Recent acquisitions a selection 2000 2001 the metropolitan museum of art bulletin v,59 #2 fall 2001

The MetropolitanMuseumof Art Bulletin

Fall2001

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RecentAcquisit A

SELECTION: 2000-2001

The

Museum Metropolitan

of

Art

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

This publicationwas madepossible throughthe generbsityof the LilaAchesonWallaceFund for The MetropolitanMuseumof Art establishedby the cofounderof Reader's Digest.

TheMetropolitanMuseumofArt Bulletin Fall 2001

Volume LIX, Number 2 (ISSN 0026-I52I) Published quarterly.Copyright ? 200I by The Metropolitan Museum of Art, Iooo Fifth Avenue, New York, N.Y. I0028-0198.

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Contents

5

Director's Note

7

Contributors

8

Ancient World

14

Islam

17

Medieval Europe

21

Renaissance and Baroque Europe

32

Europe I700-I900

48

North America I700-1900

56

Modern

72

Africa, Oceania, and the Americas

76

Asia

86

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

GeneralManagerofPublications:John P. O'Neill Editor in Chiefof the Bulletin: Joan Holt Editor of the Bulletin:Jennifer Bernstein Production:Peter Antony Design:Bruce Campbell Design with Bessas & Ackerman DesktopPublishingAssistant:Minjee Cho Coordinators: MahrukhTaraporand SianWetherill All photographs, unless otherwise noted, are by the Photograph Studio of The Metropolitan Museum of Art. Photographers:Joseph Coscia Jr., AnnaMarie Kellen, Paul Lachenauer,Oi-Cheong Lee, Bruce Schwarz,Eileen Travell,Juan Trujillo, Karin L. Willis, and Peter Zeray.

Copyright notices: pp. 46-47: EdouardVuillard, ? Artists Rights Society Album (2000.93.2), (ARS), New York / ADAGP, Paris;p. 58: Henri Matisse, SeatedNude Asleep(2000.236), ? Succession H. Matisse, Paris/ Artists Rights Society (ARS), New York;p. 59: Otto Dix, Nelly (2000.112.2),

? Artists Rights Society (ARS),

New York / VG Bild-Kunst, Bonn; p. 60: Jacques Le Chevallier, Lamp (200I.4Ioa, b), ? 200I Artists Rights Society (ARS), New York / ADAGP, Paris; p. 62: Jean Dubuffet, Self-Portrait(2001.396), ? ArtistsRightsSociety(ARS),New York/ ADAGP, Paris;p. 63: Jacob Lawrence, ThePhotographer (2001.205), ? Gwendolyn Knight Lawrence, courtesy of the Jacob and Gwendolyn Lawrence Foundation;RobertFrank,[The Congressional]

(2001.164.4), ? Robert Frank;p. 64: Robert Smithson, Bingham CopperMining Pit-Utah ReclamationProject(200I.293), ? Estate of Robert Smithson / Licensed by VAGA, New York, NY; Louise Lawler,Pollockand Tureen,Arrangedby Mr. and Mrs. Burton Tremaine,Connecticut (2000.434), ? Louise A. Lawler;p. 65: Terry ? Terry Winters, Double Standard(200I.I.3), Winters; p. 66: Rachel Whiteread, Untitled (Pair), ( Rachel Whiteread, photograph courtesy of Anthony d'Offay Gallery, London; Leonardo Drew, Number24 (2000.97), ? Leonardo Drew; p. 67: Rineke Dijkstra,Kolbrzeg,Poland(2001.307), ? Rineke Dijkstra;George Segal, Self-Portrait (200I.57), ? George and Helen Segal Foundation / Licensed by VAGA, New York, NY; p. 68: Geoffrey Beene, Evening Gown (200I.393.II8), ? Geoffrey Beene Inc.; p. 69: Magdalena Abakanowicz, Figureon a Trunk(2000.348a, b), ( MagdalenaAbakanowicz;p. 70: Stephen Hannock, The Oxbow:After Church,after Cole, Flooded(FloodedRiverfor the MatriarchsE. &dA. Mongan), GreenLight (2001.153),? Stephen Hannock; p. 71: Brice Marden, Red Line Muses (2001.117), ? 2000 Brice Marden and Gemini G.E.L., LLC;Joel Shapiro, Untitled(2001.2I), ? Joel Shapiro / Artists Rights Society (ARS), New York;p. 75: comparativephotograph of Dinka warriorwearing corset, ? Angela Fisher.

On the cover: Black Storkin a Landscape,ca. I780 (see p. I6)

Director's

Note

In the past few yearsa concertedeffort has been made to augment the Metropolitan's funds for the acquisitionof works of art. This Bulletindevoted to our recent acquisitionsis testimony to the importanceof that effort.

There have been individualgifts, a number of them substantial,and the creditlines attached to majorpurchasesrecordthose donors'generosityand proclaimour gratitude.The Acquisitions Fund Benefit is now an annual tradition,and its proceedsallowed us last year to obtain an importantseventeenth-century Germansculptureby LeonhardKern. In addition, the funds providedby severalmembers of the Chairman'sCouncil madepossible the purchaseof a splendid figurestudy by SirJoshua Reynolds.

As in previousyears,this issue of the Bulletinunderscoresthe encyclopedicnature of the collectionsby nearlymatchingthat diversitywith newly acquiredworks spanning severalmillenniaand continents. Once again, I would like to devoteprideof placein this note

to Ambassadorand Mrs.WalterAnnenberg, whose continued munificenceprovidesus this yearwith a numberof importantImpressionist and Post-Impressionistcanvases,including two handsomeFantin-Latours.Our collection of nineteenth-centuryEuropeanpaintingsalso benefited from the addition of its firstwork by the British/Frenchlandscapepainter RichardParkesBonington, as well as of a unique and most touching painted document, Gauguin'sportfolioof I894 from his second Pont-Avenperiod. Mr. and Mrs. Leon Black areassociatedwith the latterpurchase,and it is my pleasureto observehere that their names arebeing linked to acquisitionswith increasingfrequency.

Among those groups of works of art that have measurablyenhanced the quality and scope of other areasof the Museum's collections is the assemblageof"Dongson"-culture BronzeAge objects bequeathedby Samuel Eilenberg,which makes our holdings of this materialvirtuallyunrivaledin the Western

world; and the Fales Collection of American jewelry,which propels us to first rank in that field as well.

Finally,I wish to end by welcomingto the Museum a single work, one of the most important to be acquiredin recent times by the Metropolitan in the field of Africanart: the large and imposing sculptureof a couple from the Menabe region of Madagascar.

We could not have added this iconic image of man and woman to the collection without the assistanceof valued friends of the Department of the Arts of Africa, Oceania, and the Americas.T'o these individuals,and to all the others who have contributed to the acquisitionsprogramof the Museum in the past year-listed for the first time at the back of this Bulletin-I expressmy deepest gratitude.Their generosityis our lifeblood.

Philippe de Montebello Director

5

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Contributors

American Decorative Arts NorthAmericaI700-I9oo: Morrison H. Heckscher (MHH), LawrenceA. Fleischman Chairmanof the AmericanWing; Alice Cooney Frelinghuysen(ACF), Anthony W. and Lulu C. Wang Curator;Beth Carver Wees (BCW), Associate Curator;Medill Higgins Harvey (MH), ResearchAssistant.

American Paintings and Sculpture NorthAmericaI700-oo00: H. Barbara Weinberg (HBW), Alice Pratt Brown Curator;CarrieReboraBarratt(CRB), Curator;Kevin J. Avery (KJA),Associate Curator.Modern:H. BarbaraWeinberg (HBW).

Ancient Near Eastern Art Ancient World:Joan Aruz (JA), Curator.

Arms and Armor Renaissanceand BaroqueEurope:StuartW. Pyhrr (SWP), Arthur Ochs Sulzberger Curatorin Charge.Asia: Donald J. LaRocca (DJL), Curator.

Arts of Africa, Oceania, and the Americas Africa, Oceania,and theAmericas:Alisa LaGamma(AL), Associate Curator;Eric Kjellgren(EK), EvelynA. J. Hall and John A. FriedeAssistantCurator;Heidi King (HK), Senior ResearchAssociate;VirginiaLee Webb (VLW), Associate Research Curator,PhotographStudy Collection.

Asian Art Asia:James C. Y. Watt (JCYW), Brooke RussellAstor Chairman;BarbaraB. Ford (BBF), Curator;Maxwell K. Hearn (MKH), Curator;Martin Lerner(ML), Curator; Suzanne G. Valenstein (SGV), Fellow; Steven M. Kossak(SMK), Associate Curator; Denise PatryLeidy (DPL), Associate Curator;MasakoWatanabe (MW), Senior ResearchAssociate.

Costume Institute Modern:Harold Koda (HK), Curatorin Charge.Africa, Oceania,and theAmericas: Emily Martin (EM), ResearchAssociate.

Drawings and Prints Renaissanceand BaroqueEurope:Carmen C. Bambach (CCB), Associate Curator; Nadine M. Orenstein (NMO), Associate Curator;Michiel C. Plomp (MCP), Associate Curator;PerrinStein (PS), AssociateCurator; ElizabethE. Barker(EEB), AssistantCurator.

Europe 70o0-oo00: Colta Ives (CI), Curator; ElizabethE. Barker(EEB). Modern:Colta Ives (CI); SamanthaJ. Rippner (SJR), CuratorialAssistant.

European Paintings Renaissanceand BaroqueEurope:Keith Christiansen(KC), JayneWrightsman Curator;Walter Liedtke (WL), Curator; Mary Sprinson de Jesus (MSdJ), Research Fellow. EuropeI700-9o00: Gary Tinterow (GT), EngelhardCuratorof NineteenthCentury EuropeanPainting;SusanAlyson Stein (SAS), Associate Curator. Modern: Gary Tinterow (GT).

European Sculpture and Decorative Arts Renaissanceand BaroqueEurope:James David Draper (JDD), Henry R. Kravis Curator.

EuropeI700-oo00: James David Draper (JDD); Danielle O. Kisluk-Grosheide (DK-G), AssociateCurator;WolframKoeppe (WK), Associate Curator;Jessie McNab (JMcN), Associate Curator;Jeffrey H. Munger (JHM), AssociateCurator.

Greek and Roman Art Ancient World:CarlosA. Pic6n (CAP), Curatorin Charge;Joan R. Mertens (JRM), Curator;ChristopherS. Lightfoot (CSL), Associate Curator;Sean Hemingway (SH), Assistant Curator.

Islamic Art Islam:Daniel Walker (DW), Patti Cadby Birch Curator;Stefano Carboni (SC), Associate Curator;Navina Haidar (NH), AssistantCurator.

Medieval Art and The Cloisters Ancient World:Melanie Holcomb (MH), AssistantCurator.MedievalEurope:Peter Barnet (PB), Michel David-Weill Curator in Charge;BarbaraDrake Boehm (BDB), Curator;Timothy B. Husband (TBH), Curator;CharlesT. Little (CTL), Curator; Julien Chapuis (JC), AssociateCurator.

Modern Art Europe1700-oo00: Sabine Rewald (SR), Associate Curator.Modern:Lisa M. Messinger (LMM), Associate Curator;Sabine Rewald (SR);Jane Adlin (JA), Assistant Curator;JaredGoss (JG), AssistantCurator; Anne L. Strauss(ALS),AssistantCurator; Nan Rosenthal (NR), Consultant;J. Stewart Johnson (JSJ), Consultant for Design and Architecture.

Musical Instruments EuropeI700-9o00: Herbert Heyde (HH), Associate Curator;StewartS. Pollens (SSP), Associate Conservator.NorthAmerica I700-oo00:

Herbert Heyde (HH).

Photographs Europe1700-9o00: Malcolm Daniel (MD), Associate Curator.Modern:Jeff L. Rosenheim (JLR), AssistantCurator; Douglas Eklund (DE), ResearchAssociate; Mia Fineman (MF), ResearchAssistant.

7

ANCIENT

WORLD

2000.281.

2000.281.2

Diadem, Brooch, andArmbands CarpathianBasin (present-daySlovakiaand Hungary),LateBronzeAge, 1200-900 B.C. Copperalloy Diam. (diadem)io14 in. (26cm); 1. (brooch) i in. (27.8cm); . (eacharmband)9 in. (22.9 cm) Purchase, Caroline Howard Hyman Gift, in memory of Margaret English Frazer, 2000 2000.28I.I,

.2

Purchase, The Kurt Berliner Foundation Gift, zooo 2000.407.1,.2

2000.407.1,

The elemental form of a spiralachievesan elegant monumentality in this diadem, large brooch, and pair of armbands.These remarkably whole pieces epitomize metallurgical production of the workshops found in the areassouth of the CarpathianMountains during the Late BronzeAge. In continental Europe no workshopswere more prolific, creative,or technologicallyaccomplished than these. The personalornaments,weapons, and vessels they produced were widely imitated and exported and have been found in settlements as far away as Scandinavia, France,and Italy.

Though spiralshad long figured in Bronze Age ornamentation,the workshops transformed what was a flat decorativemotif into

.2

a sculpturalshape for an arrayof jewelry that incorporatedspirals.Often incised with delicate patternsof dots and lines, their products are noteworthy for the powerful, almost modern simplicity of their forms. Large broocheswereworn by both men and women to secure cloaks, while diadems were probably worn only by women, with the spirals perhapsextending down at the back of the head. Armbandswere usuallyworn in pairs on the lower arms;they were sometimes complemented by finger and toe rings, as well as by leg bands. It is impossible to say whether these imposing pieces were used exclusivelyfor ceremonialpurposes, but the rarityof their forms suggests the elite status of their original owners.

MH

8

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Siren B.C. Greek,Archaicperiod, ca. 55o-50oo Terracotta L. p2 in. (24.1 cm)

Purchase, Renee E. and Robert A. Belfer Gift, zooo 2000.276

Support in the Shape of a Sphinx Greek, ca. 600 B.C.

Bronze H. ios8 in. (27.6 cm) Gift from the family of Howard J. Barnet, in his memory, zooo 2000.660

woman, part bird, and part lion. Among earlyutensil supports, female figureswith demonic power are frequent;Gorgons rather than sphinxes predominate.Two hollows below the sphinx's wings indicate that originally she had a pair of arms or a second pair of wings, following Near Easternprototypes.

Partwoman, part bird, this robust Archaic Greek sculpture representsa siren, a mythical creaturefamous in antiquity for its song that lured sailorsoff course to their deaths. In Greek mythology sirens, like harpies, embodied a potent aspect of feminine power. The wily hero Odysseus encountered them near their island in the TyrrhenianSea. By being lashed to the mast of his ship, Odysseus was able to hear the sirens' song without danger, while his crew plugged their ears so as not to be enchanted.

The geographerStrabo and other ancient writerstell us that sanctuariesdedicated to the sirens existed in parts of southern Italy and elsewhere.This sculpture may well have been a votive offering at such a sanctuary.

Modeled by hand with applied decoration, it is much rarerthan the mold-made, sirenshaped terracottavessels that were popular throughout the Greek world during the Archaicperiod. It may also have been part of a sculpturalgroup or have served as a crowning architecturalelement, possibly for a funerarymonument, another context in which sirens frequentlyappearin Greek art.

SH

JRM

Ancient literarysources and raresurviving objects testify to the monumental bronze utensils produced in Greece from the ninth to the sixth century B.C.This sphinx was one of the three-or more-supports that carried on their heads a shallow bronze basin measuring at least a meter in diameter.The hollow core of the piece is filled with lead, which helpedto stabilizethe utensiland, supplemented by rivets,held the variouspartstogether. The sphinx has an elaboratecoiffurewith spiral curls over her foreheadand tressesthat fall behind her earsand widen in a succession of waves.A bolero-likearrangementof scales representsthe featherson her body and overlaps, in low relief, the flight feathersof her wings. She stands on a single feline paw, which is appropriatebecausea sphinx is part 9

Bracelet with CentralMedallion Greek,Hellenisticperiod, 2nd centuryB.C. Goldand glass Diam. 3$8 in. (8.7 cm) Purchase, The Concordia Foundation Gift and Marguerite and Frank A. Cosgrove Jr. Fund, zooI 2001.230

Situla (Wine Bucket) with Two Handles Greek,Hellenisticperiod, late 4th-early 3rd century B. C.

Glassand silverwith gilding andpaint H. 8 in. (20.4 cm) Purchase, The Bernard and Audrey Aronson Charitable Trust Gift, in memory of her beloved husband, Bernard Aronson, 2000

2000.277

This is an exceptional object by virtue of its rarity,quality, technique, and decoration.

Prior to the invention of glassblowingin the first century B.C. (a development that allowed mass production), the finest glassvesselswere luxury objects. The bucket was manufactured by casting a thick block of translucentgreenish glass,which was then ground, polished, painted, and gilded. The swing handles are flat strips of silver.

The situla is an exceedinglyrareshape in the repertoireof Greek glassmakers.Even more remarkable,however, is the painted and gilded decoration that originallycovered most of the exterior.The ornamentcomprises threemain elements:A continuouswave pattern in pinkish red runs under the rim; two broadverticalstripeswith wavy tendrils in purplish red descend the sides of the bucket IO

(there are tracesof gilding over the paint in the verticalbands); and the rest of the vessel's body is largelycoveredwith rows of assorted floralor featherlikeornaments,painted in severalshades of pinkish red outlined with darkbrown. A pink rosette occupies the center of the situla'sbase. If the painted patterns in fact representoverlappingfeathersrather than floralmotifs, one could venture an Egyptian origin for our glass bucket, since the use of feathersto denote divinity has a long CAP history in Egyptian art.

This gold braceletis composed of two tubular sections hinged to an oval box bezel that is embellishedwith a large purple glass cameo with a white border. Gold pins secure the collarsof the two semicircularhoops. The most distinctive featureof this well-preserved bracelet (or armlet) is the treatment of the outer surfacesof the hoops: They are covered with a delicate network of filigreecreatedby placing parallelrows of wire in a zigzag pattern and dotting the points of contact with granules.This unusual type of decoration finds a close parallelin the three magnificent gold bracelets(or torques) from the so-called KarpenisiTreasurein Athens. Divided between the NationalArchaeologicalMuseum (Stathatos Collection) and the Benaki Museum, this famous Thessalian hoard has traditionally been assigned to the second century B.C. In terms of typology, our piece stands as a rare Hellenistic forerunnerof a popular kind of Roman braceletfeaturingtwisted hoops and hinged box settings decoratedwith gemstones, a fine example of which is owned by the Metropolitan (acc. no. I995.539.I3).

CAP

Chariot or Cart Trappings(?)

ProvincialRoman,2nd-3rd centuryA.D. Copperalloy with champleveenamel Largestplaque 5Ys x 3 s in. (I4.3 x 9.7 cm) Purchase, Jeannette and Jonathan Rosen Gift and Fletcher Fund, zooo 2000.505a-o

This ensemble of champleve-enamelplaques, remarkablefor their vivid colors and exuberant presentationof classicalmotifs, attests to the skills of artistsworking in the outer reachesof the Roman Empire in the centuries of its greatestextent. The technique had long been a specialtyof Celtic metalworkers,and it continued to develop independently of the great cities of the empire. Earlyenamels have been found in Britain,the northernCaucasus, southern Russia, and Syria,with the greatest concentration in Belgium and the Rhineland.

Rome, a center of glassmaking,knew little of the art form. Indeed, one writer attachedto the imperialcourt in the earlythird century

Amphora Roman, ist century B. C.-Ist century A.D.

marveledat the exotic ornaments fashioned with hardened colors by the "barbariansof the outer sea."

The precise function of this group is uncertain. The backs of nine plaques have projecting tangs that vary in their shape, size, and orientation. Short chains hanging from the sides distinguish one pair, while another pair sits atop a metal axle attached to wheellike disks (bottom center). The quantity and hardwareof the plaques suggest that they might have decorateda chariotor cart;such vehicleswere often splendidly ornamented in the Roman world.

MH

Bandedagate H. 24 in. (5. cm) Purchase, Mr. and Mrs. Sid R. Bass Gift, in honor of Annette de la Renta, and Rogers Fund,

200oo

2001.253

In Hellenistic and Roman times vessels made in semipreciousstone were much sought afteras symbols of wealth and sophistication.

Relativelyfew examples,however, have come down from antiquity;most of the surviving hard-stonevessels are small containers,such as this exquisitebanded-agateamphora.Despite its small size, the vessel is a masterlyexample of the maker'sskill. Not only does it have a pleasing shape and an attractivepolished surfacethat shows off the patterningin the agate, but the carvingout of the inside is also evidence of great technical dexterity.

Although gem-cutting workshops existed in Rome duringthe firstcenturyB.C., the techniquesused to make such hard-stonebottles may be linked more closelyto the production of luxury cast glassware.The establishment of such a glass industry in the imperialcapital, probablyduring the Augustan period 14), may give support to the (27 B.C.-A.D. view that craftsmenmaking hard-stonevessels also migratedto that city, where the Roman aristocracyundoubtedly provided them with most of their business.

CSL II

Portrait Head of a Roman Matron Roman, ca. 40-20

B.C.

