Recent acquisitions a selection 2003-04 the metropolitan museum of art bulletin v,62 #2 fall 2004

The Metropolitan

Museum

of Art Bulletin

Fall 2004

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

Recent Acquisitions A

SELECTION:

The Metropolitan

2003-2004

Museum

of Art

was made publication possible through the generosity of the

This

Lila Acheson Wallace

Fund

for

of Art The Metropolitan Museum established by the cofounder of Reader sDigest.

P. O'Neill General Manager of Publications:John in Chief of the Bulletin: Joan Holt Peter Antony Production:

Editor

Design: Bruce Campbell with Bessas & Ackerman Coordinators: Mahrukh

All photographs,

unless

otherwise

Studio

of The Metropolitan

2 (ISSN 0026-1521)

LXII, Number

? 2004 by The Metropolitan Copyright of Art. Published quarterly. Periodicals at New

paid Offices.

provided available

York, N.Y.,

The Metropolitan as a benefit

Brooks Walker, Karin Juan Trujillo, and Peter Zeray. Carmel S.Wilson,

toMuseum

Mailing is ofArt Bulletin members and is

$25.00 a by subscription. Subscriptions year. Single copies $8.95. Four weeks' notice Send required for change of address, postmaster: address changes toMembership The Department, Museum of Art, 1000 Fifth Avenue, Metropolitan New

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set or as individual from reprint yearly volumes Publishers Inc., 50 Northwestern Ayer Company Drive #10, Salem, N.H. 03079, or from the Museum,

Box 700, Middle

Village,

are

by

L.Willis,

Museum postage

and Additional Museum

noted,

Klein

Anna-Marie

Fall 2004 Volume

and Alexandra

Joseph Cosciajr., Photographers Kellen, Paul Lachenauer, Oi-Cheong Bruce Schwarz, Eileen Travell, Lee, Mark Morosse,

ofArt Bulletin

Museum

Tarapor

The

Photograph Museum of Art. The Metropolitan

Design

N.Y.

p. 37, Andr? Derain, The Turning ? Artists Rights Society (ARS), 'Estaque New York/ADAGP, Paris; p. 39, Otto Dix, Marga Kummer ? Artists Rights Society (ARS), New notices:

Copyright Road, L

York/VG

Bild-Kunst,

M?tamorphoses? Rights

Bonn;

Pablo Picasso,

Les

Estate of Pablo Picasso/Artists

Society (ARS), New York; p. 40, Bill Brandt, ? Bill Brandt/Bill Brandt Archive Ltd.;

Halifax p. 41, Matta,

Being With (?tre Avec) ? Artists Rights Paris; p. 42, Society (ARS), New York/ADAGP, Frank Stella, Swan Engraving II? Frank Stella/

Artists Rights Society (ARS), New York; p. 43, Sharon Lockhart, Untitled, courtesy of the artist; p. 44, Roy Lichtenstein, Lichtenstein; Aitken,

p. 45, Doug

Galatea ? Aitken,

Estate of Roy Passenger ? Doug

1997

11379. the cover: A Mercenary Holding the Banner of the Glarus Canton, by Urs Graf, 1521 (see p. 15)

On

Contents

4

Contributors Note

5

Director's

6

Ancient World

io

Islam

12

Medieval

14

Renaissance

20

Europe

Europe and Baroque

1700-1900

America

32

North

37

Modern

46

Africa, Oceania,

49

Asia

55

Donors

Europe

of Gifts

for Acquisition

1700-1900

and the Americas

ofWorks ofWorks

of Art or of Funds of Art

Contributors

American North

Decorative

America

Heckscher

Arts

iyoo?ipoo:

Lawrence

(MHH),

Chairman

Costume

of the American

A.

Institute

Modem: Harold Koda (HK), Curator in

H.

Morrison

Fleischman

Charge

Alice

Wing;

Drawings

and Lulu

Renaissance

Wees

Associate

(BCW),

American North

Carver

Associate

(TT),

Europe:

Carmen

C.

Stein

(PS), Associate

Near

Ancient

World:

Curators

M.

Orenstein

(EEB),

Curator; Curator.

Assistant

Perrin

Curators;

(NMO),

(PS), Associate

Stein

Elizabeth

E. Barker

Modern:

Samantha

Jean Evans

(JE), Assistant

European

Curator

Paintings

Renaissance

and

Christiansen Arms

and Armor

North

America

Curator. Stuart W.

i/oo-ipoo:

Pyhrr

Europe:

Baroque

Keith

(KC), JayneWrightsman iyoo-ipoo:

Europe

Charge

and

Oceania,

Africa,

and

the Americas

the Americas:

Jones

Julie

(JJ),Curator inCharge; Alisa LaGamma (AL),Curator; Eric Kjellgren (EK), Evelyn A. J. Hall

and John A.

Friede

Webb

Virginia-Lee

Associate

Curator;

Research

(VLW),

Curator,

Photograph Study Collection Asian

Art

Asia:

C. Y. Watt

James

Russell

Astor

Curatorial

Chairman;

Adviser

Martin

for South

Asian Art; Miyeko Murase Consultant Kossak Lee

(SMK),

Art;

Associate

(SL), Assistant

Valenstein

4

for Japanese

(SGV),

Brooke

(JCYW),

Lerner

Baetjer

Steven M.

Suzanne

Research

Fellow

Curator;

Research

(ME),

Associate

Art and The Cloisters The

Curator,

(TBH),

Charles

Cloisters;

T.

Soyoung G.

Art

Modern

Stewart

Modern:]. for

(JSJ), Consultant

Johnson

and Architecture;

Design

Nan

Rosenthal

(MSD),

Curators;

S. Dabrowski

Magdalena

Associate

Research

Curator

Sculpture and

Campbell

Europe:

Baroque

Arts

Thomas

(TC), Curator; Johanna Hecht

(JH), Associate

Curator.

IanWardropper

Europe

Curator

in

Draper

(JDD),

Henry

Charge;

Curators.

Americas:

Johanna

Africa, Hecht

Research

Curator

Heyde

Laurence

Libin

(HH), (LL),

Photographs Europe

Curator;

Curator

Wolfram Koeppe (WK), JessieMcNab (JMcN), and Jeffrey H. Munger (JHM), Associate

Curator;

David

James

R. Kravis

Herbert

iyoo-ipoo:

Associate

iyoo?ipoo:

(IW), Iris and B. Gerald

Cantor

Europe

Instruments

Oceania,

and

iyoo-ipoo: in

Charge.

Malcolm Daniel

Malcolm

Daniel

North

America

(MD), Curator inCharge;

Jeff L. Rosenheim the

(JH), Associate

(MD), iyoo-ipoo:

(JLR), Associate

Curator.

Modern: Douglas Eklund (DE), Assistant Curator;

Lisa Hostetier

(LH),

Research

Associate

(ML),

(MM), Special

Curator;

and Decorative

Curator

and Southeast

Curator;

Medieval

Musical

Renaissance Oceania,

Curator;

(KB), Curator

European

of Africa,

Ekhtiar

(SC), Assistant

Medieval Europe: Timothy B. Husband

Assistant

Katharine

(SWP), Arthur Ochs Sulzberger Curator in

Arts

(NH),

(NR), Senior Consultant; Sabine Rewald (SR), Curator; LisaM. Messinger (LMM), Associate Curator; JaneAdlin (JA), Jared Goss (JG), and Anne L. Strauss (ALS),

Art

Eastern

Carboni

Haidar

Little (CTL), Curator

Curators.

J. Rippner (SJR),Assistant Curator Ancient

Stefano

Europe iyoo-ipoo: Colta Ives (CI) and Nadine

Barbara

Weinberg (HBW), Alice Pratt Brown Curator; Kevin J.Avery (KJA) and Thayer Tolles

and Baroque

Perrin

and

Sculpture H.

1700-ipoo:

Islam: Navina

Prints

and

Bambach (CCB) and Nadine M. Orenstein (NMO), Curators; Michiel C. Plomp (MCP)

Curator

and

Paintings

America

Beth

Curator;

Art

Maryam

Cooney Frelinghuysen (ACF), Anthony W. C. Wang

Islamic

Greek

and Roman

Art

Ancient World: Sean Hemingway (SH) and Elizabeth J.Milleker (EJM),Associate Curators

Textile Africa,

Conservation Oceania,

and

the Americas:

Phipps (EP), Conservator

Elena

Note

Director's

Every

year Recent

vides

an attractive

and new

of works

survey

also makes

of art or funds

the most

its predecessors the

acquisitions

lifted

the

who

brings

Metropolitan's in a somewhat

the major level of our

Among

collections

have

gifts

but

of those works

given

Indeed,

of budgetary in recent decades?no

slender

attention

illustrated

the generosity

for their purchase.

this volume?because

than

to our

manifest

pro

only

informative

of the Museum

friends

not

Acquisitions

album

of

Another

of

out. We and

generosity

for their grateful acumen. In collecting

deeply

their

to the fine

addition helmets

are

of

group

the Blass

bequest,

of ancient and

bronze with

along

his gift of substantial funds for the Greek and Roman tal Roman the new scheduled Nitta's

capital statues

Leon

Levy

to open remarkable

project, that will

are two monumen inhabit with

and Shelby White in

spring

donations

pride Court

2007. Muneichi include

three

to benefit

the

and

well

purchase of

Meckenem

as The Groenendaal

French

seventeenth-century

Jerusalem,

and

were

a

of Austria.

the first paintings follower, tion were

Nicolas acquired

a view

commissioned

In a wholly

Lancret,

most

to enter

this year:

two

of

by

different

by Watteau's

they

and

painted

Danish

to

lively

mar

Neoclassical Representing be a wel

it will

Deianira,

Arts

col

European

Sculpture

galleries.

single

out

the

painted

II. This

Matta,

at the end

of with

expresses,

picture

the angst

inventiveness,

pictorial

of a

purchase

Surrealist

of the period.

Philippe

this year;

study,

meticulously

Annunciation,

inspired

painter

acquired

red-chalk

the

by

and

imposing,

by canvas

exceptional

two fine works

the

Metropolitan's

the Chilean

War

World

the

to our

addition

pivotal a mural-size

known

on

based

Thorvaldsen.

abducting

work

Passion.

Coincidentally,

de Champaigne are an imposing

by van

Israhel

by

I also wish the

for

large,

and Decorative

of note

in the album

included

Nessus come

subjects

the major

Bertel

sculptor

splendid

first

is the

relief

ble

late Stephen

engravings

master

painted

of La Fontaine.

