Recent acquisitions a selection 2002-03 the metropolitan museum of art bulletin v,61 #2 fall 2003 by alfonse K

The MetropolitanMuseum of Art Bulletin

Fall 2003

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Recent Acquisit SELECTION: 2002-2003

The

Museum Metropolitan

Art

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This publicationwas madepossible throughthe generosityof the LilaAchesonWallaceFund for The MetropolitanMuseumof Art establishedby the cofounderof Reader's Digest. TheMetropolitanMuseumofArt Bulletin Fall 2003

Volume LXI, Number 2 (ISSN 0026-I521) Copyright ? 2003 by The Metropolitan Museum of Art. Published quarterly.Periodicalspostage paid at New York, N.Y., and Additional Mailing Offices. TheMetropolitanMuseumofArt Bulletinis provided as a benefit to Museum members and is availableby subscription. Subscriptions$25.00 a year. Single copies $8.95. Four weeks' notice requiredfor change of address.POSTMASTER:Send addresschanges to Membership Department, The Metropolitan Museum of Art, Ioo0 Fifth Avenue, New York, N.Y. 10028-0198.Back issues available on microfilm from University Microfilms, 300 N. Zeeb Road, Ann Arbor, Mich. 48I06. Volumes I-XXXVII (I905-I942) availableas clothbound reprint set or as individual yearlyvolumes from Ayer Company PublishersInc., o5 Northwestern Drive #Io, Salem, N.H. 03079, or from the Museum, Box 700, Middle Village, N.Y. II379.

GeneralManagerof Publications:John P. O'Neill Editorin Chiefof the Bulletin:Joan Holt Production:Peter Antony Design:Bruce Campbell Design with Bessas & Ackerman MahrukhTaraporandAlexandraKlein Coordinators: All photographs, unless otherwise noted, are by The Photograph Studio of The Metropolitan Museum of Art. PhotographersJoseph Coscia Jr, Anna-Marie Kellen, Paul Lachenauer,Oi-Cheong Lee, MarkMorosse,BruceSchwarz,EileenTravell, Juan Trujillo, Karin L. Willis, and Peter Zeray. Copyright Notices: p. 4I: Balthus (Balthazar Klossowski), PierreMatisse(2002.456.7), ? 2003 Artists Rights Society (ARS), New York/ADAGP, Paris;p. 42: Henri Matisse, MargueriteWearinga Toque (2002.456.15),

? 2003 Succession H.

Matisse, Paris/ArtistsRights Society (ARS), New York;p. 43: Joan Mir6, Photo-This Is the Colorof My Dreams(2002.456.5), ? Successio Miro/Artists Rights Society (ARS), NY/ADAGP, Paris;p. 44: Alberto Giacometti, TheApple(2003.456.3), ? ArtistsRights Society (ARS),New York/ADAGP, Paris;p. 47: Max Beckmann, Hell (2002.419a-n), ? Artists Rights Society (ARS), New York/DACS, London; George Grosz, The SecretEmperor(The IndustrialistHugo Stinnes)(2002.492), ? Estate of

George Grosz; p. 48: Walter Sickert, Maple Street (2002.465), ? 2003 Artists Rights Society (ARS), New York/DACS, London; Lyonel Feininger, San Francisco I (2002.402.3),

? 2003 Artists

Rights Society (ARS), New York/VG Bild-Kunst, Bonn; p. 49: Henri Matisse, "Poesies" by Stephanie Mallarme,IllustratedBook (unboundquarto) (2003.84a-rrrr),? 2003 Succession H. Matisse, Paris/ArtistsRights Society (ARS), New York; p. 50: David Smith, Studyfor "Banquet"(2003.38), ? Estate of David Smith/Licensed by VAGA, New York, NY; FranzKline, Untitled(2002.580), ? Elizabeth Zogbaum/Estate of Franz Kline; Studio 65 (designer), Gufram (manufacturer), "Capitello"SideChair (200oo3.I2a, b), ? Gufram S.R.L.; p. 51:David Hammonds, Phat Free, (2003.269),? David Hammonds;Rodney Graham, Welsh Oak #I (2002.381),

? Rodney Graham; p. 52:

Till Freiwald,Untitled(2002.368),? Till Freiwald; RichardAvedon, June Leaf,Artist,Mabou Mines, Nova Scotia(2002.379.24), ? RichardAvedon; p. 53:Paula Rego, GettingReadyforthe Ball (2003.I2oa-c), ? The Artist; Irving Penn, Nude No. 70 (2002.455.30), ? 1950-2002 by IrvingPenn.

On the cover: PensiveBodhisattva.Korean, Three Kingdoms period (57 B.C.-A.D. 668), mid-7th century (see p. 64)

Contents

Contributors

Director's Note

Ancient World

Islam

Medieval Europe

Renaissance and Baroque Europe

Europe 1700-I900

North America I700-I900

Modern

Africa, Oceania, and the Americas

Asia

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

Contributors

American Decorative Arts North AmericaI700-i9oo: Alice Cooney Frelinghuysen(ACF), Anthony W and Lulu C. Wang Curator;Amelia Peck (AP), Associate Curator. American Paintings and Sculpture NorthAmericaI7oo-i9oo: CarrieRebora Barratt(CRB), Curator;Thayer Tolles (TT), Associate Curator. Ancient Near Eastern Art Ancient World:Jean Evans (JE), Curatorial Assistant. Arms and Armor Renaissanceand BaroqueEurope:Stuart W. Pyhrr (SWP), Arthur Ochs Sulzberger Curatorin Charge.Asia: Morihiro Ogawa (MO), Senior ResearchAssociate. Arts of Africa, Oceania, and the Americas Africa, Oceania,and theAmericas:Julie Jones (JJ), Curator in Charge;Alisa LaGamma (AL), Associate Curator;Eric Kjellgren(EK), Evelyn A. J. Hall and John A. Friede Assistant Curator;Virginia-LeeWebb (VLW), Associate ResearchCurator, Photograph Study Collection; Heidi King (HK), Senior ResearchAssociate. Asian Art Asia:James C. Y. Watt (JCYW), Brooke RussellAstor Chairman;BarbaraFord (BF), Curator;Maxwell K. Hearn (MKH), Curator;Martin Lerner(ML), Curator; Miyeko Murase (MM), Special Consultant for JapaneseArt; Steven M. Kossak (SMK), Associate Curator;Denise PatryLeidy (DPL), Associate Curator;Zhixin Jason Sun (ZJS),Associate Curator;Soyoung Lee (SL), Assistant Curator.