Marble H. 10o4 in. (26 cm) Purchase, Philodoroi Gifts, zooo 2000.38

This portraitconveys an air of modestiaand simplicitasthat is appropriatefor its subjectan upper-classRoman matron. Such portraits are less common than those of Roman men.

Like many others, however, this example can be closely dated by its hairstyle,known as the nodus(roll) coiffure,which became popular in Rome during the late first century B.C. Here the roll of hair above the foreheadis combined with a bun worn at the back of the head in a markedlyconservativemode.

This old-fashionedhairstylefits well with the portrait'svisiblesigns of aging-sunken eyes,

slightlysaggingskin at the jawline, and indentationsat the cornersof the mouth. Such details suggestthat the sitterwanted to be seen as a traditionaland virtuousRoman woman who dedicatedherselfto her home and familyrather than to the latestdictatesof high society. The sculptureretainstracesof its originalpainted decoration, most notably on the right eye, where both the iris and the eyelashesare still visible. Brown pigment can also be seen on and aroundthe bun. These featuresgive the portraitan addedinterest,as it is highly unusual for painted detailsto survive.

CSL

12

Rhyton with Female Head ProbablyMesopotamia,late Parthian-early Sasanianperiod,3rd centuryA.D. Glazedceramic H.

if

in. (38.I cm)

Purchase, Gift of Dr. Mortimer D. Sackler, Theresa Sackler and Family, and 2000ooo Benefit Fund, zooo 2001.178

This vessel belongs to a rareclass of glazed ceramicrhytonswith female heads and animal-shapedspouts. The upper part is in the form of a vase with one handle (now lost). It appearsas a tall bulbous crown above the head (made from two half-molds), which displayspuffy cheeks, thickly lined eyes and brows, and small lips. The richly patterned "melon"coiffureis embellished by a diadem of wheat stalkswith a band that includes a palmette, a crescentand star, and a rosette.

Below a necklacethe vesseltapersinto a bull's head with a pouring hole at the mouth.

The diadem motifs may identify the head as that of the Mesopotamiangoddess Nana, daughterof the moon god and sisterof the sun god. This natureand astraldeity-who is referredto in textsfrom the Temple of Marduk, Babylon, as "thepower over princesand the scepterof kings"-was representedin Parthian and Kushanartand widelyworshipedin Asia.

The vessel, a combination of an eastern Mediterraneanfacepot and an Iraniananimalhead rhyton, may be comparedto two similar rhytonsof unknownprovenancewith Sasanianstyle relief decoration (BritishMuseum, London,and CincinnatiArt Museum) and to a molded femalefaceon a late Parthiancoffin lid from Nippur (Universityof Pennsylvania Museum of Archaeologyand Anthropology, Philadelphia).

JA

I3

ISLAM and the crescent attached to its collar. But the presence of S-spun linen (named for the direction of the twist, impartedin the process of forming a continuous thread from the fiber) virtuallyensuresthat the textile is of Egyptian manufacture.

A repeatpattern such as the one we speculate existed on this piece was developed for drawloom weaving of luxury silks perhaps in the seventh century. Its appearancehere in tapestryweave, in which repetition saves no time or labor, suggests that a Sasanian-style patternedsilk servedas a model for this early Islamic product of Egypt.

DW

Bowl WesternAsia, gth century Mosaicglass Diam.

in. (i4 cm) Rogers Fund, zooI 52

2001.266

Textile Fragment Egypt,8th century Wooland linen; tapestryweave H. I158 in. (38.3 cm)

Louis E. and Theresa S. Seley Purchase Fund for Islamic Art and Dodge Fund, 2000

2000.668

This fragmentarytextile has visual potency belying its modest dimensions. Probably originallyone of a confronted pair, a horned ram with cameloid mouth and spotted coat stands in the lobed field of a circularroundel.

It is likely that the roundel was one of many arrangedin rowsagainstthe darkblue ground embellishedwith off-white scrollingvines.

Severalfeaturesof this fragmentare reminiscent of the art of SasanianIran produced during the centuriespreceding the Arab conquest of 64I, including the representationof an animal in a roundel, its flutteringscarf,

This work was createdin the mosaic technique by placing a number of small slices of glass canes next to one another to form a circle;fusing them into a disk at a high temperature;and finally slumping the disk over a curved, bowl-shaped mold. Each slice, cut from a long cane createdby wrapping glass of differentcolors around a core, bearsthe pattern of a central red eye encircled in black and five red petalsset againsta yellow ground; the outer ring is of alternatingyellow and green sections. During fusion the sliced canes became partiallymisshapen, creatinga whimsical composition in which colors often run into one another-with brilliant translucent emeraldgreen coming to life through transmittedlight.

Mosaic glass is also known as millefiori ("thousandflowers")after its Venetian "reincarnation."The technique first appearedin Egypt about I400 B.C.; then again in Rome

and Alexandriaduringthe second centuryB.C.; in Islamic Mesopotamia and Syriaduring the ninth centuryA.D.;and in Venice during the fifteenth century. Probablythe longest and most successfulperiod followed its reappearance during the first half of the nineteenth century in Venice, whence it spreadthroughout Europe, especiallyto Franceand to Bohemia, where the technique enjoys its sc greatestpopularitytoday.

I4

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Inlaid Box India (Gujarat),Mughalperiod, IndoPortuguesestyle,late i6th-early I7th century Teak,ebony,ivory,and lac L. 13/2 in. (34.3 cm)

Fine ivory-inlaidfurnitureand relatedobjects, such as this box, representedan active export marketfrom Mughal India to Europe from the late sixteenth century onward. The production and trade of such furniturefrom the western coast of India was first relatedto demand in the Ottoman and Persianworlds, largelyfor mother-of-pearland ivory settings in lac, and laterwas supersededin Europe by a market for inlay in hardwoods.

While many Europeanizingelements are evident in the decoration of the box, the idiom of a forest hunting scene is essentially a Mughal one. Such depictions of the chase found their ultimate inspiration in Persian compositions and later became a popular genre in Mughal painting. This box is related to a small but distinguished group of ivoryinlaid furniture-possibly produced in the same workshop-that includes a cabinet in the Museu Nacional de Arte Antiga, Lisbon, and a table cabinet in the Cincinnati Art Museum. The undulating branchesof the bird-filledtrees, againstwhich lively figuresof Portuguesehunters and animals have been set, make the box one of the most expressive and lyricalpieces of its type.

NH

Cynthia Hazen Polsky and Leon B. Polsky Fund, 200ooo 2000.301

I5

Black Stork in a Landscape India (Lucknow),ca. 1780 Watercoloron Europeanpaper 2934 X 21/2 in. (75.6 x 54.6 cm)

Louis E. and Theresa S. Seley Purchase Fund for Islamic Art and Rogers Fund, 2000 2000.266

By the late eighteenth century many Mughaltrainedpaintersin centraland easternIndia were looking to the emerging British ruling class for patronage.The products of this new Company School were often albums of flora, i6

fauna, and other exotic sights of India, made to be taken back to Britain. Of the varied subjects,bird studies, such as this bold depiction of a sturdy black stork, may be deemed a classic type. Paintings of birds, animals, and flowershad been an important genre in Indian art since the time of the Mughal emperorJahangir(r. I605-27), and the continuation of such subjectsunder British patronagewas a naturalextension of that establishedtradition, although the results were often quite differentstylistically.

In this painting the stork is standing upright in a receding landscape,of considerably

reduced scale, that contains a meandering river.The dramaticcontrast in size between the bird and the vista it dominates gives the composition a distinctively idiosyncratic mood. This effectis also seen in another,similar page depicting a hawk in a landscape,possibly from the same series, in the Binney Collection at the San Diego Museum of Art. While the backgroundof the Metropolitan's picture is renderedin a washy application of paint, the bird itself has areasof dense color and fine brushwork.

NH

ME

DIEVAL

E U ROPE

Cameo with the Fasting of Saint Nicholas Southern Italian,

I200-I250

Agate with goldframe H. i in. (2.5 cm)

Rogers Fund, zooo 2000.347

Court artistsworking for the German and Sicilian emperor FrederickII Hohenstaufen (II94-I250)

Two Scenes of Christ and Apostles Carolingian (northern France), ca. 850-9oo

Ivorywith tracesofpolychromy 31s x 3Ys in. (y.g x 7.8 cm)

The Cloisters Collection, zooo 2000.486

In the age of Charlemagneand his successors biblical themes frequentlyconveyed political, moral, or ecclesiasticalmessages.This exquisite ivory carvingportraystwo unusual scenes focusing on Christ, the apostles,and a mantle.

Since Christ traditionallywears only a tunic, he is presumablygiving his mantle to an apostlein the presenceof others.The episode does not seem to conformto a specificGospel; it probablyrefersmoregenerallyto Christ's chargeto his apostlesto continue his ministry by acceptingthe mantle, or pallium,as an emblem of "apostolicmission" (Matthew IO:I-14).The messagemay also recallIsaiah (6I:Io), "my soul shall be joyful in my God;

for he hath clothed me with the garmentsof salvation ... [and] with the robe of righteousness."A possible political sentiment may also be conveyed, as when Christ says, "they that wear soft clothing are in kings' houses" (Matthew 11:8).Probablymade to decoratethe cover of a liturgicalmanuscript, the ivory has striking narrativepower. The narrowstage space, flowing groundline, and fleshy figuresin garmentswith soft, curving edges exemplify some of the main stylistic trends of the second half of the ninth century associatedwith the court school of Charles the Bald (r. 840-77). The school's exact location in northern Franceis debated.

excelled in the creation of exqui-

site cameos. Here a rareimage of a saint depicts an episode from the infancy of Saint Nicholas, in which he refuseshis mother's milk. Seated frontallyand wearing a long tunic, she attempts to pull her nude son, who is seated sideways,toward her exposed breast.

He refusesby graspingher hand. The theme is one known primarilyin a monastic context, where it servedas an exemplum for fasting and for abstinence.

The pendant must have had a personal significancefor the owner, perhapsnamed Nicholas; whether the wearerwas an ecclesiastic or a court figure is uncertain.As the relics of Saint Nicholas had resided at Bari, in Apulia, since the eleventh century, the protectionof this importantsaintwould have had wide appeal in Italy. Carved in a bold but precise hard-stone style, this is a rare and unrecordedcameo among the worksproduced in southernItalyduringthe remarkable reignof FrederickII, who revived antique traditions as part of his court culture.

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Carved from a materialthat is immediately perceivedas precious and exotic, the vessel is a product of the imperialcourt of CharlesIV (crowned at Rome I355;d. 1378).

Its jasper,with characteristicamethyst inclusions, could have been mined only in the foothills of the Ore Mountains, northwest of Prague.A sixteenth-centurysource tells of the emperor'ssending men there to searchfor semipreciousstones to decoratehis cathedral and royal chapel. In recent yearsgeologists have found tracesof their work in abandoned shafts dating to the Middle Ages tucked into the mountains near Cibousov. Today Bohemian jasperstill sheathesthe chapel walls at PragueCathedraland at Karlstejn Castle, just outside the city. Often vessels of this period have lost their original mounts or have been embellished by subsequent owners.

The Museum's cup, remarkably,retainsits medieval mount, which bearscomparison to goldsmiths' work createdin Pragueand preservedin the cathedraltreasury.

Prophet KingJfom a Tree ofJesse Window German(Saxonyor Thuringia[possibly Wurzen]),I260-70 Pot-metalglasswith vitreouspaint 98s x 98 in. (23.2 x 23.2 cm) The Cloisters Collection, 2000

Cup with Trefoil Handle Bohemian(Prague),3rd quarterofi4th century Jasperwith silver-giltmount andfoot H. 4 8 in. (o0.4 cm) Purchase, Mrs. Charles Wrightsman Gift, in honor of Annette de la Renta, zooo

2000.406

2000.504

Giovanni di Balduccio Italian (Tuscany,Bologna,and Milan),

This half-length figure of a prophet king almost certainlycame from a Tree of Jesse window that incorporatedscenes from the Infancy of Christ, four panels of which are now installed in FalkensteinCastle, in the Harz Mountains near Germany'sborderwith the Czech Republic. The original location of the window is uncertain,but it may have come from the church in Wurzen, east of Leipzig, in the diocese of Meissen. Although the window appearsto have been made in the easternreachesof Germany(Sachsen-Anhalt), the king depicted is stylisticallysimilarto works from the Rhineland. The panel is an eloquent and crisp expressionof the "zigzag" style (Zackenstil),characterizedby sharply angled and hooked lines, that is a hallmarkof both manuscriptand panel painting in the mid- and late thirteenth century;the period was heretoforeunrepresentedin our holdings of Germanstained glass.With its strong affinitiesto the AschaffenburgEvangelary (Aschaffenburg,Hofbibliothek ms. 13), this work also convincingly underscoresthe close relationship between manuscript illumination and glass painting in this period and the TBH consequent disseminationof styles.

With its integrallycarvedtrefoil handle, deep dodecahedralbowl, and massivegilt mounts, this cup is as rareas it is spectacular.There are few survivingexamplesof Western medievallapidary.Indeed, medievalEuropean vessels carvedfrom semipreciousstone are so little known that preservedexamplesare sometimes mistakenlyattributedto the imperial courts of Rome and Byzantium.The confusion is one that would have delighted the cup's creators.

active 1I38-49

BDB

Relief with Saint Peter Martyr and Three Donors Ca. 1340

Marble 3y2 x 33 8 in. (80 x 86 cm)

The Cloisters Collection, 2ooi 2001.221

Trained in Pisa, Giovanni di Balduccio is noted for bringing the innovations of Tuscan sculptorsto northernItaly.With quiet monumentality, this panel depicts the standing image of the beardedSaint Peter Martyr (d. 1252)wearing Dominican garb. The head wound, his primaryattribute, is clearlyvisible along with a (restored)palm of martyrdomin his right hand. The saint's cloak, held open by his outstretchedarms, framesthree praying donor figures,while he places his hands on the heads of the oldest and the youngest of them. This relief is carvedin a white finegrained marble set into a frame of slightly coarser,grayermarble.

The sculptureis one of three marble panels to survivefrom a tomb originallyin the Milanese church of Sant'Eustorgio.The

damagedcentralpanel (Castello Sforzesco, Milan) depicts the Enthroned Virgin and Child between two angels, and the relief originally on the viewer'sleft (Sant'Eustorgio, Milan) shows SaintJohn the Baptistwith four kneeling donors in a composition that mirrorsthe Museum's panel, which must have been on the right. Details such as the molding beneath the ledge supporting the figures and the buttons on the undersidesof the sleevessuggest that the reliefswere intended to be above eye level.

PB

Pilgrim's Badge Depicting the Shrine of Saint Thomas Becket at Canterbury Cathedral English, 1350-I400

Pewter H. 3Y8 in. (7.9 cm) Gift of Dr. and Mrs. W. Conte, zooI 2001.310

The brutalmurderof ArchbishopThomas Becket in CanterburyCathedralon December 29, II70, transformedhim into one of the most veneratedsaints in Western Christendom, and his shrine instantly became a pilgrimagesite. This impressedbadge shows the shrine of the martyredsaint before it was plundered by Henry VIII's commissionersin I538.The golden structure,as seen on the badge, was orderedby ArchbishopThomas Langton and dedicated on July 7, Iz20.

Createdby the famed goldsmith Walter of Colchester, the tomb, supported on four bays, contained an effigy of Thomas Becket in ecclesiasticalvestments. Here, raisedabove it, is the gabled shrine, encrustedwith jewels on a trellislikeground and surmounted by two ship models, one of which is damaged.A small figure points to a ruby, claimed to be the largestin existence and given in 1179by the king of France.To the right another figure raisesthe cover of the shrine with ropes and a pulley. This badge is one of the best survivingvisual documents of the shrine. Its

accuracyis attested to by descriptionsfrom ambassadors,clergy, and theologians, such as Erasmus.The badge is an important addition to our knowledge of the imagery surrounding this martyr-saintand joins our unrivaled collection of objects associatedwith him.

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Pieta (Vesperbild) Bohemian, ca. 1400

Limestone H. i5 in. (38.1 cm)

The Cloisters Collection, zooi 2001.78

20

Images of the Virgin with the dead Christ reflectlate-medievaltrends in mysticism that encourageda direct emotional responseto biblical stories. Createdas an object of private devotion, this group is a strikinglypure expressionof the Schine Stil (BeautifulStyle), an artisticidiom that emerged at the imperial court in Pragueat the end of the fourteenth century and subsequentlyresonatedin artistic centers throughout Europe. The sculptor exploited the formal and psychologicaltensions inherent in the composition, combining a precise renderingof detail with a selectively

abstracttreatment of surfaces.Christ's broken, emaciatedbody, naked except for the loincloth, offers a starkcontrast to the Virgin's youthful figure, clad in abundant folds. The high quality of the execution is evident in such details as the minutely striated loincloth and head veil; the vital delineation of Christ's arms, in which sinews and veins are visible; and the three intertwined hands, entirely undercut, on the Virgin's lap.

The blending of sensualityand restraintgives this sculptureimmediate emotional appeal. jc

RENAISSANCE

AND

Master of the Berswordt Altar German(Westphalian),active ca. I400-435 The Flagellation Ca. i400o Temperaandgold on wood 22 41 x 168 in. (57.8x 42.9 cm) Bequest of Hertha Katz, 2ooo00 2001.2i6.2 This is one of eighteen scenes that formed the interiorwings of the Bielefeld Altarpiece,which was intact in the NeustadterMarienkirche,Bielefeld, until the church was restoredin about I840. The centralpanel, a Glorificationof the Virgin flankedby twelve scenes, is shown to this day on the church'smain altar.As they were originallydisplayed,the scenes comprised an extensive narrativesequence, beginning with the Fall of Man, followed by the lives of the Virgin and of Christ, and concluding with the LastJudgment.

TheFlagellationjoins a Crucifixion,also from the Bielefeldwings, that the Museum purchasedin I943 (acc. no. 43.I6I) and that would have followedcloselyupon the Flagellationin the storyof the life of Christ.

Three otherscenesfrom the interiorwings arepreservedin a privatecollection,Bielefeld, and singlepanelsarein the OetkerMuseum, Bielefeld;the Gemaldegalerie, Berlin;and the AshmoleanMuseum,Oxford.

The artistis named after a triptych of I43I (Marienkirche,Dortmund) that bears the coat of arms of the Berswordtfamily.

As seen here,his work reflectsthe influence of the better-knownGerman Gothic paintersMasterBertram(active by I367d. 1414/15)and Conradvon Soest (ca. I360after1422)and exemplifiesthe mannered refinementof late Gothic painting on the eve of the Renaissance.

EUROPE

BAROQUE

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21

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

Leonardo da Vinci Italian, I452-1519

Studies for the Movements of Water, Male Nude Unsheathing a Sword, and Hercules Holding a Club Seen in Frontal View (recto) Study for Hercules Holding a Club Seen in Rear View (verso) i5o6-8

Charcoalor soft blackchalk,pen and dark brownink (recto);charcoalor soft blackchalk (verso);on off-whitelaidpaper 5 s x y52 in. (I3.7 x 14 cm) Purchase, Florence B. Selden Bequest and Rogers Fund, and Promised Gift of Leon D. and Debra R. Black, 2ooo 2000.328a, b

Most likely a cropped page from a notebook, this sheet vividly illustratesthe parallelpaths of Leonardo'sartisticand scientific genius.

The recto depicts at the top three sketches of the centrifugalswirling movement of water around obstacles (probablythe thin wood piers of a bridge). Below are a view of water flowing by a wood bridge and, to the right, a slendernude man unsheathing a sword. At the bottom the classicalhero Hercules is seen from the front holding a club. On the verso Hercules is shown from the rear.

The sheet can be datedto I506-8, shortly afterLeonardostoppedwork on the Battle of Anghiaricartoon and mural for the Great Council Hall of the PalazzoVecchio, Florence.

The drawingsof Hercules were apparently intended for an unexecuted statue. In representing him holding the club horizontally, LeonardoreinventedHercules as an icon of preparedness,not unlike the symbolic allusion to civicvigilanceevokedin Michelangelo's monumentalmarbleDavidof I5I-4 (Gallerie dell'Accademia,Florence),which at the time was placed at the entranceof the Palazzo Vecchio. Considering the spirited professional interactionbetween the two artists during these years, it may well be that Leonardoconceived of his Hercules with a public function in mind and in competition with Michelangelo'sDavid.

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22

Hans Holbein the Younger German, 1497/98-1543

Saint Thomas 1527

Pen and blackink, brushand gray wash, paper heightenedwith white, on washed-brown 8x4/8

in. (20.4 x I0.5 cm)

Purchase, Pat and John Rosenwald Gift, Rogers Fund, and Gift of Dr. Mortimer D. Sackler, Theresa Sackler and Family, 2ooi 2001.188

Holbein was one of the most versatileGerman artiststo emerge after Diirer's maturity Active as a painter and (attainedca. I500oo). draftsman,he also produced designs for prints, metalwork,stained glass, and jewelry.