Another

the gen

of the

worthy

twelve

fifteenth-century

Anne

from

the acquisition

is the group

those

the

perhaps

by the nineteenth lithographs master German Ferdinand Olivier.

century

that

exquisitely fables

lection

of Anna-Maria

less

bequests

Shakyamuni,

continued

Kellen,

the late Bill Blass and ofMuneichi Nitta stand

We

extraordinary

the small Gandharan

be

its type.

with

lean year.

acquisitions,

of

earliest

restraints

important

well

may Buddha

seated

the most

bronzes,

of which

erosity

to the public's

and

Buddhist

Finally, donors not

my

of funds

be mentioned

helped Museum's

contribute

deepest

thanks

and works here

go

to all the

of art who

but whose

to the betterment

could

generosity of

the

collections.

vein, gifted the collec

lively,

Philippe de Montebello Director

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

Seated Goddess Syria/Levant,

i4th-i$th

century

B.C.

ioVs in. (ij.6

cm)

Purchase, Fletcher Fund and Joseph Pulitzer 200$.2p4

Bequest,

are

and

temples

the mid-second

Copper alloy H.

of Canaanite

Statues

2003

of

the great

Cast

in one

significant Canaan, Jordan,

deities

millennium empires

of

objects the

b.c.,

the Late

to

dedicated

the finest

among

of

were

Age. statue is a this copper-alloy a of from representation goddess encompasses

Lebanon,

and western

modern

Israel,

Syria. The

tall

conical headdress with a bulbous top identifies the female

figure

ture; both

of

as divine,

the arms

as does

her pos

are outstretched

and

that

is now

The

missing.

flat body is formed from a strip of metal that at the hips

bends

time

Bronze

piece,

which

a staff or scepter

and

the head

upward. decorated

The

and

is raised lower

with

at the knees, again so that the face gazes

part

bosses

of

the

similar

long

skirt

to those

is

encir

cling both the neck and the bottom of the from the feet and emerging torso that this figure underneath the indicate was part of a statue that was composite into a throne. inserted je probably headdress.

Tangs

the right hand is clasped, probably to grasp

6

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

Helmet Greek,

of Corinthian Archaic

7th?6th

period,

Bequest of Bill Blass, 2002

Type century

B.C.

These five beautifully preserved helmets illustrate

2003.407.2

worn

Bronze H.

S5A in. (21.?

Helmet

cm)

Bequest of Bill Blass, 2002

Greek,

ofApulian-Corinthian South

Hellenistic

2003.407.3

Italian,

period,

Late

Type

mid-4th-mid-3rd

B. C.

century

Greek,

oflUyrian Late Archaic

H.

Type period,

early $th century

Bronze H.

B.C.

in. (26.7

Bequest of Bill Blass, 2002

Helmet Greek,

Greek,

Classical

period,

of

South

p*A in. (24.1

period,

Late

century

B.C.

H.

73A in. (19.7

Type

no.

for the protection significant were one way of distinguishing

the battlefield.

im

Particularly

mid-4th-mid~3rd

century

B. C.

of

were

of metal,

separate served

cm)

period.

pieces, to attach

leather.

most

Unlike

fashioned this one and

of one

early variant

helmet

popular

which

mets,

an

2003.407.3),

the most

piece

Classical-Early

Bronze

Type $th~4th

Italian,

In addi

age.

of

types

a

from

ismade

hel

single

from

the numerous

an exterior

the

Corinthian

covering,

three

small

rivets

probably

sh

Bequest of Bill Blass, 2002

Bronze H.

ace.

of South Italian-Corinthian

Hellenistic

of Chalkidian

on

Archaic

2003.407.6

Helmet

head,

headgear the Archaic

from

portant is the Corinthian helmet (top left,

12 in. (30.$ cm)

cm)

Bequest of Bill Blass, 2002

offering

helmets

warriors

2003.407.4

ioYi

of military

Greeks

to the early Hellenistic to

tion

Bronze

Helmet

by

period

Classical?Early

the rich variety the ancient

cm)

2003.407.$

7

Two Statues Roman,

Young Men

ofHalf-Draped 68

27B.C.-A.D.

Marble H.

(.8a,b) 47 in. (119.4 cm), (.9) 46 in.

(116.8 cm) Bequest of Bill Blass, 2002 2 003.4 07.8a, b; 2003.4

two

These

statues

tant additions collection imperial

were

sculptors

that

Torso from an Equestrian Wearing

2nd

century

that

A.D.

reins while Dynamic

2$ in. (63.$

is fragmentary, was originally

the figure

its pose riding

a rearing horse, the left hand holding the

B. C.-2nd

Bronze H.

torso

the

Although suggests

or Roman,

Hellenistic century

Statue

a Cuirass

cm)

the

in Hellenistic

tradition

long

Bequest of Bill Blass, 2002

stemming

2003.407.7

showing

statues

bronze

equestrian

from

famous

Alexander

the Great

and

torso, slightly impressive larger than life a short cape and an ornate cuirass size, wears

of Hellenistic across

belt two a

friezes tribe

legendary

griffins,

dolphins, frieze.

victory

and

the

fringes

Such heroic of

in

and decorated

the distant

and

palms

potent valor

the world.

with

north,

frieze;

imagery across the

sea on

cuirasses

as a

statue and

hamper

public

the dearth

close

Technical

and

toward

a somewhat

Roman,

workshop.

was

ment

dating

stylistic

of preserved of the torso. considerations

provincial, sh

likely

argued

remains

What on

is visible

border

purple

statue

some

excellent them

type.

the

lean

has

of blue

and

revealed

unusual

to

the color

pig pink organic traces of This gilding.

feature,

workmanship important

2003.407.9). shown

together

of both to the

additions

the

with

statues, small

makes num

ber of standing half-draped male figures known

in exam

(ace. no.

analysis

and has

extremely

monument

give

It has been

deceased.

already

Microscopic be a mixture

the Persians

of Hellenistic

and

a hero

side of one

twenty

Romans

The

to

art,

group

This fact, the widespread popularity of the

ples to

over

victory

century

graphie indication that the individual being

the Macedonian

River.

adopted

antiquity,

the

alludes

at the Granikos

equestrian

sea

decorate

first major

leader's

times

relief. Arimaspeans,

high

from

in the upper

griffins

lower

8

the abdomen

running

combat

is cinched with a

type, which

commemorates

which

famous b.c.,

edge of drapery hanging at the proper left

five of his soldiers fighting on horseback, This

the fifth

a

and Roman

Lysippos's

the canonical

the most

of

certainly to the statues.

of a narrow

have

one

the the draping of the mantle around icono and over the arm was a specific

honored

a weapon.

right wielded

hips

to Nero. to mind

intended

aura

the

ruled Rome

that

brings

of

of

members

of Augustus

stance

almost

izing

group

part

of Polykleitos,

Greek

how

of a statuary

dynasty

time

the

period

figures and as por

the gods two works,

and honoring

Their

was

semidraped

These

probably

Julio-Claudian

of Roman

the Classical

standing

to represent

portraying

works

From

individuals.

ever, were

impor

to the Museum's

sculpture.

used

and

impressive

only also to the body

such

traits of

from

are

not

but

onward,

?7-9

dynastic

today

that were

commemorative

part

of Julio-Claudian

groups.

ejm

2003.4078a,

b

2003.407.9

9

walls

were

the most

among

common

objects

in this manner.

decorated

two most

The

centers

important

can be

duction

identified,

of pro to archae

according

ological evidence, asNishapur (Iran) and Samarqand (Uzbekistan). It is still difficult to tions. However,

rather

whereas

busy

that Samarqand's com bichromatic

to the decoration

similar

positions bowl,

it appears

favored

potters

the two produc

between

clearly

distinguish

Iranian

on

craftsmen

this all

preferred

black, bold calligraphic patterns that leftmuch of thewhite background untouched. This is reason

the main of

the present

was

which

center,

for a tentative

attribution

to this well-known

vessel

Uzbek

to become

destined

one

of the richest cities of the Islamicworld during theTimurid period in the fifteenth century, when

Folio from the "Blue Qur'an" Probably North Africa (Tunisia), late 9th-early ioth

century

Gold and silver on indigo-dyedparchment 12 x if/8

in. (30.s x 40.3

cm)

Gift, 2004

folio was

This

once

manuscript

in a multivolume

bound

as the Blue

known

its unique indigo-dyed the most memorable and

of

because

Qur'an

It is one

surface. celebrated

of

type of angular temporaneous

common

kufic Qur'an

to most

it was

manuscripts,

copied in gold instead of black ink.The gold and

the use of now-oxidized

verse

and

prized,

of production

places phy

are far from

Diam.

century earthenware

painted

iiYs

and Rogers

in. (29.$

("with

cm)

Fund,

each

sectors,

material,

2003

containing

motif

of ware?an

earthenware

vessel

transparent

glaze?was

Islamic

eleventh

world

centuries.

in the east

produced

in

roughly

Bowls

with

the

tenth

straight

stretch

of

bi4-yumn

sc

happiness").

Bhavanidas Utter

17th?early

type

pseudo

some

be read as the words

active

Kishangarh,

18th

late

century

The Emperor Aurangzeb This

same

the

that, with

might

Mughal,

2003.41$

ern

lavish,

uniquely

Firm

costly work.

to mark

silver

it a

make

separation

ioth?uth

covered with awhite slip, painted in black and reddish colors, and sealed with a thin

con

The

the imagination and the help of comparable

works

of Islamic art.Although the calligraphy is the

it as his capital.

calligraphic

Purchase, Lewis and Gemma Hall Gift and Harvey Plotnick Gift, Louis and Theresa S. Seley Purchase Fund for Islamic Art,

2004.88

chose

Central Asia or Iran (probably Samarqand, Uzbekistan)

Underglaze

Purchase, Lila Acheson Wallace

Tamerlane

widest decorated band is divided into eight

Bowl

Carried

on a

Palanquin India, Mughal water Opaque 227Ax

i$y8

school,

ca. 1700

on paper color and gold in. ($8.i x 38.4 cm)

and

Louis V. Bell Fund, 2003

flared

2003.430

and

chronology

for early Arabic

calligra it seems

but

understood,

likely that the Blue Quran was copied in North

for the mosque

in the early been

intended

Africa?probably

ment

tenth

for endow

of Kairouan

(Tunisia)? itmay

century.

If so,

by

the recently

commissioned

have

established

and fast-rising Fatimid dynasty (909-1171) that would conquer Egypt and Syria and found the city of Cairo. ver may

The

choice an

represent

surpass

imperial

of blue,

purple-dyed a

in richness, religious

thereby making statement. The

manuscript

is in Tunis,

which

the present

dispersed North

the Ottoman

during

Africa.

page

comes

and

sil

and

Byzantine

codices

powerful

political

largest

and

gold,

to emulate

attempt

section

the volume was

of the from

apparendy

domination

in

sc

10

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

The

Nairizi.

Ahmad uted lavish

The

is

manuscript

and once

Saint

eighty-one text on each

Petersburg

of Sciences.

in a twice, once signed on the lacquer binding.

leaves, with

It has

the

created

in that city's Academy

colophon

of

who

Hadi,

in the famous

borders

Album

are attrib

illuminations

to Muhammad

page,

lines

fourteen

written

and

horizontally

diagonally in fine naskhi script in black ink a wide

on

or

of rich colors.

array

Persian

interlinear

contain purple

while

nasta^liq,

pages in red inter

have

others

in gold.

illumination

linear

Some

translations

It contains

four

finely illuminated double pages with central medallions. The original lacquer binding is with

decorated

a

on

flowers

gold-stemmed

dark brown ground with calligraphic borders in naskhi signed by Ahmad Nairizi and dated A.H.

1132/A.D.

1719-20.

in Isfahan,

Copied

masters.

Safavid-period

it at the end

for popularizing century.

last Safavid 1722). His tions

of

Iranian

The Mughal emperor Aurangzeb and his are shown

party courtly scene painted ing Bhavanidas.

lined

huntsmen

court

leading

sensitive

are in

up

as bait

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emperor,

seated

on

who

screens.

