Recent acquisitions a selection 2001-02 the metropolitan museum of art bulletin v,60 #2 fall 2002 by alfonse K

/ Ifs_

RecentAcquisitio SELECTION: 2001-2002

The

Metropolitan Museum

Art

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This publicationwas madepossible throughthe generosityof the LilaAchesonWallaceFund for The MetropolitanMuseumof Art establishedby the cofounderof Reader'sDigest.

GeneralManagerof Publications:John P. O'Neill Editor in Chiefof the Bulletin:Joan Holt Editor of the Bulletin:Jennifer Bernstein Production:Peter Antony Design:Bruce Campbell Design with Bessas & Ackerman MahrukhTaraporand Sian Wetherill Coordinators:

TheMetropolitanMuseumofArt Bulletin Fall 2002

Volume LX, Number 2 (ISSN 0026-1521) Published quarterly.Copyright ? 2002 by The Fifth Avenue, Metropolitan Museum of Art, ooo1000 New York, N.Y. 10028-OI98. Periodicalspostage paid at New York, N.Y., and Additional Mailing Offices. TheMetropolitan MuseumofArt Bulletinis provided as a benefit to Museum members and is availableby subscription. Subscriptions$25.00 a year. Single copies $8.95. Four weeks' notice requiredfor change of address. POSTMASTER:

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Department, The Metropolitan Museum of Art, ooo1000 Fifth Avenue, New York, N.Y. 10028-oi0198. Back issues availableon microfilm from University Microfilms, 300 N. Zeeb Road, Ann Arbor, Mich. 48106. Volumes I-XXXVII (I905-42) availableas clothbound reprint set or as individual yearly volumes from Ayer Company PublishersInc., 50 Northwestern Drive #o10,Salem, N.H. 03079, or from the Museum, Box 700, Middle Village, N.Y. II379.

All photographs, unless otherwise noted, are by the Photograph Studio of The Metropolitan Museum of Art. Photographers:Joseph Coscia Jr., AnnaMarie Kellen, Paul Lachenauer,Oi-Cheong Lee, Mark Morosse, Bruce Schwarz,Eileen Travell, Juan Trujillo, Karin L. Willis, and Peter Zeray. Copyright notices: p. 39: Louis Siie, Claude Terrasse(20oo.449), ? 2002 Artists Rights Society (ARS), New York/ ADAGP, Paris;p. 40: Christian Rohlfs, Death asJuggler(2002.I70), ? 2002 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn; Max Beckmann, The Last Ones(2002.7), ? 2002 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn; p. 4I: Arshile Gorky, Self-Portraitat theAge of Nine (2002.145), ? 2002 Estate of Arshile Gorky / Artists Rights Society (ARS), New York;JacobusJohannes Pieter Oud, "Giso404"Piano Lamp (2002.16), ? Gispen International;p. 42: FrancoiseGilot, Claudewith a Banana II (2002.4), ? FranqoiseGilot; p. 43: Diane Arbus, Child with a ToyHand Grenadein CentralPark, N.Y.C. (2001.474), ? I970 The Estate of Diane Arbus LLC; Richard Diebenkorn,

RecliningNude-Pink Stripe(2001.664), 0 Phyllis Diebenkorn;p. 44: William Kentridge, Casspirs Full ofLove(2001.602), ? William Kentridge; Joan Witek, The Trickster(2001.204), ? Joan C. Witek; p. 45: Anselm Kiefer, Let a Thousand FlowersBloom (200I.557), 0 Anselm Kiefer; Robert Rauschenberg, 'topher(2002.114.5), ? Robert Rauschenberg/ Licensed by VAGA, New York, NY; p. 46: Bill Viola, The Quintetof Remembrance (200ooI.395a-i),? BillViola;Thomas Struth, NationalMuseumofArt, Tokyo(2001.475), ? Thomas Struth,courtesyof MarianGoodman Gallery, New York; p. 47: Roberto Cavalli, Man 'sEnsemble(200I.776.2a, b), 0 Roberto Cavalli;Jean Paul Gaultier, EveningEnsemble 0 Jean Paul Gaultier. (200ooI.797.5a-d),

On the cover: Rosalba Carriera,Gustavus Hamilton, SecondViscountBoyne,in Masquerade Costume(I730-31); see p. 23

Contents

Contributors

Director's Note

Ancient World

Islam

Medieval Europe

Renaissance and Baroque Europe

Europe I700-I900

North America I700-I900

Modern

Africa, Oceania, and the Americas

Asia

Donors of Gifts of Works of Art or of Funds for Acquisition of Works of Art

Contributors

American Decorative Arts NorthAmericaI7oo-I900oo:Morrison H. Heckscher (MHH), LawrenceA. Fleischman Chairman of the AmericanWing; Alice Cooney Frelinghuysen(ACF), Anthony W. and Lulu C. Wang Curator;Peter M. Kenny (PMK), Curator;Amelia Peck (AP), Associate Curator. American Paintings and Sculpture H. Barbara NorthAmerica 700oo-900oo: Weinberg (HBW), Alice PrattBrown Curator; KevinJ. Avery(KJA),AssociateCurator; ThayerTolles (TT), AssociateCurator. Ancient Near Eastern Art Ancient World:Jean Evans (JE), Curatorial Assistant. Arms and Armor Renaissanceand BaroqueEurope:StuartW. Pyhrr (SWP), Arthur Ochs Sulzberger Curatorin Charge. Asia:Morihiro Ogawa (MO), Senior ResearchAssociate. Arts of Africa, Oceania, and the Americas Africa, Oceania,and theAmericas:Julie Jones (JJ), Curatorin Charge;Alisa LaGamma (AL), Associate Curator;Eric Kjellgren(EK), Evelyn A. J. Hall and John A. Friede Assistant Curator;Virginia-LeeWebb (VLW), Associate ResearchCurator, Photograph Study Collection; Heidi King (HK), Senior ResearchAssociate.

Asian Art Asia:James C. Y. Watt (JCYW), Brooke RussellAstor Chairman;Maxwell K. Hearn (MKH), Curator;Martin Lerner(ML), Curator;Miyeko Murase (MM), Special Consultant for JapaneseArt; Steven M. Kossak (SMK), Associate Curator;Denise PatryLeidy (DPL), Associate Curator;Zhixin Jason Sun (ZJS),Associate Curator;Suzanne G. Valenstein (SGV), ResearchFellow;Joyce Denney (JD), Senior ResearchAssistant. Costume Institute Modern:Harold Koda (HK), Curatorin Charge;Andrew Bolton (AB), Associate Curator.Asia:Amy B. Beil (ABB), Research Associate. Drawings and Prints Renaissanceand BaroqueEurope:Carmen C. Bambach (CCB), Curator;Michiel C. Plomp (MCP), Associate Curator;PerrinStein (PS), Associate Curator. EuropeI7oo-I9oo: Colta Ives (CI), Curator. Egyptian Art Ancient World:Dorothea Arnold (DA), Lila Acheson Wallace Curatorin Charge;Marsha Hill (MH), Curator. European Paintings Renaissanceand BaroqueEurope:Keith Christiansen(KC), Jayne Wrightsman Curator;Walter Liedtke (WL), Curator. KatharineBaetjer(KB), Europe 700oo-900oo: Curator;Gary Tinterow (GT), Engelhard Curatorof Nineteenth-Century European Paintings;SusanAlyson Stein (SAS), Associate Curator. European Sculpture and Decorative Arts Renaissanceand BaroqueEurope:James David Draper (JDD), Henry R. KravisCurator. EuropeI700-9o00: James David Draper (JDD); Johanna Hecht (JH), Associate Curator;Wolfram Koeppe (WK), Associate Curator;JeffreyH. Munger (JHM), Associate Curator.

Greekand RomanArt CarlosA. Picon(CAP), AncientWorld: Curatorin Charge;JoanR. Mertens(JRM), Curator. IslamicArt Islam:StefanoCarboni(SC),Associate Curator;NavinaHaidar(NH), Assistant Curator. MedievalArt and The Cloisters Barbara DrakeBoehm MedievalEurope: (BDB),Curator;HelenC. Evans(HCE), Curator;MelanieE. Holcomb(MEH), AssistantCurator. ModernArt Modern: J. StewartJohnson(JSJ),Consultant Nan Rosenthal for DesignandArchitecture; Rewald Sabine (SR), (NR), Consultant; Curator;LisaM. Messinger(LMM), AssociateCurator; JaredGoss(JG),Assistant Curator;AnneL. Strauss(ALS),Assistant Curator. MusicalInstruments Europe 7oo-900oo:Herbert Heyde (HH),

AssociateCurator.Africa,Oceania,andthe Americas: J. KennethMoore(JKM), P. RoseCuratorin Charge. Frederick Photographs EuropeI700-I900: Malcolm Daniel (MD),

AssociateCurator.Modern: JeffL. Rosenheim(JLR),AssociateCurator; Associate; DouglasEklund(DE), Research Associate. MiaFineman(MF),Research

Director's

Note

The pastyearhasbeenfarfromordinary. on a numThe Museumhasfeltconstraints berof frontsas the economicclimatehas worsened.However,I am delighted-and not altogethersurprised, knowingthe characterof the partiesinvolved-that ourdonors of worksof art,andof the fundsfortheir acquisition,haveremainedas steadfastas ever.The ancientworldwasonceagainwell in ouracquisitionsprogramwith represented the additionof a striking,monumentalgranite lion of the Old Kingdomthatwill greetus at the entranceto the Egyptian majestically in galleries late2003(whentheirreinstallation is complete),whilethe idealizedheadof a Ptolemaicqueenof the Hellenisticperiodis alreadyon viewin the magnificentMaryand MichaelJaharisGallery.Bothof thesepurchasesareaccompanied by impeccableprovenances,whichmakethemespeciallyattractive in thistimeof heightenedconcernforthe legitimatepedigreesof antiquities. To the CloistersTreasurywasaddeda splendidenamelplaquefroma monumental

Limogescrucifix,anda rarepictorialmarble reliefof the Renaissance, by Benedettoda was for Maiano, acquired the Department of EuropeanSculptureandDecorativeArts. As we havecometo expectin recentyears, severalmasterdrawingsof greatdistinction enliventhe pagesof this Bulletin,the Salviati, the Bellange,andthe Poussinbeingrecent A muchadmiredEmanuelde discoveries. Wittechurchinteriorthatwasincludedin lastyear'sexhibition"Vermeer andthe Delft School"is now,happily,in ourpermanent collection,asis ourfirststilllifeby thehighly masterSebastien originalStrasbourg Stoskopff. Anotherfirstforus,whichwaschosenasthe coverof thispublication, is thedashingpastel the Venetian artist Rosalba Carriera. by Thanksto theAnnenberg we Foundation, wereableto acquireourfirstexampleof steelcutfurniture fromtheRussianimperialfactory atTula-it is absolutely one of thefinestof itskind-and thanksto JayneWrightsman, Madamede Talleyrand-Perigord's portrait by Gerardis now hangingcloseto that of

her husbandby Pierre-PaulPrud'hon,a Wrightsman acquisition of I994. In recentyearswe have, throughour exhibitions, installations,and acquisitions,focused increasinglyon the fascinating,albeit too little studied, field of CentralAsian art, and this yearwe are immenselypleasedto have received as a gift from Mr. and Mrs. EugeneV. Thaw a group of more than 50oworks in the animal style from the Eurasiansteppes,which considerablyenhancesour holdings in this area. Finally, as I thank all those who have contributed to the augmentation and amelioration of the collection, I note once again and applaud the generosity of Ambassador and Mrs. Walter Annenberg for the partial gift of severalmore paintings from their great collection. As this Bulletin was going to press, we learned the sorrowful news of Ambassador Annenberg's death on October I, 2002.

The Trustees and staff of the Metropolitan Museum mourn his passing with profound sadness. Philippe de Montebello Director

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ANCIENT

WORLD

Recumbent Lion Egyptian,Old Kingdom,Dynasty4, ca. 2575-

understood as characteristicof earlier,Old Kingdom sculpture.While numerous features, such as the high tail and the incised, semicircularobjects graspedby the claws, are seen in most Old Kingdom lion images, the full modeling and the halolike face mane that forms a unity with the earsindicate a date earlyin the period. The lion's muzzle was broken off in antiquity. The McLean Museum and Art Gallery replacedit with a stone muzzle that followed New Kingdom prototypes.After acquisition by the MetropolitanMuseum, a new muzzle was fashioned that is more in tune with the DA earlystyle of the piece.

2465

B.C.

Granite L. 79 s in. (20o cm)

Purchase, Anonymous Gift, in honor of Annette de la Renta; Annette de la Renta Gift; and Anne and John V. Hansen Egyptian Purchase Fund, zooo 2000.485

Egyptiansanctuaryentranceswere often flankedby lions or sphinxes.This monumental granitelion was excavatedin 1891by the British Egypt ExplorationFund at ancient HerakleopolisMagna, about seventy miles south of Cairo. The site's main deity was the ram-headedgod Harsaphes,and the lion may have guardedthe entranceto his temple. Extant remainsof the building date from the

SpoutedBowl Cycladic,EarlyCycladicII (ca.2700-2200 Marble

B.C.)

reign of Ramesses II (ca. 1279-1213 B.C.),

which explainswhy the lion statue was exhibited as a Ramessidwork from 1891to 1964 at the McLean Museum and Art Galleryin Greenock, Scotland. Thanks to recent scholarship,however, the lion's spare,muscular detailing and suspendedvitality can now be

Gift of Judy and Michael Steinhardt, zooi

in. (9.2 cm)

200. 766

Ever since Cycladic art of the third millennium B.C.began to be known earlyin the twentieth century, it has stood out among

the creationsof prehistoriccultures.Most noteworthy are the figuresand vessels carved in the local white marble.The masterful control of the materialand the harmonious proportionsmanifest a level of artistic achievementthat seems inconceivableat such an earlydate. Cycladic marblevessels like this one are marvelsof execution. The work was long on loan to the Museum from a devoted friend, Christos G. Bastis.The spouted bowl is distinguished by its unusuallylargesize, the thinness of its walls, and the delicate articulation of the spout in the front and the horizontal lug in the back. It stands securelybut also fits the hand perfectlyfor pouring water, oil, or perhapseven paint, since tracesof color remain on some of the forty preserved examples.The mysteryof these vessels is compounded by the fact that clay and, to a limited extent, metals (silverand gold) were used contemporaneouslyfor receptacles. There can be little doubt that the choice of marbleand the labor it requiredcontributed to the meaning of the object. JRM

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KushitePharaoh Egyptian, Dynasty 25, ca. 7I3-664

B.C.

Bronzewithgilding H. 3 in. (7.5 cm) Purchase, Lila Acheson Wallace Gift, and Anne and John V. Hansen Egyptian Purchase Fund, 2oo0 2002.8

This small figurehas a very largeaura-its taut beauty and bold featuresexpressan intense energyand focus. That it is a Kushite pharaohof Egypt is clearfrom its distinctive Sudaneseregalia,discernibledespite the effortsof an Egyptianking, ruling some seventy yearslater, to make the statuette more suitablyconformist:the ram's-headnecklace was hammeredout, the Kushite double uraeuswas recut to a single one, and the king's name on the belt was erased.The cap crown with a falcon engravedin the back, the bandeauwith streamers,and the diadem with many tiny uraeiwere left untouched. The king's narrowedeyes and large, forwardthrustingjaw do not resemblethe few identifiableimages of the Kushitekings, which disproportionately representTaharqo(r.ca. 690664 B.C.). A relatively early date is possible

for the presentobject. When the KushitesconqueredEgypt in the mid-eighth century B.C., they saw them-

selvesas recapturingpart of an ancient homeland that had fallen away from proper observanceof the gods. Consequently, their rule is distinguishedby fine bronze temple statuary-small, kneeling kings meant to match the small, precious-metaldivine image in the temple, to insulate it through devotion, to satisfythe gods, and to restoretheir MH blessingsto Egypt. 7

The likenessrepresentsa member of the Ptolemaic dynasty,the successionof Macedonian Greekswho ruled Egypt from the death of Alexander the Great in 323 B.C. until

the annexationof Egypt by Rome and the suicide of Cleopatra VII in 30 B.C. Our portrait

has been variouslyidentified since it surfaced in Egypt in the late eighteenth century in the collection of George Baldwin,who had served as the Britishconsul generalin that country. Most recently,it has been arguedthat the head representsArsinoe II. She ruled together with her brother,Ptolemy II, from 278 B.C. until her death in 270

B.C.,

when she was

deified. This noble and radianthead, which retainsits originalpolish, ranksamong the best Ptolemaic royalportraits. CAP

Deep Bowl Greek,SouthItalian (Calenian),3rd-early 2nd century B.C.

Terracotta Diam. 638 in. (16.2 cm)

The Bothmer Purchase Fund, 200z 200I. 731

Head of a Ptolemaic Queen Greek,Hellenisticperiod,3rd centuryB.c. Marble H. I5 in. (38.i cm) Purchase, Lila Acheson Wallace Gift, The Bothmer Purchase Fund, Malcolm Hewitt Wiener, The Concordia Foundation and Christos G. Bastis Gifts and Marguerite and Frank A. Cosgrove Jr. Fund, 2002 2002.66

This monumental head of a woman comes from a statue composed of discreteparts, including a veil. The top and back of the head are roughlyworked to receivethe veil (and perhapsalso a diadem), which was made of stone, stucco, or conceivablymetal and is now missing. The featuresare highly idealized in a pure Greek style, but the face is stampedwith enough individualityto justify calling it a portrait.

Deep bowls with straightwalls that flareout have no antecedentsin mainland Greek pottery. The shape originated in metal during the Hellenistic period (323-3I B.C.)and was reinterpretedin clay quickly and widely. While the fine fabricand lustrous surface have a metallic quality, the prototype for this bowl is made clear by the medallion. The bust in relief and the surroundingband with a bead pattern reflect the technique and manner of insertion in a metal-typically silvercounterpart.The tondo would have been worked in repousseand attachedwith solder or by crimping the edges of the frame. In the terracottabowl, all of these featuresare of a piece. The bust is that of Dionysos, god of wine, an appropriatelyfrequentsubject for a drinkingvessel. The delicate tendril around the medallion consists of the leaves and fruit (korymboi)of the ivy plant. Potteryof this type is conventionally known as Calenian,afterGales,a site in Campania.Recentstudiesindicatethat therewere numerouscentersof productionin Italyand wide distributionboth to the west and the east. JRM

Standing Bull SouthArabian, late 1st millenniumB.C. Copperalloyand shell H. 8 in. (20.3cm) Purchase, Michael Ward and Friends of Inanna Gifts, tooz 2002.34

Stylisticallyrelatedto a bronze statue in the collection (acc. no. 47.Ioo00.85),this bull, which retainsthe original corrosionpatina, providesnew information regardingthe methods of manufactureand the iconography of South Arabianmetalworkduring the Iron Age. By the middleof the firstmillenniumB.C., kingdoms had emergedin South Arabia based on a monopoly of the frankincenseand myrrhnative to the region. The kingdoms' immense wealth is reflectedin the bronze castingsof largesculptures,as well as in smallerobjects,whichwereproducedthroughout most of the first millennium B.C.Bulls are commonly representedand can be found on funerarystelae, seals, and sculpture.