This sheet-the firstworkon paperby Holbein the Youngerto enter the Museum's collections-belongs to a seriesof drawingsof the apostlesin the same size, medium, and technique. In all likelihood they were meant as independent, finished works. Several,like Saint Thomas,are dated I527 and thus originate from Holbein's first English period, where they form an isolated but strikingexample of religiouswork made at that point in the artist'scareer.

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Master i.e.

German,active ca. 1480-1500 Mary Magdalen Ca. I490

Engraving 8Y2x

4 in. (21.6x 14.5 cm)

Partial and Promised Gift of Goodwin M. and Rose-Helen Breinin, 2ooo 2000.634

Despite its apparentsimplicity,MaryMagdalen is one of Master i.e.'s most accomplished works. He depicted the patron saint of hairdressersand perfumersas a graceful,pensive figure clothed in an elegant robe, with her hair tied in large braidsaround her head. She delicatelygraspsher attribute,the jar containing the ointment with which she anointed Christ's feet. The depiction of the saint as a single figure, removed from any narrative and standing on a schematicallyindicated mound of earth, is relatedto prints by the great fifteenth-centurynorthern European printmakerMartin Schongauer,but Master i.e. depicted his saint on a much largerscale and renderedthe costume with an intricate brocade seldom seen in his teacher'swork.

We know very little about the author of this beautiful engraving.He was most likely active in the shop of Martin Schongauer,to whom much of his work is stylisticallyindebted.

Our name for this unknown artist derives from an interpretationof the Gothic initials that appearin reverseon an engravingof a peasant holding a sausage (unique impresStaatliche sion in the Kupferstichkabinett, Museen zu Berlin) and that may or may not be his monogram; none of the other prints attributedto him is signed.

Jan Gossaert Netherlandish,1478-I536 The Holy Family

NMO

Ca. I510-20

Pen and two colorsof light brownink, over remainsof blackchalk,on vellum 6Y x 5 in. (I5.6 x 12.7 cm) Purchase, Eugene V. Thaw Gift, zooI

Jean Cousin the Elder French, ca. i5oo-ca. I560

200I.I90

Here Gossaertdepicted the Holy Family sitting on a bench next to a tree, of which we can see only the trunk. The Virgin Mary dandles the naked Christ child on her lap as he turns his head to look at us. Next to them is Joseph,who offersMary a flower. Gossaert paid a great deal of attention to the drapery folds. Their detailedexecutionand almost sculpturalquality are in contrastto the 24

sketchier,less-worked-outfigures.In the backgroundfaint lines seem to indicate first thoughts for a possible architecturalsetting.

The exquisite drawing might have been a preliminarystudy for an unidentified painting or print. Another possibility might be that the drawingwas meant to be an independent work, but for an unknown reason the artist MCP left it unfinished.

Amya Petitioning Faustusfor the Custody of Saint Mamas Ca. I543 Pen and brownink, brushand gray wash, with white heightening,overblackchalk,on off-whitelaidpaper,preparedwith brown watercolorwash 9'4

I2Y8in. (23.5 x 32.1 cm)

Inscribed(lowercenter)in pen and blackink: Carron Rogers Fund, zooi 200I.106

This recently discoveredsheet is a rarework

by Jean Cousin the Elder, one of the most original and appealingartistsof the French Renaissance.He was active as a designer of tapestry,stained glass, and book illustrations, as well as of ephemeralfestival decorations for the French court. Nonetheless, Cousin's oeuvre has proved difficult to reconstruct,as the majorityof his designs are known only through the final products executed by skilled artisansin other media. This is one of a small number of firmly autographsheets by his hand. It is connected to a set of eight tapestries (three survive)illustratingthe life of Saint Mamas, commissioned in 1543for the cathedralat Langres.

Saint Mamas was an obscure child martyr who lived in Cappadociaduring the third century. He was born in prison to a mother who died just after his birth; his father had died just beforeit. A local widow, Amya, was instructedby a divine vision to petition the governorfor permissionto adopt the child and to give his parentsa Christianburial.The lost tapestryfor which this is a study presumably would have been the first in the series.

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Maarten van Heemskerck Netherlandish, 1498-1574

Man Protected by the Shield of Faith I559 Pen and brownink, overtracesof blackchalk, onpaper;indentedfortransfer I4s8 x 104 in. (36.4 x 25.9 cm)

Purchase, Jessie H. Price and Guy Wildenstein Gifts, Fletcher Fund, and Gift of Dr. Mortimer D. Sackler, Theresa Sackler and Family, 2000ooo 2000.

26

50

Maartenvan Heemskerck,a Netherlandish artistwho stayed severalyearsin Rome (I532-36), became widely known throughout Europe from the nearlysix hundred prints made afterhis designs. The present sheet is an exceptionallyfine example of his draftsmanship, with a daring diagonal composition in which the figuresare in full motion. They revealhis admirationfor classicalsculpture and paintings by Michelangelo and Giulio Romano. A prayingman, confronted by

the temptations of worldliness (symbolized by the globe) and by the Seven Deadly Sins (representedon the scalloped edge of the rug), is protected from Satan'sburning arrowsby the female personificationof faith.

Van Heemskerckmay have developed the unusual subject in collaborationwith the printmakerand religiousphilosopher Dirck Volckertsz. Coornhert (1522-1590), who engravedthe design for publication.

MCP

Pompeo della Cesa Italian, activeca. 1565-i600 Portions of an Armor for Vincenzo Luigi di Capua, Prince ofRiccia Milan, ca. I595 Steel,gold, leather,and brass H. I9 in. (48 cm) Purchase, Arthur Ochs Sulzberger Gift, 200I 2001.72

Italian armormaking in the last quarterof the sixteenth centurywas dominated by Pompeo della Cesa, armorerto the Spanish court in Milan. His richly decoratedharnesseswere coveted by Philip II of Spain, the ruling dukes of Savoy, Parma,and Mantua, and the scions of the leadingSpanishand Italian families. Pompeo was one of the few armorerswho regularlysigned his pieces, a reflectionof his pride of workmanshipand his elevatedstatus in the world of military alta moda.

Vincenzo Luigi di Capua (d. 1627), prince of Riccia, belonged to an ancient Neapolitan family. Don Vincenzo's armor,made shortly afterhe succeeded to his noble titles in 1594, exemplifiesPompeo's best work. The surfaces are coveredwith closely set verticalbands etched with trophies of arms, religiousand allegoricalfigures,and grotesques,all partly gilt. The owner's emblem, or impresa,appears at the top of the breastplate-a radiantsun with a crown above and a motto below, NVLLA QVIES ALIBI (No repose but here); Pompeo's name is etched beneath. Now incomplete, the half-length infantryarmor originallyincluded an open-faced helmet and arm defenses. The matching backplate is preservedin Warwick Castle, England.

SWP

Detail

27

of prints was far-ranging,offering a view into life in the seventeenth-centuryduchy of Lorraine-from the pomp of court pageants to the miseriesof war. Depictions of horses were central to images of both celebrations and battles. Callot's studies explore not only equine anatomy but also the potential of drawing to imbue a two-dimensional image with a living, breathingvitality-a remarkable achievementwhen one realizesthat he worked not from life but from the more static medium of prints. Exploiting the speed of the pen and the organic swelling and taperingof the ink line, Callot created an effectiveanalogyto the power and grace of this majestic animal, so important to seventeenth-centurylife.

PS

Jacques Callot French, I592-1635

Study of a Horse Ca. 1616 Quill and reedpenand irongall ink on offwhite laidpaper;evidenceof leadpointor graphitetracingof standinghorseon recto 934 x 114 in. (2.5 x 28.6 cm)

Promised Gift of Mr. and Mrs. David M. Tobey, and Purchase, Mr. and Mrs. David M. Tobey Gift, zooo 2000.253a,b

28

This two-sided sheet is part of a group of spiritedstudiesof horsesmade duringCallot's sojourn (ca.

1612-21)

at the Medici court in

Florence.Youthful works, they take their inspiration from a series of etchings by Antonio Tempesta, Cavalli di differenti paesi, publishedin Rome in I590. Unlike the majorityof Callot's extant drawings,they were not directlypreparatoryfor prints but presumablyremained in the artist's studio as a resourcefor his laterwork.

The subject matter of Callot's vast corpus

Scarsellino (Ippolito Scarsella) Italian (Ferrarese),ca. I550-I620 The Virgin Adored by Saints Ca. 1609

Oil on copper 19g4 X 29'4 in. (48.9 x 74.3 cm)

Gift of Mary Jane Harris, in memory of Morton B. Harris and in honor of Keith Christiansen, 2ooi 2001.417

This beautifullypreservedpicture shows the Virgin bestowing the scapular-a small piece of cloth symbolic of one's having taken on the "yokeof Christ"-upon a saint, presumably Simon Stock, the thirteenth-century English Carmelitefriarwho had a vision of this occurrence.Two donors kneel in the left middle distancewith Saint Anthony of Padua.Among those also present are Saints Catherineof Siena; Dominic, accompanied by a dog holding a long taper in its mouth; Nicholas of Tolentino; Francisof Assisi, preachingto birds on the nearbybluff; and Raymond of Penaforte,sailing acrossthe sea on a billowing banner. The Feast of the Scapularwas establishedin I609, and the picture must date to about that time. today,Scarsellino Though underappreciated was admiredby his contemporaries.Giulio Mancini-that extraordinaryphysician and dilettante whose writings are so important for the study of seventeenth-centurypaintingconsideredhim "among the best living masters in Italy."Scarsellinoowed the color and refined nature'ism of his paintings largelyto Paolo Veronese, with whom he worked in Venice. This picture seems also to demonstratehis awarenessof the innovations of the Carracciin Bologna.

Jan Brueghel the Elder Flemish, 1568-1625

Landscape with Travelers on a Woodland Road Ca. i60o5-o Oil on copper 33 x 6 in. (.5 x 15.2 cm) Bequest of Hertha Katz, 200ooo 2001.216.I

In the early I6oos Jan Brueghelwas one of the most inventive mastersof landscape painting in the Netherlands. The Antwerp artisthad the considerableadvantageof following in his famous father'sfootsteps; Pieter Bruegelthe Elder,who died when Jan was one year old, passed on his vision of nature mainly through drawings.Jan himself sketched numerous studies of forests, fields, rivers,ordinaryfigures,and animals, as is evident from the few drawingsby him in the Museum's collection.

Collectors in cities such as Antwerp, Frankfurt,Prague,and Rome embracedthe latest examplesof close observation,whether of flowers (in which Brueghelalso excelled)

or of extensive terrain,not only for their empiricalapproachbut also as marvelsof artisticinvention and skill. It is in the context of discerning connoisseurshipthat Brueghel's miniature cabinet pictures may be best appreciated. A patron such as Brueghel'sdevoted supporterCardinalFederigoBorromeowould have noted that the artist'ssubtle powers of description, as found in the Museum's comparativelylargepanel of I6o7, A Woodland Road with Travelers(acc. no. 1974.293), seem unimpeded by concentration on a small scale. In this diminutive picture the endless flow of life in the Flemishcountrysideappears reproducedin microcosm.

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KC

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Peter Paul Rubens Flemish,I577-1640 A Sermon in a Village Church I63os

Blackchalk,brushand brown-redink, watercolor,andgouacheon paper

Charles Beale II British,i66o-1714 Carter, the Colorman Red chalk,heightenedwith touchesof black chalk,onpaper o104X 8 in. (26x 20.3 cm)

in. (42.2 X 57.3 cm) Harris Brisbane Dick Fund, 2000

Purchase, Charles and Jessie Price Gift,

2000.483

2001.I21

I658 x 22/2

With great facility and virtuosity Rubens depicted what appearsto be a straightforward genre scene of a village sermon. A congregation of farmersand peasants-men on the left and women on the right-listens with varyingdegreesof attentivenessto a sermon offeredby a potbellied minister standing in a pulpit. It has been suggestedthat the drawing representsa gatheringon Rubens'sestate in Flandersand that the congregationmay be made up, at least in part, of his employees at the Chateau de Steen. In the I63os Rubens painted and drew peasantsmuch more often than before, probablydeliberatelypursuing Pieter Bruegelthe Elder'stradition of MCP peasantdepictions.

30

2001

CharlesBeale II's remarkablered-chalkstudies of family members and friends, although not intended for a public audience, comprise his most distinguishedlegacy.Beale'sintimate subjects-compelling for their immediacy and for their vigorous cross-hatchingin

waxy red chalk strengthenedwith black chalk and graphite-are virtuallyunique in British art of the late Stuartperiod and rank among its finest achievements.The present sheet once belonged to a sketchbook (British Museum, London) that is inscribedon the flyleaf, "CharlesBeales 3d Book, i680." It depictsa certainCarter(activeI680-I742), a purveyorof artists'materials,whom Beale drew on severaloccasions. Here the artist contraststhe tight, incisivestrokesof red chalk that describethe contours of the young man's head to the more loosely sketched cravatand shirt, which appearto melt into the expansive white sheet.

EEB

Leonhard Kern German, I588-1662

The Deposition Ca. 1640-50

Alabaster H. I2 Y in. (32.7 cm) Signed(lowerleft) with monogram Purchase, 2ooo Benefit Fund, 2ooo 2000.283

Despite the ravagesof the Thirty Years'War, LeonhardKern'sshop in SchwabischHall flourished,producing statuettesand small reliefsof high quality in boxwood, ivory, and alabaster.This output extended the precepts of Renaissanceart well into the seventeenth century, thanks to Kern'smemories of his study in Italy (1609-I2) and his emulation of famous Italian masterssuch as Giovanni Bologna. To the latter he may owe the Vshaped cleft in the mountains that part in this scene to revealJerusalemand enframethe Holy Women (above center), as well as the rectilinearcluster of figuresat right that includesJoseph of Arimathea,carryinga stack of linens and directing the preparation of Christ'sbody for burial.Yet these arenot strictquotations,and the design, characteristically for Kern, is full of original touches, especiallythe angel at center-rare to this episode-who servesas intermediarybetween God and man and whose wings greatly activatethe composition.

JDD

31

EUROPEE

1700

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1900

urn

i ii

_,.DecorativeEwer PossiblyFlemish,Ist half of i8th century Alder wood

-

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33 in. (85.1cm) Purchase, Friends of European Sculpture and Decorative l _snl ,- 9 - W1 R X Arts Gifts, 2ooo 2000.492

A: Dil. EComposed

of severalpieces of alderwood, this highly inventive ewer, with its slender neck, double handle, and exuberantspout, is a marvelof virtuoso carving.Following the tradition of designs for ornamental vases by seventeenth-centuryartistssuch as the French engraverJean le Pautreand the NetherlandishengraverClaesJansz.Visscher, the ewer'sprofile is enveloped by a multiplicity of decorativeelements. The putti, garlandsof fruit and flowers, and large sinuous foliage recall the spirited and fluid style of Flemish carvingas expressedin elaborate sculpted pulpits and the balustradesof grand staircases.The recliningfigurein the center (detail),crowned with vines, and his female companion may well be Bacchus, god of wine, and Ceres, goddess of agriculture, while the playful putti on the sides may allude to Venus. If so, the ewer could illustratethe saying"SineCerereet Baccho,friget Venus," implying that without food and drink, love is left out in the cold. The ewer has not yet yielded all its secrets:Was it, for instance, part of a largerdecorativeensemble for a stately dining room, or perhapsa model to be executed in silver?Also, the identity of HenricusIosephW [ . . inscribed in ink underneath the base, is not known.

DK-G

Detail 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

Jug French (Saint-Cloud), ca. 1730-35

Soft-pasteporcelain H. 32 in. (8.9 cm) The Charles E. Sampson Memorial Fund, 2000 2000.174 zooo.174

Soft-pasteporcelainwas first produced commerciallyin Francein the I69os at a faience factoryin Saint-Cloud, a small town west of Paris.The factorybegan by copying porcelains imported from China, but it soon developed its own distinctive style, which was entirely French in character.Much of the factory's production concentratedupon wares decoratedwith complex patternspainted in a deep cobalt blue. However, in the I720S it

began experimentingwith ground colors, notably green and yellow. The overglazeyellow ground, derived from Chinese ceramics, proved difficult to mastertechnically, and survivingexamplesof it are rare.

This small jug, which probablydates to the early I730s, displays the difficulties that

the factorywas still experiencingat that time with the yellow ground. The color is uneven in thicknessand has bonded poorly to the porcelainbody in numerous places. Despite its flaws, the jug must have been perceived as highly originalwhen it was produced.

The use of Europeanflowersscatteredon a Chinese-styleyellow groundresultedin a type of decoration that was completely novel in Continental porcelain.

Tobacco Pipe with Original Case South German, ca. I740

Silver,antler,horn,and leather L. (pipe) I5

8

in. (39.2 cm)

Purchase, Rogers Fund, and Bequest of Irwin Untermyer and funds from various donors, by exchange, zoo00 200o.353a-C

The deformed, roselikebase of a roebuck antlerwas mounted in silver to form this pipe's bowl. Remarkableis the use of the Y-shapedprong finial that teasingly evokes smoke coming out of the perforatedsilverlid.

The archedsilver tube decoratedwith applied antlerwas inspired by an oriental hookah.

The bowl's exotic appearanceresemblesthe ornamentalChinese scholars'rocks and the flamboyantrock formationsfound in Chinese gardens,both widely admiredin the West. The silver rocaillemounts echo and complement the antler deformations, thus exemplifying the interplayof art and nature. In eighteenthcentury Europe the hunting of stags was a stronglyguarded,aristocraticprivilege.Therefore this sublimeoddity was most likelymade for a princelycuriositycabinet(Kunstkammer), a room where such objects could be handled and studied from every angle.

Tobacco was consideredto have aphrodisiac powers, and pulverizedstag horn was thought to enhance strength. These attributestogether with the shell shape of the bowl's silver bottom, which refersto Venus, the goddess of love-could offer opportunities for initiating provocativeconversations.The pipe is a Rococo document par excellence, both for its taste of the bizarreand for the mountingof highlytreasurednaturalsubstances with precious metal.

WK

33

Benedetto Pistrucci Italian, 1783-1855

Proof Sovereigns of George III British (London,RoyalMint), 1817 and I82o Gold Diam. (each)

8

in. (2.2 cm)

Gift of Assunta Sommella Peluso, Ada Peluso, and Romano I. Peluso, in memory of Ignazio Peluso, zooo 2000.224.4,

.5

The Metropolitan has not been known historicallyfor collecting coins, but the Peluso family'sgift of British coinage is a worthy addition for its revelationsof high artistry.

Benedetto Pistruccibegan his careerin Rome, carvingcameos with amazing dexterity. Soon afterhis arrivalin London in I815, he became chief engraverat the Royal Mint.

The coins of George III (r. I760-I820)

Sir Joshua Reynolds British, 1723-1792

Study of a Woman and Child Blackchalkon off-whitelaidpaper o0/2X 74 in. (26.6x

18.3 cm)

Purchase, several members of The Chairman's Council Gifts, zooo 2000.285

Reynolds-the first presidentof the Royal Academy, an influential theoreticianof art, and a prominent collector-was the leading Britishportraitistof the late eighteenth century. This study is not relatedto any known painting, but the canonical arrangementof the figures (here alluding to the Madonna

34

and child) and the elegant, classicizing style (evidently inspired by the example of Michelangelo) are characteristicof Reynolds's most accomplishedGrand Manner portraits of the I770s. He may have presentedthe sheet directlyto its earliestrecordedowner, the first earl of Warwick, an important patron for whom Reynolds preparedat least seven portraits.

Distinguished by its fluent and incisive quality of line, Studyof a Womanand Child ranksamong the finest figure drawingsby Reynolds and complements the Museum's eleven portraitsby the artistand a sketchbook from his Italianjourney of I750-52.

EEB

are

among the most elegant ever created. (The obverseof one specimen and the reverseof another are illustrated.)The gold sovereign's obversesuccinctly invests the fat, ancient monarch with authority,while the reverse, with Saint George and the Dragon encircled in the Order of the Garter,is so successfulin its claritythat it has been repeated (minus the Order) on the specie of most succeeding British monarchs.

JDD

Richard Parkes Bonington British, 1802-1828

View near Rouen Ca. 1825

Oil on millboard r1 x i3 in. (27.9 x 3 cm)

Purchase, Gift of Joanne Toor Cummings, by exchange, 200oo 200. 45

Although Bonington was born in England, he moved to Francewith his parentsin I818 and enrolled in the Parisstudio of Baron Gros in 1820. His painting thus belongs to the history of French art. In fact, his works rank among the most rareand beautiful of early French Romanticism:rarebecause Bonington died just days before his twentysixth birthday;beautiful because of the immediacy of his vision, the freshnessof his color, and the confidence of his technique.

These qualities are perfectlyexpressedin this small view near Rouen, which was painted outdoors, from an island in the midst of the

Seine. It was probablymade in the summer of I825 while Bonington, who had already earneda medal at the previousyear'sSalon, was sharinga studio in Pariswith Eugene Delacroix. Bonington's death in i828 was mourned by a generation of French painters, including Delacroix, Theodore Rousseau, and Camille Corot, for whom Bonington was a conduit of the English notion of naturalistic and painterlylandscape.