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carry

leafy

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a

umbrella, pearl-fringed and a gray beard and bears

an

iconic

Ahmad Nairizi

profile

an

In the far distance

age.

on

the march,

foot

with

and palanquins

cavalry,

elephants,

imperial

soldiers,

army

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that appears

Bhavanidas.

scenes were

Hunting

of

in pursuit Early several

compositions of wild

important

show Aurangzeb

Bhavanidas

princely

patrons. He Mughal court of Kishangarh,

Hadi

active

17^-1760

of Prayers, aUFath Iran,

datedA.H.

Sura Yasin and Surat

1132/A.D.

1719-20

93/4x6!/8

in. (24.8

x

i$.6cm)

Purchase, Friends of Islamic Art Gift, 2003

executed

commissions

later moved became

toMuhammad

2003.239

prey.

in his career

(calligrapher)

Ink, colors, and gold onpaper; lacquer binding

a well

established genre inMughal painting; at least three known

nh

1682-1739

Book

bearing

in the work

frequently

play of that are

subtle

of vision

(illuminator) Persian,

caparisoned

an imperialMughal fish standard, a flags and motif

active

Persian,

similarity

to the few other known images of him in his old

brushwork,

below

palanquin a stooped

has

of rich detail, grandeur

of paint

school

the refined

the hallmarks of his influential style.

the green-coated in a row and others

a

displays

rendering and overall

color,

from

lead deer

its famous

founded scene

ing. This

artist

for the chase

Preparations evident

progress,

the

by

and

artist,

in a royal hunt

here

for

to the Rajput

its preeminent

This illuminated manuscript prayers

containing

is a book of

the Sura Yasin

and

Surat

al-Fath copied by the celebrated calligrapher

master

in Iran and was

of naskhi

teenth

reflects

He

served

ruler, Shah calligraphy

eighteenthcalligraphers.

late

Nairizi

Ahmad

the uncontested

considered revival

the manuscript

of two prominent

the collaboration

of

of

is the

responsible the seven

at the court

of

the

Sultan Husayn (r. 1694 was a model for genera

and

nineteenth-century me

The Adoration

of theMagi with and Child Enthroned Virgin German

Convent

The

church),

Magi: Virgin The

glass and grisaille paint x 297A i$3A in. (7$.9 x 40 cm); and Child:

Cloisters

2003.478.1,

30 x i$3A in. (76.2

Collection, .2

2003

the abbacy

1267 under (d. 1297),

tinued

about

until

and

Removed

during

panels, from

his private where

they

funerary remained

chapel until

in 1993. The

exe

by

the secularizations,

at Schloss about

Erbach,

and were

archaized reunited in

figures treatment

panels

will

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Cloisters

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style

the monumentality

the same

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acquired

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two more

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von Nassau

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church

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convent

Lahn

Hesse,

(Altenberg-an-der-Lahn,

Praemonstratensian

the

bold with

outlines

the draperies. installed

of

the somewhat The

in recently

restoredwindows of the Early Gothic Hall at The

Cloisters.

tbh

1940. The

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uncommon

She wears

grace.

physical

a crown

and veil identifying her as theQueen of Heaven, and originally in her right hand she held a lily?symbol of virtue, purity, and beauty. The Child holds an orb inscribedwith a reference

of the world,

divisions

remarkable

sculptor's

ability

to be a feature

sculptors. as a "maker

of

his mastery

at

{le Ymagor),

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crosses

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commissions

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2003

saints,

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of Bolsena,

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and

serpent

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female

saint is further identified by an inscription in

the funerary is linked

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in 1290.

to

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multiple

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ctl

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style of

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to the Pseudo-Ortkens,

relates both

stained

glass

in Brussels.

active

technique

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burgers

roundel of

designer was

who

tapestries painter

of exceptional

is sus

shield

pended. Though unidentified, devices

a

employed

refinement.

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and

tures,

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point

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along

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Virgin,

carved

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celebrated

figure.

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Edward

the human

portraying

is best known Eleanor,

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queen.

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Christina

of

of Alexander

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route

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to capture

theweight of the folds and texture of the fab ric seems

mental

Evangelist

2003.346

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Queen

Roundel

The Cloisters Collection,

to Christ's

dominion.

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with Saints John the and Christina of Bohena

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active

ca. 1290-1320

Virgin and Child Ca.

1300

Limestonefrom the vicinity of Caen (France) H.

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cm)

Edward

Purchase,

J. Gallagher

Jr. Bequest,

in memory

of his father, Edward Joseph his mother, Ann Hay Gallagher, Gallagher, and his son, Edward Joseph Gallagher III; and

Caroline

Howard

Gift,

Hyman

2003

2003.4$6

As

first monumental

the Museum's

Gothic because

this work

sculpture, so many monuments

the dissolution sixteenth

were

Garbed

mantle,

in a

lost

during

in the

of the monasteries

century.

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is unusually

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Passion

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book:

Purchase, Joseph Pulitzer Bequest and 2002

Benefit

Fund,

2003

2003.476

In the fifteenth

or bound

tated with

into books

have

volumes.

This

although

have

survived,

since been

from

separated album

fascinating

to the way vivid testimony provides were used at the time. Twelve prints

thus in which outstand

of Van Meckenem's

impressions

ing early

they anno

and

In this way many

and woodcuts most

frequently

manuscripts;

commentary.

engravings

were

prints

into devotional

integrated were pasted

those

century,

lively engravings of the Passion (the Flagellation are interleaved

is illustrated)

text of the Hundred The

of Christ.

hand-colored

cut of Saint

Delli Brothers active

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in

style practiced by 1450, as evidenced

1430s?1460s

Spain

artists

Italian

from

1430

tions of Christ's figure and by the steeply

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wash,

gray

on

color, and gouache

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scape

landish

type

in Spain i$Vs

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x 30.4

x 12 in. (40.3

iconic rare

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was

drawing

produced

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workshop

artistsDello, Niccol?, and Sansone Delli. The Delli brothers painted (1437-45) one ?f tne greatest

monuments

Spain,

the main

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and and

of Early

The

technique reflects

present

sheet

is close

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International

Cathedral in

early Gothic

at the

inscribed

the donors,

scrolls,

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vellum,

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may

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for

to Niccol?,

awarded

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two

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and

entirety

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and

of Sorrows,

rare,

a woodcut

as

devotional

into a now well leather

Netherlandish

terns and

a stamp with

Various

features

of

animals the Dutch

text.

and

and Latin

text and the binding indicate that the album in an

assembled

Canons

Regular

in the calendars

References canons it may

Augustinian

in the southern

at the front have

of Groenendaal

been

of

and

the book

compiled near Brussels.

house

of

Netherlands. the

list of

suggest

that

at the monastery nmo

sides.

1445 contract

to base

vellum"

Renaissance

of the Old

altarpiece

fresco, was

1500,

of

drapery

as the

such

manuscript on the Passion

flap binding, decorated with geometric pat

was

the figures, with the large in the center and the two small

Christ

donors

in the

of the Florentine-born

also drawing to the Nether

that predominated

1430 and

the

land

scale of

nounced

2004.137

This

angular of

The

indebted

tradition

between

curlicues

2004

elements

painting

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cm)

space with

perspective.

roving

incorporates

vellum; inscriptions in brown ink of a different Sheet:

architectural

also

fifteenth-century

propor

Christ at the Column with Two Donors i440-$o

liturgical texts. The worn

the attenuated

by

to

album devotional

as the Man

Christ

with

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on

the cathedral's states

apse

that he done

"drawings

on

been previously approved. to assume that this sheet, on

have

been

a

image.

preliminary in color

reworked

drawing for use as

ccb

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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

Urs Graf ca. i48$-i$29/3o

Swiss,

A Mercenary

the Banner

Holding Glarus Canton

of the

I$2I Pen

and

iiYs

ink

brown

x 7A2 in. (28.8

x 19 cm)

Promised Gift of Leon D. and Debra R. Black and Purchase, Harris Brisbane Dick Fund,

2003

2003.323

In calligraphic yet firm lines of pen and ink, Graf, artists

one of a

created

the most

of

and

original

the Early

Renaissance

powerful

depiction

gifted

in Switzerland, of a Reisl?ufer

(mercenary) holding the banner of the Glarus canton.

The

on

presence

an Irish monk

who

the banner

converted

the eastern

of Glarus?in

near Liechtenstein?to

the citizens of Switzerland,

part

in the

Christianity

sixth century,

leaves

little doubt

identification.

The

inclusion

Christ's

of Fridolin,

Passion?the

about of a scene

the from

Resurrection?stemmed

from the fact that the Swiss helped Pope Julius II to defeat the French in Lombardy in 1512. After inclusion

that

the Swiss were

of such holy

sometimes

called

Mercenaries

"Julius" were

granted

the

in their banners,

images

banners.

a new

phenomenon

in

northern Europe in the first half of the six teenth

century,

quickly

became

and

depictions

popular.

of

them

mcp

15

follow

watercolors

in this vein,

combining

highly naturalistic detail with exquisite color

harmonies

and

a

playful

sense

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ps

mise-en-page.

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sparkling

of Wtewael's

example

of Genesis,

from

the Old

Testament

is shown

Adam

in the Garden

the animals

In a

draftsmanship.

scene

rarely depicted Book

is a characteristic

drawing

naming

of Eden.

Among

all the living creatures that fill the earth and the sky in this biblical paradise,Wtewael included themythical unicorn (at right in the back

Joachim

Elements ground). as such Adam's

Antonisz.Wtewael

Dutch,

i$66-i638

Adam

in the Garden

with

including

the careful

species. Wtewael,

I2Y4 x 8At in. (32.$ x 21 cm)

drawing

Purchase,

Howard 2003.279

Benefit

Fund

J. Barnet Gift, 2003

and Mrs.

the northern

Jacques Le Moyne ca.

de Morgues i, i$88

fu?e

i$33~before

A Sheet of Flower Studies: A Rose, a a Sweet

Heartsease,

a Garden

Pea,

and a Lax-Flowered

Pea,

Orchid

over black and gouache, x x i in. 8Ai 1$ cm) (21. $As

Watercolor

chalk

Purchase, David T. Schiff Gift, 2004 2004.78

a center

in Dieppe,

Born

manuscript

emigrated

to London,

the Huguenot

massacre

Morgues lowing sheet has

of flower

studies

come

recently

to

in the Victoria

fol

probably

1572. This

to a group

belongs

are

light. They

and Albert

and

de

of

to a set of fifty-nine

similar

cally

for cartography Le Moyne

illumination,

that

stylisti

watercolors

Museum,

London,

which bear inscriptions in French and Latin are assumed

and

to date

French

Morgues's

natural

history sheet

French

drawings

of studies

time,

enter

the Museum's interest

medieval

their medicinal

passion of plants

16

plants

properties the Renaissance

symbolism, for

the cultivation

both

as scientific

of beauty.

on a

the Kingfisher

collection. in

and

rare.

2004.77), acquired are the first works of this

same

objects

and

botanical

are very

(ace. no.

Branch

de

period.