..............

_~~~~~~ ~This

bronze bull stands on a doublebased plinth. Its head is strongly sculpted with horns that curve up and slightly inward. The bone structurebetween the horns is raisedand prominent. Upright earsappear behind the horns and are not visible from the front. Heavy brows overlapthe eyes, which are inlaid with shell. Both the muzzle and the chest are strongly modeled. The sex is clearly indicated. The tail hangs straightdown to the hooves and parallelsthose of South Arabian statues of standing bulls sculpted in alabaster, which help to date this piece to the late first

millenniumB.C.

ISLAM

earlyi3th century Bronzewith silverand copperinlay L. 8Ysin. (30ocm) Purchase, Friends of Islamic Art Gifts and Harvey and Elizabeth Plotnick Gift, 2001

Attributed to Nidhi Mal ActiveI735-6o Prince and Ladies in a Garden India (Mughal,Lucknow),mid-i8th century Watercolorand gold onpaper I05/8 x 78 in. (27 x I8.7 cm) Cynthia Hazen Polsky and Leon B. Polsky

2001.4170

Fund, 2001

Oil Lamp EasternIslamicarea (Khorasan),late i2th-

2001.302

The sculpturalappealof this lamp is rarein Islamicobjectsfor everydayuse. Its most strikingcharacteristicis that the protome (decorativeportrayalof the forepartof an animal, in this case a bird) forms an integratedimage with the body of the lamp: a stylizedpartridge,whose tail and wings are representedby spouts. Another set of short, pointed wings appearson the protome itself, which is oriented away from the lamp; more typically,an entire small bird, not just its head and neck, percheson the edge or on a ring handle, facing toward the lamp's interior. Most bronze lamps have just one or two spouts, while this has three.Also unusual are the suspension holes on the upper surfaceof the body of the lamp, which prove that it was intended not only to stand on a tall foot (now missing) but also to be hung. The surfaceis decoratedwith engraved vegetalscrollswithin medallionsfilled with silverand copper inlay. The inscriptionscontained in two rectangularpanels read, "Power, good fortune, well-being, and glory to its owner."The lamp fits comfortablyin the castmetalworkproduction of the easternIslamic world, especiallythe areaof Khorasan,in the twelfth and thirteenthcenturies.The type of inlay,the decorativemotifs, and the calligraphic sc bands confirm the attribution.

The scene of leisureportrayedhere typifies the graciousstyle of late Mughal painting as practicedat regionalcenterssuch as Lucknow in the mid-eighteenthcentury.This style grew out of earlierimperialMughal court painting, retainingits delicatebrushworkand subtle palette but developing new themes and stylistic elements,which reflectedthe provincial cultureof the smallercourts of Avadh. In this composition, a prince and his consort smoke from sinuously curvingpipes that extend from huqqabasesheld by the female attendants flankingthe couple. The five figuresare enclosed within a lush, walled gardenwith pavilionsand a flowing riverin the foreground. A sense of the luxuryof such courtly pastimesenjoyed by the Mughal nobility is furtherconveyed in the rich costumes, jewels, and sumptuous objects depicted. The painting is attributedto Nidha Mal, a talented artistof the Delhi-based court of the Mughal emperorMuhammad Shah who renderedseveralnotable (r. I719-48), portraitsof the sovereignand of important nobles. He later moved to Lucknow, where he continued to paint in the refined and naturalisticDelhi style and where this work NH is likely to have been made.

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MEDIEVAL

EUROPE

Plaque with CensingAngels French (Limoges), ca. 1170-8o

Champleveenameland gilded copper 4/8 x 858 in. (II X 22.1 cm)

The Cloisters Collection,

200z

200. 634

This iconic image of two angels originally crownedthe top of a cross. With chalk white facesand furrowedbrows, the angels mournfully bearwitness to the Crucifixion. Symbolically and ceremonially,they proclaim the death of Jesusby swinging censers,since fragrant incense was used in funeralsand at the altarduring Mass, which is a reenactmentof Christ'ssacrifice.Set againsta ground that is exquisitelyengravedand shimmeringwith gold, the angels, in their lapis-coloredrobes, appearto hover in the heavens. If we use the proportions of smaller survivingcrossesas a guide, the height of the

originalcross can be estimatedas greaterthan four feet. Decorated on both sides, it was surelyone of the most ambitious crossesever produced in Limoges.While enamels from this city in centralFrancewere renowned acrossEurope in the twelfth and thirteenth centuries,this crosswas almost certainly made for the diocese of Limoges itself. One of the three other plaques from the cross (now in the Museo SacroVaticanoand the BritishMuseum, London) was recordedin the city soon afterthe French Revolution, when large ensemblesof goldsmiths'work were systematicallydestroyed. BDB

Detail

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Reliquary Cross French(Limoges?),ca. iI8o Gildedsilver,crystal,and glass;wood core H. II34 in. (29.8 cm)

Purchase, Michel David-Weill Gift, The Cloisters Collection, and Mme Robert Gras Gift, in memory of Dr. Robert Gras, 2002 2002.18

Twelfth-centurychurchmen and the nobility of central Franceprided themselves on their devotion to the sacredsites of the Holy Land. Various mementos from that region are set like jewels on this cross, the double arms of which mimic Byzantineform. Identified by inscriptionsalong the sides, the relics include a fragmentof wood believed to be from the cross on which Jesuswas crucified-set prominently in a rectangularframewith a cutout cross-as well as relics of the Holy Innocents and of the tombs of Jesus and the Virgin Mary. In their company are relics of earlydeacons of the church Saint Stephen, Saint Vincent, and Saint Hermitis (Hermes), who was a deacon of Adrianople, martyred while trying to protect the liturgicalvessels of his church. In addition to these holy fragments, the cross is studded with more than sixty "gems"of colored glass. Two on the reverseimitate the appearanceof turquoise and sardonyxand closely resemblethe faux gems on the Chasse of Ambazac,a renowned survivingreliquaryof Limoges workmanship. BDB

Bracteate Scandinavian,5th-6th century Gold Diam. i 8 in. (4.8 cm) Purchase, Gift of Dr. Mortimer D. Sackler, Theresa Sackler and Family, and John W. Byington Trust Gift, 200z 2001.583

This thin gold pendant, known as a bracteate, displaysa deft and spirited design defined by bold, sweeping lines. Picassoesque in its expressivesimplicity, the central face exemplifiesthe exuberant,highly abstract style of earlymedieval Scandinavianartists. The borderzone, formed by intricate and orderlyrows of repeatedpunchwork, reveals the great technical competency of goldsmiths working in northern Europe during the fifth and sixth centuries. 12

The manufactureof bracteatesprobably originatedwith Roman and Byzantineportrait medallions,presentedby the emperoras gifts to importantfigures.Here, however, the imperialimage has been transformedinto a depiction of a god, perhapsOdin, chief of the Nordic pantheon; his oversizeface is balancedatop a galloping horse with horns. With their fine workmanshipand allusions to the Roman and Byzantineworlds, gold bracteatesconveyed both the sophisticated tasteand the high socialstatusof theirowners, who wore them as fine jewelryand hoarded them as treasure. MEH

Psalter Byzantine,late i2th century Tempera,blackink, and gold leaf on parchment;leatherbindingon boards H. 8Y8 in. (20.7 cm) Purchase, The Jaharis Family Foundation Inc. Gift, 2ooi 200I.730

Literacywas highly prizedin the Byzantine state,with its sophisticatedsecularand clerical elite provingto be enthusiasticpatronsof the book arts.This manuscript,one of the approximatelyfifty so-calledaristocraticpsaltersthat survivefrom the Middle Byzantineera,demonstratesthe high qualityof that period'sbook production.The text is elegantlywritten in gold letterson parchment,with vibrantlycolored illuminationsset againstgilded grounds at selected readings.The iconlike illuminations assistin making the Old Testament text relevantfor Christianuse. Thus, God, to whom the Psalmsare dedicated, is depicted as Christ Pantokratorat the center of the elaborateheadpiece over the introductory

text (illustratedabove). The illuminatorhas painted the face of Christ, the "worldruler" (pantokrator),in the finest Byzantinetradition, layeringflesh tones and facial details over a green base color meant to represent shadows. The pairs of birds over the headpiece and in the ornate incipit letter of the text extend the Christian referenceby evoking the dual nature of Christ-equally man and god. Psalterswere popular throughout the medieval Christianworld, in both the East and West, for prayersduring the liturgy in churchesand monasteries,as weapons against demons, and as the primarytexts for learning to read. HCE

RENAISSANCE Benedetto da Maiano Italian, 1442-1497

Saint Jerome in the Wilderness Florence,ca. I470 Marble I63Y4x5 in. (42.6 x 38 cm) Purchase, Rogers Fund and Lila Acheson Wallace Gift, oo00 2001.593

AND

BAROQUE

The hermit-scholarSaint Jeromewas particularlyveneratedin humanist Florence. Here, he kneels before a crucifix,his cardinal'shat at his feet. A stream,the water of life, flows from beneath the crucifixin a landscape inhabited by varioussymbolic creatures.The stag signifies thirst for salvation (Psalms42). The squirrelstands for enduranceor the searchfor divinity. The lion, whose paw Jerome healed, is followed by a lioness; they may symbolize constancy and also the dangers the saint faced-certainly the meaning of the wyvern at bottom right. The camel alludes to Jerome'sonly glimpse of humanity in the wilds, the occasionalcamel drover.

EUROPE

The traditionalattribution to Antonio Rossellino has to be revised.The naive but felicitous plants and animals, the drill work, and the atmosphericstaging find perfect counterpartsin the earliestworks believed to be by Benedetto: marble reliefs (1468-71) for the shrine of Saint Savinus in Faenza Cathedral,particularlya scene of his vision, the startingpoint for our Jerome.In both, Benedetto abandoned the linear perspective that had preoccupiedhis peers in favor of an airiercontinuum. The foregroundspilling over the bottom edge derivesfrom the reliefs on Lorenzo Ghiberti'sGatesof Paradisefor the Florence Baptistery(1452). JDD

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Francesco Salviati Italian (Florence), 1510o-563

Saint John the Evangelist (recto) 1548-49

Soft blackchalkor charcoal,highlightedwith white chalk,on bluepaper;outlinesincised heavilywith stylus I9/4 x 98

in. (50.2 X 23.3 cm)

Purchase, Lila Acheson Wallace and Leon D. and Debra R. Black Gifts, oo00 2001.409a

This recentlydiscovered,monumental sheet is a superb example of the draftsmanshipof one of the great exponents of Mannerism in Italy. It relatesto one of Salviati'smost important fresco cycles, that in the private chapel, or Cappelladel Pallio, of Cardinal AlessandroFarnese(the grandson of Pope Paul III) in the Palazzodella Cancelleria, Rome. The artistexecuted the preparatory drawingsfor the project in the winter of 1548-49 and finished the frescoesbefore May 1549. This sheet served as a cartoon

(full-scaledrawing) for the figure of Saint John the Evangeliston the undersideof the main arch at the altarof the chapel. In modeling the figure, the artist rubbed in most of the individual strokesof the chalks to obtain smoky, seamlesslyunified tones and a beautiful marmorealluster.John is seen in the company of his best-known attribute,the eagle, at lower left, but also holds a chalice with a snake. The latter alludes to the priest of the Temple of Diana of Ephesus,who offeredJohn a poisoned chalice to drink as a test of his faith. Miraculouslyunharmed, John later resurrectedtwo prisonerswho had previouslydied from the same poison. CCB

archedshape of the altarpiece.In the lower center of the foreground,the incredulousPaul has just been struckoff his rearinghorse and renderedblind. He appearsto be struggling with the divine light that alludesto Christ. The artistplaced Paul, as the protagonistof the story, headfirstand close to the spectator's eye for greatvisual impact. He is surrounded by agitatedsoldiersattending to other panickedhorses, and the scene unfolds before the walls of a medievalcity meant to representDamascus. The heavenlylight emanatesfrom the upper right in raysthat are exquisitelycalibratedwith brush and wash. CCB

Jan Brueghel the Elder Flemish, I568-I625

Castle Merxem, near Antwerp 1610

Pen and brownink, withpink, blue,gray, and yellow wash,on off-whitelaidpaper 62 x I2/4 in. (I6.5 x 3I.2 cm)

Purchase, Anonymous Gift, in memory of Frits Markus, and Louis V. Bell and Harry G. Sperling Funds, 2ooI 2001.638

Ludovico Carracci Italian (Bologna),i555-1619 Conversion of Saint Paul I587-89

Pen and brownink, brushand brownwash, highlightedwith whitegouacheand creamcoloredoil paint, overblackchalkunderdrawing,on light brownpaper 22 3/8 X 13

in. (56.8 x 34.6 cm)

Purchase, Rogers Fund and Gift of Dr. Mortimer D. Sackler, Theresa Sackler and Family, zooz 2002.33

This composition drawingwas preparatory for the Conversionof Saint Paul (Pinacoteca Nazionale, Bologna), one of the great, documented altarpiecesby the artist,which was originallycommissioned for the Cappella Zambeccariat the Church of San Francesco in Bologna. The drawing,which can be dated to 1587-89 by extant payment records for the altarpiece,is a work from the artist's earlymaturity. The composition capturesthe dramaof Paul'sconversionwith magicaleffectsof light, set within a diagonalconstructionof space. Indicatedon the upper part of the sheet is the

In delicate yet firm pen lines of brown ink, with some subtle hues of watercolor,Jan Brueghelthe Elder (commonly known as Velvet Brueghel)rathergrandlydepicted the ruined Castle Merxem nearAntwerp. In all likelihood, the work was done from nature. The castle, which no longer exists, probably had been under recent attack, as the Netherlandswas still at war with Spain. During this period, attention to the ruins of an important house or castle is encountered with greaterfrequency among the works of variousNetherlandish artists,such as Roelandt Savery, Hendrick Goltzius, and JacobMatham. Jan, a son of Pieter Bruegelthe Elder and a brother of Pieter Brueghelthe Younger, was appointed as court painter, in I609, to ArchdukeAlbert and Isabella,the infanta, at Brussels.A friend and collaboratorof Peter Paul Rubens, he enjoyed celebrityand fame as a landscapistduring his own lifetime. MCP

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Cuirassier Armor Italian (Milan or Brescia),ca. I6io-20 Steel,gold, leather,and textile H. (as mounted)54 in. (137.2 cm); wt. 86 lbs. 8 oz. (39.2 kg) Purchase,Arthur Ochs SulzbergerGift, zooz 2002.130a-p

This armoris typicalof a late form that developed towardthe end of the sixteenthcenturyin responseto the increasinguse and efficiencyof firearms.The heavycavalryman,or cuirassier, wore a three-quarter-length armorthat included a close helmet and knee-lengthtassets,the lower leg defenseshavingbeen replacedby high boots. The knightlylancewas abandonedin favorof pistols;the cuirassiertypicallychargedand firedhis weapons at close range.In responseto the change in weaponry,the armorerincreasedthe thickness of the plateand addedreinforces.Our example retainstwo reinforces,one for the backof the helmet and anothercoveringthe breastplate,and it formerlypossesseda thirdas well, for the visor front, renderingit one of the heaviestfield armors known. In orderto test armors,bulletswerefired at them,with the resultingdentsleft as a guarantee of strength;the breastplate,backplate,and two reinforcesexhibitthese "proofmarks." This armoris typicallyNorth Italian in constructionand decoration, notably the helmet, with its pivoted beak and slotted visor, and the bands of bright steel contrastingwith blued steel surfaces.Despite practicalconsiderations of defense, the harnessretainsgraceful lines and good proportionsas befitting its fashion-consciousowner. swP

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blocky areasof wash, model his powerful, twisting form in a pose suggestiveof both force and grace. Samson and Hercules, who happen to sharethe attributesof lion skin and club, have both been proposed as the subject of this sheet. In the biblical account, the club Samson brandishesis the jawbone of an ass, the weapon used to defeat the Philistines. He is sometimesdepicted afterthe battleholding the jawbonealoft, whence waterwould miraculouslygush forth to quench his thirst. This will be the Museum's second sheet by Bellange. Of the eighty or so drawings accepted as autograph,the vast majorityare PS alreadyin public collections.

Willem Pietersz. Buytewech Dutch, I591/92-1624 Poultry Market in a Dutch Town Ca. I62i Graphite,pen and brownink, brushand gray wash,on off-whitelaidpaper 5 x 73 8 in. (i2.6 x I8.9 cm) Purchase, Lila Acheson Wallace and David T. Schiff Gifts, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, Anonymous Gift, in memory of Frits Markus, and Mrs. Howard J. Barnet and Fifth Floor Foundation Gifts, 2oo2 2002.122

Jacques Bellange French(Bassigny?),ca. I575-I616 Samson Ca. i612-i6

Pen and brownink, brushand brownand gray wash,on tan antiquelaidpaper 15 4 x 7/4 in. (38.9 x I8.4 cm) Inscribed(lowerright,in pen and brownink): Bell. Purchase, Harris Brisbane Dick Fund and Joseph Pulitzer Bequest, zooi 2001.568

Few paintings surviveby JacquesBellange,a favoredartistof the ducal court of Lorraine in what is today northeasternFrance.His

reputationas one of the greatestlate Mannerist artistsis due primarilyto his extant prints and drawings,which are distinguishedby their idiosyncraticstyle combining courtly elegance and psychologicalexpressiveness. This recentlydiscoveredsheet is entirely characteristicof Bellange'sstyle as a draftsman. Flamboyantcurvesand curlicuesare produced in a rapidink line, delineating the figure'sbeard,the animal skins draped from his shoulder, and his elaboratesandals. Passagesof parallelhatching, reinforcedby

During his shortcareer,Willem Buytewechnicknamed Geestige Willem (Inventive or Witty Willem) by his contemporaries-made an importantand highly personalcontribution to the new realismin Dutch art. Together with pioneeringartistslike Hendrick Goltzius, FransHals, and the cousinsJan and Esaiasvan de Velde, Buytewechheraldedthe golden age of Dutch art. Here, he depicts a poultry marketin an imaginaryDutch town. Birds dead and alive are everywhere,in basketsand cages, walking around looking for food, and hanging in bundles on a stick. The drawingbelongs to a group of at least twelve sheets depicting markets in various Dutch towns (the Museum also acquiredthe group's title page, dated This seriespossibly I621; acc. no. 2002.121). symbolized the months of the year and may have been intended for prints, although no etchings or engravingsof these particular subjectsareknown. The seriesalso could have

This drawingis one of those quick and rarecompositionalstudiesthat were often not preserved,since they reflectedvery personal 11.