This picturewas purchasedfrom the direct descendant of its first owner; it is impeccably preservedand still has its originalframe.

GT

35

centuryand the glamorousHortense,who was a niece of CardinalMazarin.The plastermodel for this bust is not among the troveof those by Dantan in the Musee Carnavalet,Paris.

JDD

WY1 111

Ik 111

II m ~~~Modeled

Pierre-Jean David d'Angers French,1788-1856 Jeremy Bentham ca. 183o; castby RichardEck et Durand before1844 Bronze Diam. 6Y4in. (r7.r cm) Gift of Joseph G. Reinis, 2ooo 200ooo.455.2

,il~Ch~1donor LA

A

The FrenchRomanticsculptorDavid d'Angers was as fascinatedby phrenologyas Dantan was (see below left), but he disdained caricature.

He modeled 454 identifiableportraitmedallions, all with a sweeping earnestnessin keeping with their subjects'greatness.They recall a period in Europe remarkablefor its internationalism, including, as they do, spirits as diverse as Goethe, James Fenimore Cooper, and here the venerableEnglish jurist and philosopherJeremy Bentham (I748--I832), who was much admired in France.The is the author of the standardwork ThePortraitMedallionsofDavid dAngers (New York, I999).

Jean-Pierre Dantan French,1800-1869 Bust ofa Young Woman Signedand dated1836 Marble H. (includingbase)29'2 in. (74.ePcm) Gift of Michael Hall, in memory of W. R. Valentiner, 2ooo 2000.630.2

Dantan mixed Neoclassical trainingwith interestsin caricature,phrenology, and fashionable society. Today he is best known as a caricaturist,although straightforwardportraitscomprise at least half of his output.

Occasionally,they may have a mischievous undertone, but this young woman has an appreciablesemblance of wit and sparkle, even as she flaunts the latest coiffure. Dubbed "ala HortenseMancini,"the stylewas viewed

asrevivalistic, harkingbackto theseventeenth 36

JDD

c i

Conrad Graf Austrian,1782-1851

Henri Chapu

Fortepiano Vienna,1838 Walnutveneer,variouswoods,iron and brass strings,leather,and cloth L. 93/4 in. (236.8cm) Purchase, Amati Gifts, in memory of Frederick P. Rose, zooi

Music

French, 1833-1891

2001.272

Ca. 1869

Terracotta Diam. I258 in. (32 cm)

Inscribed:au docteur Delechamps; signed: Chapu Purchase, Mrs. Sid R. Bass Gift, in honor of Mrs. Charles Wrightsman, and Rogers Fund, 2ooi

One of the preeminentfortepianomakers of his day, Conrad Grafwas the recipient of a gold medal at the I835Austrian Industrial Products Exhibition. His instruments were owned and played by leading pianists and composers,including Beethoven,Czerny, Schubert,Schumann, Kalkbrenner,Mendelssohn, Chopin, Liszt,and Brahms,as well as by such notablesas the archdukeand archduchessof Austria,the empressof Russia,the queen of Saxony,and the poet Goethe.

The nameplateof this fortepiano reads "CONRAD GRAF / kaiserl: kn : hof-fortepianomacher/ Wien / nachst der CarlsKircheim Mondschein N?. Io2." Graf worked at that addressfrom I826 until his retirementin 1842.

The six-and-one-half-octaveinstrument featuresa Viennese action, which providesa light, shallow touch and enables the playerto execute runs and ornamentswith great facility. The stringing is considerablythinner and under less tension than that in the modern piano;this providesless volume but a brighter timbre, which in its day was likened to that of a fine wind instrument.The case is constructed almost entirelyof wood (there is no metal frame, as in the modern piano). There are four pedals controlling the dampers,two moderators,and a keyboardshift.

2001.4

Chapu was a Second Empire sculptor with rarelyric gifts. His young winged genius bows the violin before a cityscapethat represents Thebes, the walls of which were said to have been raisedto the strainsof a lyre played

by Amphion, the diminutive figure seated at right. The imagerythus unites the harmonies of music and architecture.This terracottais the model for one of six silvered-bronze reliefs, allegoriesof the arts, that were destined for the drawingroom of a house built

by Chapu's architectfriend Paul Sedille.

Located in Parison the boulevardMagenta, it was completed in I870.

JDD

ssP

37

necessary,in favor of an imposing effect ... [and] poetic charm."This photograph of a street in Negre's hometown combines the broad patches of light and dark characteristic of earlypaper-negativephotographswith a rigorouslygeometric structure;the whole composition is enlivened by carefullyplaced details, such as the young man seated on the hillside--somewhat improbably--as if leaning against the left edge of the picture.

MD

Jean-Baptiste Carpeaux French, I827-I875

Pieth Ca. 1864

Terracotta H. rr2 in.

(209.1

cm)

Bearingthe wax seal of the atelier Purchase, Assunta Sommella Peluso, Ada Peluso, and Romano I. Peluso Gift, in memory of Ignazio Peluso, 2001 2oo00.99

.

_

Charles Negre

!

French, 1820--i880

A Street in Grasse 1852

,

Saltedpaperprintfrompaper negative 13 x

9Y8

in.

(32.9

X 23.8

cm)

Purchase, Jennifer and Joseph Duke Gift and several members of The Chairman's

i

Council Gifts, 2000zooo 2000.286

Born in the Provencaltown of Grassein 1820o,

Negre moved to Paris at nineteen to

study paintingin the studio of Paul Delaroche and arrivedin the capitaljust a few months afterthe public announcement of the invention of photography.He began making daguerreotypesin the mid-I84os, but only with the ascendancyof paper negativesand prints around I85o did he fully embrace photography,first as an aid to his painting and later as documentation and art.

Aftera photographicexcursionto the south n ,1 ' 1 ?

C'T-r or Jrance in August I152, wnen tis picture was made, Negre wrote: "Beinga paintermyself, I have kept paintersin mind. WhereverI could dispensewith architecturalprecision I have indulged in the picturesque;in which case I have sacrificeda few details, when 38

'B

a

~

Carpeauxdemonstrateshere an enduring admirationfor the plangent heroism of Michelangelo, evinced earlierin the famous Ugolinoand His Sons,conceived during his study yearsin Rome. (The marble,finished in I867, is now owned by the Metropolitan Museum; acc. no. 67.250.) The government of Napoleon III kept Carpeauxbusy with officialprojects,decorativesculpture,and portraiture,but it is clear from the evidence of the occasionalprivatemoments when he sketched sacredsubjects,such as this group, that he would have been one of the most powerful of all religious artistshad he been freerto exercisethis repertory.Mounding the clay pellets and pressingthem into shape in mere seconds, Carpeauxfocused his entire attention upon the Virgin Mary'smaternal embrace,to the virtual exclusion of Christ's legs. A relateddrawing in the Musee des Beaux-Arts,Valenciennes, is dated 1864.

JDD

Christopher Dresser (designer) English, 1834-I904

Hukin and Heath (manufacturer) English(Birmingham) Traveling Tea Set Ca. I879

Gilt and silver-platedwhite metal (electroplate) and wovenbamboo;caseof leather-covered woodwith velvetand glazed-cottonlinings H. (teakettle)48 in. (ii.i cm) Partial and Promised Gift of an Anonymous Donor, in memory of Walter E. Stait, zooo

Francois Bonvin French, I817-I888

A Woman Spinning Wool Charcoalon laidpaper 158 x I 58 in. (40.3 x 29.5 cm)

Signedand dated (lowerleft):f. Bonvin, I86I Watermark: VanderLey (withputto on sphere) Gift of Lila and Herman Shickman, zooo 2000.

This tea set was designed afterhis return.

The small pieces that fit inside the two large ones reflectthe Japaneselove of stacking boxes and conservingspace. The woven bamboo on the handle is also Easternin derivation. It is in his new interest in form, ratherthan pattern, that the influence of Dresser'sJapanese experienceis most noticeable. The shapes evoke ones readilyencountered in Japan in wood or in a metal such as iron. The set was popular and produced in both sterling and electroplatefor at least a decade.

I5

Bonvin believed art should expressthe truths of everydaylife by including humble subjects and routine activities. Seeking to emphasize the simplicity and timelessnessof what his sitterswere doing, ratherthan who they were, he often portrayedwomen with their heads quietly bowed to domestic chores, such as knitting, grinding coffee, playing the piano, slicing bread, shucking oysters, or, as is seen here, twisting wool from a spindle into yarn.

By virtue of its subject, composition, technique, and size, our new drawing is now the most significantwork by Bonvin in the Museum's collection, which also includes an early graphitework, a watercolor,and five etchings. The woman is one of four spinners drawn and etched by the artist between I856 and I86I. An austereimage, suffusedwith dusky, poetic light, it typifies Bonvin's best, maturework, which evolved from his study of seventeenth- and eighteenth-century cI painters,particularlyChardin.

2000.594.1-.5

Although trained at the London School of Design, Dresserpursued a careerin botany and obtained a Ph.D. from the University of Jena at twenty-six. Failing to become professor of botany at University College, London, he turned to designing mass-producedhousehold wares, including carpets,silver, glass, furniture,metalwork,and wallpaper.

Dresserwas impressedby the Japanese exhibitsat the 1862ParisExpositionUniverselle and visited Japan in I877. In his semiofficial capacityrepresentingBritish manufacturers, he was accordedfavoredstatus to traveland to study decorative-artsproduction. His Japan:ItsArchitecture,Art, andArt Manufactures(Londonand New York,1882)records his visit.

39

Henri Fantin-Latour French, I836-I904

Asters and Fruit on a Table i868 Oil on canvas 22

Vx 21 s in. (56.8 x 54.9 cm)

The Walter H. and Leonore Annenberg Collection, Partial Gift of Walter H. and Leonore Annenberg, zooi 2001.202.3

40

Writing in I863, the critic ZacharyAstruc praisedFantin-Latour'sflower paintings as "marvelsof color and artisticsensibility ... as compelling as they are charming.They are tonal rhythms, freshness,abandon, surprising vivacity."Such qualitiesare handsomely exemplifiedin this picture, painted five years later. Fantin-Latour'srelianceon a simple compositional scheme-in his own words, "flowersin the middle and fruit around them"-proved a successfulstrategy.Here a vase of China asters,placed on the vertical axis and flanked by a plate of grapesand a groupingof autumn fruits, servesas a foil for the play of resonantcolor and inventive

surfaceeffects. An overallsense of vitality is createdby the restless,animate quality of brushworkand by the application of paint in a spare, dry manner that makes use of the intersticesbetween the strokes. By varying the texture and density of pigment, FantinLatourevoked the translucentquality of the vase, the veneer of the light-dappled mahogany tabletop, and the lushness of ripe fruit and freshlypicked flowers. Moreover, by retaining the spirit of his pochades(quick studies from nature) and his moody, introspectiveself-portraits,Fantin-Latoursucceeded in producing a still life of originality and SAS distinction.

Henri Fantin-Latour French, I836-I904

Roses and Lilies i888 Oil on canvas 23 /2

x 8 in. (5.7 x 45.7 cm)

The Walter H. and Leonore Annenberg Collection, Partial Gift of Walter H. and Leonore Annenberg, 200oo 2001.202.4

The summer Fantin-Latourmade Rosesand Lilieshe claimed to be "verytired"of painting flowers.The admission is not surprising for an artistwho had spent the previous thirty yearsproducing still lifes expresslyfor an English market,but it is difficult to reconcile with the presentwork, originallyowned

by Fantin-Latour'spatron and dealer, Ruth Edwards.One would be hard-pressedto find signs of fatigue or slackeningof artisticsensibility in this splendid arrangement,deftly painted with sprightlyflourishesof color, rangingfrom unexpected highlights of blue to creamywhites faintly dusted with mauve

and yellow. Fantin-Latour'ssignatureroses, in full bloom in a rounded bowl, serve as a perfect counterpoint to the long, graceful stems of white lilies in a tall glass vase. Here, with unerringsensitivity, he perceivedthe nature of flowers "not with the enlarging lens"of the botanist-to quote JamesMcNeill Whistler-"but the light of one who sees in the choice selection of brillianttones and delicate tints futureharmonies."At age fifty-two Fantin-Latouradmirablymet the challenge prescribedby the Americanartistthreeyears earlierin his famous "Ten O'Clock"lecture.

SAS

4I

Claude Monet French, 1840-I926

Poppy Field, Argenteuil I875

Oil on canvas 21I4 X 29 in. (54 x 73.7 cm)

The Walter H. and Leonore Annenberg Collection, Partial Gift of Walter H. and Leonore Annenberg, zooi 200I.202.5

The year I875 markeda difficult moment for Monet. Sales of his work, and thus his income, were down significantlyfrom the precedingyears.The group of friendswho had organizedthe first Impressionistexhibition of 1874 could not agreeon the terms of a second exhibition, and the March I875 auction that was held instead produced poor prices.Yet Monet pressedforward,continuing to paint pictures remarkablefor their calm beauty and intimation of life unencumbered by worry. In his views of Argenteuil days are alwayssunny, poppies bloom continuously, children cavort freely, and ladies have nothing more pressingto do than to stroll with their parasols.In this respecthis work of

the mid-I87os resemblesthat of Camille Corot, who died in February1875.Like Corot at Ville-d'Avray,Monet chose motifs close to home-and improved on them.

This beautiful, archetypalImpressionist landscapebetraysneither Monet's personal concerns nor those of the town of Argenteuil.

Little could the viewer have realizedthat the plain of Gennevilliers,depicted here, had become a dumping ground for Parisianeffluent. We must recognize, then, that Monet's paintingwas an act of consolation(forhimself) and reassurance(for his prospectivepatrons) that natureand simple pleasureswould endure.

GT

Hilaire-Germain-Edgar Degas French, I834-I917

Dancer Ca. i880 Pastel,charcoal,and chalkonpaper 1934 x I2/2 in. (48.9 x 31.8 cm)

The Walter H. and Leonore Annenberg Collection, Partial Gift of Walter H. and Leonore Annenberg, zooi 2001.202.2

Degas frequentlydrew from models, and some of the dancerswho posed for him, such as Nelly Franklinand Marie van Goethem, are now better known for that role than for their dancing skills. However, Degas transformed these real dancersinto a fictive ballet troupe that rehearsedconstantly in his imagination and performedonly in his pictures.

For this fine pastel Degas selected a gesture-the adjustmentof a sash and skirtthat he had included in a number of pictures and made it the central event in a new work.

Although he had doubtless observeddancers adjusting their costumes during his visits to the foyer de la danse,it is unlikely that he had ever seen this particularscene in a rehearsal.

Dancers did not wear sashes-or neck ribbons, for that matter-during practice, and only rarelyon stage. But the sasheswere crucial to Degas becausethey enabled him to bring bright splashesof color to a scene that would otherwise have tended toward the drab. This pastel, then, is not a study from life, although a model may have posed for the artist. Instead, it is a completely artificial,and artfullyconvincing, representation:a slice of art ratherthan a slice of life.

GT

42

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Paul Gauguin French, 1848-ipo3

The Artist's Portfolio, Pont-Aven 1894

Watercolorand gouacheovercharcoal,on heavy gray wove (blotting)paper, mountedto inside covers;leatherbindinginscribedin pen and ink with additionsin watercolor;multicoloredsilk ribbonsstitchedinto binding Each drawing I614 x

o0%

in. (42.5 X 26.4 cm)

Signedin brushand wash (left-handdrawing, lowerleft):PGO 94 Promised Gift of Leon D. and Debra R. Black, and Purchase, Joseph Pulitzer and Florence B. Selden Bequests, and 1999 Benefit Fund, zooo 2000.255

44

When Gauguin returnedto Franceafterhis first trip to Tahiti, he headed to the picturesque village of Pont-Aven, on the Breton coast, in the hope of recapturingthe exhilaration he had experiencedwhile painting there in previousyears. Unfortunately, on this visit his activitywas restrictedby a fracturedleg he sufferedin a brawlwith sailors.Thus, instead of standing before his easel, the artistspent much of his time seated, creatingworks on paper, many of which are likely to have been stored in this portfolio. The watercolorshe drew on its inside covers, probablyduring the summer of 1894, recallsubjectsGauguin had treatedbefore in Brittany:the rolling landscape,serpentinewaterways,and simple products of country life.

The mock-heroic presentationof this portfolio to the safekeepingof the innkeeper Marie-JeanneGloanec-as formallyset forth in writing on its front cover-may have constitutedthe grandfinaleto a bibulousevening Gauguin spent with his artistcronies Roderic O'Conor, EricForbes-Robertson,and Armand Seguin, whose names are inscribedin the dedication. This extraordinarywork, surely one of Gauguin's most appealingexcursions into the decorativearts, remainedvirtually unknown until recently.

CI

Hilaire-Germain-Edgar Degas French, 1834-1917

Paule Gobillard, Jeannie Gobillard, Julie Manet, and Genevieve Mallarme December I6, 1895

Gelatinsilverprint IIs8 X 15/4 in. (28.4 x 38.9 cm)

Gift of Paul F. Walter, zooo 2000.655.

After making the majorityof his paintings and experimentingwith pasteland monotype, Degas brieflyturned to photographyin late I895.Friendsdescribedhim as "ablazewith enthusiasm"as he enlistedthem as models and appropriatedtheir living rooms as his afterdinner photographicstudio. Both the activity and the resultingimagesbound Degas to his circleof close friendsand broughtcomfort in the eveninghours,when he otherwisedwelled on his own mortalityand the recentdeathsof his brotherAchille and sisterMarguerite.

One December evening, in the company of Auguste Renoir and Stephane Mallarme, Degas photographedMallarme'sdaughter

Genevieve and "the little Manet girls"-Julie Manet (the seventeen-year-olddaughter of Berthe Morisot and EdouardManet's brother Eugene) and her cousins Paule and Jeannie Gobillard, all three of them orphanswhom the elder artistshad taken under their wing.

Sitting beforeDegas, whose camerais reflected in the mirror,the young women are joined to one another by the continuous blacknessof their dresses,a backdropfor the gentle rhythm of their hands.

Degas neverexhibitedhis photographspublicly, preferringinsteadto keep them a partof the privaterealmin which they were made;he gavethis tenderpictureto Julie Manet.

MD

45

Emile Decoeur French, 1876-1953

Edmond Lachenal French, 1855-1948

Vase Chatillon-sous-Bagneux, ca.

900oo-905

Glazedstoneware H. io34 in. (27.3 cm)

The Charles E. Sampson Memorial Fund, 2001 2001.92

Stonewarewas the preferredmedium for many ceramic artistsworking in Francein the decades around I900. It is more durable

Courtois and Mille French(Paris),i88o-98 Valve Trumpet Ca. i88i-85 Silver-platedbrass;originalwoodcase L. 2oY2in. (52.1 cm)

Purchase, Bequest of Robert Alonzo Lehman, by exchange, 200oo 2001.187a-i

Antoine Courtois fils (active 1844-80) was one of the leading Parismanufacturersof cornetsa pistonsand orchestraltrumpets.

After i880, when Auguste Mille (1838-I898) took over the workshop of about twenty-five employees, the company maintained its high reputation.This so-called low trumpet, pitched in F with exchangeableterminal crooks for the keys E, E-flat, D, C, and Bflat (A), is equipped with Perinetvalves. It is a fine, typical example of a French trumpet of the period I86o to 1920. This instrument is the type on which studentswere taughtat the Parisconservatoryand that was playedin Frenchorchestrasof the erabetweenBizet (d. I875) and Debussy (d. I918). About 1920

the high B-flattrumpet, alreadyin use in other countries, replacedthis type in France.

As the engraving on the bell indicates,the trumpetcame to the United Statesthrough the company'sAmericanagent,John Howard Foote, in New York. It was not used very much, probablybecausein the United States the B-flat trumpet had alreadyreplacedthe low trumpet by about I900.

HH 46

than earthenwareand easierto form than porcelain,which is far less pliable. Furthermore, the temperaturesat which stoneware is fired allow for spectacularglazing effects.

Edmond Lachenaland his pupil Emile Decoeur were two of the many French ceramicistswho learned to exploit the somewhat random and unpredictablequalities of stonewareglazes, which can producehighlymottled surfaceswith pronouncedvariationsin color and texture.

The complex and seemingly uncontrolled aspects of many of these glazes made them particularlyappropriatefor vesselsin the Art Nouveau style, such as this example, in which naturalisticforms and asymmetries often prevailed. In this vase, probably by

Edouard Vuillard French,i868-1940 Album 1895 Oil on canvas 26% x 80/2 in. (67.9x 204.5 cm) The Walter H. and Leonore Annenberg Collection, Partial Gift of Walter H. and Leonore Annenberg, 200ooo 2000.93.2

Decoeur, the organic quality imparted by the sinuous, tendril-like handles is reinforcedby the richly mottled glaze, in which purples merge into graysof varying intensity. Despite the subtle sculpturalquality of the vase, the glaze ratherthan the form createsthe JHM primaryaesthetic impact.