Sixteenth-century

This

Le Moyne

from

Le Moyne

at the type

While

revolved

the around

and

religious saw a growing

and

representation and as

inquiry

de Morgues's

to

study an artist

Netherlands,

after his He

(ca. 1588-92). the same

time

return may

as his

the various

of

living

in Utrecht

completed from

France

have

created

related

painting

in

this and

Italy

it about Adam

and Eve, dated 1614 and now in the Shipley Art Gallery,

French,

style, are musculature, emphatic a more naturalistic approach,

combined

of Eden Pen and black ink and gray wash heightened with white 2002

of the Mannerist

Gateshead,

England.

mcp

Allessandro Allori Italian

(Florence),

The Gathering

Depicting the Children of Israel gathering manna (Exodus 16) andMoses holding the tablets on which he inscribed the Ten

(designer) i$3$?i6o7

ofManna

1595-96 From

this

Commandments, a set

of Old

Testament

pr?figurations

of theEucharist and Passion of Christ Italian (Florence), workshop ofGuasparri di Bartolomeo

Wool and silk 14ft. x 14ft. 8 in. (427 x 446 cm) Purchase, Foundation

The

Isak Inc. Gift

and

and

Rogers

example

whose

Fund,

for

1595?96 rare

the weave

the cathedral

of Como.

of a private

commission

the Florence

by

production

Medici.

Rose Weinman

one

According were

tapestries and

tapestry

was

largely to contractual

It is a

and

composition,

last quarter Before

for

to be of medium-quality in be woven eight

an allover

an elaborate

of

sculptural

the sixteenth

completion,

the

Alessandro

de' Medici,

century.

the set was

ated by Ferdinand de' Medici

workshops,

documents,

the cartoons).

for

narrative,

multiple

Combining

the

under

reserved

required

border, the designs typify those thatAllori produced for theMedici workshop during

of

three (of an intended set of five) made in

taken

Papini

tapestry

was

(two were

months

appropri

as a gift for

archbishop

of Florence

(later Pope Leo XI), before his departure to France

as

papal

ambassador.

tc

each would

2004 2004.16$

17

Philippe de Champaigne

is a tour de force

French,

incorporating

1602-1674

View of Jerusalem

with

Solomon

In the rushed, areas

laidpaper

Mortimer

D.

Family,

2004

and

walls

the artist's

Sadder

Theresa

Sadder,

architectural

abbreviated

gallery

of the one

the foreground), as he hurried

and

urgency

on paper.

ideas down

handling

a

for a view

study

of ancient

Master

Jerusalem

intended for the background of a painted Crucifixion (Mus?e du Louvre, Paris) given by

to the church

the artist

de Vauvert,

Paris.

of

senses

to get his

ps

the Martyrdom

active

H.

8A2 in. (21 cm)

Purchase,

ture at upper

of European

the

birth of Christ but a significant topic in seventeenth-century logical

debates,

of several Ezechielem

the

theological was

temple

illustrated

and the

archaeo

In including et apparatus urbis ac

1596,

on

the Book

of Ezekiel

Bautista tect and

Villalpando,

Spanish

Jesuit

archi

scholar.

elevations, published a luminous panoramic

18

its view

placement

Wiener and

Gregory,

Friends

and Decorative

Sculpture

b

2004.127a,

of this athlete sagging musculature "gone to seed," the detailed accidents of flesh, richly

The

and

the

of Saint whose reliefs

While Champaigne's temple may be based on

Foundation,

figure's

with plans and elevations after designs by Juan a

Hewitt

Alexis

subject

templiHierosolymitani, published inRome in a commentary

Malcolm

Arts Gifts, 2004

treatises,

explanations

century

Ivory

in

the research that lay behind his conception of the Temple of Solomon, the hilltop struc right. Destroyed

mid-i7th

Relief Figure of a Standing Male Probably i6$7

characteris

tic fidelity to biblical texts is here manifest

before

of

Sebastian

Austrian,

the Chartreuse

Champaigne's

of

Saint

within

of the ancient

hair

rendered

as the Master

Sebastian, appellation that portray

of

a virtuoso

ivory

from

derives this

point

subject

to the

the Martyrdom carver

the multipart in Vienna

(1655) and Linz (1657).The present figure is believed

city

insistently maker

to have

fragmentary,

been

part

composition.

of A

the

latter,

depiction

martyr

victims

Christian freestanding

now of

the

that of

(1730-35),

in the

in the Vienna, Stallburg, at the center, surrounded

the Museum's,

2004.138

This large, vigorously worked drawing is

work

complete

elements

of certain

the crenellation

(particularly

fortified

cm)

Purchase, 2002 Benefit Fund and Gift of Dr.

powers,

imaginative

into a dense jumble of imagined buildings, which are dramatically lit by the setting sun.

the Temple of

Red chalk on two attached sheets of off-white 13 x 23Y4 in. (33.1 x 60.3

of his

borrowed

and

and Roman

Hercules,

the

by other archers,

in relief. A figure its stance similarly

the Farnese

imperial shows

both

resembling

evoking as a appears

pagan

statue

Some

of our

razor-thin

on

relief

unusual

and

features

(areas of

an

of greater-than-actual depth. a contrast to Sebastian's

fleshy heroic

anatomy,

may

stand

in the face of

for

Ca. Its

the decline

inspired

French,

Virgin. We two scenes,

1602?1674

The Annunciation

anatomy)

that convey

de Champaigne

Philippe

background.

foreshortened

devices

decadence,

paganism

in the

plinth

ivory's

are illusionistic impression

a

of

Christianity.

object

supposedly directed even

and

lifeless at a scene

Oil onpanel

in its detached

in. (71.1 x 73 cm)

Fund,

Wrightsman

2004

2004.31

inventory

sensuality cal restraint

of carnage,

Palais

Royale

painters

Anne and

In 1644

quarters.

of the day

the appearance from

a brief

and

(Wallace

Marriage

of Austria set about

moved

into

the

her

renovating

she engaged the leading to decorate a private oratory,

of which

description

can be reconstructed of 1724. There

was

set into the room's narrating

ment.

The

classicism, with

an

panel

been

small-scale

works.

This

epitomize art of

combination from

of Baroque

Rubens),

Champaigne's

this protagonist

and classi achieve of French

in part by his association severe Counter-Reformation (a

inspired

has suppressed by Louis XIV), as "a combining scrupulous on coldness an with verging

described

perfectionism inner

color,

(derived

Jansenism

movement

altarpiece depicting theAssumption of theVirgin and, by Simon Vouet a series of ing, pictures

finest

references.

Its brilliant

XIII,

affecting

Virgin

is the until companion picture, a last year known only from print and early

Louis

jh

the

Annunciation

In 1643, following the death of her husband

state.

of

The

the artist's

among

28 x 28At

human for a curiously statue. Its rueful gaze, once is

painted

Champaigne

Collection, London) isuniversally judged to be

The figure is still compelling as an inde pendent

that

a Marriage

an Annunciation.

1644

Overall:

know

life of deep

intensity."

kc

the life of the

19

2004.86 20

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

Nicolas

Lancret

Philippe Bertrand

such as Lucretia,

French,

1690-1743

French,

as from

The Servant Justified Late

Lucretia

1730s

Oil on copper 11 x 14 in. (27.9

x 3$. 6 cm)

Walter

Purchase,

Leonore

and

and The Annenberg

1663?1724

W.

of candidates

in. (107 cm)

42

Harris

Brisbane

Dick

2004

by

2004.8$

2003.296

Late

Geese

Sextus

1730s

Oil on copper Walter

x 3$. 2 cm) Leonore

and

and The Annenberg

was Annenberg

Foundation

frequendy

though

France

against

depicted in

in prints

sculpture,

was

Lancret follower

the most

as a

work

Watteau was

painter

not

in the Museum's

sented paintings

collection.

of the same

size and on

episodes

Fontaine

the fables

(1621-1695).

sculptors

the six

fortes, power or myth,

one

of

who

to be

sculptures to be

appears the

talented

the dramatic,

of classical the figure

royal

that of

generation in

participated

of

highly

at

projects

Versailles, displayed at the Salon of 1704. Bertrand

Exceptionally, sculpture

as his

academy

he carved 1701; possibly, manner of the morceaux demonstrate

his

talents

a bronze

submitted reception Lucretia de

piece

r?ception

in marble.

in

in the to iw

two

copper,

rep

of Jean de La of the ele

circulated

widely.

to La Fontaine's fable The

According Servant

marble

Lucretia

showcases

the

from

Engravings

compositions

sprightly

led to

these tended

repre

These

of others

from

required to the Acad?mie

(1684-1721).

previously

and a number

late 1730s, resent

rape by

and paintings,

from

characteristics works

innovative

and

gifted

of Jean-Antoine

that

Bertrand,

the Tarquins?

this period femmes during ful women from ancient history

2004.86

gant,

self-sacrifice

in Rome

less often

for her

teenth through the eighteenth century. In

Gift,

2004

His

out of shame

Tarquinius?a

the rebellion

ioAt x 13A8 in. (27.3 Purchase,

suicide

r?ception,

1700 talents

sculptor's under-lifesize

Lucretia's

de

for admission

Paris. About

subjects.

Brother Philippe's

sculpture

the morceaux

of virtue.

paragons shares many

Royale de la Peinture et de la Sculpture in

Fund,

2003

exchange,

as well and Dido, Cleopatra, such as Esther, Jael, and

popular

of

Joseph M. Cohen Gift, and Fletcher Fund,

Gift,

were

This

Before 1704 Marble

Purchase,

Annenberg

Foundation

Judith,

the Bible,

a master

Justified,

a servant

seduces

girl and is closely observed by a neighbor, shown Later

invites

his wife

in a similar

engage

tells

neighbor wife

at her window

here he

When

the

of his behavior,

it is she whom

that

right. to

the garden

dalliance.

the wife

responds

at the upper into

the

her

friend

has seen. "[Then] do not send [the girl] away," wife

replies,

me

the

responds "Why

to which

neighbor, send her

away?

the serves

She

well." Brother

from

Geese

Philippe's

another

a scene

depicts

in which

fable,

La Fontaine

relates that Philippe dedicates himself to God his

some youth. "Oh,

up without

grows

the youth explains

to a mountain

retires

and son

all he

young

"A party agreeable

your

voice,"

you,

let us

sees until

women.

the city,

the son take one

come

they

"What

of geese," goose,

When

temptation.

to visit

emerges

cave, where

sing cries; [with

Philippe upon

is that?"

asks

father

replies.

his

I might I "Father, that

us]."

the

hear beg

kb

21

the service arabesque

Plate from French

ca. 1783-8$

(S?vres),

Soft-paste

porcelain 9A8 in. (23.8

Diam.

cm) of European

Friends

Purchase,

and Decorative

Arts

Sculpture

2003

Gifts,

2003.368

This

the most

reflected of

the service

been

its ornamented for Louis

production

for

designs

had

after

commissioned and

(r. 1774-92),

from

Masson, from

engravings

and motifs

The

loggia. delayed

Louis

of his

after

done

the decoration

the architect

much

derived

in the Vatican

and

XVI in 1782.

began

the shapes

ordered who

as

Known

century.

arabesque

it was

border,

that

service Neoclassicism

up-to-date

late eighteenth

the

The

a remarkable

is from

plate

inspiration frescoes

Raphael's need

for new

forms

as did

production,

Le

various

technical problems with firing; only 104 pieces

had

been

Edward Wakelin active

English,

earl's

London,

1747-77

Palladian (1715-1783)

I7$7~$8

Silver H.

demonstrate

ofWilliam

12A2 in. (31.8 cm) mark

makers

Punched

and date

letter

coronet

Fund,

Wrightsman

two

2003

of a set of

are part

candlesticks

for use

(1722-1809),

Coventry seat, Cro?me

sixth earl of in his

country an

inWorcestershire,

Court,

room

is included

of which

the

among

English period rooms in theMuseum. The earlwas billed for the set of four on May 8, to an entry 1758, according rare survival now ledger?a and Albert tively

form

enhanced

acanthus

by

leaves,

cast

were and

as

Wakelin, his

22

soldered

and

chased,

and

meander, be found

might

from

symmetrical

in relief?here

in marble.

in sections

expertly

nished

stately,

wave

husks,

torch?res

rela Although to the

adhere

ornament

gadrooning?such Roman

in the Victoria

the candlesticks

ideal of massive,

classical

inWakelin's

London.