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creativeprocessfrom the very beginning. The verso drawing (not illustrated)gives us a view of the back of the so-called Torso Belvedere,drawn in red chalk; it dates from Rubens's firstvisit to Rome, in 16oi-2, almost three decades beforehe made the MCP drawingon the recto.

been made for the art market,since collecting drawingswas alreadya cherishedpastime in the Netherlandsat the beginning of the seventeenthcentury. MCP/

Peter Paul Rubens Flemish,1r577-1640

The VirginAdored by Saints (recto) Ca. 16281 Pen and brownink on off-whitelaidpaper 15'Y2 x10'o4

~/(/ t

in. (3.x6c)~

2002 Purchase, 20ooi Benefit Fund,ioo

)

2002.i2a

This pen-and-brown-inkstudy shows the initial idea for Rubens's1628 painting1 The VirginAdoredby Saints,in the Royal Museum of Fine Arts, Antwerp.Although the bartsic estabile lpayoutlofthed altr,ewasy thebartist lapparetlyf thad altr,ewady establisel. searchingfor certaincombinations of figures and their final positions or attitudes. For/ example,we see at top center severalversions// of the Virgin and child. The artistwas partic-/

ularlyseekinga properattitudeforthe Christ

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child, who would eventuallyextend his hand to Saint Catherine,kneeling in front of him, to be kissed. Prominentlydisplayedin the foregroundbelow are Saint Sebastianand William of Aquitaine, while Saint George,

fromtheleft,is onlyhastily approaching sketchedin.

LLJ

Y I. '9

Their lusteroffereda specialchallengeto painters-one Stoskopff not only mastered but used as a demonstrationof painting as the rivalof nature. A French-speakingLutheran,Stoskopff hailed from the independent city of Strasbourg, in what is now northeasternFrance. After attempting to set up shop in Frankfurt, he moved to Paris,where, between i622 and I64I, he did his bestwork.The Metropolitan's picturedatesfrom the mid- to late I62os. KC

Nicolas Poussin French, I594-I665

Study of a Palm Tree (recto); Mountain Landscape (verso) Ca. I635-40

Pen and brownink, overtracesof blackchalk (recto);pen and brownink (verso);on light tan antique laidpaper 88 x I0o8 in. (20.5 x 25.8 cm)

Sebastien Stoskopff French (Alsace), I597-1657

Still Life with a Nautilus, Panther Shell, and Chip-Wood Box Ca. I625-30

Oil on canvas i8Y2 x

23/8

in. (47 x 59.4 cm)

Wrightsman Fund, 2002.68

2002

Painted in Parisin the i62os, this picture exemplifiesthe firstgreatage of Frenchstilllife painting. In its pared-downcomposition, with the emphasison subtle harmoniesand the fascinatingjuxtapositionof two exotic shells-a nautilus(Nautiluspompilius)and a panthershell (Cypraeamauritiana)-with a simple chip-wood box filledwith candied fruits,the picturelooks forwardto the work of Chardin.Exotic shellswere much prized among collectorsand often appearin paintings as emblemsof vanity or as marvelsof nature.

Inscribedin pen and brownink: (lowerleft of recto)N. Poussin; (lowerright)with an interlacedD and C, the markof Paul Freartde Chantelou Purchase, Guy Wildenstein Gift, and Van Day Truex and Harry G. Sperling Funds, 2002

2002.39a, b

This rare,double-sidedsheet comprisestwo studies,one of a landscapeand the other of a tree, by Nicolas Poussin, a founding figureof the Frenchgrandmanner.A new discovery,it

joins a group of landscapedrawings,presumably made enplein air, that offerevidencethat Poussin'sclassicizinglandscapeswere basedon the directobservationof nature. On the recto is a drawingof a palm tree with lush foliage and rough bark.Detailed studies of individuallandscapemotifs are otherwiseunknown in Poussin'soeuvre, although lone palm trees do occupy prominent positions in severalof his paintings, where they identify the setting as the Holy Land. On the verso, Poussin has createdan expansivelandscapewith an economy of means.Although the composition does not appearto be connected to any extant painting, the distant, craggypeaks, the stand of trees to the right, and the treeused as a on the left areall typicallandscape repoussoir elements in Poussin'srepertoire.Typical as well is the curvingdiagonalaxis by which the eye travelsfrom foregroundto middle ground. The first owner of this sheet was Paul Freartde Chantelou (I609-1694), the artist's PS close friend and patron.

Emanuel de Witte Dutch, ca. i6i7-I691/92

Interior of the Old Churchin Delft 1650-52

Oil on wood I9 x 35/8 in. (48.3 x 34.5 cm)

Signedand dated (lowerright):E.De.Witte A[nno] I651o?] Purchase, Lila Acheson Wallace, Virgilia and Walter C. Klein, The Walter C. Klein Foundation, Edwin Weisl Jr., and Frank E. RichardsonGifts, and Bequest of Theodore Rousseau and Gift of Lincoln Kirstein, by exchange, 2001 2001.403

The HaarlemartistPieter Saenredam(1597I665) and Emanuelde Witte, who workedin Delft and Amsterdam,aregenerallyrecognized as the most importantpaintersof architectural views in the Netherlands during the seventeenth century. Saenredamwas a pioneer in the subject of Dutch church interiors,which became a new way of expressingfaith in a country that officiallyfrowned on religious imagery.In the present picture, for example, the younger De Witte offers remindersof youth and age, materialthingsand immortality, for the viewer'scontemplation.

De Witte turnedto this genreaftera decadeas a figurepainterand broughtto it valuesand an approachthat were unprecedented in the field. He transformeda draftsman'sdomain into somethingakinto landscape painting, with spacescreatedby contrastsof light and shadow and by the juxtaposition of near and far forms. De Witte based his earlycompositions,like this one, on the

perspectivistGerardHouckgeest'sexacting views of the Old Church and New Church in Delft, but Houckgeest'sexamplewas just a point of departurefor an artistattunedto such intangiblesas space,light, and mood. In this regard,De Witte anticipatedthe interestsof the two most celebratedDelft painters,Pieter de Hooch and JohannesVermeer. WL

Michiel Sweerts Flemish, 1618-1664

Man Holding a Jug Ca. 1655-6o

Oil on canvas i9 2 x 15/2 in. (49.5 x 39.4 cm)

Gift of Herman and Lila Shickman, 2ooI 2001. 613

LikeJohannesVermeer,the Brussels-born Sweertswas rediscoveredin the late nineteenth and twentieth centuries,although his life remainsmore obscurethan that of the Delft painter, and works by Sweertsare still being newly identified. The comparisonwith Vermeeris encouragedby Sweerts'sclosely studied light and usuallyquiet compositions, which, in the genre and history picturesfrom his Roman years (ca. I646-55) and from his brief residencein Amsterdam(ca. I660-6I; see, for example, Clothingthe Naked, acc. no. 1984.459.I1),lend his images a dreamlike stillness and sense of hidden meaning. Man Holding a Jug, however, must date from the period when the mature Sweerts

worked in Brussels(ca. I655-6o), and its animation and vivid characterization were

clearlyinspired, in part, by similarsubjects paintedby the famousAntwerpartistAdriaen Brouwer,such as TheSmokers(ca. I636; acc. no. 32.100.21).

Few of the peasants observed

or imaginedby Brouwer'sfollowers-David Teniers the Younger,Joos van Craesbeeck, and David RyckaertIII-are quite as compelling as this good-naturedartisan(to judge from his apron) turning in response to some distractionat an inn. A masterfulessay in tones and textures,this new acquisition adds depth and another highlightto one of the world'sgreatcollectionsof Flemish art. WL

EUROPE

Rosalba Carriera Italian (Venice),I675- 757 Gustavus Hamilton, Second Viscount Boyne, in Masquerade Costume 1730-3I

Pastelon bluepaper, laid down on canvas 22 34 x I6 8 in. (6.5 x 42.9 cm) Purchase, George Delacorte Fund Gift, and Gwynne Andrews, Victor Wilbour Memorial, and Marquand Funds, zooz 2002.22

1700

1900

RosalbaCarrierawas the most celebrated portraitistin eighteenth-centuryVenice. Her contemporariesrecognizedher achievement by admittingher to the Accademiadi San Luca, Rome, in I705; to the Accademia Clementina, Bologna, in I720; and to the Academie Royale, Paris,in 172I.While in Paris,she portrayedLouis XV as a child. She also receivedcommissionsfrom the courts of Modena, Vienna, and Dresden. Rosalba worked in pastel and as a miniaturist,in watercolorand gouache, and, partlybecause these materialsare fugitive and the displayof the objectsis thereforerestricted,she had previously been representedin the Museum by a single miniatureof a gentlemanin armor.

GustavusHamilton (I710-I746) was an Irish aristocratwho visited Venice twice, in the carnival seasons of 1730 and of 173I. He

probablycommissioned this work, and two variantsnow in English privatecollections, through Owen Swiny, an Irish impresario who was the artist'sagent and was also known as McSwiney. In addition to stylish linen, damask,and a fur-trimmedcoat, Viscount Boyne wears carnivalcostume: a lace bautta,or veil, and a half mask, cocked under a tricornehat. The pastel, which descended in the family of a close personal friend of the sitter, is exceptional for its KB faultlessstate of preservation.

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

Michael Rysbrack Flemish,I693/94-I770 Portrait of a Lady '745

Marble 23 Y4in. (59 cm) Signed: M:I Rysbrack Fe: t 1745

Wrightsman Fund, in honor of Olga Raggio, 2ooI 2001.406

The careerof Michael Rysbrackexemplifies the profound influence of French and Netherlandish art in eighteenth-century Britain.When he immigratedto England in I720, the young sculptor brought along the

skills he had alreadyacquiredwhile training in Antwerp, probablyunder the Baroque sculptor Michiel van der Voort I (1667-1737);

Balthasar Ferdinand Moll Austrian, I717-1785

Faith, Charity, and Hope Vienna, ca. 1739-40

Walnutand stainedivory H. (left to right) I2 ;8 in. (32.8 cm), I4 34 in. (36.3 cm), I258 in. (32 cm)

Purchase, Fletcher and Rogers Funds and Malcolm Hewitt Wiener Foundation Gift, 2002

2002.175.1-.3

Moll's reputationas a majorAustrian sculptor restsmainly on state tombs for the Habsburgslocatedin the Capuchinchurch in Vienna. These include one of the most splendid examplesof late Baroquesculpture, the double sarcophagusmade in 1753-54 for EmpressMariaTheresa (d. I780) and her consort, FrancisI of Lorraine(d. I765). The sculptor'sfirst majorproject, completed in 1739,was the figurativedecoration for the pulpit of the Church of the Servites, Vienna. The Museum's statuettesare smallscaleversionsof the monumental figures crowning the pulpit: the theologicalvirtues Faith, Love (Charity),and Hope. However, becauseof the lack of attributes,we can only assume that our figuresservedas independent works of art ratherthan as devotional objects. Their style echoes the influence of the Austrian sculptor Georg RaphaelDonner (16931741). The strongly contrastedforms and the skillfullydifferentiatedfinishes of the walnut

and dark-stainedivory take advantageof effects of light and shadow and evoke the unifying artificialgallerypatina of bronze sculptureof this period. The almost metallike appearanceof the surfacetooling demonstratesthe artist'svirtuosityand may be an earlytestament to Moll's prominent place in the development of sculpturalmetal casting in eighteenth-centuryVienna.

Rysbrack'sability to convey a lively likeness of his distinguishedpatrons soon helped make him the leading sculptor in England. His portraitbusts exemplify the two main classicizingtrends that dominated English taste in the first half of the century:the one a more severeemulation of Roman style, and the other, seen here, a more naturalisticand casualdepiction of sitters in contemporary indoor dress (en neglige). Rysbrack'sfluid, pictorial handling of the subject'sgown, a feminine, softened version of the Roman toga, gently evokes the spirit of

pieces, including precious cut-steel objects. With a diamond-like sparkleand fairy-tale appearance,they are the ultimate embodiment of eighteenth-centuryRussian decorative arts. The Museum's table belongs to a small group of furniture,embellishedwith silver inlay, ornamentaletching, and gilded applications,that summarizesnearlyall the techniquespracticedby the Tula craftsmen. Presumablythe only known example outside of Russia, this table is visually the most accomplishedof all. Objects of such commanding quality left Russia mostly as diplomatic gifts or as part of an imperialdowry. However, recent research revealsthat this extraordinaryparadetable (meant for display, not daily use) was made for the Russianimperialfamily in about 1780-85. Some yearslater, it is recordedin the bedroom of Dowager EmpressMaria Fyodorovna (I759-I828) in the palace of Pavlovsk,near Saint Petersburg.The empress gave it as a personalkeepsakein 80oito her formerbrother-in-law,Duke Peter of Oldenburg (1755-I829), on the occasion of a sad anniversary:the duke had marriedher late sister,PrincessFrederickeof Wiirttemberg (1765-I1785),

twenty years earlier. WK

antiquity promoted by the circle of Palladians aroundLordBurlington,for whom Rysbrack, earlyin his career,had produced innovative architecturalsculptureand monuments. Similarly,the strong diagonalof the cloak'sedge and the piquant twist of braidsatop the lady's headaresuggestiveof the goddessDiana'scustomary quiverstrapand emblematic crescent. The delicate elaborationof the sitter'shairdo, most notablein profileview, also helps to offset her somewhatimpassiveaspect.

Center Table Russian(Tula, ImperialArmory),ca. I780-85 Steel,silver,gilded copper,and poplar H. 27

in. (70 cm)

Purchase, The Annenberg Foundation Gift, 2002 2002. II5

The armoryin the town of Tula, south of Moscow, flourishedunderEmpressCatherine the Great (r. 1762-96), supplying not only

weaponry but also a varietyof decorative Detail 2S5

Giovanni Volpato Italian, I735-I803

The River Nile 1785-95

Biscuitporcelain L. 22 2 in (57.2 cm) Purchase, The Isak and Rose Weinman Foundation Inc. Gift, zooi 200I.456

In 1785Giovanni Volpato establisheda manufactoryin Rome for the production of biscuit-porcelainsculpture.This group personifying the riverNile was the most ambitious work made at Volpato's factory,as well as the most expensive,as shown by a surviving price list. Most of the sculpturalgroups made under Volpato's supervisionwere reproductionsof antique marbles,the biscuitporcelainmedium being ideally suited to this purpose. TheRiverNile is a reduction of a colossal Roman marbleat the Vatican, much admiredin Volpato's time, and is remarkably faithful to the marbleoriginal;only the base has been simplified,as was requiredby the change in scale. The composition is an allegoryof fecundity. A cornucopiais placed prominently near the recliningNile, and the sixteen small 26

childrenwho cavorton and about the figure of the riversymbolize the sixteen units of measurement,known as cubits, by which the riverrose annually,fertilizingthe surrounding areas.The complexity of the composition, due in largepart to the incorporation of the children, accounted for the high price of the biscuit group, of which this is the only JHM known example.

William Wyon English, I795-

851

Pattern Crown of George III: The "Three Graces" Crown British (London,RoyalMint), 1817 Gold Diam.

I58

in. (4.I cm)

Gift of Assunta Sommella Peluso, Ada Peluso, and Romano I. Peluso, in memory of Ignazio Peluso, 2oo2 2002.205.3

The Peluso collection of English coins reveals the extraordinaryaccuracyachievedby the Royal Mint late in the reign of George III (r. I760-1820).

The superiority of its coinage

owed much to the introduction of steampowered minting machinery.Only three gold specimens of the "ThreeGraces"crown are said to havebeen struck;it was neverintended for generalcirculation.The dies were painstakinglypreparedso that the matte finish of the raisedareassets them apartfrom the brilliantlyburnishedbackground.The trio on the reverserepresentsIreland (with her attribute,the harp), Britain (with the Union flag on her shield), and Scotland (beside a thistle). They are more decently clad than the figuresin Antonio Canova'smarblegroup of the Three Gracesbut are manifestlyinspired by them, hence the nickname. The second version of Canova'sgroup, now sharedby the National Galleryof Scotland, Edinburgh, and the Victoriaand AlbertMuseum, London, was famous in England even before it was JDD shipped there in I818.

Baron Fran;ois-Pascal-Simon Gerard French, 1770-1837

Madame Charles-Maurice de Talleyrand-Perigord, Princesse de Benevent (nee Catherine Noele Worlie, later Madame George Francis Grand) Ca. i8o8

Oil on unlinedcanvas 88/8 x 64 78 in. (225.7 x I64.8 cm)

Wrightsman Fund, zooz 2002.3I

Born to Frenchparentsin India, Worlee (1762-I1835) flaunted her wealth and beauty in the salons of revolutionaryPariswhile marriedto an Englishmannamed Grand. Her portraitby ElisabethLouise Vigee Le Brun in the Museum's collection (acc. no. 50.135.2) atteststo her lively personalityand stunning looks. She entered into a highly visible affairwith Talleyrand,the brilliant statesman(and formerbishop) who had become a principalfigure in the emerging government.Elaboratenegotiations with Napoleon, as well as with the pope, were requiredbefore the couple were allowed to marryin 1802. Upon her first official receptionat the Tuileries Palace,Napoleon

remarked,"I hope the good conduct of CitoyenneTalleyrandwill causethe fickleness of Madame Grand to be forgotten."Madame Talleyrandrejoined, "I would not know better than to follow the example of Citoyenne [Josephine]Bonaparte." Talleyrandhimselfwas particularlyfond of Gerard,a student of Jacques-LouisDavid and a favoriteof Josephineand the court.Afterhe was made a princeof the Empire,Talleyrand commissionedhis portraitand that of his wife;

both were completed by I808. The portraitof MadameTalleyrandmakesthe most of her handsomegraceat age forty-six.Remarkably well preserved,it demonstratesGerard'sextraordinaryskillsat the height of his careeras an officialportraitist.It is the firstpaintingby him to enter the collection and servesas a splendidpendant to Prud'hon's1817portrait of Talleyrandthatwasalsogivento the Museum by Mrs.Wrightsman(acc.no. 1994.190). GT

Courtois Freres French (Paris), I803-45

Cornet a pistons 1833

Brass;originalwood case H. II 4 in. (28.5 cm)

Purchase, Amati Gifts, 2oo0 2002.Igoa-n The cornet a pistons is France's most impor-

Theodore Gericault French, 179I-1824

The Rescue of a Drowned Man, Surrounded by Other Figure Studies (recto) Ca. 1817-i8

Pen and brownink on laidpaper x 9~ 8XI8

in. (24.4 x 30.2 cm)

Gift of Giuseppe Gazzoni-Frascara, in memory of Idarica Gazzoni-Frascara, 2ooi 2001.379a

This roundaboutof energeticfigure studies, while not directlyconnected to any one painting, may be counted among the hundreds of exercisesGericaultperformedin preparationfor his grand memorial to shipwreckedsailors, TheRaft of the Medusa (I819; Musee du Louvre,Paris).At the center of the sheet is group of nudes apparentlyengaged in the rescueof a drowned man, while, on all sides, well-muscled men arewrestlingor writhing, some strongly reminiscentof those by Michelangeloand Rubens. From an engravingreproducingRubens's painting TheFall of theDamned (AltePinakothek, Munich) Gericaultcopied severalsuch figures,as did his friend Eugene Delacroix. Indeed, the middle figure along the left margin of this sheet lies in a posture quite close to that assumedby Delacroixwhen he 28

modeled as a victim of the sea disasterfor his friend'sambitious picture. Both artistsliked to draw in pen and brown ink, a medium in which Gericaulthere displaysastonishing ci fluidity and control.

tant contribution to the evolution of valve instruments.It was developed in Parisin 1827-28 as a small version of the Berlin valve trumpet, which was introduced in Parisin I826. The company, Courtois Freres,was one of the first manufacturersto build these instruments;another of its cornets, once owned by the Musee du Conservatoire National de Musique in Paris,was dated as earlyas I828. Built in 1833,the present instrument is among the few cornetsa pistons that survive from this very earlyperiod. It is in a remarkably good state of preservationand comes with all its accessories,including shanks, couplers, two mouthpieces, and the terminal crooks that facilitatethe tuning in B-flat, A, A-flat, G, F, and E-flat. Its playing qualities, however, leave something to be desired, as is often the case with valve instrumentsprior to 1835.In those earlyyears, many makerswere still too inexperiencedto masterfully the technological and musical problems of such instruments.

breezestirredthe drapery,softening its edges and folds in a blur of light. As a result, one has the impressionthat the sculpted angel has come to life and descended on a beam of light to appearto the sleeping workman in a dream-like the angel appearingto Jacobwhile his companion, awake and alert, remainsoblivious to the vision taking place MD just a few feet away.