Costume Institute Europe1700-9o00: Andrew Bolton (AB), Associate Curator.Modern:Harold Koda (HK), Curatorin Charge. Drawings and Prints Renaissanceand BaroqueEurope:Carmen C. Bambach (CCB), Curator;Nadine M. Orenstein (NMO), Curator;Michiel C. Plomp (MCP), Associate Curator. Europe 1700-ro00: Colta Ives (CI), Curator;Michiel C. Plomp (MCP); PerrinStein (PS), Associate Curator; Elizabeth E. Barker (EEB), Assistant Curator. Egyptian Art Ancient World:Dorothea Arnold (DA), Lila Acheson Wallace Curatorin Charge. European Paintings Renaissanceand BaroqueEurope:Keith Christiansen(KC), Jayne Wrightsman Curator. EuropeI700-oo00: KatharineBaetjer (KB), Curator;Gary Tinterow (GT), EngelhardCuratorof Nineteenth-Century EuropeanPaintings. European Sculpture and Decorative Arts Renaissanceand BaroqueEurope:Ian Wardropper(IW), Iris and B. Gerald Cantor Curatorin Charge;Europei700-1900: James David Draper (JDD), Henry R. Kravis Curator;Wolfram Koeppe (WK), Associate Curator;JeffreyH. Munger (JHM), Associate Curator.Modern:Wolfram Koeppe (WK).

Greek and Roman Art Ancient World:Sean Hemingway (SH), Associate Curator;ChristopherS. Lightfoot (CSL), Associate Curator;ElizabethJ. Milleker (EJM), Associate Curator. Islamic Art Islam:Stefano Carboni (SC), Curator; Navina Haidar (NH), Assistant Curator. Medieval Art and The Cloisters MedievalEurope:Peter Barnet (PB), Michel David-Weill Curatorin Charge;Helen C. Evans (HCE), Curator;Timothy B. Husband (TBH), Curator,The Cloisters; CharlesT. Little (CTL), Curator;Julien Chapuis (JC), Associate Curator. Modern Art Modern:J. StewartJohnson (JSJ), Consultant for Design and Architecture;Nan Rosenthal (NR), Senior Consultant; Sabine Rewald (SR), Curator;Lisa M. Messinger (LMM), Associate Curator;Jane Adlin, Assistant Curator;JaredGoss (JG), Assistant Curator; Anne L. Strauss(ALS),Assistant Curator; MagdalenaDubrowski (MD), Associate ResearchCurator. Musical Instruments Renaissanceand BaroqueEurope:J. Kenneth Moore (JKM), FrederickP. Rose Curatorin Charge. Photographs Modern:Maria Morris Hambourg (MHH), Curatorin Charge;Douglas Eklund (DE), Assistant Curator;Mia Fineman (MF), ResearchAssociate.

Director's

Note

In a year in which I have been cast for the most part in the role of the bearerof bad tidings-cuts in funding from the city, drop in attendance,budgets that need trimming-I am pleased to delivergood news in the form of our annual selection of recent acquisitions, many of them truly notable. It includes four paintings and an etching from one of the most important donations of modern art to the Museum, that from the Pierre and Maria-GaetanaMatisse Foundation. The gift consists of works from PierreMatisses'spersonal collection: picturesby Balthus, Chagall, Derain, Dubuffet, Giacometti, Mir6, and Tanguy, as well as a group of nearlyfifty works in various mediums by Pierre'sfather, Henri. The Matisse gift also includes African pieces, representedhere by the imposing reliquaryfigure illustratedon page 55. Through a combination of promised gift and purchasea group of some fifty plein-air sketchesfrom the Wheelock Whitney collection added a new dimension to our earlynineteenth-centurypaintings holdings, as have a few individual works such as Millet's Retreatfom the Storm,a gift of SerenaTang and Peter M. Wood.

Previousdonors of worksof art or gifts of funds for acquisitionshave been as generousas ever this pastyear.Regularreadersof this publicationwill thus recognizecreditssuch as, among others, to the WrightsmanFund for Chasseriau'sdreamyportraitof the comtesse de LaTour-Maubourg;to Walterand Leonore Annenbergand the AnnenbergFoundation for furthergifts from their fabledcollection, as well for the purchaseof the splendid, seventh-centuryKoreanPensiveBodhisattva on the cover;to Cynthia and Leon Polsky for Indianworks;to JeffreyB. Soreffor the monumental,twelfth-centuryKhmer-style and for various eight-armedAvalokiteshvara; otherAsianworksof art to the EugeneVictor Thaw Art Foundation,the Vincent Astor Foundation, and the Dillon Fund. Once again we thank Leon D. and Debra R. Black, who enabledus to buy our firstdrawingby CasparDavid Friedrich,a spectacularlarge view of Riigen Island.We aregratefulas well to the Anna-Mariaand Stephen Kellen Foundationfor makingpossiblethe purchase of the grandeighteenth-centuryAustriansilver wine coolers.

I cannot conclude without emphasizing to the readerhow rich in true masterpieces is this group of acquisitions. Certainly, Lorenzetti'sCrucifixionand Barocci'sSaint Francisqualify among the selections from the Department of EuropeanPaintings, as do two magisterialsculpturesfrom European Sculptureand DecorativeArts, Permoser's Marsyasand Pajou'sHead of a BeardedElder. Asian Art is representedin this categoryby the set of three rareJapanesehandscrollsof the late fourteenth century;MedievalArt and The Cloistersby four exceptionalfourteenthcentury secular ivories; and Egyptian Art by a splendid example of wood carving, the royal ancestralfigure possibly of the Ptolemaic period. Finally, I wish to thank all donors of works of art and all others who have contributed to our acquisitionsprogramin the past year. Without them this institution could not continue to thrive.

Philippe de Montebello Director

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ANCIENT

WORLD

Royal Ancestral Figure Egyptian,Dynasty3o-possibly earlyPtolemaic

incantationswould have accompaniedthis celebrationof divine epiphany. The figurewas createdduring a time when Egypt was firstruled by its last indigenous pharaohsand then experiencedthe conquest by Alexanderthe Great (332B.c.) and the beginning of the rule of the Ptolemies.The

period, 4th-3rd century B. C.

Wood(possiblyDalbergiamelanoxylon [Africanblackwood]) H. 8' in. (21 cm)

Purchase, Anne and John V. Hansen Egyptian Purchase Fund, and Magda Saleh and Jack Josephson Gift, 0oo3 2003.154

Ancient Egyptiandivine imagesresidedin shrinesdeep inside the temple sanctuaries. Some shrineswere surroundedby small figures depictingancestralspiritsin the hieraticpose seen in this masterpieceof Egyptianwood carving.The left fist strikesthe chest, while the rightis raisedwith the-now partlymissingarm angledat the elbow. In actualritualperformancesthe gesturewould have alternated with a reversedposition of armsand fists,and

indigenous Dynasty 30 (380-343 B.c.) initi-

ated a phaseof high artisticachievement,the impact of which was felt for a long time to come. Epitomizingthe artistictendenciesof his era, the wood carvercombined millenniaold Egyptianconcepts such as axialityand frontalitywith strikinglyinnovativetraitslike the free movement of the left leg and refined treatmentof the softly renderedmusculature. In 1922this figurewas partof a centennial exhibitionat the LouvrecelebratingJeanFranroisChampollion'sLettrea M. Dacier,in which he announcedhis deciphermentof the DA Egyptianhieroglyphsin I822.