In I895 Thadee and Misia Natanson commissioned from Vuillard a seriesof five decorativepanels. Collectively known as Album, they took the title of the largestof the paintings, in which a portfolio or album is the center of attention.

Languidwomen suspended in sumptuous, flower-filledinteriors are the subject of all five paintings, which are of various sizes.

Figures and objects blend in a profusion of

patterns, and their closely ranged tonalities of earthy browns, burgundies, and yellows evoke tapestries.

The panels' unusual charactermatched that of the Natansons' apartmenton rue Saint-Florentin,just off the place de la Concorde, which consisted of a large open space adjoined by severalsmall alcove areas.

Its unconventional decor reflectedMisia's taste, which was inspired by the English Arts and Crafts movement. Also called the "Annex,"the apartmentoften served as an alternativeoffice for the artistsand writers who contributed to Thadee's lively avantgardejournal,La revueblanche;among them wereClaudeDebussy, Leon Blum, Stephane Mallarme,and Andre Gide. The evocative Symbolist qualitiesof Mallarme'spoetry and Debussy'smusic also find echoes in Vuillard's SR five panels.

47

NORTH

AMERICA

Masonic Armchair American(Boston,Massachusetts), I76o-75 horsehair and Mahogany,maple,gilding, H.

50o2

in. (128.3 cm)

Gift of Mr. and Mrs. George M. Kaufman, 2000 2000.

92

A magnificentexception to the rule that all eighteenth-centuryAmerican furnitureconformsto standardmodels is this greatMasonic armchairfrom Boston. Such ceremonial chairs,of richly carvedRococo design, were all the rage for the mastersand wardensof

1700

Masonic lodges in the provincialcities of mid-eighteenth-centuryEngland. However, none is known from Philadelphia,the center of Rococo fashion in America, and but oneour new acquisition-from all of New England.

The chair, twelve inches tallerthan normal, is monumental. Its back is composed of Masonic symbols: fluted columns (King Solomon's temple), rusticatedarch (archof heaven), compass and square (faith and reason), mason's level (equality),serpent swallowing its tail (rebirth),and trowel (cement of brotherlylove). Its legs-with brilliantly executed flat-carved,acanthus-leafknees and

1

900

raked-backtalon-ball feet-are characteristic of Boston, but the lodge for which it was made remains a mystery.

This impressiveicon of Freemasonryand colonial woodwork is remarkablywell preserved.The mahogany'sundisturbedfinish has deep red, luminous highlights,and the gilding on the feet is original(some of the other gold was added later,probablyin I790, the yearpainted on the back of the splat).

The stripedhorsehairseat covering,though Neoclassicalin style, also appearsto be original.

MHH

48

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Gilbert Stuart American, 1755-1828

Captain John Gell I785

Oil on canvas 94 2 x 58/2 in. (240 x 148.6 cm)

Purchase, Dorothy Schwartz Gift, Joseph Pulitzer Bequest, and 200ooBenefit Fund, 2000

2000.450

In his long and prolific careerGilbert Stuart painted only seven full-length portraits (other than those of George Washington).

His ambitious and imposing likeness of CaptainJohn Gell (I738-I806) is the second in this series. Stuartexecuted it in London and there looked to Sir Joshua Reynolds for advice on blending ideal and individual characteristicsin grand portraiture.The image epitomizes Stuart'sadaptationof Reynolds's manner:The picture is an accomplished combination of fine and apparentlyslapdash brushworkthat conveys an image of heroism and naturalism,duty and sensibility. It suggests spontaneity in execution, belying Stuart'sconsiderableconceptual strategy and technical facility.

In I785 Gell had just completed his duty on the Monarca,a seventy-gun ship that he had commanded in a seriesof five naval engagementsagainst the French. He came from a Derbyshirefamily and was made a lieutenant in the Royal Navy in I760. Two yearslater he was promoted to commander, a rankhe held for thirtyyearsthroughactive duty in Nova Scotia,the EastIndies, Portugal, Toulon, and Genoa, among other places. He advancedto the rank of admiralin I799.

CRB

49

Francois M. Guyol de Guiran French,active in AmericaI812-28 Portrait of a Gentleman and His

Miss Leland American Boy with Pull Toy

Daughter

Ca. I825

i800-1825

Watercoloron ivory

Watercoloron ivoryandpaintedpaper W. (includingframe)6'8 in. (5. 6 cm) Purchase, Gift of The Chester Dale Collection, by exchange, zooi

4 4 X 4 in. (o0.8 x 10.2 cm)

Purchase, Martha Fleischman Gift, in honor of her mother, Barbara G.

2001.95

2000.484

Guyol de Guiran is known exclusivelyby this signed piece, a work of strikingquality and originality.The artistwas one of the many French-emigreminiaturistswho came to Americain the earlynineteenth century,when the marketwas especiallystrong for such delicate likenesses.The Museum's collection of worksby thesepaintersis extensiveand greatly enhanced by this touchstone portrait.Guyol

The Museum's collection of American portrait miniatureshas become increasingly comprehensivewith the addition of fine works by heretoforeunknown miniaturists, such as this enchanting portraitof a beautifully dressedboy with his pull-toy horse. The obscure but obviously talented Miss Leland signed and dated the work on the original backing paper for the ivory, and it may be that this inscribedexamplewill lead to the discoveryof other pieces by the artist.All too often, miniaturesof children serveda memorial function, but this piece, by contrast, appearsto be a life-affirmingimage.

de Guiran worked in St. Louis (1812-ca. I820) and in New Orleans (1822-28); this picture

may have been done in either locale. It is presumably a portrayalof a fatherand daughter, given the age differenceand the loving glance from the girl to her gentleman companion, but this relationshipcannot be confirmed.

An unusual featureof the tiny painting is the artist'sjoining of ivory, on which the figures are delineated,with paper, on which the CRB foliage is drawn.

Fleischman,

200oo

CRB

Boston and Sandwich Glass Company, New England Glass Company, or South Boston Flint Glass Works American, 1825-88; i8i8-88; 18Ig-?7o

Cream Pitcher and Sugar Bowl Sandwich,East Cambridge,or SouthBoston, Massachusetts, 1820-35 Blown leadglass H. (pitcher)6Y8in. (1r.4 cm); h. (bowl with lid) 9 8 in. (25.1 cm) Gift of Mr. and Mrs. Robert Keller, in memory of Gretchen Keller, zooo 2000.509.1; .2a, b

Glass, elaboratelycut or engravedin a variety of patternsbased on English Regency styles, was in vogue for fine tablewareduring the earlynineteenth century. This elegant cream pitcher and sugarbowl reveala sophisticated alternativeto cutting: the manipulation of the clear, colorless glass in its molten state.

The vessels combine multiple decorative

50

techniquescharacteristicof threeNew England factoriesthat were producing stylish wares during the I82os and I83os. The predominant featureis the tooled horizontal ribbing on a second gather,or appliedlayer,of glass,which was drawn upwardinto the ribs with a sharp tool to createa swag pattern. This striking ornamentationis repeatedon the domed cover of the sugarbowl and again on the cover's finial. The bold, classicfooted shapes and the rounded hollow stems are hallmarksof all three Massachusettsfirms.Although lacking the refractivequalities of their cut-glass counterparts,the cream pitcher and sugar bowl are highly lustrous in their surfacesand sophisticatedin theirdecorativetechniques.

ACF

J. and I. Cox (designer, manufacturer, and/or retailer) American, 818-52 Lamp New YorkCity and/or England,ca. I825 Gilt bronzeand brass,with blown-glass half-domeshade

"Sinumbra"lamps, so named becausethey were designed to reduce the shadow cast by traditionalArgandlamps,enjoyedgreatpopularity in fashionableAmerican interiorsduring the I82os and I83os. This elegant example is distinguishedby a rarelabel of J. and I. Cox (for John and Joseph), leading New York City purveyorsof lighting fixtures.By touting the firm's role as "maker,"when many of the lamps Cox markedare known to have been produced in England, the label suggests a differentrole: Cox may have assembledthe lamp entirely from imported parts or made some of the elements itself.

The painted glassshade is a raresurvival and would have been used on lamps of this type; however,it is not known whetherthis one is originalto the lamp. The scenes resemble Britishaquatintsand aresimilarto drawingsby John Hill, a British-bornartist who emigratedto New YorkCity. They also resemblethe work of William Collins, an Englishenamelerand manufacturerof glass.

This example is among the finest surviving glass shades of the earlynineteenth century.

MH

H. 28 in. (7i.- cm)

Purchase, Dr. and Mrs. Burton P. Fabricand, Mrs. Daniel Fraad, and Jan and Warren Adelson Gifts, zooo 2000.449

l

b.

r- f 9

0

1.1AIbm

5I

American,

833-I9o05

y ad c)Prchas,Caards Beqyon and H Healy Lyon ~survive.