Jean-Louis-Ernest Meissonier French, 1815-1891

Mounted Hussar Paris, ca. i866-75 Red beeswax,wood, metal,leather,and cord H. 88 in. (22.5 cm) Purchase, Iris and B. Gerald Cantor Foundation Gift, in celebration of its 2zth anniversary, 2oo2 2002.272

Meissonier'sFriedland,80o7(acc.no. 87.20.I1), a broad canvascelebratinga Napoleonic

victory as envisioned by a firm adherentof the Second Empire, is arguablythe most important academicpainting of the second half of the nineteenthcenturyin the Museum's collection. Begun in the mid-I85os, it was completed only in I875. One reason for the long delay was Meissonier'sextraordinary preparatoryresearch.The work was preceded by many drawings,oil sketches, and, for the primaryhorsemen, severalwax models, of which this may be the only one to survive. The medium is perishableby nature.A wire armaturewas affixedto a small piece of wood, and warm pellets of wax were pressedonto it to form the figures.In a photo of Meissonier's atelier,this very model is clamped to his modeling stand. He could thus view it from any angle and sketch from it. That our hussarand his mount appear to the left and more frontallypositioned in Meissonier'sgrandlyorchestratedchef d'oeuvrecontributes to the overallphotographicsemblanceof frozen movement. JDD

0. Mestral French,active 850os Angel of the Passion, Sainte-Chapelle, Paris 1852-53

Saltedpaperprintfrom paper negative 13 x 8 in. (32.9 X 20.3 cm) Gilman Paper Company Collection, Purchase,The Howard Gilman Foundation Gift, 2oo002 2002.9

Serendipityoccasionallyaids the Muses, as here, where a worker'sfatigue, a gentle breeze,and a bit of sunshine have helped one of the medium's earlymastersachievesomething far beyond his originalintention. Mestralwas commissioned by Adolphe-Victor Geoffroy Dechaume (I816-1892)

to docu-

ment one of his sculptures,an angel of the Passion,before it was lifted to a high and inaccessibleperch at the base of the spire of the Sainte-Chapelle,Paris.Working at the site, the photographerhung a white canvas on the constructionscaffoldto isolate the sculptureagainsta light, neutralbackground, admirablyfulfillinghis mission. Both form and detail are beautifullyand clearlyrendered. What makes the image remarkable,however, is one of those miraculousaccidentsthat photographyallows and even welcomes: during the long, ten- or fifteen-minute exposure,a 29

Claude Monet French, 1840-1926

Camille Monet on a Garden Bench i873

Oil on canvas 23/8 x 31 8 in. (60.6x 80.3 cm)

The Walter H. and Leonore Annenberg Collection, Partial Gift of Walter H. and Leonore Annenberg, 2oo2 2002.62.I

Monet's art depends on observationof his environment, and to that extent it is always autobiographical.In his pictures, one can chart the seasons, the weather, or, as here, the look of women's fashion in I873. One recognizesMonet's wife, Camille Doncieux (1847-1879), as easily as the mounds of geraniumsin the commodious gardenof the rented house in Argenteuil.While we sense that Monet wants to project the image of a successfulartist (a recent development), he almost never tells us what he actuallythinks or feels. This reticencemakes the encounter in CamilleMoneton a GardenBench,the most enigmatic of Monet's raregenre pictures, all the more intriguing.

Numerous interpretationshave been offered,yet nothing has been found in the literatureor theaterof Monet's time that corresponds to this scene. The most telling clue may indeed be biographical:the death of Camille'sfatherin September1873."Apiece of bad news awaitedmy wife,"Monet wrote Pissarro;"weareobliged to go into mourning." Camillewas an impassivemodel, but here she telegraphssadnesswhile holding a note in her glovedhand. Later,Monet identifiedthe gentlemanas a neighbor-perhaps one who had calledto offerhis condolences,along with a GT consolingbouquet.

Paul Cezanne French, i839-90o6

The Fishermen (Fantastic Scene) Ca. 1875

Oil on canvas 21 34 x 32 34in. (55.2 x 8I.9 cm)

Gift of Heather Daniels and Katharine Whild, Promised Gift of Katharine Whild, and Purchase, The Annenberg Foundation Gift, Gift of Joanne Toor Cummings, by exchange, Wolfe Fund, and Ellen Lichtenstein and Joanne Toor Cummings Bequests, Mr. and Mrs. RichardJ. Bernhard Gift, Gift of Mr. and Mrs. Richard Rodgers, and Wolfe Fund, by exchange, and funds from various donors, 2ooI 2001.473

Cezanne exhibited this strangeand haunting picture at the third Impressionistexhibition in I877. With it, he demonstratedhis allegiance to Impressionism'ssubject matter and style while rejectingits primarytenet: painting directlyfrom the model and out of doors. He alludes to famous paintings by Courbet and Manet of the i86os but uses a technique closer to that of Pissarroand Renoir in the I870s. At the same time, Cezanne harksback to eighteenth-centuryfetes champetresby Watteauaswell as to theirsourcein Renaissance pastoralsby Venetianartistssuch as Giorgione. These many allusions reinforcethe artificial, dreamlikemood of the picture.As a critic wrote in I877, "the scene is vast and sublime like a memory."

The work was first owned by Cezanne's earliest,and most devoted, patron, Victor Chocquet. In I907 Hugo von Tschudi tried but failed to obtain it for the Nationalgalerie in Berlin;the painter Max Liebermann (1847-I935)bought it instead. Liebermann crowed to a friend, "Yousee, [I] squander what little hard-earnedmoney I have. The picture may be too much decoration and not quite enough nature, almost Venetian, but it is charmingand kills everythingelse."The Museum was able to acquire this important canvasthanksto the generosityof Liebermann's great-granddaughters,in addition to that of severalfriends of the department. GT

Christopher Dresser (designer) English, I834-1904

Linthorpe Art Pottery English(Yorkshire),I879-89 Wave Bowl Ca. i880.

Earthenware H. 7 in. (17.8 cm)

Purchase, James David Draper Gift, in memory of Robert Isaacson, 2ooi 2001.549

ChristopherDresseris rightfullyregarded as one of the most creative,versatile,and prolific designersof the second half of the nineteenth century. He provided designs for a varietyof media to numerous manufactories throughout Britain and helped to establish the LinthorpeArt Pottery, of which he was artisticdirectorbetween I879 and i882. Dresser'swork for Linthorpe embodies his design creed in its purest, most basic form: good design of utilitarianobjects produced in multiples at affordableprices. Dresser'sLinthorpepottery is characterized by the use of highly sculptural forms

Pierre-Auguste Renoir French, I84I-1919

Nini in the Garden (Nini Lopez) 1875-76

Oil on canvas 24 8 x 20 in. (6. 8 x 50.7 cm) The Walter H. and Leonore Annenberg Collection, Partial Gift of Walter H. and Leonore Annenberg, 2oo2 2002.62.2

This delightful canvas,with its lively brushwork and scintillatingplay of dappled light and shadow, was painted shortly after Renoir took a second studio at 12, rue Cortot, in Montmartre.Rented in the spring of 1875, the new studio affordedhim a largegardendescribedby his friendand biographerGeorges Riviereas being "likea beautiful abandoned park"-which became the setting for a series of plein-airfigurestudies. 32

In motif and format these works take their cue from Monet's views of young women in the gardenat Argenteuiland show Renoir's sharedinterest in recordingthe effects of sunlight as it filtersthrough the foliage onto his fashionablydressedsubjects.Admired for her "marveloushead of shining, golden blond hair,"as recounted by Riviere,as well as for her punctualityand docility, Nini Lopez, the sitter for this picture, was one of Renoir'sfavorite models, posing for more than a dozen of his paintings in the mid-I87os. Of these, the presentwork is most closely relatedto YoungGirl on the Beach of 1875-76 (location unknown), in which Nini, wearing the same pinafore and also seated on a folding wooden chair amid lush greenery,dominates the center of the composition.The two paintingswere probablyundertakenat the same session. SAS

decoratedwith rich glazes. The subtle influence of Japaneseart and ceramicsin particular underliesmost of his Linthorpedesigns. In this bowl, Dresserhas made three-dimensional the wave motif so common in Japaneseart and has suggested, simultaneously,the form of the crescentmoon. Dresser'sdeep interest in Japaneseart, which began in the early i86os, influenced his entire aesthetic, and he was instrumentalin making Japaneseart and design better known both in Britain and in the United States. JHM

Georges Seurat French, I859-I891

Gray Weather, GrandeJatte Ca. i886-88 Oil on canvas 273

x 34 in. (70.5 x 86.4 cm)

The Walter H. and Leonore Annenberg Collection, Partial Gift of Walter H. and Leonore Annenberg, 200oo2 2002.62.3

Seurat'stranquiland luminous view extends from the island of the GrandeJatte, framed by trees, to the red-roofedhouses of the Parisiansuburbof Asnieresor Courbevoie acrossthe Seine. The work, along with two relatedpaintings of I886-88, may be seen as a glorious postscriptto the artist'sambitious compositions celebratingthis stretch of the Seine:the BathersatAsnieresof 1884(National Gallery,London) and A SundayAfternoon on the Islandof the GrandeJatte of i886 (Art Institute of Chicago). Returningto the riverbanksto paint landscape motifs, Seuratsought "to transcribe most exactlythe vivid outdoor clarity [of

nature] in all its nuances"using a technique known as Divisionism (also called Pointillism). In Gray Weather,GrandeJatte, he evoked, through the discriminating juxtaposition of small, discrete touches of pigment-from the rich blues and greens of the foliage to the orangesand lavendersof the sandy shore-the distinctive cast of colors bathed in the moist, gray light of a cloudy day. The overalleffect-aptly describedby critic Jules Christophe as "calmand gentle, with a harmonious placement of grays [and] peaceful tonalities"-was enhanced by the painted border, added shortly before it was first exhibited in I889. SAS

NORTH

AMERICA

1900

1700

I750) on December 5, I1733, and lived on

Nantucket with him and their five children AP for the remainderof her life. John Townsend

The dining table, a form not hitherto representedin our Newport holdings, brings to five the number of documented pieces by Townsend in the Museum's collection, the largestsuch assemblageanywhere.

American, 1732-i809

MHH

Dining Table Newport,RhodeIsland,I756 Mahoganyand maple H. 2834 in. (73 cm)

Promised Gift of Philip Holzer

Anne Chase American,b. 1709 Sampler Newport,RhodeIsland,I721 Silk on wool 12 Y4x 8/4 in. (31.1 x 21 cm)

Promised Gift of Philip Holzer

The eighteenth-centurycabinetmakersof Newport, Rhode Island,were among the very best in colonial America.Among them, John Townsend is arguablythe most accomplished and unquestionablythe best documented. More than thirty pieces of furniturebearing his signatureor label, and often the date, are known-far more than is the case with any of his contemporaries.The earliestof these objects, made in 1756when Townsend was only twenty-four, is the dining table illustratedbelow. (The table is signed and dated, in pencil in a bold and proud calligraphic hand, on the undersideof the top.) It is proof that Townsend alreadyhad fully learnedhis craft:in scale and proportion, in choice of wood, in assuredexecution, it is masterfulthe work of a matureartisan.

Joseph Meeks and Sons American,active1829-35 Pier Table New YorkCity, ca. 1835 Mahogany,mahoganyveneer,"Egyptian" marble,and mirrorglass H. 37 in. (94 cm) Printedonfragmentarylabel (on insideface of rearrail):MEEKS & SONS [MANUFACTORY] / OF / 43 & 45 B[ROAD /CABI[NET-FURNITURE] STREET] / N[EW-YORK]

Gift of Emil and Dolores Pascarelli, in honor of Catherine Hoover Voorsanger, 200I

b 200oo1.640a, Exquisitelyveneered furniturewith lively curvesand bold outlines characterizedthe final phase of the Neoclassical style in American furniturestartingabout I830. Popularin parlorsin Greek Revivalhouses until the late I84os, pier tables were nearlyalwaysdisplayed with tall mirrorsabove them that visually

Part of a group of eighteenth-centuryobjects that are the promised gift of Philip Holzer, this delicatesamplerhas taken pride of place as the earliestAmericanneedleworkin our collection.It is also the earliestknown example attributedto Newport. Americansamplers from the firsthalf of the eighteenth century are exceedinglyrare;this piece is ornamented with floralmotifs that evoke the Baroque style of the previouscentury. Embroidered with colorful silk threadson a wool ground, primarilyin cross-stitch,it featuresan acornand-carnationborder,threewide floralbands, and a verse.Although unfinished, the piece is inscribedat the bottom: "AnneChase Made This SamplerIn / The Thirteenth Yearof Her Age 1721." That the sampleris unfinished adds to its interest,since this teaches us about how sampler patternswere laid out and worked from top to bottom. It is not known why Anne did not finish the piece-the most likely reason is her frustrationwith the intricaciesof such fine work. She marriedTimothy Folger(1706-

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

extended the space and reflectedlight back into the room. This rareexample comes from the shop of one of the main proponents of the new Grecianplain style, Joseph Meeks (1771-I868), who ran a largemanufactory of cabinet and upholsteryfurniturewith his sons, John and Joseph W., on Broad Street from 1829 until I835.(The elder Meeks retiredin 1836and his sons and grandson continued in businessuntil I869.) In 1833the firm issued a hand-colored broadside,nearlytwo feet tall, for use in the South, where Meeks and other New York cabinetmakerssought markets.In 1943the Metropolitanacquireda nearlyperfect example of this broadside,illustratingforty-four pieces of furniture,mostly in the Grecianplain style. But it took more than half a century to acquirea fine example of the firm'swork in this style. Thanks to the persistenceof our late colleague CatherineHoover Voorsanger, who stronglyadvocatedits acquisition,and to the generosityof donors who admiredher, the wait is over. PMK

The humble four-drawerchest is perhapsthe most common form of cabinet, or case, furniture to come down to us from eighteenthcenturyAmerica. Thousands of examples exist, very few of which are objects of exceptional beauty. This new acquisition, though deceptivelyplain, is of that select company. Of its kind, it is perfect in everyway: the shapes and proportions of the parts are pleasing and in harmony;the wood is the best mahogany, carefullychosen for its bold figure;the brassesare big and bold. The condition is ideal: everypart is original and the visible surfacesretain the old finish with a warm, golden brown patina. The graceful serpentineof the front and the crisply curved bracketsof the feet reflectthe lightness and playfulnessof the Rococo, which in New England suggestsa date in the 770os or even later. In the AmericanWing, it will stand comparisonwith the great four-drawerchests from Philadelphia(straightfront with carved quartercolumns in the Chippendale style) and Newport (block front with applied MHH carved-woodshells).