Striding Lion Anatolian or Syrian,mid-ist millenniumB. C. Copperalloy H. 7-8 in. (8.7 cm)

Purchase, Joseph Pulitzer Bequest, Gift of Dr. Mortimer D. Sackler, Theresa Sackler and Family, and funds from various donors, 2ooz 2002.457a, b

Although the first half of the first millennium B.C. is known as a period of great metalwork production in the Near East, this striding lion is a raresurvivingmetal sculpture in the round. Cast in copper alloy, the body is smooth with little articulationof musculature. The mane is indicated by large raised tufts on the shouldersand upper forelegs. The lion's powerful presence is concentrated in the stylization of the face, executed in a manner that dates this work to the mid-first

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millennium B.c. A gaping mouth reveals teeth and a protrudingtongue. The nose is wrinkled in a snarl. Furrowsin the forehead form a U-shape with ridges on either side, and the heavy brow extends to the ears.A fragmentof originalwhite inlay is preserved in the left eye. The lion, formerlyin the Guennol Collection, may be attributedto Anatolia or Syriabased on comparisonwith monumental stone reliefcarvingof theseregions.In Anatolia it is common practiceto show deities on the backs of lions and bulls; a knob on the back of the lion, set into the middle of an irregular area,was possibly a platform on which such a JE figurewould have stood.

Pair of Gold Roundels Greek,SouthItalian, Classicalperiod, 5th-4th century B.c.

Gold H. () is8 in. (30 cm); h. (.2)

'2 in. 0.7 cm)

Gift of Torkom Demirjian, in honor of Philippe de Montebello's z5th anniversary as Director of The Metropolitan Museum of Art,

20oo02

2002.569.1,

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These strikingroundels are fine examplesof a well-known type of Greekfiligreegoldwork, especiallypopularin southern Italy during the Classicalperiod. Each consists of a tube of gold sheeting in the form of a truncatedcone that is flattenedat the bottom for strength and adornedat the top with a wide collar, the surfaceof which is decoratedwith alternating bands of filigreework. Their use remainsa mystery.The roundelsmay have servedas stands for preciousglassvessels, as did a pair with figuraldecorationfound in a tomb at Ruvo, Apulia. Alternatively,they may have functioned as objects of female adornment, such as hair ornamentslike those sometimes seen worn by women on Greek and Italic vases of the period, or even as large earrings, since they are typicallyfound in pairs.A remarkablysimilarpair in the Ashmolean Oxford, almost certainlycomes from the same workshop. SH 7

The remainsof two horns set in the bristling hair identify this beardedmask as that of Pan, the rustic goat god who was venerated all over the Greek and Roman world as an uncivilized power of nature. His cult originated among the herdsmen of Arcadia,a wild mountainous region of Greece, but by the time this decorativemask was produced, Pan had become primarilya denizen of private villas, where on wall paintings and in garden sculpturehe disportedwith Dionysos and his band of satyrsand maenads. Although the earliestimagesof Pan showed the god in fully animal form, he gradually became more human, sometimes appearing as a young man with discreethorns and tail, sometimes with goat legs and more or less grotesqueanimal features.Pan's wild nature is suggestedhere by the short unkempt hair, largenose, and wartlikeprotuberancebetween the bushy eyebrows.This representationof the god in a theatermask probablyonce decorated a Roman garden,where it would have evoked not only Pan's rustic lifestyle but also the world of Dionysos, the divinity most closely associatedwith Greek drama. EJM

Mask of Pan Roman,Ist century A.D. Marble H. iY8 in. (28.3 cm)

The Bothmer Purchase Fund, 2002.284

200oo

Cinerary Urn Roman,ist half of the Ist centuryA.D. Marble 14Y4 X 21Y4 in. (36.2 x 54 cm)

Purchase, Philodoroi Gifts and Gift of Ariel Herrmann, 2ooz 2002.297,

.568

The urn, found nearAnagni, southeast of Rome, in 1899, is a singularexample of Roman funeraryart. The back and side panels of the rectilinearbox are covered with trophies, weapons, and armor carvedin high relief and in exquisite detail. The panels have more in common with reliefson imperial monuments such as triumphal archesthan with the standardtypes of decoration on Roman cineraryurns, which usually resemble actual receptacles(vasesor baskets)or take the form of altarsor miniature tombs. Both the subject and the quality of the carveddecoration on the present urn suggest that it was a special commission, possibly for a high-rankingimperial officer. Sadly, much of the front, where an inscription recording the deceased'sname would have been placed, is missing. The lid, too, is absent, although holes and tracesof lead solder at the top of the sides indicate that the urn originallyhad a lid fixed to it. After the urn's acquisition a separatefragment from the right side panel was donated to the Museum, and this piece has now been restoredto the urn, completing the right rearcorner. CSL

ISLAM rotating movement, thus creatinga thicker and darkerlayerof glass inside the vessel. This inventive solution improvesthe ewer's overallappearance.A handful of objects decoratedin this manner,most likelya revival of a pre-Islamictradition mainly in the Iranianarea,has survived.The ewer, with its stylized bird shape, is perhapsthe most accomplishedobject in that small group. sc

Ram Receives Sugriva andJambavat, the Monkey and Bear Kings India, subimperialMughal, ca. I605 Leaffom a manuscriptofthe Ramayana Opaquewatercolorand gold on paper, I0

x 7 Y in. (27 x i8.7 cm)

Four lines of Sanskritand one line ofBundeli; Hindi on reverse Cynthia Hazen Polsky and Leon B. Polsky Fund, 2oo0 2002.503

The greatIndian epic the Ramayanarecounts the tale of PrinceRamaand his battlewith Ravana,king of the demons, which was won

with the aid of the monkey and beararmies. Here, in a folio from one of the four known Ramayanamanuscriptsof the Akbarperiod (I556-I605), the blue-skinnedRamais seated under a brilliantlycolored, curvedpavilion with the monkey and bearkings standing beforehim with folded hands.A row of courtly human and monkey figuresis below, while an attendantstandsbehind Ramaand bold Chinese-inspiredribbonlikeclouds float in the golden sky. In contrastto other Ramayanamanuscripts of this period,which were translatedinto Persianat the orderof the Mughal emperor Akbar,this seriesretainsits originalSanskrit text, indicatingthat it was probablymade for a Hindu patron, possibly Bir Singh Deo of Datia. The manuscriptis distinguishedfor its livelysynthesisof painting styles, combining the refinementof the imperialMughal tradition with the bold paletteand dynamismof earlyRajputpainting. Its folios were not bound with a continuous text; rather,each illustratedleaf had passageswritten on the reverse.Damage from a firesoon afterthe completion of the seriesexplainsthe irregular NH shapeof the pages.