Trost RiTrost Richards Wlliam William American(Chicago,Illinois), est. I864s LagoAvernus PedalrHar

~~~~

laralso a ebonized Watercolo gouache, andfulgrapof hionblue-gry ironwater- PWood, 4ago Avinern4cus andscapesgilt;

ooi ~M~forris

brss; nd inFund, o Andrea K. Jesup H. memory 70 in. (I77.8 cm) Mertens, ooThe

laidpaper C00. 89 2001. 867-7 in.(ters in WaBequest, Society of Pa An of M. W. Turnerrtens, Fund,rcolI memor Morris K. Jesup whoseoo in 20oI.39 2ooI.I7I

E h mixturen anis onpaque tand 866-67, Ltransparent

Probably onseveral nd times), the composition, execupainted in a texturedblue paper aof his early landscapes ofpigments,

of the stimulated manyartfounding,st's Magundoubtedly and gave ofhis American at thetimerolors departure, of the scenery colAvernus of Paintgo Societyion in Water Color, which work the artist's would providf himand forus mediany LagoAvernusmay be the model for otherAmeriethan artists.

In EngloandRicnhancerds color.

Hisinrst to the submission here society, lassubjt decade.in during the particularlyous

52

70. Inw

dr

In 1889 Lyon and Healy, a successfulretail and mail-ordermusical merchandisingcompany, added the manufactureof harps to its business. Within a decade the firm became a serious internationalcompetitor and soon surpassedthe Pariscompanies of Erardand Pleyel. Lyon and Healy's success was built on sturdy and durablewooden construction and smooth and secure action of the metal rods and levers,which were craftedwith the highest precision. The basic construction, however, follows the French models, in particular Erard'sdouble-action harp.

The present example, with the serialnumber IIS, is among the company's earliestto correspondsto model number z3 It de in Lyon and Healy's first trade catalogue a semigrand har, with seven nstrumentisexecuted features a fourchette mechanism, which an eth pedalfounding, stle-actionedals and undoubtedly It a swell mechanismto ncrease the volmerica. also featuresa fourchette mechanism, which

terminatesthe sounding length of the fortyfive strings, and a semicircularbody. Body base, column, and harmonic bar are ebonized and richly decoratedwith gilt flowers, birds, and a human figure.

HH

James McNeill Whistler American, I834-90o3

Variations in Violet and Gray-Market Place, Dieppe 1885

Watercolorand gouacheon off-whitewove paper 8 x 5 in.

(20.2

x 12.7 cm)

Gift of Douglass Campbell, Richard Strachan, and Stephen M. Strachan, in memory of Mrs. Douglass Campbell and Mrs. William Lyman Campbell, zooo 2000.512

During Whistler'svisit in I885to the Normandy seasideresortof Dieppe, he captured the busy marketsquarefrom a high vantage point and accentuatedthe liveliness of the scene by using his sheet in a verticalformat.

The resultwas one of his most delightfuland complexwatercolors,filledwith energy,variety, and interest despite its surprisinglysmall size. The sheet offers a catalogueof the techniques Whistler had masteredby the midI88os, the zenith of his work in watercolor.

Precisebrushstrokescreatepicturesque figuresgatheredin the foreground,abstract dabs suggest the distant crowd, and delicate washes indicate old buildings around the square.The title, Variationsin Violetand Gray,invokes both the musicalassociations that Whistlerso often pursuedin creatingand naminghis worksand his preferencefor harmonious arrangementsdistilledfrom the world of appearances.

Following the successfulLondon exhibition of the watercolorin I886, it was shown in Parisin 1887,to acclaim and appreciation by contemporariessuch as Camille Pissarro, and in New York in I889. Its rich exhibition historyenhancesits importance,which Whister himself appearsto have recognized.

HBW

53

THE FALES COLLECTION AMERICAN JEWELRY

OF

Clockwise, from topleft

Pair of Earrings with Snap-On Covers American, ca. I882-85

Diamonds,gold, and enamel L. (each earring) Ysin. (2.2 cm); diam. (each cover) 2 in. (I.3 cm)

Marcus and Company American,I892-beforei95o Brooch New YorkCity, ca. o900 Gold,peridot, diamonds,pearls,and enamel L. 2Y2in. (6.4 cm)

L.

i

in. (2.5 cm)

Tiffany and Company American, est. 1837

Pin New YorkCity, ca. 1890 Gold,enamel,and diamond L. 314 in. (8.3 cm)

George W. Jamison American,d. i868 Cameo New YorkCity, ca. I835 Helmet-conchshell, enamel,andyellow, rose, and greengold L. 2Y2in. (6.4 cm)

54

slogan, THE UNION / IT MUST AND / SHALL / PRESERVED. Beauty and practicality are

BE

The Museum recentlypurchasedan important collection of Americanjewelrymade

combined in the diamond-drop earringswith removable"coach"covers, which servedto protect and conceal the valuablestones. The boldly scrolled,gold-mounted peridot brooch with diamonds and a pendant pearl,marked by the outstandingNew Yorkfirm of Marcus and Company, harksback to Renaissance designs.A diamond dewdropshimmersamidst the realisticallyrenderedenamel petalsof a flower-formpin, one of severalexquisite Tiffany and Company pieces in the Fales

between 1706 and I915. This comprehensive

Collection.

Purchase, Susan and Jon Rotenstreich Gift, zooi 20oo.234a-d;

Locket American(Boston,Massachusetts), i706 Gold, crystal,and hair

tury, it is inscribedwith Jackson'soft-quoted

20.02; 200;

21.330;

2000.562;

2001.238

group of seventy-threeobjects and sets includes severalexceptional examplesof the jeweler'sart, including those pictured here.

The heart-shapedlocket with light brown hair beneath a faceted crystalis the earliest piece in the collection. A type of mourning jewelry, it is inscribed"obt 20 / of April / I706" above an engravedskull. The helmetconch-shell cameo with a bust of Andrew Jackson, cut in about I835by George W. Jamison, is an elegant tribute to the seventh president. Reflecting the "cameofever"that first swept Europe in the late eighteenth cen-

BCW

Louis Comfort Tiffany American,I848-1933 Tiffany Glass and Decorating Company Corona,New York,1892- 902 Two Vases Blown Favrileglass H. (.) 22 in. (55.9cm); h. (2) I6Y8in. (41 cm) Gift of Robert and Gladys Koch, 1999 I999.412.1,.2 The Metropolitan Museum has one of the most comprehensiveand historicallyimportant collections of blown Favrileglass by Louis Comfort Tiffany. However, the gift of these two superbvases immeasurably enhances it. Both epitomize Tiffany's goal to produce one-of-a-kind works that expressed his personalaesthetic. Each has a coloration of gold with an iridescentsurface,and yet each is treatedin a markedlydifferentway.

The vase on the left is unusuallylarge and is a prime example of Tiffany's passion for depicting nature.An arrangementof leaves and stems is displayedfluidly over the body.

The vaseon the rightexhibitsentirelyabstract decoration, achieved by the varyingsurfaces of crusty, deep chocolate brown (akin to those on Tiffany'sCyprioteglasses)contrasted with smooth, rich iridescentgold; the overall design undulates in a manner that brings to mind the prevailingArt Nouveau style.

Like the Museum's other holdings of Favrilevessels (originallyowned by Tiffany or by the H. O. Havemeyers),the largerof the two vases has a significantprovenance.It was exhibitedat the ParisExpositionUniverselle of I900 and was owned by Tiffany's sister, Mrs. Alfred Mitchell, of New Haven.

ACF

Louis Comfort Tiffany American,1848-I933 Hair Ornament New YorkCity, ca. I904 Silver,copper,opals,demantoidgarnets, garnets,and enamel Diam. 3'2 in. (8.9 cm) Purchase, Barrie A. and Deedee Wigmore Gift, zooI 2001.249

Louis C. Tiffany, alreadya master of many media, began making jewelry shortly after While designersat his father'sfirm, I900.

Tiffany and Company, utilized primarily pearls,diamonds, and other precious stones, Louis'swork was more closely aligned with that of the avant-gardeParisianjewelers Rene Lalique and Georges Fouquet, and, like them, he favoredthe common forms in nature as well as semipreciousstones and enamel. The opals, garnets,and enamel on this piece provide a subtle interplayof light and color. As is consistent with Tiffany's earliest handwrought designs-inspired by field flowersand fruits this hairornamentis based on the wild carrot,or Queen Anne's lace.

Tiffany first exhibited his jewelry to the public in I904 at the LouisianaPurchase Expositionin St. Louis.Three ornaments of Queen Anne's lace, each representingthe blossom at a differentstage, were among the twenty-sevenworks that he displayed.

This example, with its slightly domed blossom head, was the one cited in the contemporarypressas being in "the full perfectionof bloom" and was consideredthe most brilliant of the three. It descended in the family of the originalowner, Ida E. B. Noyes (Mrs. LaVerne Noyes, d. 1912), a noted Chicago philan-

thropist, who probablypurchasedit at the I904 fair.

I999.412.1

ACF

I999.4I2.2

55

MODERN

Paul Cezanne French, 1839-9o06

StillLife with a Watermelon and Pomegranates 900oo-906

Watercolorovergraphiteon heavywovepaper 12 x I832 in. (30.5 x 47 cm)

The Walter H. and Leonore Annenberg Collection, Partial Gift of Walter H. and Leonore Annenberg, zoo00 2001.202.1

Of the twenty or so still lifes Cezanne produced on paper during his final years, this watercoloris among the most fully realized.

The composition is crowded with rotund fruit and tablewareand colored intensely with a complete rainbow of hues, from the deep blue of the watermelon to the blazing red of the pomegranates(in French,grenades).

In anotherwatercolordone at the same "sitting"Cezannestudied the same arrangement of objectsbut moved his position a quarterturn aroundthe table. His second take (now in a privatecollection in Switzerland)

shows the glasscarafe-seen in this work at far right-in the center foregroundof the composition; the wine bottle, with its paper label gleaming here above the melon, there stands behind the sugarbowl. The artist's shifted viewpoint alteredentirely the regiment of forms he had at first admired, but presenteda new "objectscape"to engage his love of shapes and spaces.

Of the nine watercolorsby Cezanne now in the Museum's collection, this is our first ci still life.

56

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

Claude Monet French,1840-I926 The Path through the Irises 19I4-17

Oil on canvas 78 8 x 70 8 in. (200.3 x I8o cm)

The Walter H. and Leonore Annenberg Collection, Partial Gift of Walter H. and Leonore Annenberg, 2ooi 2001.202.6

Monet devoted the last dozen yearsof his life to the extraordinarylarge-scaledecorative cycle that was installed in the Orangerie, Paris,afterhis death. With only a handful of exceptions, the motifs for the two hundred canvaseson which he worked afterhis I908 trip to Venice were taken from the extensive gardensthat he had developed on his property at Giverny, and these canvasesall relate in one way or another to the Orangeriecycle.

His views of the water-lilypond are perhaps the most famous, but he also worked hard to extractnovel compositions from other corners of his garden,where there were diverse plantings such as weeping willows, roses, and irises.

Like those he made of water lilies, his paintings of iriseswere meant to rise from the particularto the universal.In this work, the most highly finished of the series, the flowers are offered not as botanical specimens but as archetypes.Monet focused his energies on the movement of the swordlikeleaves and on the unusual harmony of ocher, violet, blue green, and yellow green. Although the artist was alreadyexperiencinggreatdifficultieswith his eyesight, any grower of iriseswill recognize that he knowingly found the reddish purple tint that hides within every blue iris.

GT

57

Henri Matisse French, 1869-I954

Seated Nude Asleep I906

Woodcut Image I834 X I5 in. (47.6 x 38. cm)

Signedand numbered(lowerright): Henri-Matisse 38/50; initialed (in the block, lowerleft):hm Purchase, Reba and Dave Williams Gift, 2000 2000.236

A proof of SeatedNude Asleepwas shown in Parisat the Salon des Independantsin I907. Reviewing the exhibition, a friend of

the artistcomplained of the work's "willful deformations,a bit too premeditated."More than forty yearslater the great Matisse scholar Alfred H. Barrpraisedthis work as presenting a "figuremore uncompromising in its distortions and angularitiesthan TheBlue Nude (I907)," the artist's boldest Fauve

painting. Even today the printed image has lost little of its original impact.

This is the largestand best known of three woodcuts of reclining or seated nudes that

58

Matisse createdin I906. These prints-his only attempts in the medium-are indeed black-on-white equivalentsof his strongest Fauve pictures. Matisse did not attempt to invest the nude with sensuousappeal.Instead, he concentratedon simplificationand design.

The contorted body rests on a background that is also Fauve in its combination of dots, daubs, and straightand wavy lines.

Woodcut was in vogue among the artist's colleaguesin Franceand Germany.While the latter gouged directlyinto the block, Matisse createdstudies for his prints. The ink drawing for this work was recentlyacquiredby the Metropolitan as part of the Jacquesand NatashaGelmanbequest(acc.no. I999.363.39).

The block is owned by the British Museum, London.

SR

Evening Wrap French,1918-20 Ivorysilkgeorgettewith seed-beadembroidery L. (centerback)58 in. (147.3cm) Isabel Shults Fund, 200z 2001.374.1

Evening coats, wraps,and mantlesof the I9Ios were opportunitiesfor lavishembellishment.

Their draped,kimono-like construction,composed of large,relativelyuncut lengths of fabric, often accommodatedexpansivefields of applied ornament in long continuous bands.

In this dramaticexample a motif of stylized rosespopularizedby the designsof Raoul Dufy for PaulPoiret,the preeminent couturierof his day, is renderedin blackon a white ground.

A contrastingwide band controllingthe back hem and train is embellishedwith a white-onwhite centeredsprayof rosesin a similarstyle.

The highly graphicpatterningdescribedin the denselyappliedbeadingis evidencenot only of the bold and dramaticeffectscharacteristicof the period, but also of the miraculousrecovery of the Frenchluxurytradesafterthe horrific disruptionof World War I. Although this wrap is typical of the late I9Ios in its essentiallylinear drape-the result of the weight of the beading on a sheer silk georgette ground-its cocoonlike embrace and severelypegged hem also evoke the exotic themes introducedby SergeDiaghilev'sBallets Russes,which had inspiredPoiret'slanguid HK odalisquestylesof a decadeearlier.

Henry Ossawa Tanner American, 1859-1937

Flight into Egypt 1923

Oil on canvas 29 x 26 in. (73.7 x 66 cm)

Marguerite and Frank A. Cosgrove Jr. Fund, zooi 2001.402

Tanner's eloquent Flight into Egyptis a canonical maturework by the increasingly esteemedAmerican artist,who studied in Parisand resided in France.In the mid-I89os Tanner decided to concentrateon biblical themes familiarfrom his childhood in a household headed by a leaderof the African Methodist EpiscopalChurch. Tanner developed an increasinglypainterly,highly personal style based on empiricalobservation and inner vision. "Tannerblues,"complex layersof glazes, and flat decorativesurfaces are keynotes of many of his late canvases.

Flight into Egyptdepicts the Holy Family's clandestineevasion of King Herod's assassins (Matthew 2:12-I4), Tanner's favoritebiblical story. It expresseshis sensitivity to issues of personalfreedom, escape from persecution, and migrationsof African-Americansfrom the South to the North. The painting, which revealsa concern for human emotions and an awarenessof the mystical meanings of biblical narratives,also manifestsTanner's affiliationwith contemporarySymbolism and the religiousrevivalthat occurredin response to challengesof the modern era.

On the back of this canvasis a study for the prizewinningwork Tanner entitled Christ at the Home of Lazarus,painted about 1912 and now known only from photographs.

HBW

Otto Dix German, I891-1969

Nelly 1924

Lithograph 1i8 x 8 in. (28.3 x 20.3 cm)

Signed(in the stone,lowerright):DIX24 Purchase, Reba and Dave Williams Gift, 2000 2000.II2.2

During the

I920s

the painter and printmaker

Otto Dix was prominent in the German art movement known as Neue Sachlichkeit (New Objectivity). This portraitstudy is a fine example of his emulation of the draftsmanship of Northern Renaissanceartists.

Nelly is a small lithographof the artist's daughter (1923-I955) at age one. She is shown in Dix's customaryclose-up, three-quarter view, which accentuatesthe roundnessof her full face. Her curly hair is a tousled mop, and she wears an elaboratelace collar, which fits tightly around her chubby neck. The portrait conveys vitality and a nascent personality, although not endearment.Nelly staresdeterminedly ahead, and her purposefulmouth suggestsan intensity of character,even at such a young age. Dix's dedication to unsparing,clinical objectivityextended even to his depiction of his own young daughter.

He portrayedher with not many tracesof paternalsentiment.

This print is a welcome addition to the Museum's holdings of works by modern

Germanartistssuch as Dix and Max Beckmann (I884-I950), an area of collecting that has been

madepossibleby Rebaand Dave Williams.

ALS

59

Although most prolific as an artistin stained glass,JacquesLe Chevallieris perhapsbest known for the small number of extraordinary Modernist table lamps that he designed in the late I92os. This model, the most extreme of the group, consists of an abstractsculptural housing for the bulb resting atop a circular base raisedon cylindricallegs. Starkly spareand completely unornamented, the lamp gives the overalleffect of a functional machine. Nonetheless, a certain decorative quality is achieved through the Cubistinspired angularplanes, the exposed screws and braces,and the softly reflectivefinish. No effort has been made to conceal the bulb or the socket, though the light can be shaded or redirectedby revolving the lamp to a variety of differentpositions. Less reflectivethan silver or chrome-platedsteel, aluminum was more affordable during the

Josef Hoffmann

Jacques Le Chevallier

Austrian, I870-1956

French, I896-1987

Tea Service Silver,ebony,amethyst,and carnelian

Lamp

H. (large teapot) 5 A in. (3.7 cm)

Aluminum and ebonite H. ii in. (27.9 cm) Purchase, The Horace W. Goldsmith Foundation Gift, 2ooi 2001.4Ioa,b

Ca. 1928

Cynthia Hazen Polsky and Leon B. Polsky Fund, 2ooo 2000.278.1-.9

Josef Hoffmann's designs before I900 incorporated the curvilinear,organic motifs common to the then-fashionableJugendstil and Art Nouveau styles. With the turn of the century, however, he abruptlyabandoned them for a revolutionarynew approachbased on geometry, of which this tea serviceis an outstanding example. Its materialsare lavish: hand-beatensilver, ebony, and semiprecious stones. Hoffmann, however,has integrated them with forms of uncompromisingausterity: straightsides, domed lids, and squared-off handles.The only decoration,except for the inset jewels, is the single thin horizontalline of raiseddots nearthe bottom of each container.

This servicewas made for the Wiener Werkstatte,the company of designers,artists, and craftsmenfounded in Vienna in I903 to produce luxury objects in the most advanced style. The set was purchasedin I911by a San Franciscocouple on their Europeanwedding journey and descended from them to their grandson,the vendor to the Museum.

JSJ

6o

I920s,

increasing

its appeal for designers.

Le Chevallierwas a founding member of the Union des ArtistesModernes, an organization that promoted the forward-looking, reform-mindedideals of Modernist design in France. Other members included architects and designerssuch as PierreChareau,Rene Herbst, Eileen Gray, Robert Mallet-Stevens, JG and Charlotte Perriand.

Terence Harold Robsjohn-Gibbings American(b. England),1905-1976 Klismos Chair Ca. 1937

Woodand vellum H. 3Y8 in. (89.9 cm) Purchase, The Horace W. Goldsmith Foundation Gift, zooi 2001.207

Although the I930s saw an increasingacceptance of the aestheticsof Modernism, traditional design continued to be dominant.

Most people found its referencesto a settled past reassuring.The styles of the eighteenth and earlynineteenth centuries,more or less accuratelycopied, were especiallypopular.

However, even Neoclassicism, which might be assumed to be the safest of styles, could be challenging if carriedto extremes.

Gilbert Rohde American,1894-1944 Electric Clock Ca. 1933

Chrome-platedmetaland glass H.I12 in. (30.8cm) John C. Waddell Collection, Gift of John C. Waddell, zooo 2000. 6oo.I5

Rohde was known primarilyas a furniture makerwhose progressivedesigns were produced by well-known manufacturerssuch as Heywood Wakefield, Troy Sunshade,John Widdicomb, Herman Miller, and Thonet. In 1932 and I933he createda seriesof clocks for the Herman Miller Clock Company that were remarkablefor their daringlyadvanced designs. The transparentglass face of this example is suspended in front of a chromed diagonal support, its sharpangle abstractly reinforcinga sense of dynamic motion. The "numerals" slashesof white-seem to float on the clearglass surface,highlighting the sharp, dominant blackhour hand. The color scheme of black, red, and silver and the use of sleek materialssuch as chrome and glass typify the kind of furnishingsthat complemented luxuryinteriorsof the I930s. Although most people were strugglingto make ends meet duringthe decade-longGreatDepression, the elegant penthouse atop a skyscraper apartmentbuilding representeda privileged fantasyworld that dominated Hollywood movie sets as well as designs for luxury city dwellings createdby the most contemporary architectsand designers.

JA

Here Robsjohn-Gibbingstook the form of a classicklismos chair, depictions of which are found in ancient Greek paintings and sculpture, and produced a design of great elegance. Conventionalized adaptationsof klismos chairshad been used in many earlynineteenth-centuryinteriors, but this form, stripped to its essentials,goes well beyond them. It is striking in its absolute purity.

JSJ

Jacob Lawrence American, r197-2000

The Photographer I942

Watercolor, gouache,and graphiteon paper in. (56.2 x 77.5 cm) 42 Signed and dated (lower right): J.LaWRENCE

22S8 X 30/2

Purchase, Lila Acheson Wallace Gift, oo00 2001.205

For nearlysixty yearsJacob Lawrencewas a powerful and poignant voice in American art.

His historicaland contemporarynarratives, derived from African-Americanexperiences, reflectedthe depths of humanity. Painted almost exclusivelyon paperwith gouache and tempera, his compositions featurebold colors, matte surfaces,and naive figuration thatenhancetheirvisualand emotionalimpact.

Urbanscenes,primarilyviews of Harlem,were particularfavoritesof his and conveyed the quiet dignity of that neighborhood'scitizens. is one of twenty pictures ThePhotographer made in 1942duringa period of artisticand professionalawakeningfor the twenty-fiveyear-old Lawrence.That year he gained national recognition when his Migration serieswas acquiredby and divided between the Museum of Modern Art, New York, and the PhillipsCollection,Washington,D.C. Also in 1942the MetropolitanMuseum purchased the firstof its threeworksby Lawrencefrom its wartime"Artistsfor Victory"competition.

Here Lawrencesuggests the sights and sounds of a busy street in Harlem filled with vehicles,pedestrians,and workersof all kinds,

Jean Dubuffet French, 9po0i-985

Self-Portrait 1936

Oil on canvas 25 34 X 21Y2 in.

(65.4 x 54.6 cm)

Signedand dated(upperleft):J. Dubuffet / I936 Purchase, Gift of Mrs. Richard Rodgers, by exchange, zooi

including an itinerant photographer under a

2001.396

Nothing in this self-portraitidentifies the thirty-five-year-oldJean Dubuffet as an artist-neither the trim haircut, the white shirt, nor the brown jacket that blends into the background.Only the intense gaze of his narrowgreen eyes points to the deep preoccupation of the artist, then at a crossroads in his life.

One yearlaterDubuffet stopped painting for the second time and returnedto his wine business.Dubuffet had triedvariouscareers.In 1918 he enrolledat the AcademieJulien, in Paris,yet left aftersix months. Subsequently, he studied art history, languages,philosophy, literature,and music. In I923-24 he served in the militaryas a meteorologistand in 1924

worked as a technical draftsmanin Buenos Aires. He then became a wine merchant, first in his parents'business in Le Havre (I925-30) and then independently in Paris (1930-34 and I937-42).

In 1942,when Dubuffet resumedpainting, he repudiatedhis earlierstyle. He adopteda seemingly untutored style that defied the categoriesof "ugly"and "beautiful"in conventional art and that he called art brut.

Dubuffet gave this only survivingselfportraitto Jean Paulhan (I884-I968), a Frenchwriter, critic, and editor. In 1946 Dubuffet again celebratedtheir friendship in his remarkableportraitof Paulhan also in the Metropolitan (acc. no. I999.363.20).

SR

62

black cloth. Mixing humor and compassion, Lawrencecreateda lively portraitof this vital New Yorkcommunity that seems to transcend specifictime and place to addressbroader concernsabout the human condition.

LMM

Robert Frank American(b. Switzerland),b. 1924 [The Congressional] I955 Gelatinsilverprint 9Y2x I3 in. (24.1 x 3 cm)

Harris Brisbane Dick Fund and Dodge Fund, zooi

and details that convey not only the social gist of the situation but, even as importantly, its undercurrentmood. These photographs provide a rareglimpse of America'spower elite fed by the spoilsof the country'swartime success and at ease in their mobile boardroom en route to and from the nation's capital.

JLR

2001.I64.4