Serpentine-Front Chest American(Bostonor Salem,Massachusetts), I770-80

Mahogany,whitepine, and brass H. 34

in. (87.6 cm)

Partial and Promised Gift of Charlotte Pickman Gertz, zooI 200oo1. 644

William Rush American,i756-i833 Eagle 809--II

Carvedwood,gessoedand gilded, andpainted castiron W. 68 in. (172.7cm) Purchase, Sansbury-Mills Fund, and Anthony W. and Lulu C. Wang, Mr. and Mrs. Robert G. Goelet, Annette de la Renta, and Vira Hladun-Goldmann Gifts, 2002 2002.21

Rush is recognizedtoday as one of this country'sfirstportraitsculptorsas well as a leading wood-carverand gilder in the vibrant artisan community of early-nineteenth-century Philadelphia.This monumental gilded eagle, with its fluid and energeticoutline, revealsa masterfulcommand of the medium and has an impeccablydocumented provenance. Completed between i809 and I8II, it was

commissioned by Saint John's Evangelical LutheranChurch, Philadelphia,to surmount the sounding board above the pulpit in its newly constructedbuilding. The bird's open beak contains a red-paintediron tongue,

from which a long iron chain was suspended to support the sounding board. In I847 the eaglewas removedfrom Saint John's and installedin the AssemblyRoom of IndependenceHall, where it remaineduntil I914.In its new location, nearthe LibertyBell and aboveRush'swood statueof GeorgeWashington, its symbolismchangedfrom attribute of the commissioningchurch'spatronsaint to icon of Americanpatriotismand independence. This magnificentobject is carvedin Rush's distinctive style and is just one of two eagles firmly attributedto him. It is the firstwork by this seminal artistof the earlyRepublic to enter the Metropolitan'scollection. TT

Benjamin West American, I738-I820

Maternity 1784

Red chalkon off-whitelaidpaper, mountedon off-whitelaidpaper I438 x 11/2 in. (36.4 x 29.3 cm) Signed(lowerleft):B. West I784 / Windsor Morris K. Jesup Fund, 2oo2 2002.1

The expatriateAmericanartistBenjaminWest was a prolificpainterof historicalscenes and a tirelessdraftsman,but seldom did he lavish such careon a drawingas he has here. For West, the work is also unusualfor its allegorical theme, Caritas(Charity)or MaternalLove. The brieffashionfor such subjectmatterin the late eighteenthcenturyreflectedthe writings of Jean-JacquesRousseau(17I2-1788) on the primalrole of the mother in juvenile education. West, here, appearsto elaboratea relateddrawingof a nursingmother (British Museum, London) into a fluid and dynamic X-shapedcomposition that includestwo older childrenalong with the sucklingyoungster. In this format,the image invokesthe traditional quartetof Caritasdating from the early ItalianRenaissance. The remarkabledelicacyof both contour and modeling, as well as the thin paperbearing the image,suggeststhat West made the drawing as the basisfor an engraving,though no correspondingprint is known. However, West also made drawings expresslyfor sale; he may even have executed this image as a model for his pupils at the time, the elder daughtersof England'sKing GeorgeIII, whom West served for many years as court painter. KJA

Augustus Saint-Gaudens American,I848-1907 Hiawatha ModeledI87I-72; carvedI874 Marbleon originalgraniteplinth H. (with baseandplinth) 93 in. (236.2 cm) Gift of Diane, Daniel, and Mathew Wolf, in memory of Catherine Hoover Voorsanger, 2ooi

During the late nineteenth century,Trenton was the epicenterin Americafor the manufactureof both fine and commercial-grade ceramics.The Burroughsand Mountford potterywas best known for the good-qualityhotel ware it producedin largequantitiesfor the nationalmarket.In I892, however,the firm began making more sophisticatedartpottery. This monumentalcoveredvase is one of the most ambitiousexamplesof Americanceramics known. As with many other potteries,the impetus for creatingthis and a higher class of ceramicsderivedfrom the firm'sdesirefor an impressiveshowing at the I893World's Columbian Expositionin Chicago. Said to have been executed by a Japanese artist, the vase displaysfinely worked, raised silver and gold decoration on a rich mazarine blue ground. It is a compendium of the Japanesquemotifs then in vogue with Western decorativeartists:a golden hawk, ducks, a

2001. 641

After threeyearsof academictrainingin Paris, Saint-Gaudensrelocatedto Rome in I870 and soon began modeling Hiawatha in his studio at the PalazzoBarberini.The inspiration for his full-size seated nude was drawn from Henry WadsworthLongfellow'sepic poem The Songof Hiawatha (1855),a popular wellspringof themes for Americanartists during the late nineteenth century. SaintGaudens representedthe centralprotagonist, a Chippewa chief, as a contemplativefigure seated on a rock, leaning againsta tree trunk with his quiver of arrowsand bow nearby, and "Pondering,musing in the forest / On the welfareof his people," as the excerptfrom Longfellow'spoem inscribedon the marble base declares.Saint-Gaudensvowed he would "astonishthe world"with his ambitious early piece, and, indeed, he sold the unique marble to Edwin D. Morgan, a formergovernorof New York. The sculptorworked only briefly in such a romantic but Neoclassicalmanner beforeprogressingto the fluid Beaux-Arts style of his innovative bronze monuments and bas-reliefs.

peacock, peonies, chrysanthemums,prunus, lotus blossoms, and stylized clouds. The vase recallsJapaneselacquerand Satsumawares, as well as fine porcelainsin the Japanesestyle of Minton's or Royal Worcester, then popular in the United States.A tour de force when it was made, the vasewas considered"amasterpiece of American pottery." ACF

Hiawatha,which greatlyenhances the Museum's comprehensiveSaint-Gaudens holdings, is a gift in memory of Catherine Hoover Voorsanger(1950-2001), curator in the Departmentof AmericanDecorativeArts. TT

Burroughs and Mountford (manufacturer) American(Trenton,New Jersey),i87g-ca. i901 Unknown decorator Japanese Exhibition Vase 1892

Whiteearthenwarewith mazarineblueground and raisedgold- and silver-platedpaste decoration H. (with baseand cover)39 2 in. (100.3 cm) Purchase, Mrs. Moreau D. Brown Jr. Gift, 2001

2001.63ia-d

Winslow Homer American, I836-1910

Boys in a Dory I873

Watercolor and gouacheovergraphite underdrawingon medium-roughwovepaper in. (24.8x 35.2 cm) 934 xI3is Signed(lowerleft, in blackwatercolor):Homer 1873

Bequest of Molly Flagg Knudtsen, 2ooi 2001.608.i

This charmingsheet datesfrom the first phaseof Homer's professionalwork in watercolor. Having visited a landmarkexhibition sponsoredby the AmericanSociety of Painters in Water Colors in New York,Homer spent the summer of 1873in Gloucester,Massachusetts,the picturesquefishingport on Cape Ann, north of Boston. There, he undertook a seriesof small-scalewatercolorsdepicting boys and girlsrowing dories,sitting on the wharves,involvedin modest tasks,or playing on the beach.These delightfulimagesof childhood pastimesecho in subjectand handling his oils of the same period, includingthe Museum'smuch-appreciatedSnapthe Whip (I872; acc. no. 50.41).

Homer's earlywatercolorsare simple and direct, reflectingthe innocent, idyllic nature of his subjects.They also revealhis cautious approachto the new medium, in that they featurewashesof color carefullyappliedwithin palepencil oudines and much opaquepigment. Nonetheless, Boysin a Dory, in particular, demonstratesHomer's ability to capturethe scintillatingeffects of dazzlingsunlight, rippling water, and luminous atmospherein boat-filled GloucesterHarbor. Such effects predict the brillianceof his later travelwatercolors, grand sheets that validate his prediction: "Youwill see, in the future I will live by my watercolors." HBW

MODERN

French, I875-I968

Assassinat de Madame Veuve Bol, Projection sur un plan horizontal

Claude Terrasse

French (Paris), I904

1897

Hermina, Movses, Charles and David Allen Devrishian Fund, 2ooi

Gelatinsilverprint 84 x 934 in. (2o.8 x 24.9 cm) Gilman Paper Company Collection, Purchase, The Howard Gilman Foundation Gift, 2ooi

2001.449

200i. 477

Louis Siiue

Oil on canvas 258 x 32 in. (65.7 x 8I.3 cm)

This startlingpicture belongs to an album of 172 police photographsof Pariscrime scenes and criminal mug shots recently acquired by the Museum. Although it was probably assembledby a privateinvestigatoror secretarywho worked at the Parisprefecture,the album servednot as an official recordbut as a privatescrapbookof exceptionallygruesome or notorious crimes. The photographswere not made with art in mind, yet they possess a mordant power that surpassestheir original, utilitarianfunction as evidence.Shot from abovewith a wideangle lens, this vertiginousview of a stout, middle-agedwoman lying prone on a polished wood floor radiatesa nightmarishintensity. In other pictures, the carefuldepictions of the desertedstreets,bedrooms, and bourgeois parlorswhere murderswere committed are imbued with a poignancy that recallsEugene Atget's quietly lyricalphotographsof Parisian storefrontsand empty interiors. Recordedin the deadpan style of the police report, the small,ordinarilyoverlookeddetailsof turn-ofthe-centurydomestic life take on an ominous import and a strange,unsettling beauty. MF

This is the only extant close-up portraitof the composer Claude Terrasse(1867-1923), shown here at age thirty. He made earlier cameo appearancesin the paintings of his brother-in-lawPierreBonnard-he had marriedthe latter'ssisterAndree in I89Ibut in those works his featuresand character remain elusive. Sue was a celebratedArt Deco architect and decoratorwhose careerspannedseven decades.He also painted, and in the present work he combines the intuition needed for a characterstudy with the style of the Nabis, artistswho had much influencedhim. Yet Sue also revealshis decorator'sbackgroundby giving the wildflowerpatternon the largepillow on the right such prominence.This boisterous designand that of the tobaccopouch on the table,togetherwith the sitter'sstrikingred beard,red hair,and pink face, form the only accentsof color in a composition mainly of SR sumptuousbrowns. 39

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

Christian Rohlfs German, I849-1938

Death as Juggler Ca. 1918-19

Woodcut i3 8 x I738 in. (35.2 x 44.I cm) Purchase, Reba and Dave Williams Gift, 2002 2002.170

This woodcut's black-and-whitestarkness mirrorsthat of its subjectmatter.Beforethe disempoweredroyalcouple on the right, Death jugglesthe orb, crown, and scepterhe has snatchedfrom them. By showing these once eternalsymbolsof power reducedto juggler'stoys, the artistsuggeststhe destructionof kingdoms and nations that occurredby the end of World War I. Rohlfs was alreadysixty yearsold when he began working in woodcut and linoleum cut, creatingsome 185 works between I908/9 and I926. Encounterswith both EdvardMunch and Emil Nolde persuadedhim to take up these media, which saw a great revivalin the SR earlytwentieth century.

Max Beckmann German, I884-I950

The Last Ones 1919

Lithographwith graphiteoverdrawing 34 34 x 23 '4 in. (88.3 x 59 cm)

Purchase, Jane and Robert Carroll and Eliot and Wilson Nolen Gifts, 2zoo002 2002.7

A seething mass of ten armed figuresis barricadedwithin a claustrophobicspace that might be a rooftopor a terraceat night. Words lifted from political leafletsabound: "Verbrii[derung]"(fraternization);"wirsind tot" (we are dead). This large lithographwith graphite overdrawingis a working proof for plate io in Beckmann'sfamousportfolioDie Holle(Hell) of I9I9, among his most scathing testimonies

to the turmoil that ensued immediately after World War I. The image relatesto the bloody events that Beckmannwitnessedduringhis trip to Berlin in March I9I9, when the city was in the throes of the March Revolution. Some

I,200

people

were killed.A few weeks earlier,the Socialists' SpartacusLeagueuprisinghad been suppressed and their leaders,Rosa Luxembourgand Karl 40

Liebknecht,brutallykilled. "One last battle remains to be fought" was a slogan from the group's leaflet of Januaryi, i919. This is the battle Beckmannevokes. In the final image in the portfolio, the SR artistchanged night to day.

Arshile Gorky American (b. Armenia), 1904-I948

Self-Portrait at the Age of Nine 1928

Oil on canvas I2 Y4 x 10

in. (31.1 x 26 cm)

Inscribed (on verso): Self Portrait / at the age of / 9. I913

Gift of Leon Constantiner, zooz 2002.145

Recallinghis youth in Armenia,Arshile Gorky painted this small, jewel-likepicture in New Yorkwhen he was twenty-fouryears old. Gorky may have based the likeness on a photograph,such as the one he used for two much largerself-portraitswith his mother (I926-36;

Whitney Museum of American

Art, New York, and National Galleryof Art, Washington, D.C.). More likely, however, the picture is based on Cezanne'sportraitof Louis Guillaume (1879-80;

National Gallery

of Art, Washington, D.C.), which had been

reproducedin black and white in the magazine Cahiersd'artin 1927 and which was exhibited in New York a year later. Emulating the melancholy pose of Cezanne'sfigure, as well as the white neckerchief,hairline, and facial features,Gorky pays tribute to the master who influenced his own work significantly

Jacobus Johannes Pieter Oud

in the late I920s.

2002

LMM

Dutch, I890-I963

"Giso 404 " Piano Lamp Ca. 1928

Lacqueredandpatinated brass L. of arm

I 34

in. (29.8 cm)

Purchase, Charina Foundation Inc. Gift, 2002.16

In 1927 the Dutch architectJ. J. P. Oud designed as a wedding gift for a friend a piano lamp that was subsequentlyput into production and given the name "Giso 404." Oud, together with Gerrit Rietveld and Theo van Doesburg, was a prominent member of the avant-gardeDe Stijl movement; here, he has abandoned any suggestion of conventional design. His lamp, intended to sit on top of an upright piano, is boldly cantilevered beyond the edge in order to illuminate the keyboardand sheet music below. The weight of the cylinderfloatingin space,which houses the long lightbulb, is dynamicallybalanced by a solid metal sphere.Effectivelyan abstract sculpture,the lamp strongly suggests, in its geometricform, the influenceof the Bauhaus, to which Oud had close ties. JSJ

Dame Lucie Rie British (b. Austria), 1902-1995

Bowl Ca. 1982 Porcelain H. 3 in. (7.6 cm)

Hans Coper British (b. Germany), 1920-1981 Thistle Form Ca. i96s Stoneware H. 12 in. (30.5 cm)

Hans Coper British (b. Germany), 1920-1981

Cycladic Form

enemy alien, decided to become a sculptor. To make ends meet, he began working in Rie's London studio in I946. Influencedby his older friend, he quickly came to think of himself as a potter. Rie's tightly controlled bowl is typical of her oeuvre;its appeallies in the refinedelegance of its shape and the variedrichnessof its glaze. Coper'swork, on the other hand, is characteristicallystrong and monumental; though completely sculptural,his ceramics invariablyremainvessels.The subtly complex shape of his ThistleForm contrastswith its rough yet delicatelynuanced surfacetexture. His abstractCycladicForm evokes an image from antiquity. It is quite small, but with a bold and forcefulpresence. JG

Ca. 1975 Stoneware H. iI in. (27.9 cm)

Francoise Gilot French,b. 192I

Gift of Stella Snead, 2001

Claude with a Banana II

2001.522.4,

.2, .1

The potters Hans Coper and Dame Lucie Rie were long-standing friendswhose lives and careerswere closely intertwined. Both fled their native countries as refugeesfrom Nazism; Rie arrivedin England in 1938,and Coper in 1939. After the war, Rie began to

produce domestic waresfor shops, but she soon realizedthat her more individualwork was held in higher esteem. Coper, afterbeing interned in Canadaduring the war as an

I949

Graphiteand crayononpaper 26x 20 in. (66 x 50.8 cm) Purchase, Mrs. Derald Ruttenberg Gift, 2002 2002.4

FrancoiseGilot might be best known as Picasso'sconsort (from 1943to 1953)and chroniclerof their lives together (in Life with Picassoby Gilot and Carlton Lake, i964), but she was, and still is, an accomplished

artistand printmakerin her own right. This portraitof their firstborn,Claude Picasso (b. 1947), belongs to a seriesof fourteen portraitsof Claude that Gilot createdbetween Januaryand March of 1949. In a somewhat tongue-in-cheek manner, Gilot adopts a whimsical, distorting style and line. As the artistrecentlyremembered,Picasso had been enamoredof sailors'costumessince his own childhood in the I88os. These costumes were not only outmoded by the late 1940sbut could not be found in Paris.As a compromise,and to pleasePicasso,Gilot finallyprocured,in the south of France,a child'spinaforewith an embroideredblue anchor.Here, the chubby Claude clutches a bananaand sports the hard-won sailor's SR blouse over short green pants.

Diane Arbus American,

I923-197I

Child with a Toy Hand Grenade in Central Park, N. Y.C. 1962

Gelatinsilverprint I5/2 x 51/8 in. (39.4 x 38.3 cm)

Purchase, Jennifer and Joseph Duke Gift, 2001

2001.474

Arbus, one of the most influential artistsof the last half century, foreveralteredour expectationsof portraiturewith a seriesof lacerating,matter-of-factphotographsof the normal and the marginalin American society. On a bucolic day in Central Park,the photographerand a young boy engage each 42

other like traditionalfoot soldiers, face-toface. Armed with searinggazes but relatively benign weapons (a plastic toy hand grenade and a camera),they attain a momentary,if unbearablyintense, draw. Made in I962, the year of the Cuban missile crisis, the riots over James Meredith's enrollment at the University of Mississippi, and the publication of Ken Kesey's One Flew overthe Cuckoo'sNest, the photographheralds a new era of stressand violence in the country and marksthe moment when the American dreambegan to shatterfrom within. In less than a year,John F. Kennedywould be assassinated,Martin LutherKing would be arrestedin Birmingham,and Americawould be at war in Vietnam. With exquisiteprescience, Arbus was able to graspthat explosive potential and translateit into an indelible picture about childhood tomfoolery, war, and the role of the photographerin society.

The American painter RichardDiebenkorn was ruggedlyindependent. He made his careerin California,far away from New York'sart scene. He switched from abstraction to representationin 1955, when Abstract Expressionismbecame dominant in New York. He returnedto abstractionin I967, when Pop Art made figurationagain fashionable. From that time on, until his death in 1993,he createdhis best-known work, the seriesof lyricalabstractpaintings entitled OceanPark. Diebenkorn painted this nude, one of only a handful, halfwaythrough his figurative period. The model's massivebody, with full breastsand stomach, consists of overlapping layersof luminous hues ranging from pink to plum. The starkforeshorteningof her face gives a mere suggestion of her features.The artistprovides no indication of a chair, a bed, or any other support, nor does he care for the eroticism or languid abandon often associated with the depiction of the female nude. Diebenkorn has instead replacedthe sensually physical qualitiesof the nude with purely SR painterlyones.

JLR

Richard Diebenkorn American, I922-I993

Reclining Nude-Pink

Stripe

I962

Oil on canvas 243/4 in. (78. x 62.9 cm) 303/4X Purchase, Lila Acheson Wallace Gift, zooi 2001.664

William Kentridge SouthAfrican,b. I955 Casspirs Full of Love

Joan Witek American,b. I943 The Trickster

1989-2000

I999

Drypoint

Oil stickand blackpigment on canvas s in. (I63.2 x I05.7 cm) Purchase, Gift of Hyman N. Glickstein, by exchange, 2ooi

3838 x 65 2 in. (97.5 x I66.4 cm)

Signedand numbered:(bottommargin,lower left)VII/X; (lowerright)WKentridge Purchase, Reba and Dave Williams Gift,

64 Y4x 4I

2001.204

2001 2o001.602

For the South AfricanartistWilliam Kentridge, the social and political repercussions of apartheidand its aftermathare still very much part of his worldview.As he has said, "I can't remembera stage when I was not awareof living in an unnaturalplace."Such unnaturalnessis translatedinto the images he producesfor film, puppet theater,sculpture, and, most importantly,drawingsand prints, which are simultaneouslynarrative and enigmatic, realisticand fantastic. Full of Love,an oversize Here, in Casspirs print of elongatedproportions,the composition is dominatedby a tall, rectangularform (a ladder?a coffin?)filledwith sevensevered heads.Variousmessages(forexample,"what comfortnow?"and "not a step")and graffitilike scribblingsenhancethe picture'sgrim visualwarningand add to our discomfort. Most prominentarethe words "casspirsfull of love,"which referto the armoredtanks(casspirs) used by the South Africanmilitaryto control uprisingsin the townshipsand which echo the actualradiomessagessent to soldiersin the field by theirfamilies.Using SouthAfricaas his point of departure,the artisthas createda LMM work of universalsignificance. 44

For over twenty years,the color black has been the principalfocus of Joan Witek's paintings, drawings,and prints. Following in the tradition of Velazquezand Manet, the artistemploys black not for its gloomy and depressingassociationsbut ratherfor its richnessand delicacy, as well as for its

it is at once dichotomous characteristics: and primitive, expressiveand sophisticated aloof. Witek's earliersurfaceswere entirely black, followed by more opened-up, gridded, and "stroked"compositions in which the underlyingsupport shows through. This painting, from a recent series, is densely calligraphed,expressive,and mysteriousin mood. Its overallfiligreedpattern, suggestiveof ancient motifs and glyphs, is punctuated with six squareor rectangularforms that give the work a solid, geometric structuralunderpinning. The title refersto a mythological figure, common to many cultures,who playfully changes shapes as he moves between worlds and dimensions. Here, the contrastbetween the geometricformsand the lush surrounding texture conveys this impish duality. Witek's connections to the Metropolitan Museum run deep. She visits the Museum regularlyfor solaceand artisticinspiration, headingmost frequentlyto the galleriesof Asian,African,and contemporaryartand those of Europeanpainting.She callsthe Museum and its collectionsher "religion."Beforebecoming a full-timepainter,Witek was a member of the museum'scuratorialstaff,in the Department of the Artsof Africa,Oceania,and the Americas(formerlythe Departmentof Primitive Art), from 1971 to 1978.