Ewer Probably Iran, 12th century

Blownand tooledglasswith applieddecoration H. 12 in. (30.5 cm)

Purchase, Friends of Islamic Art Gifts, 2002

2002.348 Intact largeglassvessels from the medieval Islamic period are rare.If they also show little weatheringof the surface,as does this imposing ewer, they representan exceptional find. The artisticappeal of the vessel, either a water container or a wine decanter,is greatly enhanced by the elongated heartshape of its mouth and the applied decoration of its neck. Viewed in profile, they are reminiscentof a rooster'shead and neck feathers,turning this utilitarianvessel into a dynamic birdlike form, as is often the case with contemporaneous works in metal and ceramicproduced under the Seljuqs(I040-1194) in Iran. The decorativering in the middle of the body was achievedwith a peculiarand rarely seen technique, that of pressinga pointed tool into the still-hot glasswith a steady

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Pen Box India (possiblyDeccan or Kashmir) late i7th-early i8th century Lacqueredpdpier-machewith gold leaf L. 91 in. (23.3cm) Inscribed:[by the]kamtarin (the humble) mano'har Cynthia Hazen Polsky and Leon B. Polsky Fund, 2oo2 2002.416a, b

This lacquerpen box is a fine example of a combinationof Indian,Persian,and European elements first seen in painting in Iran at the end of the seventeenth century. The central motif depicts a young woman in Persian dressholding a branch above her head in a dohadasalabhanjikd(girl who fertilizesa tree) pose that is familiarfrom ancient Indian art. Above, an amorous couple is in Indian dress, the prince seated on a high scalloped-back chair. Below, a Europeangallant, seated on the rocks, plays his flute to deer grazing nearby.The sides of the box are painted with pastoralscenes, including groups of travelers, hunters, a pair of lovers, and views of distant

architecture,Europeanizingconventions that were popularin contemporarySafavid lacquerpainting. The close relationshipbetween this box, the by previouslyunknown Indian painter Manohar, and a lacqueredjewel box in the Victoria and Albert Museum, London, attributed to the artist Rahim Deccani, suggests that this appealinghybrid style was also practiced in India. Severalimportant Persian artistsare known to have spent time in India in the late seventeenth century, including at centers in the Deccan and as far north as Kashmir,giving rise to local painting styles NH that followed their influential mode.

EUROPE

MEDIEVAL

style that emergedfrom the Mosan-Rhenish crucible,a prime centerof artisticinnovation in the high Middle Ages. Although small enough to fit in one's hand, the work is impressivefor the Virgin'sformidablepresence, the balanceddistributionof volumes, and the tenderrapportof mother and child. Indicativeof the refinedexecution, the heavy cloth of the Virgin'smantle is distinguished from the thin fabricof her tunic, and the child's hair is carvedas if it were braided. Recent conservationtreatmentfreedthe sculptureof Baroqueoverpaint,revealing the extraordinaryfinesseof the original decoration.The abundantuse of gold underscoresthe regalnatureof the figures,while the detailedrenderingof the facesmakestheir humanity palpable.Createdas an object of devotion, the sculptureshows tracesof wear on the crestsof the folds and on the child's feet, left arm, and thigh, where it was caressed and kissedby worshipers. jc Fragment of a Hanging Byzantine (Egypt), A.D. 400-6o0

Tapestryweavewith stitchingweft in polychromewool and undyedlinen i85 x

25X8

in. (47.9 x 63.9 cm)

Gift of Nanette B. Kelekian, in honor of Nobuko Kajitani, zooz 2002.239.

This vibrantlycolored fragmentof a hanging is a rareexampleof the survivalof an Egyptian textile that may have been part of the furnishings of a Christiansite. It is one of two similar fragmentsgiven to the Museum by Nanette B. Kelekian.Each is decoratedwith an arch enclosing an elaboratelyjeweled form of the Christiancross. No other works of the type are known to have survived.The pieces were probablyonce part of one largehanging embellishedwith a seriesof archessupported by columns. One capital, adornedwith grapeclusters, and a portion of a column remain on the right edge of this fragment.The cross under the arch has been combined with the Greek letter chi (X) to form a varianton the Christogramwidely used by the earlychurch as an abbreviationfor the name of Christ. The patternson the textilereplicatethose found on contemporaryEgyptianstone carvings,which would havebeen paintedin

similarlybrilliantcolors.Christianityspread widely in Egypt, the countryin which monasticism first developed. When complete, the hanging may have been used in a doorwayor to screenoff an interiorpartof a church. HCE

Enthroned Virgin and Child Mosan/Lower Rhenish, ca. I220

Limewoodwith originalpolychromy and gilding H.

in. (9.5 cm)

The Cloisters Collection,

2oo2

2002.285

Exceptionalfor its well-preservedpolychromy, this sculptureof the Virgin and child is a quintessentialexampleof the vigorous"YearI200" II

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Fragment of Compendium of the Genealogy of Christ English,ca. 1230 Ink onparchment

enlivened with examplesrepresentingthe Mansions in the Desert (the forty-two places the Israelitesstopped over a period of three yearsduring the Exodus), the Twelve Tribes of Israel,and the city of Jerusalem.In creatinghis compendium, with its l complex interplayof word and

65y/x i3'8 in. (166. x 33.2 cm) The Cloisters Collection, 2ooz 2002.433

image,Peterof Poitiersmadea

This manuscript,linking biblicalhistorywith the genealogyof Christ, conveys the scholastic traditionof the medievaluniversitycontext from which it derived.Written by Peter of Poitiers,chancellorat the Universityof Paris

lasting contribution to both scholarshipand pedagogy.