Museum,

small,

The

tall

candlesticks

carved

together as one would

on

wood

and finely expect

molds bur from

the leading London goldsmith of

time. They

are

during

starting

in

the factory

in

keeping

with

their

villa. He as his

employed architect.

the strong

Lancelot The

influence

Brown

candlesticks of the works

Kent (1684-1748), including his double-shell

motif

that decorates

the sixth

of

them

recognition of

bases.

von

pieces

to survive.

in

role

the Franco-Prussian

known

department purchased

to the Prussian

F?rst

of his

other

a

government

for presentation

ter Karl August

the outbreak

(1789).They remained at 1795, when

until

the Revolutionary

thirteen

JMcN

four ordered by George William,

entire

earl's

.2

2003.420.1,

These

signature

for an by

crest and Coventry ensigned on bases engraved

i7$7-$8

the period,

1751,of the rebuilding of his family seat as a

of Candlesticks

Pair

taste

by

completed

of the Revolution

Hardenberg negotiating

War. from jm

minis in the end

Approximately are

the service

Ferdinand Weber German,

unique cation,

17^-1784

innovative

1772

from spruce,

Mahogany,

various

other materials

his

typifies

Square Piano and

the

example,

subject

which

plucked-string ll collections.

ivory

in

instruments

several

British

This

publi

and craftsmanship are better known

elegant

designs,

of a recent

Bequest

Guinness,

but

plain

little

versatile work

ingenious

Saxon

piano

of Ferdinand

in Dublin

ture

rivaled

enhance

hard tone

or soft heads colors.

and dynamic

tonal

raises

mechanism

cul

his piano's two sets of

it with

fitted

contrasting

subtle

To

London's.

having

set

who

that city's musical

Weber

expressivity, hammers

when

epitomizes a

Weber,

maker

keyboard-instrument

tled

duce

that pro

effect more

To

a

gradations,

the right

front

flap

the hammers

Two

of

the

those

the hammers,

keys. A the front

other

the

under

the bottom

and

ebony

slips

thin mahogany of

the key

the piano piano

cap

strip frame

is

has been well

of Weber's

that

the fifty-nine concealed

restored.

survives,

The

for porta

missing;

but

(manufacturer)

Company active

(London),

English

1780-1831

examples.

appears perfectly

corresponds

rare and

extremely among The

date

and

that has Its keys

hallmark, instrument.

the

to be to its

the orig receiving

fortunate

cir

the surviving historical was assembled at

clarinet

79 Cornhill, London, the location of the

1821/22 ivory, and

Ebony, H.

precisely

and

beautiful

workshop.

silversmiths'

ivory mouthpiece

joint?an cumstance

in D

Clarinet

silver

sterling

Astors'

Robert

Purchase,

business

from

about

1798

to 1831. HH

21A2 in. ($4.6cm) Lehman

Alonzo

Bequest,

2003 2003.343

Before John JacobAstor (1763-1848) acquired his

other No this

fortune

legendary

United

the

monopolizing

fur trade and

States

investing

in New

York real estate, he worked with his older brother,

George music

thriving Germany

pedal

right

the dampers.

operated

legs fold Ivory

bility.

supple

left pedal shifts one raises the lid

the right

however,

also have

piano's

wise,

and

Formerly,

might

additions,

The

functions.

the dampers.

operate

possibly

long pedals,

ment

flap.

and

and

to

sections

instruments

the Astor

the London us

ebony the most

of

simple

lidwhen themain lid is closed. Hand stops shift

from

inal and Astor

the

woodwind

survived

The

2002

2003.300

This

rings

allowing D.

of Murtough

is one

complete

bear

W. $4A in. (139.4 cm)

with

clarinet

manufacturing ments and and The

organs,

Peter industry.

about

1778, and

from

Emigrating the brothers

selling

began

woodwind

instru

later expanded pianos by offering as well as music. by publishing branch

instrument-making

the hands

in London's

(1752-1813),

of George

Peter

in

continued

and his wife

after

John left for the United States in 1783with seven

flutes

to sell.

23

Antonio

Canova

Italian,

^$7-1822

Paris Marble 1822-23 H.

80 in. (203.2

cm)

of Lillian

Rojtman

Berkman,

the great Neoclassical

sculptor

Bequest

2001

2003.21.2

One

of

most

Canova's

famous

repre

compositions

sents Paris judging which of the three god beautiful.

Reputedly Paris wears

mortal, teristic

of

where

the

the most

the most

handsome

the Phrygian

cap

of present-day

region

lived. His

he

was

or Venus,

Juno, Minerva,

desses,

calm

Turkey, serene

and

pose

charac

gaze give no hint of the aftermath of the once

moment;

he bestowed

the golden

apple

held behind his back upon Venus and received

her bribe

the disastrous Canova

of Helen, War

Trojan

the

carved

wife

of Menelaus,

ensued.

first version

of

this

subject for Jos?phine de Beauharnais between 1808 and 1812; it is now in theHermitage Saint

Museum,

was

Another

Petersburg.

made for Prince Ludwig of Bavaria and is now

inMunich.

recorded

at his death (ace. no. Antoine-Denis French,

Chaudet

on

and His Guide

H.

20 in. ($0.8

mechanism

cm),

Rome through at the Congress

turning

including

and molded

base

Signed and dated year II of theFrench Revolution

(September

21,

22,1793-September

1794) Rogers Fund and Edith Perry Chapman Fund,

2004

2004.11

3a, b

The

Byzantine

general

ous wrath

of his

point

the victorious

of

popularity

Belisarius emperor

that he had

sixth-century

aroused

the

jeal

then

imprisoned,

blinded and turned loose to beg for his living. Antiroyalist

elements

in French

society

but

sightless

found

Chaudet

suppose more

likely for

foundry metal

was

Neoclassical

the

ited at the Salon Neoclassical and

24

of

increased for 1791,

surely public the contrast between

When

criticism.

this group

was

exhib

nated

the sentimental relished the forms

its of

kinetic

pathos the

which

he

commentators

led early

chasing

parallels in the court of Louis XVI, which under coming terracotta model

and his

mendicant

ever-proud

weary young guide. The quality of the bronze's

to the

Justinian

Belisarius

commission

Londonderry,

Bronze

it out

carried

to a

turned

the expertise

its dazzling

range

age

moments:

is the original can be the group from

to

surfaces. had

give

the

The

unexpected

within

the unpati on turntable

base

be appreciated

but

professional

needed of

sometimes fitted

himself,

to

revolved

every

angle.

so as to jdd

in 1822.

assistants from who after

was

the

was

acquisition

in Canova's Together it was

2003.21.1),

the sculptor's

1763-1810

Belisarius

new

Our

as unfinished

studio a Venus

with completed

by year

following

the third marquis returning

representing rw of Vienna.

to his

of England country

2-5

Bertel

Thorvaldsen

Danish,

across wife rying Hercules' centaur to the tries abduct

1770-1844

Nessus Abducting Marble

Deianira

Modeled 1814 x

47A4

49A4 in. (120 x 12$ cm)

European Fund,

and Decorative

Sculpture

Arts

Canova

pendent

and

ancient revered, bold known

the

is slain

Bertel

the Dane

was

the

critic

inde termed

the "patriarch of the bas-relief." to be small scale, com tended

restrained,

in emulation

of

the

artists that Neoclassical compositions this one is unusual for its large size,

plasticity, myth

and concerns

sensual

subject. The well the centaur Nessus's

i78$-i84i

Saturday.

Days of theWeek

for point starting is an ancient relief Roman

pleted

of

now

shows

his native the artist's

city. A efforts

it

joined

other

Thorvaldsen

Salzburg the series Seven

Berchtesgaden,

in

Places

and Salzburg to the Seven According

Arranged

Lithographfirst printed ingray and then with a light beige

tint

on

stone, mounted

and

painted

gilt board with attached titleprinted on brown

com the

paper

series

11 x 7A} in. (27.9

Image:

to inten

reliefs.

and

Kellen

Stephen

Foundation Gift, 2004 2004.116.8

Olivier iw

x 19.$ cm)

Anna-Maria

Purchase,

sify the figures' interaction. This marble was commissioned by Paolo Marulli, brother of the duke of Ascoli, for his residence inNaples, where

in

1823

in the

Copenhagen, to house after his death

he gave

drawings

engraving

Museum,

two years

collection

an

from

of Saint Peter's

Graveyard

her husband for help as her abductor twists

Thorvaldsen

only

sculptor

in which

acknowledged relief; a contemporary

these

pact,

area

master

Thorvaldsen While

rivaled

One

Thorvaldsen.

26

Rome

early-nineteenth-century

the

her but

Ferdinand Olivier German,

From

that he knew

was

car

with

the river Euenus,

a arrow shot by poisoned by Hercules. Against a severe the sculptor the chiseled background moment waves to dramatic when Deianira

the composition

Antonio

charged

to kiss her. Thorvaldsen's

2004

2004.174

In

trust:

of Hercules'

betrayal

around again

was

so taken with

Salzburg

when

the

in 1817 that he determined

prints

that would

views

to his

convey

countrymen.

landscape

he visited

in 1815 and to create

the beauty This

scene

of

these

of a

The large vivid drawings ofMiddle Eastern characters thatWilkie prepared during his final journey to the Holy Land represent his distinctive

ern watercolors chalks?lends

glowing of blue,

but with

figure

enlivened

describe

gouache, of a seated man,

of

washes

and gray,

of white

tradi

an effect

bold watercolor

red, brown,

mod

the

invigorate

such works

Here,

ocher,

by passages ample

to

added

color.

of

palette?reminiscent

trois crayons manner

Rubens's

tional

as a draftsman.

achievement

culminating Wilkie's

the

commandingly

positioned as if seen slightly from below. Wilkie typically made such portrait drawings in pairs?one

for

the sitter

and

another

for

himself. He recorded sketching Abram Incab Messir in Smyrna (themodern city of Izmir, Turkey) on January 27,1841. The slightly later date bottom in the of Saint Peter's graveyard to the series that the artist painstak

burial belongs

over

produced

ingly

a

of five years

period

and

published himself. It is considered not only Olivier's finest

but

masterpiece works

The

of early German and

precision

golden

the

of

suggests two

this portrait

pleted itwas

presumably

other

version,

days

selected retained

by

afterward, by Messir. the artist

Atheneum,

Hartford,

the com

that Wilkie

later engraved by Joseph Nash, Wadsworth

on

inscribed

when The and

is now in the Connecticut. EEB

the artist's He

contemporaries.

shadows

with

by printing, an additional

exactitude,

incomparable

of

lithography.

subtlety

astonished

technique created

one

also

29th")

("January

of the sheet

tint stone. The brilliant white highlights are

the result

merely

The

through.

the original as a deluxe elaborate

of

portfolio,

gilt

since

includes

no doubt

created on

it ismounted

mats. series

pages

allegorical

showing

set, which was

edition,

Olivier's

the paper

Museum's

nized

according he wove addition,

ultimately seven

and

to the days into

the

two

comprised

orga

landscapes of

In

the week.

imagery

allusions

to biblical stories and to the cycle of life, and

death, was of

salvation.