ALS

Anselm Kiefer German,b. I945 Let a Thousand Flowers Bloom 2000

Gouache,sand, ash, and charcoalon two tornand-pastedphotographs 50o4 x 30o4 in. (i27.6x 76.8 cm)

Inscribed(acrosstop, in charcoal):let a thousand flowers bloom Joseph H. Hazen Foundation Purchase Fund, zooI 2001.557

This work consists of two joined sheets of tinted, superimposedphotographs,with a third painted strip attachedto the bottom of the drawing.A photograph of the Chinese Communist leaderMao Zedong standing on a tall podium, his right arm raised,has been superimposedon another photograph, of a curvedwall, so that the bricks of the wall appearthroughout Mao's body and also seem to form the materialof the podium on which Mao stands.Beginningjust below Mao's hand,

This elegant suite, incorporatingphotogravureand other intaglio techniques, is in the muted tones Rauschenbergemployed in the earlyI96os for his first lithographs.The subject matter is also nostalgic. Each print contains photographicimages of the artist's relativesor old friends.These are deployed in the syncopatedgrid compositions that are characteristicof Rauschenberg'sgifts as a collagist. The workillustratedhere, 'topher (2002.114.5), has images of the artist'sson, Christopher,as a baby;of his formerwife-the artistSusan Weil-when pregnantwith Christopher;and of the artisthimself as a young man. Eagle Eyeshows images of Rome and the artistCy

Twombly, with whom Rauschenbergtraveled to Italy in I952-53. Jap contains an image of

JasperJohns, Rauschenberg'sclose colleague from the mid-I95os to the early I96os, and an American flag, a common subject for Johns. Tanyacomprisesimagesof TatyanaGrosman, who founded the print atelierUniversal Limited Art Editions, and her husband, Maurice. Ileana shows Ileana Sonnabend, one of Rauschenberg'sfirst art dealers,and her second husband. Big and Little Bullys[sic]contains multiple images of the artist'sparents. Bubba'sSistershows Rauschenberg'ssister Janet at various ages;John, the composer John Cage and his Model A Ford; and Ace, the dancer Steve Paxton. NR

a scatteringof flowerspainted in gouache driftstoward the third painted sheet along the bottom, dense with pink-orangeflowers. The inscriptionrefersto the Hundred Flowers movement initiated in I956-57 by Mao to encouragepluralismin Chinesesociety.Within months, the CommunistPartycame to believe that society was becoming too outspoken, and it then began to persecuteand purge liberal groups.This irony appealedto Kiefer. Mao's pose with outstretchedarm echoes Kiefer'sportraitsof himself from I969 and 1970, which mock Adolf Hitler's Sieg Heil posture.This drawingjoins fifty-fiveKiefer works on paperin the Museum's collection, including severalSieg Heil self-portraits, as well as a painting in which pink-orange flowersalso abound. NR

Robert Rauschenberg American,b. I925 Ruminations 2000

Set of9 intaglioprints x 66 cm) to 497ax 38 in. From1934 x 26 in. (5o0.2 (126.7 x 96.5 cm)

Eachsigned:RAUSCHENBERG 5/46 99; publisher'sseal embossed(lowerleft):ULAE Purchase, Reba and Dave Williams Gift, 2002 2002.II4.

I-.9

Thomas Struth German,b. I957 National Museum of Art, Tokyo I999

Chromogenic print 70o8 x Io09in. (I79.4 x 276.9 cm)

Purchase, Jennifer and Joseph Duke, Joyce and Robert Menschel, and Anonymous Gifts, Gift of Dr. Mortimer D. Sackler, Theresa Sackler and Family, and Fletcher and Harris Brisbane Dick Funds, 20zooI 2001-.475

Bill Viola American,b. I95I The Quintet of Remembrance 2000

on Videoinstallation;colorvideorear-projected screen in darkened room large Room(idealdimensions)I2 x I8 x 24fl. (36.6x 54.9 x 73.2 m); screen 57 x 99 in. (I44.8 x 251.5 cm)

Purchase, Lila Acheson Wallace Gift, 200zooi 2001oo. 395a-i

The firstwork of video art to enter the collection of the Departmentof ModernArt and the firstmajorvideo installationto be acquired by the Museum is by the preeminentvideo artistBill Viola, who has been workingprimarilyin this medium since the earlyI970s. Inspiredby the artist'sstudy of late medieval and earlyRenaissancepaintings and their iconography,specificallythe depiction of the Passionin Italianand Flemishpainting of the era,the work belongs to a seriesof four, createdin 2000ooo and 200ooI,in each of which a of five people undergoesa mounting grouping wave of emotional intensity. Here, threewomen and two men, seen in close-upagainsta neutralbackdrop,independently expressthe emotions of compassion, shock, grief, anger,and fear-sometimes even rapture-in extremeslow motion, without sound, using only expressionsand gestures. Their sixty-secondperformancewas filmed 46

with high-speed35mmfilm, then transferred to video and extendedto sixteenminutes and nineteen secondsof slow-motion projection. The slow motion accentuatesthe power and depth of each emotion expressed.Running continuouslyon a loop, this powerfulwork makesprovocativeconnectionsbetween the art of earlyRenaissanceEuropeand that of America. twenty-first-century

For over a decade, Struth has photographed people in museums, cathedrals,and other shrines that function as tourist meccas for the secularreligion of art. The subject of this work is one-halfof a Japanese-French exchange of treasures.The Japanesesent their prized eighth-centurybodhisattvafrom Nara to the Louvre,where it was encased in bulletproof glass and displayedin an incongruously ornateSecond Empiregallery.Struth'sphotograph shows the French contribution, also behind glass,in the hall the Japanesedesigned to exhibit it. QuintessentiallyGallic, Delacroix'sI830 painting LibertyLeadingthe Peopleis a hymn to the supreme rights of the individual, shot through with sex and high drama.The miseen-scene, however, is an uncanny reflection of late-twentieth-centuryspectacleculturespecifically,the movie theater,where the crowd passivelyabsorbsimages on a glowing screen.Yet Struth is not simply demonstrating the collision between Delacroix'scharacters, who rush forwardinto history, and those who are immobilized in the face of it; he also

discernsa respectfuldistance on the part of the Japanesetoward their visitor, an appreciation of differenceand culturalspecificitythat is a key to all of this artist'swork.

to-the-waistshirtand low-slung,hip-hugging trouserscombine the louche masculinityof a Saint Tropezplayboywith the flamboyant exhibitionismof an MTV rock star. Since the "greatmale renunciation"of the earlynineteenth century, men have tended to follow a restrictedcode of appearance,with monasticallyunderstatedfashions. But as in many of Cavalli'sdesigns, this ensemble referencesthe extravagantsumptuousnessof the seventeenthand eighteenth centuriesand the theatrical,decadent bohemianism of the I96os and 1970s. Brashyet seductive, the boldly flirtatiousensemble is assertively masculine in its ostentatiousness. Beneath Cavalli'ssexy, almost wanton silhouette, however, lies a surprisingcraftsmanship. The grandsonof a well-known Italian Impressionistpainter,GiuseppeRossi,Cavalli himself trainedat the Accademiadi Belle Arti in Florence. His painterlyorigins are particularlyevident in the ruffledtuxedo shirt with its wide, abstractbrushstrokes,while his more artisanalleanings can be seen in the python trousers,dyed and printed with psychedelic colors to "artificialize" yet exaggeratethe AB skin's naturalpatterning.

ChristianDior's New Look "Bar"jacket,and his lavishlyembroideredskirtcites the exoticism of early-twentieth-century Chineseexport shawls.Lessobviously,the skirt'sconstruction refersto similargarmentsof the I89os. Haute couture, unlike ready-to-wear, allows the client to have direct involvement in the transpositionof a design from runway to wardrobe.Here, the most notable change was the shortening of the skirt'strain. Still, a loop of silk satin remainson the underside of the hem so the wearercan drape the skirt over her wrist when dancing. Passementerie buttons down the center back releaseor control the fullness of the train. In a couture flourish, each ball button of silk cording HK is handmade.

Jean Paul Gaultier French,b. 1952 Evening Ensemble Spring/Summer 2000

Silk and silk satin with silk embroidery L.(a) (centerback)29 in. (73.8cm); 1.(b) (centerback)53 in. (I34.6cm) Gift of Mrs. William McCormick Blair Jr., 2001

2001.797.5a-d

Roberto Cavalli Italian, b. 1939 Man's Ensemble 2001 Spring/Summer Silk and snakeskin L. (a) (centerback)28'2 in. (72.4 cm); 1. (b) (sideseam)44 in. (iii. 8 cm) Gift of Roberto Cavalli, 2zoo00 2001.776.2a,b

RobertoCavallidescribeshis clothes as "rock haute couture,"an apt term for this ensemble comprisinga ruffledsilk shirtand python trousers.Infusedwith bravura,it is typicalof the high-voltageglamourthat has come to characterizehis work. Brazenlysexy, the open-

Gaultierestablishedhis "badboy" reputation in ready-to-wearand is known mostly for the corset ensemblesworn by Madonna. His collections, however, have alwaysbeen informed by other paradigmaticgarment types like the pea jacket, the trench coat, and the French mariner'ssweater.When he launchedhis couture house in 1997, Gaultierembracedmaterialsand techniques once precludedby the ready-to-wearmanufacturingprocessbut did not abandon the themes and imageryof his earlierwork. In this ensemble,Gaultiercombines high, midcenturyFrenchstylewith imagery from the FarEast. His Nehru jacketrecalls 47

AFRICA,

OCEANIA,

AND

THE

around the turn of the first millennium. The carefullycraftedpersonalworks include hunting implements as well as the human figures and half figuresthat are so frequentlyinterpreted as female. Here, the pendent breasts and distended stomach, perhapsindicating pregnancy,leave little doubt that a female is depicted. However, the characteristically slender, armlessbodies and torsos are usually without gender distinctions, raisingthe possibility that such differentiationswere made in the wrapping,or clothing, in which the figurespresumablywere enveloped. Such wrappingsdo not surviveburialin the frigid island environment,where the conditions also contribute to an alterationin the color of the ivories,which now rangefrom a rich, mellow brown to black. JJ

Duct Flute Mexico (Veracruzpeoples),7th-ioth century Ceramicwithpolychromy L. ii38 in. (29 cm) Purchase, Clara Mertens Bequest, in memory of Andre Mertens, and Purchase by subscription, by exchange, 2002

AMERICAS but the instrument is still capableof making its original sounds. JKM

Necklace Beads Colombia(Tairona),ioth-i6th century Gold H. (each) i 8 to i38 in. (2.9 to 3.5 cm) Gift of Jan Mitchell and Sons, in memory of Ellin Mitchell, zooz 2002.23I

Necklacesareknown in a wide rangeof styles, shapes,and materialsfrom many partsof the Precolumbianworld from at least the third millennium B.C.Among the Tairona,whose cultureflourishedin the Caribbeancoastal plain and the foothills of the SierraNevada de SantaMartain northernColombia, necklaces seem to have been of particularculturalimportance, since millions of finely made beads of gold, semipreciousstone, and shell have been recoveredfrom elite burials. The fifty-fourbeadsillustratedhere are hollow cast of a gold-and-copperalloy known

2002.I88

Female Figure Alaska(Old BeringSea), 2nd centuryB.c.ist century A.D.

Walrusivory H. 74 in. (18.4 cm)

Gift of Stephanie H. Bernheim, in memory of Leonard H. Bernheim, 2ooI 2001.760

Figuresof carvedwalrus ivory are found in house remains,refusedeposits, and graveson Saint LawrenceIsland, the largestisland in the Bering Sea. Saint Lawrenceis the last remnant of the land bridge between Alaska and Siberiaover which, tens of millennia ago, migrantsfrom Asia came to the Americas. It is a windy, mostly flat, treelessisland, surrounded by ice for many months of the year. In this environment, numerous elegant ivory objectswere made in the centuries

Perhapsthe greatestvarietyof musicalinstruments in PrecolumbianAmericawas found among the peoplesof the modernGulf Coast stateof Veracruz,Mexico,duringthe second half of the firstmillenniumA.D.Written finds accounts,iconography,and archaeological providea pictureof the richdiversityof musical life duringthis period.Unfortunately,many of the instrumentsperished,but some, those made of ceramic,bone, or metal,havesurvived. This clay duct flute, a recorder-likeinstrument, has five finger holes that provide the playerwith more than thirteen tones. How these tones were used is not known, but such flutes were probablyheard on both ritual and secularoccasions. The mouthpiece, unseen at the back of the cylindricaltube, directs blown air againsta sharp,whistlelikeedge that forms an opening in the rearof the tube. A hood, typical of Veracruzduct flutes, covers this aperture.The mold-made face with headdress, earplugs,and nose strapthat decorates the tube's upper portion has no tonal function. The elaboratelypainted surfaceon the front and sides of the flute includes both ancient pigments and some that are more modern. A repairappearsat the third hole,

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

as tumbagaby the lost-waxmethod, a technique favoredby Taironagoldsmithsover hammering;core materialremainsin most of the beads.The curved,pointed shapeof the beadshas been comparedto animalteeth or claws.A curious,yet little understood,feature is the projectingknob on top of each bead; these knobs may be ornamentalor, perhaps, may have had additionaldecorationssuch as colorfulfeathersor threadstied aroundthem. Abrasionson the sides of the beadssuggest that stone beads,about 1.5centimetersin diameter,were once placedbetweenthe gold ones. They could have been made of carnelian, jasper,or agate,all abundantin burials.The arrangementof the beadshere is conjectural.

Lying along an ancient trade route between the Philippines and Borneo, the Sulu Archipelago has long been a crossroadsof cultures. While its contemporarypopulation is Islamic, the archipelago'sart often representsa fusion of Islamic designs with earlierindigenous forms. Such rich multiculturalinfluences are evident in the imageryof this woman's grave marker,likely createdby the Bajaupeople. A vigorous composition of floral motifs derived from Islamic sources, it may also incorporate subtle referencesto animal forms normally prohibited under Islamic religious doctrine. The budlike elements that constitute the lower cornersprobablydepict the stylized heads of nagas, snakelikebeings that appear in the art and religion of many indigenous culturesin Island SoutheastAsia. Like Western gravestones,Bajaugrave markersindicate the resting places of the dead. They consist of two primaryelements: the kubul,a low fence surroundingthe grave, and the sunduk,an uprightelement at the center of the enclosure.The form of the sunduk reflectsthe gender of the deceased.A woman's sunduk,such as the present example, consists of a flat openwork plank, while a EK man's is cylindrical.

Woman 's Grave Marker (sunduk) Philippines(SuluArchipelago; probablyBajau people),igth-20th century Wood H. 46'2 in. (iI8 cm)

Purchase, Robert J. Holmgren and Anita Spertus Gift, in memory of Douglas Newton, and Rogers Fund, zooz 2002.14

Ancestor Figure (korwar) New Guinea (IrianJaya, CenderawasihBay), late igth-early 20th century Woodand glassbeads H. 10o4 in. (26 cm) Purchase, Fred and Rita Richman Gift and Rogers Fund, 2ooi 2001. 674

Formerlyin the collection of the Surrealist poet and theoreticianAndre Breton (I896I966), this remarkablekorwar,or ancestor figure,exemplifiesthe distinctiveapproach to the human form that promptedmany Surrealiststo seek inspirationin Oceanic art. Createdin the CenderawasihBay region of northwesternNew Guinea,korwarrepresented individualswho had recentlydied. Each served as a supernaturalcontainerinto which the spiritof the newly deceasedancestorcould be calledfor consultationor the presentation of offerings. Korwarimagerywas highly conventionalized, depicting the ancestorin a seated or standing position with the robust head and arrow-shapednose that are the hallmarks of the style. Although the sex of the figures is often difficult to determine, all were originallymale or female, depending on the

gender of the deceased.Normally kept in the house of the deceased'sfamily, korwarwere also carriedalong on dangeroussea voyages to assurea successfuloutcome. Cenderawasih canoes had korwarheads incorporatedinto their prow and stern ornaments, and miniature korwarwere carriedas amulets. The pervasivepresenceof these korwarimages protected the living and emphasized the importance of ancestors in all aspects of EK everyday life.