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Mirror Case or Box Cover French(Paris),ca. 1320-40

The attackon the Castle of Love became a popular image in the fourteenth century and is representedhere with particulardelicacy. Twenty-eight figuresand five horses occupy the ground in front of the castle, as well as its battlementsand windows. At the top the crowned and winged god of love preparesto launch an arrowtoward the lower left. The

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castle is defended by women armedwith roses that they hurl at the attackingknights. The knights are greeted by some women with welcoming gestures;and, in the upper left, a woman offers a crown to one of the trumpeters, who will announce the playful joust to take place before the portcullis. Two armed knights, their shields decoratedwith roses, ride in from the right to face their female opponents. A third, who has lost his shield and removed his helmet, stands on his horse to embracea woman in a window to the left of the castle entrance. The ivory disk is the size and shape of fourteenth-centurymirrorcases,some of which aredecoratedwith the same theme; but the reverseis, uncharacteristically, threadedat the that the disk may have been edge, suggesting the cover of a circularbox. PB

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in GenealogiaChristiwas essentiallyan abridgment of biblicalhistory for students in the form of a genealogicaltree of Christ. It was frequentlycopied in a verticalroll and illustratedwith line drawingsand diagrams,as is this English example.The history of the world is organizedinto six ages, each introduced in the manuscriptwith a line drawing. This fine pen renderingof the Nativity illustratesthe sixth age-that of the Incarnation of Christ.The other figurativedrawingsin the manuscriptrepresentthe kings David and Zedekiah. Diagramswere important tools for medieval thinkers, and the manuscriptis

from 1193 to Izo5, the Compendium Historiale

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The stag hunt, one of the principalsecular themes of the Middle Ages, is here eloquently portrayedin ivory. The action begins at the left with hounds and hunters on horseback departingthe castle. In a wooded setting women lure falcons, while the hunter has shot an arrowat the stag as hounds torment

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it; finally, as the stag seeks relief from the watersof a fountain, the hunter deliversthe coup de gracewith his sword. In medieval poetry such courtly themes were also regardedallegoricallyas the hunt for love. The panel originallyformed the back of an exceptionallylargecasket (now lost). The casketis known from an eighteenth-century engravingthat shows the conclusion of the hunt, with the stag'shead being presentedto courtly figures.As key examplesof secular ivory carvingin Parisduring the time of CharlesV (1338-1380), the images are renderedwith crisp, graphiccarvingthat creates rich surfaceand spatialeffects commensurate with the finest luxuryworks of the city. Joining the celebratedsecularivories from the Morgan collection, this panel and three others illustratedhere enable the Museum to offer an unparalleledglimpse of the secular CTL spirit of the high Middle Ages.

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r* b_

Cover of a Writing Tablet French(Paris),ca. 1325-50 Ivory 3/ x

2Y8 in. (9.3 x .p9cm) The Cloisters Collection,

2003

2003.131.3a, b

Both sides of this ivory revealscenes of courtship taking place under trefoil arches. On one side (not shown), a man holding a bird of prey a symbol of his status has receiveda coronet from a woman and reciprocatesby crowning her, thus signifying her victory in winning his love. On the other side (below, left) the lovers kneel in adoration before the god of love, who throws darts to seal their devotion. Inspiredby numerous contemporarylove poems, these scenes are part of the stages of love as defined in courtly literaturesuch as the influential Romande la

The lower scene depicts three episodes in the progressof an amorous relationship.Beneath trefoil archesa woman recoils from the advancesof her lover at the left; she has a more tentative response in the center;and on the right she embraceshim as he chucks her chin. Above, under an identical arcade,is the fountain of youth, an image rarelyrepresented in art during this period but known from romanceliterature.At the left a bearded,old man with a walking stick entersthe raised fountain'sflowing waters,which are already inhabitedby two smiling, youthful couples. In addition to devotional statuettes,diptychs, and triptychs,which survivein large numbers, Parisianivory carverssupplied their clients with combs, boxes, mirrorcases, and other objects frequentlydecoratedwith secular themes. This plaque was undoubtedly made to be the cover of a set of wax writing tablets. The ivory leaveswould have been held together by a cord passed through the two holes that can be seen at the top. Small tracesof paint indicate that this ivory was probablyoriginallypartiallypolychromed. PB

Rose (ca. I230-75).

Intended to cover writing tablets, such plaqueswere among the deluxe products of Parisduring the fourteenth century and were possibly made on the rue de la Tabletterie,a name indicating their special use. Poems or messageswould have been written on smooth sheets of ivory that had recessedareasfilled with wax for the text. Perfecteconomy of technique and purity of style are clearlyevident in these amorous images. In their elegance of form and gesturethe courtly couples seem also to convey a moral and spirituallife that appearsboth manneredand artificialbut CTL is infused with joie de vivre.

Cover of a Writing Tablet French (Paris), ca. 1320-40

Elephantivory 4 -s x 2Xs in. (11.2 x 6.6 cm)

The Cloisters Collection, 2003 2003.131.4

Relief of a Bishop South Lowlands, ca. 1400-1425

Limestone H.

in. (3 cm)

The Cloisters Collection,

2002

2002.338

This finelycarvedimageof a bishop, executed in the darklimestonecharacteristicof the South Lowlands, is a fragment of a larger funeraryrelief. Dating to the time when RobertCampin (activeca. I405-44) was painting his seminalworks in Tournai, the jowled figureof a bishop displaysthe carefully observeddetailsthat evoke the new spiritof naturalismevident in early-fifteenth-century Netherlandishart. In its gray-bluelimestone and in its style, the bishop is consistentwith an importantgroup of epitaphsfound throughoutthe South Lowlands,such as the well-knownexamplesin Tournai Cathedral. The bishop wearsa cope with scrolling vines on its decorativeborders(orphreys) and a largeclasp (morse) in the form of a

rose on his chest; his miter is encrustedwith jewels. Preservedas an isolated figure separatedfrom its original context-the majority of the survivingepitaphs in the region have an image of the Virgin at the center-this accomplishedcarvingstill conveys powerfully PB the solemnity of the funeraryrelief.

The Circumcision German(Cologne),ca. I46o-70 Colorlessandpot-metalglasswith vitreouspaint and silverstain 32/4

x 22/2 in. (8I.p x 57.2 cm)

Purchase, Bequest of Jane Hayward, by exchange, and The Cloisters Collection, zoo3 2003.14

Inside a temple the rite of circumcision is performedon the Christ child and witnessed by his mother and a mitered high priest. The individualizedfeaturesof the partici-

pants are renderedin refined and wellpreservedgrisaillepainting, which is set into relief by the brilliant saturatedcolors of the garments. The panel is one of about forty,now dispersedin collectionsmostly in the United Statesand England,that were once partof at leastthreevariantseriesof typologicalwindows, all basedon the same designs.Following the formatof the fifteenth-centuryBiblia pauperum,two Old Testamentsceneswere combined as prefigurationswith one New Testamentscene. The style and iconographyof the panelsreflecta knowledgeof the work of contemporaryartistsof the Lowlands,notably Rogiervan der Weyden, as well as that of local Cologne artistssuch as the Masterof Saint Severinand the Masterof the Holy Kinship. These typologicalwindows were apparently all destinedfor monasticfoundationsof the Kreuzbriider(CrutchedFriars);the present panel came eitherfrom the abbeyon the Kreuzgassein Cologne or from one in the nearbytown of Schwarzenbroichbei Diren. TBH

AND

RENAISSANCE

BAROQUE

EUROPE

Pietro Lorenzetti Italian (Siena), active 1320-44

The Crucifixion = Temperaon wood,goldground,i6Y x 12Y2 2n. (41.9 x 31.8 cm)

Purchase, Lila Acheson Wallace Gift and Gwynne Andrews Fund, 2002 2oo2.436

This exquisite picture, of unusual dramatic intensity and characterization,is the most importantearlyItalian painting to have been purchased by the Museum in over thirty-five years. It belonged to a portable altarpiece of which one other panel is known: Christ before Pilate (Pinacoteca Vaticana, Vatican City).