The into

incorporated

burial

procession

Saturday,

the final

day

nmo

the week.

Sir David Wilkie Scottish,

i78$-i84i

Portrait

Incab Messir

ofAbram

1841

Colored chalks and watercolor, heightened with white Sheet:

on gray paper gouache, 17 x 11A4 in. (43.2 x 28.$ cm) Anne

Purchase, Harry

G.

Sperling

and

Jean

Fund,

Bonna

Gift

and

2003

2003.104

27

Charles Hippolyte French,

Aubry

1811-1877

[Study of Leaves on a Background Floral Lace]

of

1864 Albumen silverprint from glass negative i8Ys x 14A2 in. (46.7

x 36.8

cm)

Gilman Paper Company Collection, Howard

Purchase,

Gilman

Foundation

Gift, 2004 2004.106

to more

In addition sitions,

Italian,

1783-18$$

exquisite

of theMedusa

Head Ca.

were as a brooch

mounted

2As in. ($.4 cm)

of carving

Incised (lower left): pistrucci Assunta

Purchase,

Sommella

Peluso,

of

Peluso,

Ignazio

Ada

Peluso,

I. Peluso

and Romano

memory

in

Gift,

2003

2003.431

The

Neoclassical

engraved

drawn

subjects was more

None

antiquity.

hardstones

age prized

with

classical

from

than

widespread

the Gorgon Medusa. Her head, chopped off the centuries man

Minerva's

decorated

by Perseus,

it evolved

that challenged horror

mingle

shield. a

into artists'

and

Over

talis popular to com

ability This

elegance.

splendid

jasper carving is finely but freely adapted an ancient

from famous

Roman

Rondanini

marble

the

mask,

in the Glyptothek,

Medusa

Munich. In 1815 the Roman relocated bought

to

England,

avidly.

of George

His

gem

engraver

where

cameos

came

skills

III, then greatly

up hardstone

commissioned London raneous

carving.

by Samuel

dentist

and

to the attention

elements

of the caduceus,

encircled

staff of Mercury

emblem advertises

28

of

the medical

Cartwright's

with

became

the

but never was

The Medusa a

Cartwright,

collector.

gold-and-enamel

Pistrucci were

concerned

Pistrucci his coinage. perfecting at the talent leading Royal Mint gave

forms

plucked

and

and

printed wallpaper, were meant they

in gold and white enamel Diam.

of

compo

leaves,

structures.

Halfway

between the natural world from which they

1840

fasper,

produced

floral

studies

individual or grouped, dipped in plaster and photographed in raking light to reveal their

Pistrucci

Benedetto

Aubry

traditional

The

mount the

contempo contains

winged

that became and

profession art of healing.

snake the here jdd

the realm and woven

of carved

trophies,

carpets

to serve, Aubry's

that

leaves

an

possess

extraordinary

presence

sculptural

and skillfully blend natural and stylized beauty. a newcomer

was

In 1864 Aubry

to

photog

career

entire

his

until spent having as a arts. His then of decorative self designer in education and his creation of photography came at a moment leaf studies "after nature" raphy,

of crisis British

in French

decorative

competitors

seemed

arts, when to have

surpassed

the French in the design of industrial goods, for the middle

particularly

of

part

provide

the process?Aubry government dred

He

industrial

schools

materialized; declare

a

anticipated that never

by January

1865 he was

change

wholly forced

Two

Degas

Seated, Turned

to the Left

between

6A4X4A4 Mr. Gift,

in. (17.1 x 12 cm) and Mrs. and

Derald

them

several

During H.

members

The Chairman's Council Gifts, 2003 2003.329

in the Mus?e

chanced

until Manet's

impressions)

Ruttenberg

Manet

are said

Impressionism

to have

reversed

du Louvre

upon

Degas

and

continued

death a

copying

when

made

of

of

This etching is based on our black-chalk seated

(ace. no. casually

on

19.51.7) a

simple

showing wood

Manet chair.

seems to have worked directly from his chalk study for the etching; the printed image is

all

from

prints, greater

friend,

drawings, than we

ambiguously,

more

by

but he continued

of his old

the

acquiring

than

three

to admire

the work

a number

of his

and paintings. thought,"

Degas

after Manet

died.

"He was remarked, he

Earlier,

had lamented: "Everything he [Manet] does,

Degas

nearly

impressions

Manet

survived

Degas

as a

active

the subject

portraitist, Degas a small exam of and prints, group drawings are in the Museum's of which collection. ples

drawing

Only

decades,

he was

Manet

three

in

alike

otherwise

plate (printed before Degas's fussing ruined it) had been known until recently.

intermittently

in 1883.

period

but

respects. a

Spanish painting. A friendship developed

1866-68

Purchase,

of

1861

about

when

Etching, first state (one offour known Plate:

titans

met

1834-1917

Manet

to

md

Hilaire-Germain-Edgar

Ca.

France. of government

curriculum

bankruptcy.

French,

hun

to art

them

throughout

and

in

the French

of several

the potential

however,

in the design

series

and distribute

overestimated

support,

his

to

Hoping to profit that

proposed

purchase

photographs

and

class.

the solution?and

I

he always

[Degas]

it right."

hits

take endless

off

straight pains

and

away, while never

get

ci

29

Emmanuel French,

Fr?miet (designer)

1824-1910

Emile Muller French,

Tuilerie,

Ivry,

ca. 1887

the ceramist

stoneware

Fr?miet

2$As in. (6$. 1 cm)

Purchase,

Neuberger 2003.280

of European

Friends

and Decorative

tastic

Arts Foundation

and Roy

Sculpture R.

Inc. Gifts,

and Marie 2003

of

the first

and

le-Duc,

of an imaginary two unusual and

sculpture

Fr?miet

Emmanuel

1823-1889

La Grande

H.

ceramic

is the product

collaborations:

(manufacturer)

Lizard Glazed

This mal

between

and

the second Emile

supplied plaster creatures for the medieval

restoring restorations

which

of four

and 1870s fan

ch?teau was

Viollet-le-Duc

III. Viollet-le-Duc's for Napoleon were to intended the embody

spirit of the ruined

feudal

castle,

and Fr?miet's

sculptures for Pierrefonds deliberately evoked a highly romanticized medieval past. The four plaster

30

animals

were

carved

in stone

in the

several years

mid-i88os;

ceramic

for Muller's

to cast

Tuilerie,

In the cast

Viollet

Fr?miet

In the early

Muller.

models

of Pierrefonds,

the sculptor

the architect between

ani creative

through

rich

the result and

limited and

versions

red and

glazes. The was glaze

turquoise

in the glaze

and valued. were

apparently

This

quantities. of only

known.

color

in the coloration

sought

is one

Fr?miet

of copper-based

the variations

animals

in stoneware.

to introduce

of oxidation

deliberately

model

able

two

jhm

arranged

La Grande

the animals

the use

mottled

factory,

stoneware

were

and M?ller

later Fr?miet

stoneware

The

in very

produced animal examples

firing, were

is numbered of

this

i

This remarkable brooch is a highlight of the three-year French

jeweler

the decorative

epitomizes Nouveau

to 1901. At

1899

sis had

on

been

work

of

best

the Art

collaborated

a time when stones

precious

the

perhaps

luxuries

two men

style. The

the

inventiveness and Mucha,

execution, artist whose

graphic

from

for his

known

and high-quality Czech

of Fouquet,

partnership

the

empha

in traditional

settings usually derived from the Louis XVI period, they redefined fine jewelry design, espousing the belief that the beauty of a jewel on

its artistic

conception.

chosen

for their

contribution

depends were

all design,

not

Mucha

for their a

conceived

Materials to the over

intrinsic

value.

spectacular

series of

elaborate jewels to be executed by Fouquet in his Paris atelier. Those objects formed the of Fouquet's

centerpiece

of

exposition to carry out for a number premises

an idea

that he had

of years:

in which

display

at the Paris

In 1901 he asked Mucha

1900.

the

kept

in mind new

Fouquet

wanted

interior

decoration

har

monized with the jewelry he was creating. By the end of the year he had moved his business to the rue Royale, unparalled

Philippe Wolfers

and

(designer)

Vase

The

8A2 in. (21.$ cm)

Paris

Friends

Purchase,

and Decorative

of European Arts

Gifts,

was

Sculpture

into

In 1892 Philippe Wolfers, with his brothers over

his

father's

pros

perous goldsmith firm and became its design director.

The

of a kind,

of

shape

reflects

his

and draftsman.

sculptor

the quintessential

lures and

turning,

handling,

sides. Naturalistic had

intrigued

leaves

embrace

shape

and

The

object

the observer

figura into

it from

admiring floral

since

Wolfers

all

elements

1895. Here

the

the restrained

create

a

playful

double-gourd contrast to the

wildly

curling

shoots

sprouting

These

shoots

encase

the body

at the waist. and

culmi

nate in a lobed handle. This vase is a highly individual

interpretation

ornament.

as an

was

shown

year

later

at the the vase

icon of Art Nouveau

in

the style

in Brussels,

Art Nouveau

tile artists

as

such

and Victor

Hankar,

in the

Henry

van

Horta.

a

of versa

legacy der Velde,

Between

that

city

Paul 1909

and 1910Horta designed the newWolfers Fr?res

offices

in that city.

wk

employs uve

form,

cyclamen

ja

as a

training

sculptural

which

serpentinata,

is one

this vase, which

earlier

of

of

celebrates

took

of

the metal's

through

drawing 1897, and one

published

document

and Robert,

sumptuousness.

were

Studio-Talk. The vase is a highly important

2003

2003.236

Max

it

three-dimensional

preparatory

Salon

interiors

freed the typically painted

transformed

malleability

Silver, partly gilded H.

and

d?cor ca. 1896

Brussels,

the

ornament

ceramic

eighteenth-century

forms:Wolfers

i8$8-i929

Belgian,

where

Art Nouveau

of seventeenth

Georges Fouquet French,

Alphonse Mucha Czech,

(maker)

i862-i9$7

(designer)

1860-1939

Brooch Ca.

1900

Gold, colored

enamel, stones,

mother-of-pearl, and

opal,

emerald,

gold paint

L. 6A2 in. (16$ cm) Gift of Eva and Michael

Chow, 2003

2003.$60

31

is a hitherto-unrecorded

chair

Newport

the pierced strapwork combining ears found on a set of chairs scrolled

model, and

in the cabinetmaker's

that descended with

seat frame,

the trapezoidal

and pad

feet of another

in the American

opens

the Museum's with

from

inMay

Wing

be shown

2005, together sets for

two

the other

show

mhh

time.

Joseph Richardson American,

legs, set asso

the Townsend

chair will

examples

the first

family

cabriole

important

ciated with him. When

splat

Sr.

1711?1784

Punch Bowl Philadelphia, ca. 17$$ Silver H.

(8.6

3Asin.

cm)

Gift of JaneWyeth, Gertrude

mother,

in memory Ketover

of her and

Gleklen,

her father, Leo Gleklen,

2003

2003.481

a

Punch, and

popular

eighteenth-century

It was

nial America.

were

ing size, which

and

England

also became

Continent,

in seventeenth

beverage

fashionable

served made

in bowls

on

the

in colo of vary or more

of ceramic

rarely of silver. Stylish Philadelphians were among those who enjoyed imbibing the exotic

brew

sugar,

and

of water,

citrus

spirits,

fruit,

spices.