Frankmade his name by melding Walker Evans'sincisive social documentation with Henri Cartier-Bresson'seye for the telling moment caught on the fly; he wielded this unified technique in the serviceof a particularlysoulful vision that permeateshis imagery with melancholy and is most eloquently inscribedin his great book, TheAmericans (I959).This photograph appearedin Fortune magazine,November I955, in an articlewritten by Evans on the PennsylvaniaRailroad's clubby afternoon train, the Congressional, which ran expressbetween New York and Washington. In a suite of images of businessmen, politicians, and lobbyists scheming, drinking,and havingtheirshoes shined in the train'slounge, Frankfocused on the rituals

63

In the two years before his sudden death, Smithson planned various land-reclamation projectsto make a new form of public art from devastatedindustrialsites. Here he envisioned an "earthwork"that would have dwarfedeven SpiralJetty. In the largestopenpit copper mine in the world, Smithson proposed the construction of a huge revolving disk at the pit's base, from which to survey nature'sgradualand inevitablereclamation of man's invasive enterprise-a primary theme of the picturesquetradition with which the artistwas engaged. The Museum's acquisition includes not only this study but also four other important works, which together constitute the finest single representation of Smithson's work in photography.

DE

Louise Lawler American, b. 1947

Pollock and Tureen, Arranged by Mr. and Mrs. Burton Tremaine, Connecticut 1984

Silverdye bleachprint 28 x 39 in. (77.I x 99.1 cm)

Purchase, The Horace W. Goldsmith Foundation and Jennifer and Joseph Duke Gifts, zooo 2000.434

Robert Smithson American,1938-1973 Bingham Copper Mining Pit-Utah Reclamation Project I973 Photostatandplastic overlaywith waxpencil Ir82x 13/2in. (47 x 34.3 cm) Purchase,Pat and John Rosenwald Gift, 200oo 200o.293

One of the most importantAmerican artists of the second half of the last century,Smithson is best known for SpiralJetty (I970)-a

1,500-

foot sculptureof mud, salt, and rock coiling into Utah's Great Salt Lake. Equallyat home in sculpture,photography,film, and writing, Smithson simultaneouslyexpanded our notion of art and used that expanded field to reinvigoratethe great subjects,among them landscape,myth, history, and the course of civilizations.

64

Lawleris a spy in the house of art, casting sidelong glances at Modernist masterpiecesas they wend their way from the pristinewhite cubes of galleriesand the carpetedwalls of auction houses to museum storerooms,corporate boardrooms,and privatehomes around the world. In its exposureof the art world's usuallyinvisible machineryof possession, display, and circulation, Lawler'swork fits comfortablywithin the tradition of institutional critique that began with Marcel Duchamp's Fountain (I917). Her effortlessly cool, deliberatelyneutral images are never cheap shots or tendentious sermons, however, and, as Walker Evans once wrote of Diane Arbus, there is more wonder than sociopolitical conviction in her gaze.

As sometimes happens in photography, Lawlerdiscoveredthe crux of her entire project serendipitously,when she was granted accessto the Connecticut home of Burton and Emily Tremaine, collectorsof twentiethcentury art, in I984. Working in available light with a 35mm camera,Lawlerunearthed treasureseverywhereshe looked, such as this decorator'sduet betweena lateJackson Pollockand the filigreeof an eighteenth-century tureen.Simultaneouslytrenchantand poignant, Pollockand Tureenis a cuttingcommentlaced with the love of an undercoveraesthete.

DE

Terry Winters American,b. 1949 Double Standard 1984

Lithograph 78 x 42 in. (198.1 x o06.7 cm)

Initialed and dated (lowerright):Tw 1984; numbered(upperright):24/40 Gift of Susan Sosnick, in memory of her husband, Robert Sosnick, zooI 2001.1.3

Best known as a painter, the New York artist TerryWintersis one of the most versatileand prolific printmakersworking today. He usually bases his lithographs,intaglios, and relief prints on preliminarydrawingsin various media. This enormous lithograph-his largestprint-shows his interest during the I98os and earlyI990S in combining abstraction with botanical,zoological,or architectural imagery.In those yearsWinters often hugely enlargedformsthat aremicroscopicin nature, such as the sphericalmassesof fertilizedova suggestedhere. He has depicted the ova at

the stage of embryonic growth when more and more segmentation takes place, leading to organ development. Winters renderedthe cellularforms chiefly with black and nearly black lithographycrayonsand extended them with plantlike tendrils. This print is the earliestof thirty-sevenlithographs,etchings, and woodcuts by Winters donated to the Museum this year by Susan Sosnick, whose late husband, Robert, collected the artist's work in all media. It is one of 117prints by Winters, ranging in date from I983 to 2001, in the Metropolitan'scollection.

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65

Leonardo Drew American,b. 1961 Number 24 1992

Wood,rustedandpatinated iron, and cotton waste L. 20ft. (6.i m)

Gift of Barbara Schwartz, in memory of Eugene Schwartz, zooo 2000.97

Rachel Whiteread British,b. 1963 Untitled (Pair) 1999 Bronzewith cellulosepaint L. (a) 80o4in. (203.8cm); 1. (b) 80/2 in.

(204.5 cm)

Initialed, numbered,and dated (bottom insides): RW 7/12

A I999;

RW 7/I2

B I999

Promised Gift of David Teiger One of the leading British sculptorsof her generation,Whiteread is interestedin themes of memory and death. Having taken as a startingpoint the sculptureA Castof theSpace underMy Chair(I965-68) by the American post-Minimalist Bruce Nauman, Whiteread first earnedrecognition with a full-scaleconcrete cast of the negative space-the empty interior-of an abandoned row house in a depressedareaof EastLondon. Her recent public sculpturesinclude a translucent-resin cast of a giant water tower, installed on a Manhattan rooftop, and the negative interior spaceof a library,constructedon the Judenplatz in Viennaas a memorialto Holocaust victims.

This work, her first in bronze, consists of two nearlyidentical waist-high forms coated with white paint. The tops of the forms, one slightly convex, one concave, derive from used mortuarytables purchasedby Whiteread 66

and employed to make floor sculptures,slabs cast in rubber.The slope of the slabs suggests that there are drainageholes at one end of each table. To make the antisepticvolumes of Untitled (Pair)Whiteread added sides to the slabs, creatingtomblike objects that she first installed in rows of nine pairs.

Working in New York City, where he studied at Parsonsand at Cooper Union, Leonardo Drew makes large-scalemetal relief sculptures that have a decidedly urban feel in their underlyinggrid structureand in their use of decaying matter from the city's streets.

While the actual constructions are completely abstractin design, the artist'sunorthodox materials(rustedmetal, cotton waste, rope, cardboardboxes, and discardeddebris) have inherent narrativeassociationsthat often relateto his African-Americanidentity. In Number24, for example, the row of rusted brown metal beams, jagged and dangerous, suggeststhe condition of run-down ghetto neighborhoods and tenement buildings, while the white tufts of cotton, scattered acrossthe surfacelike drifting snow, allude to slaveryand the plantations of the South.

Such references,however, are left vague so that viewers may relate them to their own set of experiences.Finding meaning and even beauty in apparentflaws and ugliness, the sculptor welcomes the visual contradictions posed by his materials(hardversus soft, dark versuslight, solid versus ephemeral). Since his first solo galleryexhibition in New York in I992 (which included Number24), Drew's work has receivednational attention.

LMM

George Segal American,1924-2000

Self-Portrait I998

Charcoalandpastel onpaper 50o8 38X 4 in. (127.3 x 97.2 cm)

Signedand dated (lowerleft):G Segal 7-98 Purchase, Mr. and Mrs. Samuel H. Lindenbaum Gift, zooI 2001.57

Rineke Dijkstra Dutch, b. I959 Kolbrzeg, Poland 1992

print Chromogenic 478 X 394 in. (I2I x o10 cm)

Purchase, Roy R. and Marie S. Neuberger Foundation Inc., Jennifer and Joseph Duke, Gary and Sarah Wolkowitz and Anne Marie MacDonald Gifts, zooi 2001.307

Between 1992 and I996 Dijkstra produced a

celebratedseriesof full-lengthportraitsof teenagerson variousbeachesin Poland,Croatia, Ukraine, Belgium, England, and the United States,describingthe liminal state of adolescence with startlingeloquence. Posing her young subjectsbefore a luminous background of sand, sea, and sky, she imbued the

portraitswith an elemental, almost mythic quality that seems to transcendthe carefully observedparticularsof national identity and class.

In this photograph a skinny Polish girl in a lime green bathing suit confronts the camerawith a heartbreakingblend of awkwardness and studied nonchalance. Standing at the ocean's edge, she tilts her head and slips unconsciously into a classicalcontrapposto pose. Dijkstracapturesthis moment with her camera,deftly revealingthe eternalwithin the everyday.Shot from a low angle against a darkeningsky, the girl appearssimultaneously large and small-monumental yet vulnerable,half exposed, half grown, halfway between innocence and experience.With its perfectlymodulated blend of clarityand ambiguity, the photograph is a stunning depiction of Venus at the awkwardage.

George Segal, one of America'smost important postwar sculptors, is best known for the anonymous white cast-plasterfigureshe often placed in real environments. Gaining recognition in the Pop Art era of the I96os, he frequently tied his subjectsto popular culture and contemporaryevents. This exceptional late drawing, however, revealsanother, more personalside of the artist'stalents and is part of a series of larger-than-life,black-and-white heads of family and friends that he began in the I99os. Executedwith hundreds of strokes of black charcoaland pastel, this last selfportrait (at age seventy-five)is a tour de force of expressionistdrawing that presentsa powerful, intimate view of his psychological state and aging physiognomy. Looming out of the darknessto a height of almost four feet, Segal's craggyfeaturesfill nearlythe entire composition, yet they project an innate humanness that contradictstheir monumental scale. The dramaticchiaroscuroeffect he achievedwith bright lighting and deep shadows gives the likeness a strong sculpturalquality. Gazing intently into the viewer'sspace, the artist seems to be assessingsome unseen presenceLMM perhapshis own reflection.

MF

67

John Galliano (designer) British,b. 1960 Christian Dior (couturier) French(Paris),est. 1947 Evening Gown Spring/Summer2000 Silk taffeta L. (centerback)57 in. (144.8 cm) Gift of Anne E. de la Renta, zooi 2001.397

In this gown from John Galliano'scontroversial "Hobo" collection for Dior, extravagant, changeablesilk taffetais whipped into a spiralingvortex. The naturallystiff "hand"of taffetaand the virtuosity of the Dior atelier contribute to this illusion of fabriccome to life. From neckline to train, four parallel 68

panels, each longer than the next, are angled into a body-conforming bias. The gown recallsboth the aerodynamicsleeknessof the I930s, in its second-skin fit, and the I950s illustrationsby Rene Gruau of fabricsnaking around bodies and spinning into space.

Here, as in many of Galliano'screations, the merging of diversesourceshas resulted in a design less graftedtogether than crosspollinated into a new hybrid. Over the years, whether the referenceshave been to les merveilleusesof the Directoire, courtesansof the Belle Ipoque, or sophisticatesof betweenthe-warscaf6 society, Galliano has consistently assimilatedthe styles and sensibilities of the past into convincing contemporary glamour. While his creationsare generally apolitical and ahistorical-the result of an

intuitive, primarilyvisual synthesis-an implicit social critique may be read in this confection of haute couture, inspired by the rag-swaddledimage of a Parisiantramp.

HK

Geoffrey Beene American,b. 1927 Evening Gown Fall/Winter I993

Leatherand wooljersey L. (center back) 60 in. (152.4 cm)

Gift of Geoffrey Beene, zooi 2001.3P3.118

The recent work of Geoffrey Beene has been characterizedby an increasinglysensual

reductivism.In this evening gown an asymmetricalyoke in black leatheracknowledges the anatomy-the clavicle, sternum, and spine-while also evoking another reference, that of a shoulder holster, in its trapezoidal shape, strapping,and use of material.As in many of Beene's designs, the yoke is a detail simultaneously abstractand allusive, a vestige of earliercollections in which harnesses appearedas separateaccessoriesto overlay, segment, and define the torso.

A subtle provocativeintent has always percolatedthrough the designer'scollections.

Here Beene refutesprecedent and resistsconvention when he employs graywool jersey and blackleather,materialsgenerallyconsigned to day- or sportswear.Cut in one piece, with only a center-backseam, the body of the gown revealsBeene's essentiallyMinimalist strategy.Still, like an architecturaldetail by Santiago Calatrava,whose work is characterized by zoomorphic bone- and riblikevaults, Beene's supportingyoke introduces a decora-

tive flourish through its arcing organicism.

The American designerreveals,as does the Spanish architectin his elegant engineering of shapes, an advocacyof Modernism's expressivefunctionalism.

HK

Magdalena Abakanowicz Polish, b. i93o Figure on a Trunk 2000

Bronze W 8ft. 7 in. (2.6m) Joseph H. Hazen Foundation Purchase Fund, zooo 2000.348a,b Throughoutfour decadesthe human condition has been a constant concern for the Polish artistMagdalenaAbakanowicz,who lives and works in Warsaw.This over-lifesize,headless figure cast in bronze embodies, in a single form, the unique expressivenessand powerful

presenceof all of her sculpture.Standingfirmly at the midpoint of a beam, which balances upon two log-shaped cylinders, this convex shell of a figure,of no specificsex, looms large.

Abakanowicz'ssculpturesof humans areoften positioned in groups-ranging from a dozen to more than I50-and are typicallyheadless, conveyingthe loss of individuality,an increasing occurrencein modern society. Here the elevated solitaryfigure,though headless,seems to look to a farhorizon above the viewer'splane.

In 1999 an earliercast of this sculpture was included in the "Abakanowiczon the Roof" installation on the Museum's Iris and B. Gerald Cantor Roof Garden. After the close of that exhibition, the artist offered to produce an additional cast for the Metropolitan's collection. The sculpture'ssurface was finished by the artist'sown hand, contributing to its uniqueness. AndrogyneIII, a similar but seated headless figure by Abakanowicz,was acquiredby the Museum in 1986 (acc. no. I986.22Ia, b).

ALS

69

Stephen Hannock American,b. Ip95 The Oxbow: After Church, after Cole, Flooded (Flooded River for the Matriarchs E. &A. Mongan), Green Light 2000

Acrylicwith oilglazes on canvas 96x I44 in. (243.8 x 365.8 cm)

animal enlivens this panoramiclandscape combining truth with fantasy.In the I920s a passagewas cut through the river'soncescenic loop, the Oxbow, and bridgesnow connect the mainland and the artificiallycreated island. The mountains rising in the blue distance are invented, as is the flooded state of the river.

Since attendingartclassesat Smith College,

Purchase, Moore Capital Management Inc.

in Northampton, during the I970s, Hannock

Gift, 200ooi

has claimed this landscapeas his own. Here it inspiredhim to cover large areasof the rustcolored, tilled fields with inscriptionsthat relateto his friends and to the events of daily life. The names and initials in the title refer to Cole's student FredericE. Church (I826-

2001.153

Stephen Hannock capturedthis view of the Connecticut River from the same vantage point chosen by Thomas Cole (I801-I848) for his famous Viewfrom Mount Holyoke, aftera ThunderNorthampton,Massachusetts, storm-The Oxbow(1836),in the collection of the AmericanWing of the Metropolitan Museum (acc. no. 08.228).

The lacqueredsurfaceand transparent light effects of Hannock's painting emphasize the stillness of dusk on a cloudless autumn day. No breathof wind stirs the air; no

70

I900) and to Agnes Mongan (1905-1998) and her sister Elizabeth (b. I905), both important

curatorsand teachers,as well as mentors of the artist.

SR

Brice Marden American,b. 1938 Red Line Muses 2001

Etchingand lithograph 22x 30 in. (.9 x 76.2 cm) John B. Turner Fund, zooI 2001.117

Since his student days at Yale University in the I96os, Marden has been engaged in printmaking, creating finely renderedetchings and silkscreensakin to Minimalism in their cool touch. However, his aesthetic is not easily categorized;it transcendssuccinct labels in its embraceof the spiritualas well as in its varied formal influences. By the mid-Ig80s Marden had turned away from his signatureplanes of pure color and tightly knit geometric lines in favor of an open, fluid use of line inspired by forms of Easterncalligraphy.

One of seven prints recently executed in etching and lithograph at Gemini G.E.L., in Los Angeles, Red Line Musesevolves from Marden's interest in calligraphicgesture.

His broad, ribbonlikestrokesextend languorously to the edges of the plate and are overlaidwith a layerof hastily scratchedlines, which are printed in muted celadon and neatly framed by a fine red border.The translucentlayersof contrastingmarksproduce a subtle sense of pictorial depth without spoiling the rich surfaceeffect of the print.

SJR

Joel Shapiro American,b. I941 Untitled 2000-2001

Castaluminum with oilpaint H.

2

ft. (3.7m)

Signedand stamped(in cast-aluminumplate weldedto inside wall of lowestelement):Joel Shapiro I/4

2001

Partial and Promised Gift of Dee Dee and Herb Glimcher, zooi 2001.201

Joel Shapiro'ssculpturesof the I970s in cast iron, limestone,or wood were in partresponses to earlierMinimalist "specificobjects"by artistssuch as Donald Judd and CarlAndre.

Shapiroabsorbedtheir geometric vocabulary of assembledparts, itself in the tradition of RussianConstructivistsculpture,yet he rejectedtheir neutralityand pure abstraction.

Shapirowished his works to be read metaphorically,as allusions that could draw on the viewer'smemories and reactionsto imagerysuggestingfigures.This buoyant

dancing object, nearlytwice lifesize, is the first sculptureby Shapiro to enter the Museum's collection and his first cast sculpture painted red. It consists of five hexahedral elements. The two "arms"and two "legs"are

squarein section, and the fifth, torsolike element between them is rectangular.The hollow aluminum lengths were bolted together at acute or obtuse angles and reinforced internallywith stainlesssteel. The aluminum elements were sand cast from solid lengths of wood that Shapirojoined, following smallerwooden models. He left the channels made by the saw, ratherthan smoothing them out, as evidence of his cutting and casting process.

NR

7I

AFRICA,

OCEANIA,

AND

THE

AMERICAS William Ellis British, 1794-1872

Antsahatsiroa (Madagascar) i862-65

Albumenprintfrom collodionnegative 72 x 6Y2 in. (1i.I x I6.5 cm)

Purchase, The Fred and Rita Richman Foundation Gift and Rogers Fund, zooo 2000.608

Headdress Ornament Peru (Sihuas),100 B.C.-A.D. 300 (?)

Gold H.

II'4

in. (28.6cm)

Purchase, Discovery Communications Inc. Gift, zooI 2001.32

Precious-metalobjects from the south coast of Peru are rarecomparedto those found on the north coast, where deposits were more abundant and accessiblein ancient times.

Usually of modest proportions and invariably made of hammeredsheet gold, south-coast worksaredistinctivein form and surfacedecoration.This object is part of a group of ornaments that are exceptional for their large size and have the same shape and similaroverall repoussedesigns. They are usually attributed to the Nazca culture;however,recentresearch suggeststhat they may come from the Camanai and Sihuasvalleys, on the far south coast, where independent traditionsflourished.The iconographyfocuses on a stylized, oblong frontal face repeatedat differentscales,with circulareyes and what appearto be mustaches and short beards.Rows of circlesof variousdimensions and zigzag lines fill the spacesbetween the faces. Two pairs of perforationson either side of the centralface suggest that the object may have been worn affixedto a turban or a headdress,although thereareno depictionsin the art of the region

to confirmthis use. Perhapssuch workswere not intended to be worn in life, but rather were attachedto burialshroudsor mummy bundles,which were then placedin tombs.

ReverendWilliam Ellis, a prominent member of the London MissionarySociety, made this exquisite view of Antsahatsiroa,Madagascar.

He establishedhis reputation in Hawaii and Tahiti during the early I82os and was the first Europeanin those places to translate,print, and illustrateChristian scripturesin local languages. In London, in I853,Ellis heard that the rulersof Madagascarwere again amicable to missionaries,and he preparedto travel there for the society (he eventuallyvisited three times). Ellis was fully awareof the power of the printed word and image, and that year,at the age of fifty-nine,he embraced photography. He receivedtechnical advice in London from the prominent photographer Roger Fenton. In MadagascarEllis joined his society colleagueJames Cameron, a photographerwho had been among the first group of British missionariesto travelto the island in I826 and was now fluent in the Malagasy language.Ellis'sfirstattemptsin 1853-54to visit

72

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 rulersat Antananarivowith a camerawere not successful,but he returnedto the capitalin 1856to makeportraitsof some of Madagascar's royalty.Elliswas not the firstmissionaryto takephotographsin the capitalbut was possibly second to a Jesuit,FatherFinaz.However, those daguerreotypeshave neverbeen located; thus Ellis'sphotographsof Madagascarare some of the earliestin existence.

VLW

Mask Indonesia(TimorIsland,possiblyEast Timor), igth-early 2oth century Wood,fiber, andpaint, with tracesof lime H. 9/8 in. (23 cm)

Purchase, Discovery Communications Inc. Gift and Rogers Fund, zooo 2000.444

Timorese dance masks are one of severaldistinctive masking traditionspracticedby the peoples of easternIndonesia. Found primarily in East Timor, they representdistant ancestorsand were worn by warriorsduring victory celebrationsand probablyat other important feasts and ceremonies.The masks were often painted and adornedwith bristles or strips of hide representingfacialhair. The holes in the upper lip and foreheadof this example likely served for the attachmentof a mustache and eyebrows,while the wearer would have looked out through the mouth.

When in use, the mask would have been attachedto a hood of fur or cloth that

covered the remainderof the head and concealed the dancer'sidentity. While some masks made of more perishablematerials would have been discardedat the conclusion of the ceremony, wooden ones, such as this highly polished and deeply patinatedwork, were preservedand reused for many years.

EK

Ancestor Effigy (Rambaramp) Vanuatu(Malakula, TommanIsland), mid-2othcentury Fiber, bamboo,wood, bone,andpaint H. 6ft. 9 in. (2.I m)

Gift of Ms. Terry Beck, zooo 2000. 61

The imposingancestoreffigies,or rambaramp, of southern Malakula,in Vanuatu, are among the most visuallystrikingof the island'sdiverse sculpturaltraditions. Each depicts a prominent recently deceasedindividualwhose spirit has joined the ranksof the ancestors,the powers of which ensure the well-being of the

community. The spirit itself residesin the skull, which forms the head of the image and is coveredwith a papier-mache-likepaste of finely chopped plant fiber to create a portrait of the individual in life. The body consists of the same materiallaid over a frameworkof bamboo, wood, and fibrous leaves.

SouthernMalakulansocietiespracticeda complex system of progressivereligiousinitiations, and only individualswho achievedthe highest levels, or "grades,"were entitled to have their spiritsresidein a rambaramp.This examplefrom Tomman Island,off the southern coast of Malakula,commemoratesa man who had undergonenine of a possibleeleven gradeinitiationsduringhis lifetime. The "herringbone"body designs,elaborateshoulder projections,and shell trumpetsclutched in the hands markhis exaltedstatus.The masklike facesrepresentidealizedsupernaturalbeings and combine featuresof humans with those of the sacredpigs reveredthroughoutVanuatu.

EK

73

Couple Madagascar(Menaberegion,Sakalavapeoples), r7th-latei8th century Wood H. 39 in. (99 cm) Purchase, Lila Acheson Wallace, Daniel and Marian Malcolm, and James J. Ross Gifts, zooi 2001.408

This Madagascarcouple ranksas the foremost artisticachievementof a region at the confluenceof Africanand PacificIslandaesthetic influences.Its quiet power and lyrically balancedsymmetryhave made it one of the rareworksfrom southeasternAfricato have had an impact on Western art. Createdas the finial of a freestandingexteriormonument, this sculptureappearsto have been designedas a pairwith one in the Louvrethat is attributed to the same artist.The Metropolitan'swork was known in Parisby the earlytwentiethcentury and enteredthe collection of the British sculptor Sir Jacob Epstein about 1922-23.