,!?

Originally, there may have been four (possibly six) panels showing the Passion of Christ. Like his brother Ainbrogio, Pietro Lorenzetti is one of the true innovators of Italian art. Trained in Siena under Duccio, he was attenrive to both the sculpture of Giovanni Pisano and the paintings of Giotto. His frescoes in the basilica of San Francesco, Assisi, are a landmark of expressive naturalism. Although small in scale, this panel testifies fully to the scope of his imagination. It was painted as a devotional aid, but the emphasis is on narra-

!ii

tion. Every detail gives evidence of Pietro's ability to infuse the timeworn biblical subject

with a human dimension. Especially notable are the swooning Virgin, supported by her companions, and the energetic figure about to break the legs of one of the thieves who was crucified with Christ. The picture belonged to the French painter Paul Delaroche (1797-I856), who believed it to be by Ciotto.

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

Israhel van Meckenem German, ca. 1440/45-1503

The Falconer and the Lady, from the series Scenes of Daily Life Ca. I495 Engraving Sheet62 x 44 in. (I6. x 1o.8cm) Purchase, Barbara and Howard Fox and Martha Feltenstein Gifts, and The Elisha Whittelsey Collection, The Elisha Whittelsey

Fund, 2003

dialogue between the figures;here they may have been left blank so that collectors might inscribe their own. Israhel,a practicinggoldsmith, was also one of the most prolific and innovative fifteenth-centurymastersof the relatedart of engraving.While a large part of his oeuvre consists of copies after other printmakers, many of his laterworks, like the series Scenes of Daily Life, were unique and witty turns on NMO traditionalsubjects.

2003.137

Anonymous Bohemian(Prague), 355-80 Head of a Bearded Man 1355-8o

Pen and ink, brushand gray blackand brown ink, tracesof whiteheightening,on white laid paper 4 'x 3/H in. (I1.3 x 8.5 cm) Purchase, Gift of Dr. Mortimer D. Sackler, Theresa Sackler and Family, 2003 2003.29

This fine drawingwas made in all likelihood just after I350 in Bohemia. The ponderous visage, with flowing beardand full features, is close to images in panel and mural paint-

ing createdin that areaduring the reign of Holy Roman EmperorCharlesIV, especially in the decadesfollowing his coronation in Rome in I355. With remarkable contrasts of

light and shadow, subtle highlighting in the beard, and delicate brushstrokesat the brow, the drawing is one of the most beautiful among Bohemian examples,which form an important part of the limited corpus of drawingsfrom the second half of the MCP fourteenth century.

This depiction of courtly love is the most refinedwithin Israhel'sseriesof engravings devoted to amorous relationships,from the chivalrousto the lascivious,among different classes.In fifteenth-centuryimagerythe noble pastime of falconrywas traditionally associatedwith love. Here a falcon percheson the gloved hand of an elegantly dressed suitor. As his beloved demurelygazes down, she throws a furtive glance in his direction. From her headdressa cloth unfurls, echoing the banderolesthat flutter above the couple. Such airborneribbons often displayeda

Lo Spagna (Giovanni di Pietro) Italian, ca. 1450-1528

The Blessed Egidius Ca. Is 4-I6

Charcoal,with outlinesprickedandpounced for transfer,on light brownlaidpaper i 5Y x 9/S in. (38. x 24.4 cm) Purchase, Leon D. and Debra R. Black Gift, Harry G. Sperling Fund, Roy R. and Marie S. Neuberger Foundation Inc. Gift, and The Elisha Whittelsey Collection, The Elisha Whittelsey 2002.432

Fund,

2002

A recentdiscovery,this carefullyrendered workingdrawingwas producedas a cartoon, or full-scaledesign,for a figurein a frescopaintingon the apseof a small chapelin the basilicaof SantaMariadegli Angeli in Assisithat markedthe placeof the infirmarywhere Saint Francisdied. The figureis identifiedin the frescoas the blessedEgidius,a Franciscanfriarwho was among Saint Francis'scompanions. The artist, nicknamed Lo Spagna probablybecausehe came from Spain, was active mostly in Umbria and the Marches,and he was deeply influenced by the late-fifteenth-centurypainter Perugino,who may have also been his

teacher.The Assisi fresco, among Lo Spagna'smost significantworks, was celebratedin Giorgio Vasari'sbrief biography of the artist (Florence, 1568). This drawingillustratesLo Spagna's distinctiveuse of an orderly,diagonal cross-hatchingto build up the depth of the shadows,with which he attainedboth an imposing overallsculpturalpresence for the figureand delicatenuancesof textureson the face, hair, and cloth. The naturalisticconceptionof the figure,caught between arrestedmovement and mute contemplation,suggeststhat a live model probablyservedfor the posthumous CCB portrayalof this venerablefriar.

Jorg Breu the Elder German, 1480-537

The Four Temperaments 1515-20

Pen and dark brownink on off-white laid paper Diam. p in. (23 cm)

Purchase, Fletcher Fund and funds from various donors, 2003 2003.28

The versatilepainter and draftsmanJorg Breu the Elder belonged to the generation of German Renaissanceartiststhat included Albrecht Direr and Lucas Cranach. Together with Hans Holbein the Elder and Hans BurgkmairI, Breu formed the trio of greatAugsburg paintersactive about I500. His Four Temperaments, in all likelihood a design for a painted glass roundel, is done in Breu'ssober yet impressiveway of drawing, which indicates that the work probablystems from after his sojourn in Italy (ca. 1514). Ratherunusually, the four temperaments are depicted togetherin a landscape,as though at an outdoor party. The phlegmatic temperament is representedby three people making music, the melancholic temperamentby a woman spinning and a sleeping man, the sanguine by a couple embracing, and the choleric by two people fighting. MCP