Two Headrests SouthAfrica or Zimbabwe (Tsongaand Shona peoples),igth-20th century Woodand elephanthair H. (.I) 4 in. (io cm); h. (.2) 5 in. (12.5 cm) Gift of Drs. James J. and Gladys W. Strain, 2ooi 2001.759.1,

The use of headrestsin southernAfrica is ancient and has been tracedas far back as the twelfth century at the archaeologicalsite of Mapungubwe, an urban center along the Limpopo River. There, evidence of gold sheeting believed to have adorned a long-

2001. 759.

disintegrated wood headrest has been recovered.While headrestswere designed to servea functional purpose-to support the head while sleeping in order to protect elaboratehairstyles-their intimate connection with their owners is such that they are also seen as preciousvehicles for communicating with an ancestralrealm. In many instances, such artifactsare buriedwith their owners along with other personalitems. The design of such works is reflectedin a rangeof regionalstyles. Shona sculptorsand their neighborsto the southeast, the Tsonga, have been creditedwith the most variedformal solutions to the carvingof the support element. The understatedgraphicsimplicity of the classicTsonga headrest(below, left) contrastswith the intricateand densely inscribedtreatmentof the verticalsupport of the Shona example.The abstractconcentric and triangularmotifs, here depicted in a rich varietyof elegant patterns,have been interpreted on a metaphysicallevel as referencesto the ancestralrealm,which is visualizedas a sacredpool as well as a woman's womb, the site of regenerativepower. AL

Seydou Keita Malian, 1921-2001 Untitled

#3I3 [Portrait,

Woman Seated

on a Chair] i956-57 (printed 2001)

Gelatinsilverprint Image 22 x I5/2 in. (55.9 x 39.4 cm)

Purchase, Joseph and Ceil Mazer Foundation Inc. Gift, zooz 2002.217

When Kefta'sportraitswere first displayedin New York in I991, they were unsigned and his identity was unknown outside of Africa. His unique style of portraitureimmediately captivatedviewers,and soon afterthe show, Keita was located in Bamako, Mali. Through interviewsand publications, details of his photographiccareeremerged, and international acclaimfollowed as he exhibited his work in museums and galleries. In I948 Keita opened a studio in Bamako, in a building near the market,the post office, a zoo, and the railwaystation. This location attractedlocal customers,those from neighboring countries, and those en route to Senegal. Keita operatedhis studio until I962, when, afterMali's independence, he was

asked to be a government photographer;he retiredin the mid-I970s. Keita startedwith a box cameraand glass plates and soon changed to film. He was meticulous about preservingand organizing his negatives, but he did not record the names of the people who waited patiently to be photographed. Thus, the name of the woman in this picture is unknown to us. Her portrait is infused with confidence in an extraordinarydisplay of personaland pictorial beauty. It is an innovative composition that is a tour de force of elegance and style. VLW

2001.759.2

ASIA

A Selection from the Eugene V. Thaw Collection of Nomadic Art of the Eurasian Steppes Clockwise, from top left Garment Ornament FromKazakhstan,6th-5th centuryB.C. Bronze H. 3 in. (7.6 cm)

Belt Plaque with Confronted Bovines FromsouthernSiberia,2nd-ist centuryB.C. Bronze H. 2 8 in. (5.4 cm)

Belt Buckle From CentralAsia, ist centuryB.C.-

Gift of Mr. and Mrs. Eugene V. Thaw, 2oo0 2002.20I. I72, . 87, . 8i, . 20

ist century A.D.

Gold, inlaid with amber,carnelian,and turquoise H. 24 in. (5.7 cm)

Belt Plaque FromnorthwesternChina, 4th centuryB.C. Tinnedbronze H.2'12in. (6.4cm)

With a total of i66 items, the Eugene V. Thaw Collection of Nomadic Art constitutes one of the largestassemblagesof its kind in the West. Impressivelydiverse,these objects rangefrom weapons and helmets to horse trappings,chariot fittings, garmenthooks, personalornaments,and musical-instrument accessories.While most aremade of bronzeor

gilded bronze,about a dozen piecesareof gold or silver,inlaidwith semipreciousstones. Characterizedby bold design and skilled workmanship,these works representthe dynamic art createdby the horsemen who roamedthe Eurasiansteppes.The bulk of the collection consistsof artifactsfrom the northern bordersof China. They add significantly to the Museum's existing holdings of related materialsand will form the core of a future collection that will be expanded to include nomadic art from acrossthe entire region of the Eurasiansteppes. zjs

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

Large Cup with Ring Handle EasternCentralAsian or northwesternChinese, period of Tibetanrule, 8th-9th century Parcel-giltsilver Diam. 6 in. (I5.2 cm) Purchase, Pat and John Rosenwald and The Dillon Fund Gifts, and Rogers and Louis V. Bell Funds, 2ooi 200. 628

Stem Cup EasternCentralAsian or northwesternChinese, period of Tibetanrule, late 7th-8th century Goldwith repoussedecoration H. 3 2in. (8.9 cm) Purchase, oo00 Benefit Fund, zooz 2002.19

This elegant gold stem cup displaysan intriguingblend of Chinese techniques and imageswith those from other traditions.The bell-shapedgoblet, slenderstem, and flaring foot derive from contemporaryChinese works, as does the lush, matlike surfacecomposed of small rings in the background,as well as the use of a thin sheet of gold to line the interior. Pearlbordersdefine the rim and foot, which is decoratedwith four small ibexes. The twelve animals of the Chinese zodiac (rat, ox, tiger, hare, dragon, snake, horse, sheep, monkey, cock, dog, and boar), each placed in its own rectangle,decoratethe

grapevinesdecoratingthe cup parallelmetalwork from sites in northwesternChina, such as Dulan in Qinghai Province,produced under Tibetan rule from the mid-seventh to the mid-ninth century.The design shows a keen understandingof Chinese aesthetics, and the livelinessand openness of the decoration suggest that this rarecup may represent an initial phase in the development of early

Tibetanmetalwork.

This largecup is a strikingexampleof the metalworkproducedin the easternregionsof CentralAsia and northwesternChina under the aegisof the powerfulTibetan empirefrom the mid-seventhto the mid-ninth century. Chinesesourcesrecordthe extensiveand extravagantproductionof gold and silverin the regionat the time. The specificidentification of this material,however,has occurredonly recently;it is basedon archaeologicalexcavations in China and on the handfulof pieces with inscriptionsin an earlyTibetan script. Heavily castwith roundedsides, the cup sits on a flaredfoot. A cloud-shapedthumbpiece, decoratedwith a leapinglion, caps the ring handle. The exterior,which has a beaded rim, is coveredwith entwined and tied floral scrollsfilledwith leafy tendrils.Such scrollsare one of the defining decorativefeaturesof silver vesselsattributedto the period of Tibetan domination of easternCentralAsia (presentday XinjiangUygur Autonomous Region). A markthat can be readas the Tibetan syllable ka is incisedinto the undecoratedinterior.Cups of this shapehave been used since ancient times by nomads drinkingkoumiss (fermented mare'smilk) and other beverages. DPL

DPL

upper edge. Sinewy dragonswith pronounced snouts, set in medallions createdby intertwining grapevines,fill the body of the goblet. The prowling poses of the dragonsreflectlongstanding nomadic imagery.The entwined 53

Vase Chinese,Songdynasty(960-1279) Stonewarewith brownishblackglaze H.

I5y4

in. (38.7 cm)

Bequest of Mr. and Mrs. Myron S. Falk Jr., 2ooo 2001.361.1

The many popular ceramicsthat were manufacturedin northern China during the Song dynasty are generallycataloguedunder the all-encompassingname "Cizhou."Almost synonymous with Cizhou (Tz'u Chou) is the robustornamentationwith which these stonewareswere decorated.This large,heavily potted vase is a particularlydramaticexample of a categoryof these ceramicswith very dark, high-firedglazes. A bold, abstractdesign has been carved deeply into the body of this vase, afterwhich the entire piece was coveredwith the thick, brownish black glaze. Details of the chevrons and ovalswere then incised throughthe glaze to the underlying,lighter-coloredbuff body, thus emphasizingthe design. This simultaneous use of two decorativetechniques,carving under and incising throughthe glaze,which is somewhatunusual,has producedexceptionally effectiveresults. The name meiping(plum blossom vase) is frequentlygiven to the distinctive shape seen in this tall examplewith its smallmouth, short neck, wide shoulders,and gracefully taperingsides, which suggest that it was intended to hold a branchof floweringplum. However,it is generallyagreedthat meiping vessels could equallywell have been meant to store liquids.

SGV

Box Chinese,Ming dynasty(i368-i644),

Yongle

period (1403-24) Lacqueron woodwith incisedand gilded decoration(qiangjin) L. i6 in. (40.6 cm) Purchase, Sir Joseph Hotung and The Vincent Astor Foundation Gifts, 2oo0 200I.584a-c The imperialworkshopsin the reign of the Yongle emperor (1403-24) produced some of the finest works of decorativeart in Chinese history. The objects of metal, porcelain, silk, and lacquerwere used in the palace and for diplomatic gifts. Becauseof the elaborate, exactingwork involved in its production, lacquerwarewas highly valued, and, because of their fragility,few lacquerobjects from this period have survived. This box, decoratedwith five-claweddragons, must have been producedfor the imperial household. It is in an excellentstate of preservation, with the gilding of the incised pattern intact and the originallock plate of iron with gold damascenedecorationin place. The box comes with a lock and key of gilded bronze engravedwith lotus flowersthat may well be of the same period as the box. JCYW Octagonal Dish with Scenes of Children at Play Chinese,Songdynasty(960-I279), i3th century decoration Parcel-giltsilverwith repousse' Diam. 6/4 in. (I5.9 cm) Purchase, Florence and Herbert Irving Gift, in honor of Brooke Astor's onehundredth birthday, 2oo2

ground is seen the earlydevelopment of certain standardfeaturesof later Chinese gardens, such as the clusterof leafy plants with rocks and the balustradeenclosing a lotus pond. A delicate diaperpattern enhances the rim of the plate. JCYw

2002. 80

The style and workmanshipof this dish are typical of the metalworkproduced in the prosperouscities of southern China in the SouthernSong period (1127-I279). The theme of children at play, expressive of a wish both for children and for the pleasure they bring, is a ubiquitous motif in Chinese decorativeartsfrom as earlyas the tenth century. Some of the individualgroupings, such as the two boys on the left-one riding a hobbyhorse,the other holding a lotus leaf over his companion like a parasolcontinued to appear in works ot art until the

........I

;

seventeenthcentury. In the garden'sback-

: 'i , !r~~ , dSino-Spanish,

F I `ri iMadonna i8th century Woodwithpigment,gilding, ivory,and silver in. H. i42 (3j66.

8cm)

Purchase, Friends of Asian Art and Mrs. Charles W. Engelhard Gifts, in honor of Brooke Astor's one-hundredth birthday,

....

2002 2002.I33a,

'Chinese _1 7,17iBiiE.hiB

Aftertheirarrivalin the Philippinesin the I6os, the Spanishbeganto commissionivory and wood carvingsof Christianimagesfrom craftsmenin Zhangzhou,a city on the coast acrossthe South China Sea from Fujian Manila.Later,Chinese craftsmenalsoworked in the Philippines. This figure of the Virgin, carvedin wood with face and hands of ivory and a silverhalo, dates from the eighteenth century and is a relativelylate example of this kind of work.

Bowl Chinese,Ming dynasty(r368- 644), Jiajing period (1522 66)

Porcelainwith underglazebluedecoration Diam. 12 4 in. (3r.I cm) 001 Gift of Denise and Andrew Saul, 2OOI

2001.738

This largeporcelainbowl is decoratedin a vibrantunderglazeblue that is characteristic of the second half of the sixteenth century. The scene of children at play, a universal theme in all the decorativearts of China since the tenth century (see the octagonal dish on p. 55),was particularlypopular at this time. The depiction of children in various posturesthat was achieved by mixing and matching severalstandardversionsof heads, bodies, and legs is a featureof the massproduction techniques developed at the pottery works at Jingdezhenfor manufacturing export porcelain.However, this bowl was certainlymade for the domestic market.It carriesa six-characterreign markof Jiajing within a double ring on the base. JCYW

T?_

The image remainsfaithful in most respects to the Spanish model, but the Virgin sits on a rock in the manner of the Chinese goddess Guanyin. The decorationon her robe is a combination of Western and Chinese patterns. On the unfinished and unpainted base of the sculptureis a Chinese inscriptionwritten in ink with a brush that instructsthe decoratoras to the colors to be used for the variouspatterns. JCYW Unidentified artist Chinese,activeearlyi8th century Emperor Guan Qing dynasty (1644 -19I), (1662-I722), ca. 700o

Kangxi period

Hangingscroll;ink, color,and gold on silk 688 x 36/2 in. (17 x 92.6 cm)

Purchase, The B. Y. Lam Fund and Friends of Asian Art Gifts, in honor of Douglas Dillon, zooi 2001.442 Guan Yu (d. A.D. 219), a warrior of the late Han dynasty (206 B.C.-A.D. 220) renowned

for his valor and faithfulness,was laterveneratedas a saint in the Daoist pantheon. Elevatedto the rankof emperor(di) by the Wanli emperor (r. 1573-I620)

of the Ming

dynasty (1368-I644), Guandi, as he was thenceforthknown, servedas a virtualpatron saintof the Manchu rulersof the ensuingQing dynasty,who erected numerous shrinesin his honor throughout China. In this image, EmperorGuan is shown descending from the heavenswith two attendants.He is identified by an inscriptionwritten in gold in the upper right:"Overseerof the Gate, Sage-Emperor Lord Guan." The painting, which comes from a set of religiousimages used in the "waterand land" ritual-a Buddhist ceremony conducted for the salvationof "allthe souls on land and sea"-is distinguishedby its high level of craftsmanship,intricatedetail, and lavish use of preciousmineralpigments. An inscription at the lower right, "Respectfullycommissioned by the imperialprince Zhuang," atteststo the fact that the painting was the product of the imperialworkshop.Judging from the style, it was probablycommissioned by the firstholder of that title, the powerful Manchu prince Boggodo (I650-I723), whose grandfather Abahai (I592-I643) was the Qing dynasty's founder.

MKH

This work is Soyu's only known figure painting.The dramaticwave treatmentand jagged,nervousdraperyfolds indicatethat it may belong to Soyu's earlyperiod,beforehe becameacquaintedwith the more sophisticated Kanopaintingthat influencedhis landscapes.

Bamen Tomotsugu Japanese,activei8th century Armor of the Gusoku Type Edoperiod (1615-1868), i8th century Lacquerediron and leather,shakudo,silver, silk, horsehair,and ivory H. (as mounted)85/8 in. (148.8cm) Gift of Etsuko 0. Morris and John H. Morris Jr., in memory of Dr. Frederick M. Pederson, zooI 2001. 642

Maejima Soyu Japanese, Muromachi period (1392-1573),

i6th century Chinese Warrior Zhang Qian Crossing the Yellow River Hangingscroll;ink onpaper 20o

x I3 8 in. (5i. 6x 34.7 cm)

Purchase, Mary Livingston Griggs and Mary Griggs Burke Foundation Gift, zooz 2002.3

The legendaryHan-dynastyexplorerZhang Qian is engaged in an unlikely endeavorwhite-waterrafting.As immortalizedin a Yuan-dynastypoem, he rode a log raft in his attempt to discoverthe source of the Yellow River;instead, he found himself afloat in the Milky Way. The darkstrokesthat delineate the bamboo disturbedby the water heighten the sense of turbulence,and the pale ink wash on the raft evokes the plasticityand buoyancy that kept the hero afloat.The subject, seldom representedin Japanesepainting, was most likely inspiredby a Chinese model. The scrollbearstwo sealsreading"Maejima" and "Soyu."Details of this painter'slife are not known, but works bearingthe same seals have been discoveredthat help to identify Soyu as one of the few artistsfrom eastern Japan (Kanto), then consideredculturally backward.Some of his paintings have been erroneouslyattributedto leadingKano School members,suggestingthat Soyu studied with a Kano masterin Kyoto. 58

The term gusoku,or toseigusoku,describesa complete set of armor of a particularform as used in Japanfrom the sixteenth to the nineteenth century.This gusoku,a superbexample of the armorer'sart in Japan, is remarkable for its very high quality and for retainingall of its matching elements in an exceptional state of preservation. The helmet bowl of eighty-four ridged plates is signed on the inside: Eichizenno kuni ToyoharajuiBamen Tomotsugusaku ("madeby BamenTomotsugu living in Eichizen province,Toyoharavillage").Tomotsugu was the leading armorerof the Bamen School in the eighteenth century. The iridescent black surfacesseen on the torso defense and other parts of the metal fittings were achieved by gindami-nuri(silverpowder mixed with lacquer),a materialand technique rarely

found on armor.The silk lacing on the skirt, in white, orange, green, and blue, is distinctive;the Museum'sexampleis the only known Japanesearmorwith this color scheme.The mon (heraldicinsignia) in the form of three whirling commas is that of the Okabe, feudal lords of Kishiwada(present-dayKishiwada MO City, Osaka Prefecture).

Piece from a Noh Costume Japanese,Edoperiod (16i5-1868), 2nd halfof i8th-ist halfofigth century Embroideredsilk satin H. 39 in. (99.i cm)

Purchase, Roy R. and Marie S. Neuberger Foundation Inc. and several members of The Chairman's Council Gifts, 200oo Benefit Fund, and funds from various donors, 200ooi 200I.428.36

An egret stands on the sinuous trunk of a willow tree above the watersthat surge below. Egrets,grouped with herons under the Japaneseterm sagi,occurless often in Japanese decorativeartsthan their ubiquitous cousins the cranes.In Japaneseliterature,egretsfigure in an episode in the medieval Taleof the Heike,which inspireda Noh play called Sagi. In this fable, set during an imperialouting in a garden,the emperortold one of his ministers to call a nearbysagi.At first it flew off, but upon hearingthe minister summon it by imperialcommand, the egret returned,bowing before the emperor,who conferredupon both bird and minister the honor of the Fifth Rank. The sagi'scelebratorydance is the focal point of the play. The associationof these birds with Noh theatermay account for the comparativefrequencyof Noh costumes patternedwith sagi.This textile probably came from such a costume. The embroideryof the egretcomes to life when reflectingthe light. Smoothlyparallel horizontalstrandsof white silk anchoredwith shorterdetailstitchesconstitutethe body, while the wings arerenderedwith long satin stitchesthat follow the directionof the feathers.

unchanged. Composed of an upper capelike garment called a katinguand a pair of full, pleated pants called a hakama,the ensemble was worn over an unadornedkimono. The formidablywide shoulderswere stiffened with paper and whalebone to sustain their warrior-likeproportions.The family crest, or kamon,a customaryidentifieron Japanese formalwear, appearshere on the shoulders and back of the katinguin the form of the trifoliate leaf of the katabami,or yellow wood sorrel,a common wildflower in Japan. Fine kamishimowere prized for their intricately patternedtextiles, which were skillfully resist-dyedwith the use of hand-cut paper stencils. The designs, called komon,were typicallyorganicor geometricand were composed of minute dots. The Costume Institute's example has a very fine diamond pattern. The various komonwere thought to have spiritual significanceand were chosen by samuraias the symbol for some desiredpersonalquality or physical attributethat could be drawn upon for inspirationor protection. ABB

Kamishimo Japanese,early20th century Resist-dyedcotton,paper,and whalebone L. (a) (centerback)27 in. (68.6 cm); 1. (b) (center back) 358

in. (90.1 cm)

Gift of Kimono House,

200oo2

2002.280a, b

The kamishimowas once the recognizeduniform of Japan'ssamuraiclass.By the early twentiethcentury,however,the traditionof the kamishimoas officialwearhad all but disappeared,and it was relegatedexclusivelyto the performingartsand ceremonialoccasions. For centuries,its design has remainedlargely 59

bestow boons on a group of adorants.An elaboratehalo behind her upper body is surmounted by an umbrella,a sign of royalty. The red backgroundof the lower section emphasizesthe ecstatic nature of the event, while the upper section is filled with a swirlingvegetativemotif. The image and another from the manuscriptthat featuresa bodhisattvain a similarattitude are the earliest survivingdepictions of this subject,which was known only from a fifteenth-century Nepalese painting. SMK

Bowl with Inlaid and Stamped Design Korean, Choson dynasty (1392-9oO),

2nd half

of ith century Stonewarewith punch'ong glaze Diam. 7/2 in. (19.2 cm)

