stoneware withred)green)andyellowoverglazeenamels Diam.I4 1 in. (36.8 cm) Gift of BettyandJohnR. Menke,I992 I992* 723 PhoenixEwer Vietnamese, I4th-ISthcentury Stoneware withunderglaze cobalt H. II]/2 in. (29.2 cm) Gift of BettyandJohnR. Menke,I992 I992. 72. I

Mei-p'ingJar Vietnamese, I4thcentury Stoneware withunderglaze cobalt H. I65/8 in. (42.2 cm) Gift of BettyandJohnR. Menke,I99I I99I. 456. I2

SoutheastAsianpotteryandporcelain, whetherintendedforexportor localmarkets,encompassa varietyof vitaltraditions andmustbe countedamongthe mostsignificantandinnovativewaresin the historyof worldceramicproduction.The threeceramics illustratedarea samplingfromthe recent giftof sixty-sixSoutheastAsianceramics donatedby BettyandJohnR. Menke.The Menkecollectionhasparticular depthin Vietnamesewares,a categoryuntilnow almosttotallymissingfromourown collections,andalsoincludesrareexamplesof BurmeseandThaipotteries.The additionof the Menkecollection,togetherwith the Museum'simpressive arrayof Sawankhalok waresof ThailandandKhmerceramicsfrom Cambodia,will enableus to exhibita comprehensiverangeof the ceramicartsof SoutheastAsiawhenourpermanentgalleries openin I994. ML