Bernaert van Orley Netherlandish, 1488-1-54

Pilate Washing His Hands 1530-32

Blackchalk,squaredin red chalk,onfour joined sheetsofpaper 36Y, x 24X, in. (92 x 61.5 cm)

Louis V. Bell Fund and Harris Brisbane Dick Fund,

200oo

2002.430

evidence, for it is the only sheet from the seriesthat is relatedto a stained-glasswindow. The window-its composition was ultimately somewhat changed-is in the church at Solre-le-Chateau(Pas de Calais). Van Orley was the court painter of Margaretof Austriaand laterof her successor, Maryof Hungary,in Brussels.He was the firstdesignerof tapestriesand stained-glass windowswhose work showed an informed responseto the aestheticsof the Renaissance. MCP

In a staging that owes much to Albrecht Durer's prints illustrating Christ's Passion (1511),Van Orley created three distinct points of interest: Pilate conversing with the Pharisees in the center of the composition; Christ led away in the foreground; and soldiers preparing the way to Calvary in the background. The sheet belongs to a series of thirteen extant drawings depicting the Passion of Christ that most probably were preparatory designs for stained-glass windows. In this regard the drawing provides important

Gauntlet Italian (Milan), ca. I580 Steel,gold, silver,canvas,and textile L. I3 in. (33cm) Gift of Bernice and Jerome Zwanger, 200oo 2002.507

The gauntlet'sdeeply chiseled, golddamascened,and silver-encrusteddecoration,

comprising bands of grotesque ornament, a figure of Saint George slaying the dragon, and the owner's crowned monogram, is of a type found in only the highest quality of armor crafted in Milan during the late sixteenth century. The plain surfaces, now bright, were originally blackened for contrast. The gauntlet forms part of the armor of Don Alonso Perez de Guzman el Bueno (I550o-619), count of Niebla and duke of Medina-Sidonia. It is preserved today, with the exception of the gauntlets, in the Royal Armory, Madrid. The elbow-length left gauntlet is in the State Hermitage Museum, Saint Petersburg. A distinguished soldier and courtier, Medina-Sidonia is best remembered as the commander of the ill-fated armada sent against England in I588. His exquisite armor, which he presented to his sovereign, Philip III, in I6o8, is unusual in that, despite its rich ornament, it was forged of heavy, shot-proof plate and therefore was intended for active service as well as for parade.

swP

Federico Barocci Italian (Marches), 135.?-1612

Saint Francis

his life in the duchy of Urbino, in the Marches, his fame was European. He was a slow, meticulous worker and, in consequence, produced few pictures (this is the only painting by him

Ca. i6oo0-I60 Oil on canvas, 30o x 35 s in. (78.4 x 9o.5 cm)

Purchase, Lila Acheson Wallace Gift and

in America). Yet his altarpieces and devotional paintings, with their compositional

This is a particularly welcome addition to

refinement, warm humanity, and deep expressivity, laid the groundwork for Baroque style: Annibale Carracci, Peter Paul Rubens, Guido Reni, and Gianlorenzo Bernini all

the collection, for Barocci is a key figure in Italian painting. Although he spent most of

admired his art and were deeply influenced by it.

200oo

Benefit Fund,

2003

2003.281

The pictureis conceived as a meditation on Saint Francis (118/82-I226),

who is shown

in a grotto on Mount Laverna,where he receivedthe stigmata(depictedas protruding nails in conformitywith earlyFranciscan Capuchins,the reformedbranchof the Franciscanorderfounded by his compatriot Matteo di Bassi [d. 1552]), and this deeply felt work, painted about 6oo00-605,must have been intended for a Capuchin friar or KC supporterof the Franciscanorder.

Samuel Bidermann and Son German,1540-1622 Veit Langenbucher German,ca. 1587-163r MusicalAutomata Clock Augsburg,ca. 1623 H. 30o3 in. (78.icm) Purchase, Clara Mertens Bequest, in memory of Andre Mertens, 200oo 2002.323a-f

Inside the ebony case of this musical clock is an extremelyrareand important instrument consisting of a sixteennote pipe organ and a sixteen-string spinet that may be played independently of the organ. Made by the renowned team of Samuel Bidermann and his son (also Samuel)-the father'sL-shapedpinning style appears in this work-and Veit Langenbucher, the extraordinarypiece includes, in addition to the organ and spinet, a clock and five carvedand colorfully clad commedia dell'artefiguresthat performa circling dance in the clock's tower when the instrumentssound to mark the hours. The complex clock is perhapsthe most musicallyelaborateautomatic

instrumentto survivefrom the early seventeenthcentury.Its three airs, probablyby composerHans Leo Hassler (baptized I564-I612),

the elder

Bidermann'steacherand once keeper of the knowledgeof pinning barrelsin Augsburg,are storedon the original pinned cylinder.Most cylindersand their tunes were replacedby subsequent generations,but this one was sparedto provideus with an extremelyrare musicaldocument that allows us to hearthe airsas they were played in the seventeenthcentury. JKM

Pietro da Cortona (Pietro Berrettini) Italian, 1596-1669

Landscape with Wine Harvest I63os

Brushand gray wash, touchesofpen and brownink, overtracesof blackchalk, with an illusionisticframe drawn in yellow and brownwash, on off-whitelaid paper 14/16 X i9]

6 in. (36.7 x 48.9 cm)

Purchase, 2002 Benefit Fund, 2003.101

2003

A work of the artist'smatureyears, this composition was probablya presentationpiece for a patron, judging from its high degree of finish and virtuoso technique. The drawing was painted almost entirelywith the tip of the brush to obtain delicatelypictorialeffects of light (for example, in the raysemanating from between the clouds) and an atmospheric conception of space. The sheet portraysan idyllic, classically inspiredscene in which the scale and the robust vegetation of the landscape,with ancient Roman ruins and distant towns and farmhouses,overpowerthe small figuresof the farm laborersharvestinggrapesin the foreground.The dynamic presentationof the scene and the dazzling technical skill seen here explain Pietro da Cortona's statureas one of the most innovative landscapistsin Baroqueart. With its obvious referenceto the seasonal bounties of autumn, the drawn scene may have been made in connection with a painting cycle (in fresco or on canvas)to decorate the interiorof a villa or palazzo. During the I63os Pietro da Cortona was engaged in a number of villa decorationsin Rome and the surroundingcountrysideand was also at work on the festive mythological frescoesin the Pitti Palacein Florence. CCB

Anthony van Dyck Flemish, 599-I 64I

Landscape with a Tree and a Farm Building 1632 (?)