Purchase, The Vincent Astor Foundation Gift,

200oo

2002.132

This bowl, of robust form and decoration, is a fine example of earlypunch ong ware, a type of pottery developed in the fifteenth century that is uniquely Korean.The decoration, under a light green transparentglaze, consists of carvedand stamped designs filled with white slip. The treatmentof the boldly rendered peony scroll is typical of the fifteenthcentury style in Koreanart. The pattern of concentric bands of tiny chrysanthemum leavesin the center of the bowl was stamped in the clay and inlaid.

one is part of a recentlyacquiredgroup of thirty-ninepages that are a majoraddition to our holdings of Indian art. These miniatures are distinguishedby their superbcondition, brilliant,saturatedcolor, exquisitedraftsmanship, and, in some instancessuch as this, unusual composition. Severalcharacteristics, such as the portrayalof deities within shrines and the use of stylized mountain staves,indicate that the manuscriptwas most likely produced in the formerstate of Bengal. The coloristic sensibilityof these illuminations is close to that of earlyTibetan thankas,which were probablyinspiredby paintings from that region. This miniatureshows a voluptuous Tara, attended by two goddesses,bending down to

JCYW

Tara, the Buddhist Savioress, Dispensing Boons (page from a dispersed Prajnaparamita manuscript) Indian (WestBengal)or Bangladeshi,earlyi2th century Opaquewatercoloronpalm leaf Page 2 4 x I6Y2 in. (7 x 41.9 cm)

Purchase, Lila Acheson Wallace Gift, zoo00 2001.445i

Although small in scale, palm-leafmanuscript illuminations are among the most significant paintings survivingfrom medieval India. This 60

Detail

Maharana Amar Singh II ofMewar Riding a Horse Indian (Rajasthan,Mewar), ca. 1700-1710 Ink and opaquewatercoloronpaper I4 34 x 24 in. 37.5 x 31. cm) Cynthia Hazen Polsky and Leon B. Polsky Fund, zooz 2002.177

This drawingadds to our strongholdings of art from the reign of MaharanaAmar Singh II, a pivotalperiod in Mewarpainting. During that time, techniques,genres,and stylesinfluenced by those of the Mughal court began to be adopted by some of the premierartistsof the Mewaratelier.Severalof them, including the masterwho createdthis work, eschewed the characteristiccolorful, patternedpaintings of traditionalHindu themes and instead createdmore realisticallyobservedcolored drawingsthat celebratedthe worldly activities

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Posthumous Portrait of a Queen as Parvati Indonesian(Java),EasternJavaneseperiod, Majapahitkingdom,i4th century Andesite H. 8o in. (203.2 cm) Purchase, zooo Benefit Fund, zooi 2001.407

Kings and queens were believed to have a divine origin as the human incarnationsof gods on earth. It was thought that at death they were reunitedwith the deities from whom they derived. Posthumous commemorativeroyal portraitssuch as this one celebrate this moment, coinciding with death, when the temporal ruleris reintegratedwith the original deity. In this case, an as-yetunidentified historicalqueen is depicted with an austereand regalexpression-an intensely focused look of absolute power-as she is united with, but also transformedinto, the great Hindu goddess Parvati,the consort of Shiva. She stands on Shiva'svehicle, the bull Nandi, and is flanked by her two children: Ganesha, the potbellied, elephant-headedgod who controls obstaclesin life, is represented standing in an unusual yogic pose; Karttikeya, the god of war and generalof the army of the gods, is shown seated. As befits a queen-goddess, the figure is sumptuously adornedwith elaboratejewelry, some approximateexamplesof which may be found in the Museum's extensive collection of Javanesegold jewelry. ML

Donors of Gifts of Worksof Art or of FundsforAcquisitionof Worksof Art July I, 2ooI-June 30, 200oo2 Aliass.p.a. HarriettAmes CharitableTrust StevenAmes DeannaAnderson Mr. and Mrs.WalterH. Annenberg The ApplemanFoundation,Inc. PierreApraxine PlacidoArango Mrs.VincentAstor RonaldR. Atkins M. Augusta GeorgeW. Bahlke MaryEllenBall Lou Barlow BruceBarnes SarettaBarnet GeorgeB. Barnhill Anne H. Bass GertrudeB. Bass Mr. and Mrs. Sid R. Bass Stephenand PatriciaBeckwith GeoffreyBeene Mr. and Mrs. RobertA. Belfer JeffreyL. Berenson Mr. and Mrs. GustavA. Berger Ruth C. Bermant StephanieH. Bernheim RaphaelandJaneBernstein JaneWhitbreadBeyer PattiCadbyBirch Mrs. GeorgeP. BissellJr. Mr. and Mrs. Leon D. Black Nelson Blitz JamesA. and BarbaraH. Block Anne andJeanBonna Dean K. Boorman Dr. and Mrs. Dietrichvon Bothmer HamishBowles Diane CarolBrandt Dr. and Mrs. GoodwinM. Breinin BarbaraB. Brickman Cynthiaand StevenBrill Mr. and Mrs. KevinR. Brine TorstenBrohan Mr. and Mrs.John S. Brown Mr. and Mrs.JamesE. Burke WalterBurke RobertS. Burton JaneHays Butler,PaulD. Schurgot Foundation Cappellinis.p.a Janeand RobertCarroll ConstanceB. Cartwright RobertoCavalli Mr. and Mrs. RichardL. ChiltonJr. Evaand MichaelChow

GarthClarkand MarkDel Vecchio Louis& VirginiaClemente Foundation,Inc. ElaineLustigCohen JonathanL. Cohen Josephand BarbaraCohen MarianandJamesH. Cohen Stevenand AlexandraCohen Comme des Garcons Leon Constantiner John A. and MargaretH. Cook Fund, Inc. CosmopolitanClub CharlesCowles Mrs.Jan Cowles HerbertandJeanineCoyne Foundation,Inc. Bequestof JoanneToor Cummings Mrs. McCulloughDarlington Mr. and Mrs.Michel David-Weill Doris R. Davis Anne P. ReedDean Jamesand HarrietH. Delihas Liz DeschenesandAndrewKreps Gallery Barbaralee Diamonstein-Spielvogel DidierAaronInc. Charlesand ValerieDiker The Dillon Fund The Dobson FoundationInc. Mr. and Mrs. ShinichiDoi WilliamW. Donnell JamesDavid Draper Dublin Fund Inc. Alice LeviDuncan Diane C. Dunne The Durst Organization JamesDyson The Eilenberg-RosenPartnership ArthurH. Elkind,M.D. Elwesand HanhamLtd. The CharlesEngelhardFoundation Mrs. RichardEttinghausen Bob EvansDesigns HeatherN. and BurtonP. Fabricand EverettFahy Robertand BobbieFalkPhilanthropic Fund Mr. RichardL. Feigen Mr. and Mrs. StuartP. Feld JosephS. Fichera Toma Fichter The Fifth FloorFoundation Helen CostantinoFioratti Mrs. LawrenceA. Fleischman Bequestof ErnestL. Folk

Crosbyand GraceForbes Nancy Ford Clay FowlerandJacquelineLoewe Fowler Barbaraand HowardFox GrayFoy FranklinIndustries,Inc. PeterH. B. Frelinghuysen The FriedFoundation MarvinRossFriedman StephenA. Geiger CharlottePickmanGertz Monah andAlan Gettner The HonorableSir David Gibbonsand LadyGibbons Mr. and Mrs. S. ParkerGilbert Bequestof ThelmaWilliamsGill PaulaBrownGlick RobertGober Mr. and Mrs. RobertG. Goelet HoraceW. GoldsmithFoundation Bequestof HarmonGoldstone John StuartGordon JamesGrafstein Mme RobertGras Susanand EdwardGreenberg ElizabethE. Greenberg MaxwellGreenwood MaryLivingstonGriggsand Mary GriggsBurkeFoundation ChristopherC. Grisantiand SuzanneP. Fawbush Mr. and Mrs. MartinGruss Jeff Guerrier C. Z. Guest GiorgioGuidotti Gulton Foundation,Inc. CharlesHack andAngellaHearn TiTi Halle DavidA. Hanks StephenHannock John L. and Donna Hardiman MaryJaneHarris J. WilliamHeath GeorgeHecksher SandraI. van Heerden Mrs. HenryJ. Heinz II BernhardHeitmann Molly and David Helfet MaryWheelerHeller The HenfieldFoundation KatrinHenkel JudithHernstadt ArielHerrmann Mr. and Mrs. FrederickD. Hill Hill-Stone,Inc.

Neil C. S. Hirsch ViraHladun-Goldmann MaryTavenerHolmes Anita E. Spertusand RobertJ. Holmgren Dr. LauraG. Holt MarcG. Holzer Philip Holzer StuartJ. Holzer Ann H. Hoover RaymondJ. Horowitz SirJosephHotung Mr. and Mrs.JamesR. Houghton HerbertG. Houze Mr. and Mrs.John K. Howat The ChristianHumann Foundation Mrs. ClaudHuston Mr. and Mrs. HerbertIrving CharlesIsaacsand CarolNigro The IsaacsonDraperFoundation Mr. and Mrs. HowardIserman Mr. and Mrs.YukikazuIwasa Maryand MichaelJaharis MarianB. Javits ThomasJayneStudio,Inc. AlexanderB. V. Johnsonand RobertaJ. M. Olson J. StewartJohnson Reid P. Johnson Anne K. Jones KennethF. KahnandArthurJ. Margolin YoshioKakishima MartinKamer RonaldS. Kane SubhashKapoor WilliamW. Karatz HerbertKasper MurielMcBrienKauffmanFoundation ProfessorDonald Keene Nanette B. Kelekian Mr. and Mrs. StephenM. Kellen RobertK. and MargaretD. Keller Kid Creoleand the Coconuts Mrs.JosephH. King CharlesKleibacker Ruth& SeymourKleinFoundationInc. WalterC. Kleinand VirgiliaPancoast Klein The WalterC. KleinFoundation,Inc. Bequestof Molly FlaggKnudtsen Mr. and Mrs. David H. Koch HaroldKodaandAlan Kornberg Mr. and Mrs. HenryR. Kravis FredKrimendahland EmiliaSaintArmand

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IsaacLagnado KennethS. Lam LeonardA. Lauder Thomas H. Lee and Ann Tenenbaum Lee Gersonand JudithLeiberFoundation Sallyand HowardLepow Bequestof JaniceH. Levin Leon Levyand ShelbyWhite MireilleLevy EmmaandJayLewis Bequestof KatherineLewis Mrs. MichaelLewis Maryde Liagre Bequestof Ellen L. Lichtenstein William S. Lieberman GeorgeL. Lindemann Rosemarieand LeightonLonghi BarbaraI. Louis MaryLublinFine Arts,Inc. DelaneyH. and WalterB. Lundberg AdelleLutz CarolandJohn Lyden Mr. and Mrs. RobertI. MacDonald MalcolmF. MacLeanIV LindaMacNeil SandyA. Mactaggart WilliamMagazine ElizabethA. Maher Familyof MaryManning Rosemary,Reinaand MichaelMarino Mrs. FritsMarkus O'HaraMars A. B. Martin The Page& Otto Marx,Jr.Foundation Inge Maser PhyllisDearbornMassar MatthewMarksandJeffreyPeabody AndresA. Mata Barbaraand SorellMathes BernadetteMeignin JoyceF. and RobertB. Menschel Richardand RonayMenschel CarolR. Meyer MarleneNathan MeyersonFamily Foundation CarolineRennoldsMilbank Molly Milbank MatthewMiller Lee P. Miller Mrs. SeymourMilstein RalphD. Minasian HerbertMitchell Jan Mitchelland Sons AdrianaMnuchin MobiliaGallery

KathleenM. Mogul KatherinePriceMondadori ClareFahnestockMoorhead AbelardoMorell TeresaMorrone EtsukoO. MorrisandJohn H. Morris,Jr. Bequestof Ugo Mulas Patriciavon Musulin BessMyerson Mr. and Mrs. MerlinNelson Roy R. Neuberger MurielKallisNewman Nike, Inc. Eliot C. and Wilson Nolen JudithNoselson OakleyInc. Todd OldhamStudio PavelOpocensky Lisaand WilliamO'Reilly Janiceand RogerOresman FrederickW. Oster Ms. Ellen Palevsky David Scott Parker Bequestof JamesParker Emil and DoloresPascarelli LindaPastorino-Coad FrancoiseandAlain Paviot DeborahS. Pease Mr. RomanoI. Peluso Mr. and Mrs. RobertM. Pennoyer RobertaPeters Mrs. Milton Petrie MichaelPhillipsandJulianaMaio Mrs. DeirdrePirie Mrs. Ruth E. Pirtle Plan Data Management,Inc. FaithPleasanton Mr. and Mrs. Bo Polk The Honorableand Mrs. Leon B. Polsky MaryJanePool Mr. and Mrs. David Preston Mrs. LewisT. Preston Mr. and Mrs. CharlesPrice The PromarRealtyCorp. LabellePrussin AlessandraRagionieri RamacCorp. CathaGraceRambusch Dieter Rams Dr. and Mrs. BarryS. Rand Donna I. Regenstreif,Ph.D. JosephG. Reinis Mr. and Mrs. Oscarde la Renta MarchRiboud

Mr. and Mrs. FrankE. Richardson Fredand RitaRichman John G. Rombola JeannetteandJonathanP. Rosen Mr. Allen Rosenbaum Mrs.AlexandreRosenberg RobertRosenkranz BarbaraS. Rosenthaland KennethW. Juster Nan Rosenthal Mr. and Mrs. E. John RosenwaldJr. Mr. and Mrs.Jon W. Rotenstreich The RoyalOak Foundation,Inc. William Rubel Nathan Rubin-IdaLaddFamily Foundation MarianneT. Ruggeri PeterA. Russ Mr. and Mrs. DeraldH. Ruttenberg Galleries Salander-O'Reilly ChristianG. Salibello Denise and AndrewSaul Don Sayres ScherChemicals,Inc. Mr. and Mrs. David T. Schiff Dr. and Mrs. MichaelSchlossberg Donna Schneier Ina Schnell Graceand AndrewSchoelkopf JoanArdenSchorsch The SchultzFoundation,Inc. The SchwarzGallery Estateof Meta CecileSchwarz Bequestof Ethel RednerScull SeanScully SusanSeidel CedricDavid Shaner Eugeniaand CharlesShannon Hermanand LilaShickman BarbaraShire Shirleyof Hollywood Mr. and Mrs. StanleyS. Shuman AlanN. Sidnam RichardSlusarczyk CynthiaI. Smith StellaSnead Holly Solomon JudithSommerTrust JeffreyB. Soref MuraSperling Ruth Stanton MarciaD. Starr Mr. and Mrs.J. Rich Steers Leo Steinberg MichaelandJudy Steinhardt Alice Stern

JudithUnderwoodStewart Mrs.WilliamStorke Daniel Storto Drs. Jamesand GladysStrain David E. Stutzman SVM Foundation Jill Swid Robin Symes ArnoldandJoanneSyrop Mr. and Mrs. StanleyTananbaum Mrs.Vicki LeedsTananbaum GilbertTauber David Teiger Mr. and Mrs. EugeneV. Thaw Mr. and Mrs. David M. Tobey Mr. CharlesC. Townsend,Jr. FrankAndersonTrapp LevTsitrin The UniversityPlaceFoundationInc. SalleWernerVaughn Mrs.AlexanderO. Vietor John C. Waddell LesterE. Waddington,P.E. MaryJ. Wallach AnthonyW. and LuluC. Wang C. C. Wang MonroeWarshaw Nancy Sue Washer Guy A. and Marie-HeleneWeill LianaWeindling The Isakand RoseWeinman Foundation,Inc. EdwinL. Weisl,Jr. WerwaissFamilyCharitableTrust RobertWesterlundand LouisJ. Guerrera Mr. and Mrs. MalcolmH. Wiener Barrieand Deedee Wigmore Mr. and Mrs. Guy Wildenstein ThomasWilliams MargaretPaceWillson Daniel Wolf Diane Wolf Mr. and Mrs. ErvingWolf MathewWolf JudithH. Wolff Georgeand ElizabethWoodman EliseH. Wright Mrs. CharlesWrightsman Lesterand SuzanneWunderman Mrs.JudithG. Wyman David and ConstanceYates Zanottas.p.a. EvaZeisel Dr. and Mrs.JeromeZwanger Anonymous(in)

STATEMENT

OF OWNERSHIP,

MANAGEMENT,

AND

CIRCULATION

Publication title: THE METROPOLITAN MUSEUM OF ART BULLETIN

Publicationno:885-660 Date offiling: October I, 2002

Quarterly Issuefrequency: No. of issuespublishedannually:Four Annualsubscription price:$25.00, or freeto MuseumMembers FifthAvenue,New York,N.Y. I0028-0198 mailingaddressof knownofficeofpublication:IOOO Complete orgeneralbusinessofficeofpublisher: Complete mailingaddressof headquarters FifthAvenue,New York,N.Y. 10028-0198 IOOO Fullnamesand addresses ofpublisher,editor,and managingeditor: The MetropolitanMuseumof Art, Iooo FifthAvenue,New York,N.Y. I0028-oi98 Publisher: Editor:JoanHolt, IOOO FifthAvenue,New York,N.Y. I0028-oi98 ManagingEditor:None Owner:The MetropolitanMuseumof Art, Iooo FifthAvenue,New York,N.Y. 10028-OI98 Knownbondholders, and othersecurityholdersowningor holdingonepercent mortgages, or moreof the localamountof bonds,mortgages, and othersecurities: None Taxstatus:The purpose,function,and nonprofitstatusof this organizationand the tax exempt statusfor federalincome tax purposeshas not changedduringthe preceding12 months.

Averagenumberof copies duringpreceding12 months (Oct. oi-Sept. 02)

A. Totalcopies printed(net pressrun) B. Paidand/orrequestedcirculation I. Paidandlor requestedoutside-county mail subscriptions 2. Paidin-countysubscriptions 3. Salesthroughdealers,carriers,streetvendors, countersales,and other non-USPS 4. OtherclassesmailedthroughUSPS C. Totalpaid and/orrequestedcirculation D. Freedistributionby mail I. Outside-county 2. In-county 3. Other classesmailedthroughUSPS E. Freedistributionoutsidethe mail E Totalfreedistribution(sum of Di, D2, D3, and E) G. Totaldistribution(sum of C and F) H. Copies not distributed I. Total (sum of G and H) J. Percentagepaid and/or requestedcirculation

Singleissuesnearest to filingdate (July 02)

118,308

II8,975

72,448 33,527

70,878 32,980

None 7,098

None 6,770

II3,II3

II0,628

None None I68 4,980 5,148 118,261

47 II8,308

95.61%

None None 190

4,275 4,465 II5,093

3,882 II8,975 96.12%