The idea of the fundamentalcomplementarityof man and woman that is so eloquently depicted in this iconic image is an important theme in Malagasyspirituallife. In this representation the man is only slightly tallerthan his female companion, who balancesa vessel on her head. Although frozen in a posture in which their calves are fused with the base of the capitalwhile their hands are held to their sides, they appearpoised to come to life. The immediacy of the representationis underscored by their intense facial expressions, which are dominated by deeply recessedeye sockets that engage the viewer.

AL

74

Male Corset Sudan (Dinkapeoples),2nd half of 2th century Glass,fur, shell, and vegetablefiber L. (a) (centerback)30 in. (76.2 cm); 1. (b) (centerback)i6 in. (40.6 cm) Isabel Shults Fund, zooI 20oo.177a,b This extraordinarybeaded corset is a rare example of the everydaywear of Dinka men.

Becausethe Dinka peoples are herders,wandering the vast plains of southern Sudan, portable possessions are very important. Like many southern and easternAfrican cultures, the Dinka have traditionallyfocused on the human form as the primarymethod of artisticexpression.

Becausethese garmentsare used to communicate characteristicssuch as gender, age, wealth, and ethnic affiliation,we can infei a significantamount of information about

the past wearerof this object. In particular, the red-and-blackpatterningindicatesthat the corset was worn by a male between the ages of fifteen and twenty-five.The decoration of cowries, along with the extremeheight of the back, marksthe weareras someone of considerablewealth. The addition of the fur skirt (possiblycattlehair) is significant.The Dinka, who have traditionallygained their livelihood from their herds, value their animals as a source of aesthetic inspirationand a link to the spiritualworld.

As highly prized commodities, beads are a

sign of wealth and status among the Dinka peoples. The polychrome glass beads that make up this garment are European,while the cowries and fur skirt are undoubtedly of EM local origin.

75

ASIA Guanyin's lean physique and full, but not fleshy, face suggest a date in the earlypart of the twelfth century. The bodhisattvawears a long skirt and full shawl, a thin scarfknotted at his chest, an elaboratepectoral, and an armlet.A thin fillet, which supporteda diadem, encircleshis parted and braidedhair.

The hair, the textile-like designs on the edges of the shawl, and the lion's mane, fur, and tail are all treatedschematically,in accordance with the rhythm of the overallcomposition.

This elegant sculpture is one of two early Chinese representationsof Guanyin of the Lion's Roar. The other, made of iron and dated III2, is in the collection of the Kyoto National Museum, Japan.

DPL

Zhang Jizhi Chinese,ii86-I266 Excerpt from "Song ofLeyou Park" SouthernSongdynasty(1127-1279) Sectionof handscrollmountedas hangingscroll; ink onpaper I23/x

30o8 in. (32.4 x 76.5 cm)

Gift of Sylvan Barnet and William Burto, 2000

2000.325

Bodhisattva Seated on a Lion Chinese,Song (960-II27) orJin (1115--234) dynasty,ith-early i3th century Poplarwith tracesofpolychromepigments H. 42 8 in. (107 cm)

Purchase, The Dillon Fund Gift, in honor of Brooke Astor, oo000 2000.270

The upraisedright and lowered left legs, as well as the lionlike mount, identify the sculpture as Guanyin (in Sanskrit,Avalokiteshvara), the Bodhisattvaof Compassion. After the tenth century this posture, known as "royal ease,"was standardin representationsof Guanyinin his paradise,believedto be Mount Putuo, an island off the coast of southeast China. The mount indicates that the sculpture representsGuanyinof the Lion'sRoar (SimhanadaAvalokiteshvara).The roarsymbolizesboth a moment of transcendentunderstandingand the bodhisattva'ssupernalwisdom.

LaterChineseimagesof Guanyinridinga creature identifiedas a hou,meaning"roar,"may derivefrom this traditionalmanifestation.

Zhang Jizhi, the last important Song calligrapher,was admired for his large-character writing, with its boldly contrastingblunt and sinuous brushstrokesand fluid ligaturesthat trace the movement of the brush tip between strokes.This work is the only exampleof Zhang'slarge-scalecalligraphyoutside of Asia.

Although Zhang attained the top civilservicerank, he never held a high office. His fame as a calligrapher,however, spreadto the Jin empire in northern China and to Japan, where his writing was prized by Zen monks.

This piece was once part of a long handscroll, transcribinga poem by Du Fu (712-770), that was carriedto Japanand cut into sections for display in a tokonoma. An outstanding example of Zhang's large regularscript, it was veneratedprimarilyfor its aesthetic qualities.

This section was cut in such a manner that the phrasingof the originalwas lost. The two couplets from which the segment comes may be translatedas follows (the text of the scroll is in italics):

76

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Palacegates, open beneath clear skies, reveala vast expanse; By the Serpentine are kingfishercurtains arrayedwith silverplaques.

Skimmingthe water, backandforth, the dancers'sleeves flutter; Climbing to the clouds, crisp and clear, the singers'voices rise.

MKH

Wang Hui Chinese, I632-1717

Yang Jin Chinese, 1644-1728

Gu Fang Chinese, active ca. 1690-1720

Wang Yun Chinese, i652-after

I735

Xu Mei

having recruitedassistantsand shaped their style to conform to the orthodox manner, which epitomized scholarlytaste at that time.

This academicstyle became the hallmarkof all later Qing court commissions.

The leaf illustratedhere, Mountain Waterfall, is by Wang Hui's leading disciple, Yang Jin, who has inscribedit with a poem:

For ten days spring clouds have obscured the stream'ssource; In the middle of the night a west wind brings rain to the [mountain's] foot.

But I feel the urgent thunder roar in the empty valley, So from a distance I know that the myriad gorges are competing in their flows.

MKH

Chinese, active ca. 1690-1722

Landscapes after Ancient Masters Qing dynasty (1644-1911), dated 1692

Kangxi period

(1662-1722),

Album ofsixteenpaintings;ink and coloron paper Each ii X 12

8

in. (27.9 x 30.8 cm)

Gift of Marie-Helene and Guy A. Weill, 2000

2000.66.

2

In I69I Wang Hui, the leading artistof his day, was summoned to Beijing to overseethe creation of a mammoth imperialcommission documenting the Kangxi emperor'ssouthern inspection tour of 1689. The painting, consisting of twelve monumental handscrolls,is the largestpictorialwork of the Qing dynasty.

(The Metropolitan owns one scroll from this set; acc. no. I979.5.) Since the finished set

bearsno artists'signaturesor seals, it is only through group works such as the Museum's new acquisition that the identity of Wang's artisticteam can be established.The album, in which four younger artistsfrom Wang's home region practicedthe methods of ancient artists,is a rareexample of a masterpainter's 77

Twelve-Panel Screen Chinese,Qing dynasty(1644-s9gi), Kangxi period (1662--722), later7th century Mother-of-pearl,lacquer,and gold-foilinlay (recto);coloredlacquerandpaint (verso) 9ft. 4/2 in. x 24ft. 8 in. (2.9 x 7.5 m)

Purchase, The Vincent Astor Foundation Gift, zoo00 2001.76a-1

The use of mother-of-pearlfor inlaid decoration on lacqueris common to the eastern seaboardof the Asian continent and to Japan.

In China this type of decoration is known from about the eighth century B.C.In the earlytwelfthcenturyA.D.extremelythin shells of the haliotis (abalone),which have a high degree of iridescence,began to be used.

Lacquerinlaid with mother-of-pearlreached its peak of refinementin the seventeenth century, and this recentlyacquiredlarge screen providesan excellent example. The domestic

scenes in a palatialsetting are depicted in mosaics of minute pieces of shell, oriented in various directions to produce a polychrome effect. Gold foil is used for highlights. The walls and rocks are renderedin crushed shells, creatinga shimmering appearance.

The verso is decoratedin colored lacquer and oil-based pigments with a multitude of birds among blossoming trees and flowers.

The pictorial style and subject matter of the decoration on both sides are closely relatedto those of contemporaneouswoodblock prints.

JCYW

Recto(detail)

78

Recto(detail)

Verso(detail) 79

that encircle her wrists. Above, another triad of sacredjewelsrestson an open lotus, flanked

by Chinese symbols of the complementary forces of sun and moon.

This transformationof the wrathful Hindu deva Dakini emergedwithin Esoteric Buddhism in Japan. Originally a man-eating demoness,she was convertedby the Vairocana Buddha into a powerful life-engendering deity. In the complex interactionof Buddhism, Shinto, and Taoist yin-yangpracticesin medievalJapan, this icon embodied nearmagical powers of fecundity that were invoked not only in enthronement rituals but also in personal contexts. The mantra identified with this deity was chanted to achieve control over the mind. Medieval tales recount invocations of Dakiniten by both men and women to win position and favor at court, as well as in matters of the heart.

BBF

Plate Chinese,Qing dynasty(1644-I911), ca. Ist third of i8th century "ChineseImari"-styleware;porcelainpainted in underglazeblue and overglazepolychrome enamels Diam. I9 2 in. (49.5 cm) Gift of Michael L. Rosenberg, zooI 2001.362

This plate is a splendid example of the fusion of Chinese and Japanesetastes that is sometimes found in Chinese ceramicsproduced during the earlyyearsof the eighteenth century. A distinctive five-clawimperialdragon chasing a flaming pearl, which exemplifies early-eighteenth-centuryChinese dragonsat their finest, commands the center of this impressiveporcelain.The creatureis improbably juxtaposedwith an unmistakablyJapanesestyle borderdesign, in which undulating lines form cloud-shapedcartouchescontaining bold kikuchrysanthemumsprays.

The preeminentJingdezhen kiln complexes in China'sJiangxi Province had been challengedby the commercialsuccess of the so-called Imari porcelainsthat were being exported in quantity to Europe from kilns in Arita,Japan.Accordingly, they appropriated the Imari palette of underglazeblue, overglaze iron red, and gold, as well as many of 80

the Imari designs, for the decoration of their own "ChineseImari"porcelains.

In a furtherstep enamels from the Chinesefamille vertepalette were occasionally added to the primarycolors of Imari porcelains to createa new categoryof "Chinese Imari"-stylewares. In still anothervariantof this type of decoration, seen here, the gold of the originalJapanesepalette could be SGV completely omitted.

Dakiniten Japanese,Nambokuchoperiod (1333-92) Hangingscroll;ink, color,and gold on hemp 29 2 X I3

in. (74.9 x 33 cm)

Purchase, Friends of Asian Art Gifts, in honor of Wen C. Fong, zooo 2000.274

As though a sudden apparition,a female deity in fluttering raimentsplashesup a frame of foam on a billowing sea. Riding a white fox on a cloud held aloft by a pair of dragons,she clenches a vajra(thunderbolt) surmounted by a sword, a symbol of Buddhist power. In her palm she cradlesa triad of sacredjewels, and others are scatteredaround her as abundant blessings. In her crown are auspiciousprotectorsof the harvest:diminutive foxes on coiled white snakes, like those

Mandala of Han 'nya Bosatsu Japanese,Muromachiperiod (1392-i573), i6th century Hangingscroll;ink, color,and gold on silk Image 64 2 x 48

8

in. (I63.9 x I23.5 cm)

Gift of Mary and Jackson Burke Foundation, zooo 2000.289

This largehanging scroll depicts one of the most important Buddhist deities, Han'nya Bosatsu (in Sanskrit,PrajnaparamitaBodhisattva),the embodiment of transcendental knowledge and perfectwisdom. Han'nya Bosatsu is only rarelyrepresentedat the center of a mandala.The triad of the bosatsu, seated on a lotus pedestal on the back of a lion, flanked by two standing figures, Bonten (Brahma)and Taishakuten (Indra)-originally Hindu gods-inhabits the innermost precinct.The bosatsu'ssixteenprotectors (jurokuzenshin)are more loosely distributed within the surroundingregister.Far from the center of divinity in the outer register, carefreedemonic guardians(kijin) guard each of the sixteen protectors.Directional gates at the centersof the sidesprovideentryfrom the secularto the sacred.Heavenly musicmaking beings (hiten) around the canopy celebrateHan'nyaBosatsu.At the bottom, in the center of the outermost register,is the figure of a monk at worship, evoking the physicalworld of time and space. Dragons and a phoenix along the outermost borders serve to protect the entire abstractrealm.

Mandalaslike this one were necessary accoutrementsfor ritualsdedicated to the attainment of greaterwisdom.

MW

8i

| *|~

ii_N1 | i

|

|

|

|

impart a sense of auspicious connection to a great tradition. Although in practicethe are performedsingly in slow, dramatic movements set to stately music, their random placement and simultaneous appearance within the solid gold field on this screen convey a sense of joyous plenty in keeping with the propitious nature of the theme. At left musicians play drums, flutes, and a mouth organ on a dais covered by a large brocade awning. The poses and costumes are based on pictorial scrolls that transmittedthe

|1~dances i

Detail

classic repertory.

The artistYasunobu establishedan imbranch of the Kano school in Edo deportant (Tokyo). His largesignatureat upper left includes a title, H6gen Eishin (Honorable Eishin), which he was awardedin i662 and used until his death in i685.

BBF

Saddle (Kura) Edoperiod (6i5-_868), datedi658 l^rg~~~~~~~~~~~~~~~~~~~Japanese, Wood,lacquer,abaloneshell, and gold Li4.2 in. (36.8cm) Purchase, Morihiro and Sumiko Ogawa Gift, in memory of Dr. Sato Kanzan, zooo0

yM

2000.405

Detail

Japanesesaddles are distinguished by an ingeniously simple method of construction combined with a virtuallyinexhaustiblerange of decorativemotifs. The construction consists, typically, of only four pieces of skillfully

Kano Yasunobu Japanese, i6r3-i685

Bugaku Dancers Edoperiod (i06-i868), i662 65 One of a pair of 6-panelfoldingscreens;mineral colors,ink, and gold on gold-leafedpaper

5ft. 9gYin. x sr2ft.

2aY in. (i.8 x 3.7 m)

Gift of James L. Greenfield, in memory of Margaret Greenfield, 2ooo 2000.453

Exotic costumes, masks, and stylized movement markthe ritualdancesknown as bugaku, which have been customaryat court and shrine festivalsin Japansince the eighth century. Many of the dances preserveChinese Tang-dynasty (6i8-907) forms adopted in the eighth century by the Nara court, but others have roots in Japan, Korea, and SoutheastAsia. Performedon important occasions to please and pacify the gods, they 82

i

shaped wood, which are held together by mortise-and-tenonjoints and fastened in place by hemp or leatherlacing. The surfaces are covered in Japaneselacquer (urushi) and often incorporatedesigns in gold or silver and inlays of ivory, mother-of-pearl,or abalone shell. This saddleis a particularlyfine example of black-and-goldlacquerwith extensive abalone-shellinlay. It is especiallydistinctive, as it is possibly the only examplewith inlay of this kind that is signed, dated, and made for a known family. The undersideis marked with the as-yet-unidentifiedkao(sealor monogram)of the saddlemakerand with the date Meirekiyonsai (equivalentto I658).The outside of the pommel and cantle is decoratedin gold with the mon (heraldicinsignia)of the Nishio family,daimyoof Yokosuka,in presentday ShizuokaPrefecture.Delicate inlay covers much of the saddleand featuresdesignsof billowing waves (seikaiha)and round blossoms set among lush scrollingvines (karakusa).

DJL

Cane Shield with Iron Fittings Tibetan,I4th-I6th century Wood,iron, and brass Diam. 29 8 in. (75.9 cm) Purchase, Arthur Ochs Sulzberger Gift, 2001 2001.55

Cane shields are made of tight concentric rings of narrow,spirallywound wooden rods.

They were widely used in both Persiaand Turkey up to the eighteenth century and are well representedin Islamic art and by many survivingexamples. It is less well known, however, that distinctive types of cane shields were also employed, perhapsfrom as earlyas the fourteenth century, in Tibet, where they remainedas militaryequipment until the earlytwentieth century and for ceremonial purposesas late as the I95os. Despite their longevity, Tibetan cane shields with pierced and decoratediron fittings are extremelyrare.

The quality and complexity of their iron fittings varywidely. The fittings are both ornamentaland practical:They strengthenthe shield by making it more rigid. This example is one of the best preservedand more elaborate of its type. The iron fittings are closely related to those found on Tibetan leatherboxes, certain types of wooden furniture,and a few rareexamplesof leatherarmor.The shield is

important, therefore,not only in terms of the history of Tibetan arms and armor,but also for its relationshipto Tibetan metalworkand other decorativearts.

DJL

Twenty-Five Initiation Cards (Tsakalis) Tibetan,late i3th to mid-I4th century Opaquewatercoloronpaper Each 64

X 5 34 in. (If.9

consort, Samantabhadri,who appearon individual cards,indicatethat the set was probably made for the Nyingma (Elder) school of Tibetan Buddhism.The next two cardswere employed during the actual initiation rite, while the last group correspondsto the six realmsof being. Uncharacteristicallyfor tsakalis,the cardsare painted in the Nepalese style, probablyby a Newar artist.

SMK

x 14.6 cm)

Rogers Fund, zooo 2000.282.1-.25

This small painting is part of a set that was probablyused during Buddhist initiation ceremonies. Each has a letter on the back that indicates the sequence in which the set is organized.The first group forms a meditation mandala.It is centeredon the five Tathagatas, or celestial Buddhas, and has four "gatekeepers"(guardiansof the directions) stationed at its perimeter.In this group all of the deitiesof the mandalaareassociatedwith Vajrasattva,the sixth and ultimate Buddha.

The bodhisattvaSamantabhadraand his 2000.282.16

83

A Selectionfrom the Samuel Eilenberg Collection

In Samuel Eilenberg'smajor gift of sixtyseven South and SoutheastAsian works of

SoutheastAsian (Thailandand Indonesia), B.C.-A.D. 300 Bronzeand IronAges,ca. 500oo Bronzeand earthenware H. (largecontainer)8Ysin. (22.5 cm) Samuel Eilenberg Collection, Bequest of Samuel Eilenberg, 1998 2000.284.55,42.42,.4;53, b; .47

art, including Chola-period (846-1279) sculptures and other Indian and Pakistaniworks, the most significantpart, in terms of art history and the needs of our collection, dates from the SoutheastAsian Bronze and Iron Ages (ca. 500 B.C.-A.D. 300). Older than the

earliestBuddhist and Hindu bronze sculptures from SoutheastAsia, the objects in the EilenbergCollectiondemonstratethe superb craftsmanshipand technological expertise developed earlyon in the area.

This BronzeAge culture is usually referred to as the "Dongson," after a village in northern Vietnam excavatedby French archaeologists in the I930s. Parallel Bronze Age cultures

in Indonesia and Thailand sharea vocabulary of similarmotifs and shapes,which range 84

from large bronze drums, often with figural decorations, found mostly in Vietnam, to the more widely distributedbraceletsand other objects with bold spiraldesigns. There is also a stylistic affiliationwith bronzes of the Dian kingdom in Yunnan, China.

The Eilenberggift, along with a few important "Dongson"-culturebronzesacquiredfrom other sources,makesthe Museum'scollection virtuallyunrivaledin the Westernworld for the study of this material.

ML

Standing Female Deity Cambodian,Pre-Angkorperiod,styleof Prasat Andet, ca. lastquarterof 7th-beginningof 8th century Stone H. 52 4 in. (134 cm)

Purchase, Rogers Fund and Anonymous Gift, in honor of Martin Lerner, zooo 2000.531

This wonderful female deity, probablythe Hindu goddess Durga, not only broadens exponentiallythe range of the Museum's Cambodian collection but adds a new dimension to our SoutheastAsian holdings. It is the largestand most important Pre-Angkorperiod (6th-early 9th century) sculptureof a female deity to appearon the marketin more than thirty years.

The four-armeddeity wears a cylindrical miter and a long sarong.This garment is securedat the waist, and the cloth hanging down in front doubles over and is tucked in at the waist, forming a looped draperymotif.

The conception of the female form slim-waistedand full-bodied, with ample breastsand thighs suggestiveof fecundity and potential motherhood-follows earlyIndian precedents.Here the large, full, taut breasts and the youthful face indicate a female just reachingmaturity.The posture is subtle, with a projectingrightknee and a slightsway breakingthe symmetryof the stance.The goddess's expressionradiatesan auraof sublime majesty-commanding yet enigmatic.

This sculptureretainsmuch of its original high polish, and the contrastsbetweensmooth, bareskin, the incisedcompressionof flesh beneaththe breasts,and the decorativedrapery motifs add visualinterestto the surface.The modelingis superb,and thereis a brilliantbalance and harmonyof volumes and proportions. Partof the originalsupportingarchcan be seen at the back,at the top of the miter.

ML

85

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30, 2001 MaryandJacksonBurkeFoundation Mr. and Mrs.WalterBurke Lynn H. Butler SophieCalleand Olivier Renaud-Clement DouglassCampbell Mrs. KordaHerskovitsCaplan CassinaUSA VeraChopakde Champlain CharinaFoundation,Inc. JudithChilds Evaand MichaelChow Janeand MarkCiabattari Louis& VirginiaClemente Foundation,Inc. Mrs. MerrittA. Cleveland Josephand BarbaraCohen KarenB. Cohen MarianandJamesH. Cohen The ConcordiaFoundation ConnerRosenkranzLLC VirginiaE. Consiglio WilliamJ. Conte JoyceandJayCooper The CowlesCharitableTrust CranshawCorporation Mrs. GiseleCroes Wendy Cromwell ThomasF. and SheliaP. Cummings Pauland PauletteCushman PaulaCussi CourtneyC. Dallaire FrankD'Amore NatalieT. Darcy MavisH. and PhilipJ. C. Dark MartinJ. Davidson Mr. and Mrs. Michel David-Weill TammisDay RuthJ. Dean Ann Demeulemeester Pauland GregoryDemirjian DickinsonRoundell,Inc. Charlesand ValerieDiker The Dillon Fund The Dobson FoundationInc. Doing Art Together,Inc. DouglasElliman-Gibbons& Ives DouglassFoundation JamesDavid Draper Norman Dubrow JenniferandJosephDuke ElizabethF. Eck EricEfstathiou Bequestof SamuelEilenberg JohnB. Elliottthroughthe MercerTrust The CharlesEngelhardFoundation Mrs. RichardEttinghausen

Richard& RebeccaEvansFoundation Dr. and Mrs. BurtonP. Fabricand Bequestof Mr. andMrs.MyronS. Falk LolaFaturoti Wysse Feininger MarthaFeltenstein PeterR. Feuchtwanger LawrenceM. Fields Mrs. LawrenceA. Fleischman MarthaJ. Fleischman ErnestL. Folk Nancy Ford BarbaraM. Foster Mr. and Mrs.John H. Foster HowardA. and BarbaraE. Fox GrayFoy Mrs. Daniel Fraad FranklinIndustries,Inc. DeborahW. Frazer EvanW. FrazerJr. John A. Frazer David W. and MagdaFried The FriedFoundation Adam Fuss EdwardJ. GallagherJr.Foundation,Inc. GiuseppeGazzoni-Frascara StephenA. Geiger The HonorableSir David and LadyGibbons GeorginaClaudetGilchrist CoraGinsburg Diana and CarlGiuseppone Dee Dee and HerbertGlimcher GeorgeJ. Gockel Caroland ArthurGoldberg HoraceW. GoldsmithFoundation William B. GoldsteinM.D. Mr. and Mrs.YvesGonnet Toni K. Goodale Ms. ElizabethMarstellerGordon John StuartGordon PeterGottesman Dan Graham JamesL. Greenfield Mrs. PriscillaGrigas ChristopherC. Grisantiand SuzanneP. Fawbush Stevenand PhyllisGross Mr. and Mrs. MartinD. Gruss Gucci JeffGuerrier Gulton Foundation,Inc. John Gutmann Alvin D. Hall MichaelE. Hall, Jr. John V. Hansen Suzanneand Norman Hascoe

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87

STATEMENT OF OWNERSHIP, MANAGEMENT, AND CIRCULATION

Publication title: THE METROPOLITAN MUSEUM OF ART BULLETIN

Publicationno.:885-660 Date offiling:OctoberI, 2001 Issuefrequency: Quarterly No. of issuespublishedannually:Four Annualsubscription price:$25.00, or freeto MuseumMembers FifthAvenue,New York,N.Y. I0028-OI98 Completemailingaddressof knownofficeofpublication:IOOO orgeneralbusinessofficeofpublisher: Completemailingaddressof headquarters Ioo0 FifthAvenue,New York,N.Y. 10028-0198 Full namesand addresses ofpublisher,editor,and managingeditor: Publisher: The MetropolitanMuseumof Art, IOOO FifthAvenue,New York,N.Y. 10028-0198 Editor:JoanHolt, Ioo0 FifthAvenue,New York,N.Y. I0028-0198 ManagingEditor:None Owner:The MetropolitanMuseumof Art, Ioo0 FifthAvenue,New York,N.Y. 10028-0198 Knownbondholders, and othersecurityholdersowningor holdingonepercent mortgages, and othersecurities: None or moreof thelocalamountof bonds,mortgages, Taxstatus:The purpose,function,and nonprofitstatusof this organizationand the tax-exempt statusfor federalincome tax purposeshavenot changedduringthe preceding12months.

Averagenumberof copies duringpreceding12 months (Oct. oo-Sept. OI) A. Total copiesprinted(net pressrun) B. Paidand/orrequestedcirculation I. Paidand/or requestedoutside-county mail subscriptions 2. Paid in-county subscriptions

3. Salesthroughdealers,carriers,streetvendors, countersales,and other non-USPS 4. OtherclassesmailedthroughUSPS C. Total paid and/orrequestedcirculation D. Freedistributionby mail I. Outside-county 2. In-county

Singleissuesnearest to filingdate (Julyo)

122,728

I26,930

72,658

73,302

32,485

34,222

None 7,794

None

II2,937

None None 180 6,486 6,666

7,750 I15,274 None None

E. F. G. H.

3. Other classesmailedthroughUSPS Freedistributionoutsidethe mail Total freedistribution(sum of Di, D2, D3, and E) Total distribution(sum of C and F) Copiesnot distributed

I.

Total (sum of G and H)

I22,728

I26,930

J.

Percentagepaid and/or requestedcirculation

94.43%

94.84%

19,603 3,125

I95

6,o80 6,275 I21,549 5,381