This small silver punch bowl bears the mark

to John Townsend

Attributed American,

In

Rhode

Island,

ca. 1760

Anthony

elements,

in

are thick,

their

ornament

Mahogany H. 38 in. (96$ cm) Purchase,

is heavyset,

its

with

W.

and

Lulu

the back

particular surfaces

is abstract

flat and

legs and angular;

and understated.

The

of Joseph

Richardson

Sr., one

of

Philadelphia's leading eighteenth-century

feet firmly planted on the floor; the framing

1732-1809

Side Chair Newport,

style

the piece

silversmiths

and

a member

of a successful

stiles,

silversmithing dynasty that included his

the

father,

brother,

and

two

sons.

Silver marked

by members of the Richardson family is

C. Wang

Gift, 2004 2004.97

an

when

Recently,

State

Washington was planning

in

antiques

dealer

read

the Metropolitan on the legendary

that

an exhibition

Rhode Island cabinetmaker John Townsend, he decided to offer theMuseum a chair he to be His attribution by that maker. correct. The chair exhibits fea multiple

believed was tures wood ship

characteristic is of neat

of Townsend's

the finest and

quality,

work.

The

the craftsman

refined.

32

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

in

outstanding social

history,

account

letter

books,

is also

and

quality thanks

in

rich

and

to the rare survival

of

and

family

books,

other

papers. The design of this bowl, with its unusual

engraved

in the

made

1720s

and

in turn

influenced

Philadelphia who

chants making

French

was

silversmiths

and mer

silver

from

especially

one

of

on

likenesses

will

below

the

that

the sitters'

image,

remain

likely

however,

on

his name

embossed

portraitist

a

unknown.

the artist's

the paper

studio

certain,

artists

in the area.

jlr

of

raphers

the early

bcw

Egypt,

of monuments, and

year,

traveled

east from

artistic,

Anonymous

i832-i8$6

son, Michael 2004.2$!

Constantine]

views.

shows

cm)

Foundation

Gift, W.

Bruce

Harrison

Cohen,

2004

Bennet 1840s?i8$os

[Siblings] i8$o

cm) H.

Lundberg Gift, 2004 2004.4

In this extremely well-preserved daguerreo and the camera address type, a young boy girl

with natural curiosity and a dash of youthful insouciance. hams, never what

the

in

Dressed

to tire, whine, became

of

crisp

seem

children

or

these

plaids

to pose age. One

charming

and ging forever,

wonders kids who

one day climbed up to the posing floor of a daguerrean

studio,

lovingly

clasped

hands,

Algiers

a series

that constitute

a more aspect

expressive

relatively

This

didactic

boldly

he

to the city of

created

and

in

Sometime to Cherchell,

visits

of

striking

personal,

of his oeuvre

archaeological

geometric

composition,

the

cliffs

towering

and waterfalls

of

the

Rhumel Gorge, a place thatTh?ophile Gautier and

as

celebrated niscent

of

the

Greene summer for Egypt,

year's

and Delaney

another

richly printed and exquisitely preserved,

would

Bruce

on

Algeria.

between

and

than his

Delaney H. Lundberg Gift, andMarian and James H. Cohen Gift, inmemory of their

W.

set out

in Cherchell,

the new

American,

Purchase, Alfred Stieglitz Society Gifts,

Purchase,

there

inscriptions,

hieroglyphic

In late 1855 Greene

landscapes

9A4 x 11At in. (23.$ x 28.6

Daguerreotype 7As x 6 in. (18.1 x i$.2

to

trips

and

landscapes.

John Beasley Greene

Salted-paper print from paper negative

Ca.

two

he made 1854-55,

produced an impressive body of photographs

to a site

[Waterfall, i8$6

active

capital

aesthetic

1850s. A well-to-do

archaeologist, in 1853-54 and

Constantine

American,

and

techniques

photographic and archaeological expedition

with

fashions.

in

stationed

in the French

up

grew the

adopted

amateur

plates by the celebrated Philadelphia daguer reansWilliam and Frederick Langenheim by other

banker

sensibilities of the pioneering French photog

in or

was

Greene

Paris, and

identities

It seems

son of a Boston

The

the

near Philadelphia, as the painted black mat with gilded motifs is similar to ones found on

and

abroad,

conversant

London

sophisticated

was

30s, which

Richardson

imported

him

silver

their

silver-plated sheet of copper. Although mat

and

shells,

of London

by contemporary

ornament.

R?gence

of flowers,

is reminiscent

diaperwork,

many

band

left to posterity

and

picturesque" of Salvator

paintings

to Paris

returned 1856 and

soon

hoping

that

prove end

"wildly

salutary.

or spring once more

departed the warmer

He

at the age of

in

died

remi

Rosa.

there

twenty-four.

climate before md

American,

Barbizon-inspired mode. Thickly painted

Whittredge

Worthington

and

1820-1910

in the Woods

The Brook

subtle,

coloristically forest

silent, mossy

Ca.

i88$-86

favorite

Oil

on canvas

for a larger picture x 91.4

28 x 36 in. (/i.i

cm)

in memory

Gift of Maurice

J. Cotter

mother, Muriel

Josephine Cotter

of his

interior,

one

It is probably of the same

a

evokes

the artist's

of

a prototype at

shown

title

theNational Academy of Design, New York, in 1888 and at the 1889Exposition Universelle in Paris, where an honorable

2003

(1902-2003),

subjects.

the canvas

was

Whittredge mention.

accorded

hbw

2003.43$

Ohio-born

was

Whittredge painter.

landscape

With

art patrons,

Cincinnati

he

as a

self-taught

the

support

of

American,

the decade

spent

from 1849 to 1859 traveling in Europe before mem settling inNew York City. Allied with bers

of

the second

the Hudson

of

generation

River School, such as John F. Kensett and Sanford R. GifFord,Whittredge specialized in views of the Catskills, New England, and the American

which

West,

later works

times. Whittredge's

scapes

of

several

Barbizon

the French

evocative

canvases

of George New

inMontclair,

from

1880

Inness,

espe

who not

Jersey,

34

only

to 1910.

example

far

occupied in

The Brook in theWoods is theMetro politan's

Plaster and shellac H.

10A2 in. (26.7

cm)

Purchase, Gift of Alice and Evelyn Blight and Mrs. William Payne Thompson, by 2003

exchange,

The subject of this elegant portrait isDavida

land

painters,

from the home thatWhittredge Summit

Johnson Clark

1886

2003.303

cially Camille Corot and Th?odore Rousseau. They also suggest his appreciation for the worked

1848-1907

Davida

demonstrate

to the poetic

attraction

his growing

he visited

Saint-Gaudens

Augustus

of Whittredge's

model,

muse,

bust

as a token

cast

Saint-Gaudens's

Clark,

Johnson

and mistress. of affection

artist,

gave

soon

after A

her

this

itwas rare

the original clay model. the of a presentation plaster by it has an impeccable provenance,

from

example

finished

longtime

He

a having remained in the Clark family for century.

While

the sculpture

Saint-Gaudens an

independent

considered effort,

even

appearance, for

inspiration major

public

and Amor casts

to

the surface

shellacking

of each

features

(ace. no. installed

of

two

(ace. no.

pieces?Diana

are

it as the

he also used

the facial

Caritas

it a more

give

19.124);

28.101)

bronze

in the Charles

Engelhard Court of the American Wing. Modeled at a high point in Saint-Gaudens's career,

the portrait

offers

an

intimate

glimpse

of his confident and fluid handling of form.

The

creative

spontaneous incised

in its

process

is evident

stage

lines

in the

sweeping

of hair

strands

indicating

most

preliminary,

and

the casual modeling of the bangs. The finesse and flair

that make

nent master

of

sculptures

Beaux-Arts

so

are epitomized appealing a tt of portrait. jewel

Smith

and Wesson

Two

York

style

small

(manufacturer)

Tiffany and Company New

in this

est. i8$2

Mass.,

Springfield,

this preemi

by

the American

(decorator)

est. 1837

City,

Revolvers

Springfield,Mass., andNew York City, 1883, 1889-90 Steel, partly and

laminated

nickel-plated,

metal,

silver

L. (overall) (.2) 8 in. (20.4 cm); ( .1)7As in. (18.1 cm) Gift

of Gerald

Klaz,

Klaz

Gerald

Trust,

James C. Callowhill

Trustee?The

M.D.,

American

2003

.1

2003.$46.2,

Ca.

several periods in its long history, Tiffany and Company (est. 1837) designed arms.

and decorated

ning

created

in the

During

of

swords

the Union

1880s Tiffany

the embellishment those

clients

as

and

of Arms

Department

and Armor

its first

examples

of Tiffany-decorated a .38-caliber above,

of

action

these,

has

revolver, with

embossed

revolvers

rhythmically

the

preserved

in the Tiffany a .32-caliber

to 1889-90, ing

has

Such

acquired and

also

arms.

silver

from

to

abroad

ornamentation.

sought perform

An

influx

of

and Deedee

found

ing from

Wigmore

Gift, 2004

pottery

gold-paste were among during decoration

the most

the

style, with

in the Japanesque fashionable

late nineteenth

exhibited

often mov employment, to pottery at the major centers in Greenpoint,

ceramic-producing New and Trenton, York,

in the Royal Worcester decoration

ready

in

century.

at the Centennial

Exposition of 1876 by the English firm was highly praised, generating popularity in the

Worcester

New

Porcelain

to America,

gold-paste

Jersey. at the

decorator

important

Royal

emigrating raised

an

Works

was

technique.

before

renowned He

came

for his to the

United States in the 1880swith his equally gifted

brother,

and his

Thomas,

son

Sidney,

and theywere recognized for their highly accomplished

work.

acf

grip

entwined

sala

dated

1883,

for which,

design

America

potteries, tastes,

luxury

double

a hammered

manders,

below,

raised mode,

has

and Wesson

One

Porcelains

showpieces.

Smith

A

Callowhill,

particularly

its first

them,

cm)

Barrie

2004.94

the gift of these two pistols the

With

7 in. (17.8

Foundation

as commissions

and Wesson,

American to

talented Englishmen, Callowhill among

with

experimented

workers

this delicate

i88$-90

Purchase,

Begin

market. to cater

wishing skilled

Diam.

for presen

forces.

of firearms,

of Smith

for wealthy

1838-1917

Porcelain

the Civil War

elaborate

to heroes

tation

(b. England),

Plate

During

the firm

domestic

(decorator)

archives.

The

is

other,

revolver dat single-action a silver-sheathed grip

etched with foliage around shaped panels inlaid with

laminated

in Japanese

called

a

metal,

mokume

technique

("wood

grain").

Both reflect the fascination of Tiffany's chief designer, with

exploration

and

lish Tiffany's

emerging

metalwork of

materials,

free-flowing

C. Moore

Edward

oriental

(1827-1890), his

and

Japanese-inspired techniques international

lines

and

Art Nouveau

innovative design,

that helped reputation.

naturalism style.

evoke

estab The the

swp

35

His

i873> respectively.

of

pictures

the former

helped stimulate the founding of the first national

park. He

Canyon

inMay

produce This

the Santa

monochrome

least eleven

by Moran with

along

F.

is one

by Henry

and H.

Lungren,

G.

of at

as half

reproduced

works

to

rim,

Fe Railroad.

watercolor

tones, H.

to the south

1892 for

images

to the Grand

returned

Farny, for

Peabody,

Grand Canon of theColorado River, Arizona, published by the railroad in 1893.Hance time was

at the

Trail

to the Colorado the

Through

one

of

River, tall format

void

and

thrusting Ayres

supporting

the rim.

below

Moran

conveyed

vividly the abysmal depth?the rock walls

plunging the misty

chimneys, Butte

accesses

the few

a mile

at center,

and

the cricketlike figures on the foreground plat form.

An

attained

Louis Comfort Tiffany American,

the picture

1848-1933

Louise Tiffany, Reading 1888

ofthat

the preoccupation

reflects with

period

In addition,

of the medium.

mastery

Tiffany's

of artists

of women

the theme

at

leisure.The pastel descended directly from

wove paper buff-colored 22 x 31A4 in. ($$.9 x 79.$ cm)

Pastel?n

to his

Tiffany

in whose

daughter,

the

memory

family is giving it. acf

Partial and Promised Gift of the Family of Dorothy Tiffany Burlingham, 2003 2003.606

renowned

Tiffany,

for his

career

successful

as a arts, began painter, to owns one oil date the Museum yet only one watercolor, and this painting, pastel by

Thomas

the artist. The

wife,

American,

on

The Grand Canyon: Head Hance Trail

in the decorative

Louise, chaise.

pastel depicts a book while

reading The

setting

is the

his

second

reclining

a

inte

incomparable

rior thatTiffany designed for his own studio in his home at 72nd Street andMadison in New

Avenue

York.

His

father,

Charles,

1837-1926

of the Old

1892

Watercolor, graphite

to

had hired McKim, Mead andWhite

Ca.

Moran

and

pen

black

and ink, gouache, wove light gray

on

underdrawing

paper

design the largemultifamily dwelling, which

Signed (lower left) with the artists monogram

was

14A8 x ioAs in. (37 x 2$.7 cm)

completed

cially and

in 1885. The for

noteworthy its exotic

The

its

was

studio

avant-garde

espe

d?cor

Purchase,

eral members

atmosphere.

work

coincides

the pastel medium and European

with

the rediscovery American

by contemporary

artists. This

of

and

superb

example,

drawing.

Its evocation

of textures, especially in the play of light on the rich silk-velvet

upholstery

and pillows

and

the glossy finish of the green-glazed vase of hydrangeas

36

on

the table,

Jesup

of The

Fund

Chairman's

sev

and

Council

Gifts, 2003 2003.421

rare

within Tiffany's oeuvre, displays highly satu rated colors

K.

Morris

is a testament

to

This is the firstwatercolor byMoran acquired the earliest most

by

the Museum.

American

talented,

artists,

to portray

was

Moran

both

and

to be one

certainly

of the

Yellowstone

and the Grand Canyon, which he visited with theU.S. Geological Survey in 1871and

admirer a

of J. M. W.

comparable

mastery

and with

of

similar

of timelessness

Moran

the water

it communicated

color medium balance

Turner,

and flux,

a kja

life as their

and

still

and

Picasso

primary

into a series

form

dimensional

three

of faceted

lines.

and oblique

planes

Braque

subjects, dissolved

systematically

This large etching is one of tenCubist prints The built

made

Braque

in a shallow

composition, a diffuse around

etched orate

armature circular

lines, graceful hatch

marks,

1912. and

space

of carefully forms,

Braque's

It has been

and

elab

most

convincingly

the artist

that

argued

is among

abstract.

rigorously

1909 and

between set

as half

this etching tal composition

conceived originally horizon of a monumental on

executed

a

single

copper

plate. Likely dissatisfied with the composition as a whole, center,

Braque

creating

cut

the plate

two distinct

down

etchings,

the this

one and Composition (Still Life I). The prints, for many

disregarded separate Cubist ously

Andr? Derain French,

berant

i88o-i9$4

The Turning Road, VEstaque

ors

Ca.

1906

The

Oil

on canvas

of Louis

x 33.3 cm)

W.

did

Fauve

early

in this

work,

areas of green

only

trees

pine

that keep

are those their

prints with

in 1950. Only were

as

contemporane

published

their making.

published two of Braque's

sjr

exu

and those

in swirls

in this Mediterranean

round

small

applying

the tube

from

directly

and

16A4 x 13Ah in. (41.3 Bequest

as Derain

trunks,

works

years, were

col

and dabs. of

the olive year

foliage

sr

region.

2002

Bowen,

2003.2$3

Derain

When ago,

L'Estaque

port.

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it has been

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effect

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13A4 x 8A4 in. (34.9 Gift,

Anonymous

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2003

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French,

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L'Estaque

Georges

1911

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outskirts

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a century

this work painted was still a small

intellectual

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the summer

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art.

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dialogue

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of

1914, ran

Picasso

any others

in the his

engaged

in a visual

that

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resulted

in the

influential portraiture

37

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

Michel Dubost French,

F. Ducharne

Soieries French

(manufacturer)

est. 1920

(Lyon),

Ca.

panel's

sheer

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tional of

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enamel

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cm)

Cynthia Hazen Polsky and Leon B. Polsky Fund,

2004

2004.120

Lalique

began

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panels

out

stemware before

immensely

his

could

glass

wares

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metal

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produce perdu

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of

complexity

the finish

glass

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cooled. vase

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the boldness

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the cire

using

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the design

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in quantity,

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had

object

"Tourbillon"

ordinary.

made

objects

each

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great majority

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some

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be purchased

machine-made

molds;

in jewelry

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the world.

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incorporating

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was

the one

glass with

seen here: the outer

a

body of

edges

the deep walls highlighted in black enamel. The

strong

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38

and

pattern

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Industriels

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fair promoted state-sponsored as a leader in the luxury trades while encouraging exemplified

the alliance by

this

textile.

of art and jg

et in 1925. France also industry

Otto Dix German,

1891-1969 Kummer

Marga 1914

on

Charcoal

paper x 34 cm)

17A8X 13A8 in. (44.1 Anna-Maria

Purchase,

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Stephen

Foundation Gift, 2004 2004.121

was

Kummer

Marga

for Arts

1914. Not

and

about

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in various Dix

much

later worked

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features

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houses

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first

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students in Dresden

and Crafts

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probably

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1920s. One

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set eyes. The

diagonally

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Ovid,

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Pablo Picasso

Th?r?se the

Les M?tamorphoses Book with 30 etchings by Picasso (published by Skira,

suite

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accompanied

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his young

Marie

as the model

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145 copies

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with

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include

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deluxe

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editions

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1931 13 x 9A8 in. (33 x 2$.i

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cm)

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In autumn

1930 Picasso

Di

a commis

accepted

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illustrate

Metamorphoses, ancient

Roman

the work cuted one

of poems

the famed poet Ovid.

in French

a suite

of

exception,

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Having

the

studied exe

Picasso

translation,

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and

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outline

energetic

texts

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drawing, of

illustrations by

tins apoint choix delimite ;iln'jr une rtur i ten litton pour g?ni?ic prie pire ?e? leencrai ditden fille ?on reu?; lebouc f?conde Icich?vre? epouie; qu'il acageadrfet etdugerme dont ilact<con?u aion con?oit lui-mime l'owau lour. Heurrui le? <Uei deceprivil?ge ILe? del'homme qui jouinent ?crupule? ont aiede?loi? ciceque m?chante? h nature arr?ta de? le permet, jaloux b nllc?tonp?re, etchez HU, qt dexir. tuez dt imlheureuK SuU-je

the British

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John Flaxman (1755-1826), describes solid forms

with

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precision. specific

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sub by

plete

by

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the book,

an extra

1931), with

Lausanne,

of 30 etchings

were

The

tional ques

mistress

1881-1973

Spanish,

Albert

in Latin

written

concerned

extant

numbered examples

with

series of an addi handwritten

text. The 23, of

is one

present

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the deluxe

edition. MSD

Bill Brandt

subsumes

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Halifax 1937

that virtu of

representations the wars.

silver print x 19.7 cm)

the Metropolitan containing images from not in the col previously represented

9X7A4

series

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tion of the most of

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lection,

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of Halifax

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2003. $68.4

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England

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greatest

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visceral

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Matta

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2003.270

inNew York (1939-48).

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Lawrence's

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also

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of prints

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This work is part of a gift of 199 prints given to theMuseum by Tyler Graphics Ltd. of Bedford Village, New York. Kenneth

II

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ivory statue of her so beautiful that he fell it. In answer

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x 121.9

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Purchase, Alfred Stieglitz Society Gifts, 2004 2004.223

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44

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of Alexander

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by cri

cultural

tiques. Credited alongside peers such as John Galliano at Christian Dior with the revival of couture

in the

is among

1990s, McQueen

a handful of young designers who explore audacious matic

concepts

movements

resonant

historic

His

cite both

typically

or artistic

controversial

dress.

through

collections

and

events.

collection,

the

aesthetic

emotionally In an especially Rape,"

"Highland

addressed a period of British

McQueen

of

oppression

the Scots

with

tattered

dresses

Dress"

from

and bloodied models. This

"Transitions"

McQueen's

poetic

seemingly The

gown's

colored

resembles

lusk, further look. However, surface

scallop

surface.

the violent

hem

of

the seashell emphasizing gown's the raw finish and "dirtied"

of the sea and

than of a bruised

deconstructing

The

a lip of giant mol

the wavy

are less an evocation

in the foam

graduated to the mille

similar

on a shell's

at sea.

of sand

in

and organza in a texture

ridging

the skirt

of a disaster

construction

complex

is a

collection,

rendering

chiffon

layers results feuille

the "Oyster

example,

oyster, action

of Aphrodite born to shore on a

carried

pearl

encased

the tumbled

of waves.

in a

survivor

of

hk

45

Pair of Cuffs Peru (Chavin) 7th-$th

B. C.

century

Hammered gold i As x 8 in. (4.8

x 20.3

cm)

Purchase, Jan Mitchell

ornaments

Gold

sonal

of

era.

durable

burial,

sheet

repouss? face with upper

on

lip

large fang

either

of

It is known media

many Chavin

imposing

nial

its

of Peru. sculpture,

with

contemporary

Chavin

or variants

the style,

for

in

and

since

is

lions with

curled,

palmettes

and

from

vines while

sprouting

them. Many colors

of

textiles.

extended of

the

birds

perch

dyes?cochineal

pink and golden yellow?employed

maintained

that

before

of European which Andean Spanish

pre-Conquest

Peru

already

counts

tapestries colonial

by

an the

object.

Department

and Decorative several

among art.

it is likely

and

is such

acquired

Sculpture

and

viceregal are listed in seventeenth

tapestry

was

brought

era. Seat

the

inventories,

small

weaving

Inka, was

cloth

church

this

tapestry,

the

by

of

origin.

double-sided

into

long

in cumbi

century

The

retain

in

perfection

covers

grotesque

the creatures

of natural

to

distinctively

weavers

with

referred

the far

Eastern

interpretation

popular

as were

reflects

of Near

Collared

surrounded

art of weaving to as cumbi

The

thread

silver-wrapped

is of European

its

Arts,

important holdings

of

ep/jh

colo

relief

characterizing

earlier

than

known

where

it, is present.

of

of palmettes,

were

the brilliant

and

the

elements

archaeological

are now

de Hu?ntar,

among

animals

the Conquest; other

and

Visible

other

technique

in the north

particularly

the basis

the style. Numerous sites,

site

period, masks

after

style,

a well-known

formed

sculpture,

full

of art in