Pen and brownink, brushand brownink, onfine laidpaper II Y, x 7 Y in. (29.7 x Ip.8 cm)

Signedand dated (lowerright):A: van dyck F. i6. ?, cut awayl

In vigorous, yet controlled lines of pen and brown ink with virtuoso washes Van Dyck created a stunning depiction of a simple tree before a farm building. Although he is not widely known as a landscapist, documentary

Purchase, Lila Acheson Wallace Gift and Gift of Dr. Mortimer D. Sackler, Theresa Sackler and Family, and Promised Gift of Leon D. and Debra R. Black, zoo3

scape as much as did his master, Peter Paul Rubens (1577-I640), whose landscapes have

2003.27

always stood in high regard.

records and surviving works like this one imply that he concerned himself with land-

The inscribeddate is not fully legible, but the sheet probablybelongs in the early I63os, after Van Dyck's extensive Italian travels (I62I-27). The drawing reflects his great admiration for such Italian masters as Titian and Guercino. In all likelihood it was a study after nature. It might have been made in preparation for the background in a painting, although such a painting is not known. MCP

Balthasar Permoser German, I651-1-732

Bust ofMarsyas Ca. I68o-85

Marble,o n ebonysocleinlaid with marblepanels H. (bust) 21 iin. (54.4 cm) Rogers Fund and Harris Brisbane Dick Fund, 2002 2002.468

Permoser's grimacing and contorted stone figures decorating the facades of the Zwinger Palace in Dresden (1717/I8) embody the

especially to Bernini's Damned Soul of I6I9 (Palazzo di Spagna, Rome). Here the savage face riven by clenched brows and eyes squint-

German Baroque in sculpture. The sculptor's high Baroque style is forecast by this agoniz-

ing in pain, however, is distinctly Permoser's own creation. Deliberately rough, flamelike hair contrasts excruciatingly precise details

ingly expressive bust of Marsyas, carved in Italy early in his career. The bust reveals his absorption of the style of Gianlorenzo Bernini. The tortured expression of the screaming satyr Marsyas, flayed alive after losing a musical contest with the god Apollo, responds

like the torn tongue. The bust's unfinished back and emplacement for a bracket suggest that it was originally intended for a niche, Iw perhaps in a palace courtyard.

EUROPE

1700

1900 Early-eighteenth-century Swedish silver of such a commanding quality is exceedingly rare. These refined candlesticks reflect the stylistic adaptations and the high standard of craftsmanship of the master gold- and silversmiths in Uppsala, a northern European university town. The objects' delicate ornamental vocabulary constitutes an elegant and refreshing version of what could be defined as a Swedish interpretation of the style of French designer Jean Berain. In I687 Swedish architect Nicodemus Tessin the Younger (i654-1728) visited Versailles and was fired with a deep admiration for the elaborate trappings with which Louis XIV was enshrining himself as absolute monarch. Later Tessin, responsible for the design of the New Royal Palace in Stockholm, was able to create one of the finest examples of the contemporary French idiom, mirroring now the exalted and powerful position of the Swedish king in northern Europe. French artists participated in the palace's interior decoration and thus influenced local artisans such as the maker of these candlesticks.

Herman Henstenburgh Dutch, 1667--726

Vanitas Still Life Ca. 700o Watercolor and gum arabic on parchment 1 x II in. (33 x 27.9 cm) Inscribed on the music: Blyschap van my ex (Joy is leaving me [?])

Purchase, Anonymous Gift, in memory of Frits Markus, and Frits and Rita Markus Fund, 2003 2003.30

Henstenburgh, a pastry chef by profession and an artist only in his free time, was one of the most skillful masters of the late-

heightening with gum arabic.His use of the finest parchmentaddedto the effectof this Feinmalerei(paintingwith minute details and in a polished style). MCP Pair of Candlesticks Swedish (Uppsala), ca. 1710-20

The octagonal, incised lobbed stand of this candlestick form, however, is more closely associated with German silver, especially with pieces made in Augsburg. The goldsmith may have encountered such models and patterns during the requisite travels as a journeyman before becoming a master of the Uppsala silversmith guild.

Silver,partiallygilt H. 8S in. (21.5 cm)

Stamped (on rim offoot) with the mark of an

unidentifiedsilversmith:RW Purchase, Friends of European Sculpture and Decorative Arts Gifts, 200oo 2003.47.1,

seventeenth- and early-eighteenth-century tradition of the scientifically precise watercolor still life. His work was much sought after at the time by Dutch and foreign collectors. For example, by 1700 Cosimo III de' Medici already owned three of his drawings. This sheet depicts a vanitas or memento mori still life. The skull, the bone, the justextinguished candle, the toppled hourglass, and the flower garland all refer to the fragility and brevity of life. Henstenburgh executed the drawing through extremely delicate and precise layers of watercolor and gouache, which almost glow as a result of the 23

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

mistress, Madame de Pompadour, the parks and gardens of Bellevue, Crecy, and La Celle Saint-Cloud. There are two other portraits of Garnier, a preparatory study (Saint-Quentin) and a closely related finished pastel with the sitter in a gray watered-silk coat (Fogg Art Museum, Harvard University, Cambridge). This portrait, in which the passementerie is worked in gouache, is notable for its subtle KB

silvery palette.

Pair of Wall Lights German (Berlin, Royal Porcelain Manufactory), ca. 1765-68 Hard-paste porcelain, gilt bronze H. i8 in. (47 cm) Wrightsman Fund, 2002.437.1, .2

Maurice Quentin de La Tour French, 1704-1788

Jean Charles Garnier d'Isle Ca. I75o Pastel and gouache on blue laidpaper, laid down on canvas z25Y x 20z' in. (64.? x 51.1 cm)

Purchase, Walter and Leonore Annenberg and The Annenberg Foundation Gift, 2002 2002.439

Portraiture in pastel was a refined, sophisticated, and popular art form in eighteenthcentury Europe, and La Tour was the leading French exponent of the genre. A native of Saint Quentin, he settled permanently in Paris in 1727. Much influenced by the Parisian work of the Venetian pastelist Rosalba Carriera (1675-i757), he determined to specialize in that medium. His contemporaries admired his ability to capture character and expression, and his patrons included members of the royal family, the court, and the haute bourgeoisie, as well as artists, writers, and theatrical

personalities. His work had not previously been represented in the Museum. Until 2001 this pastel belonged to a descendant of the sitter, Jean Charles Garnier d'Isle (I697-I755), who held the title dessinateur des jardins du roi and who designed for the royal

2002

Frederickthe Great was an ardent champion of the Rococo style, which flourished in and around Berlin under his patronage.The northern German version of the Rococo was characterizedby a pronounced asymmetry and exaggerationof form, a preferencefor a combination of rich materials,and the use of strong colors, qualities that distinguished the Rococo associatedwith Frederick'scourt from that of Franceand southern Germany. A specificcharacteristicof Frederick's Rococo tastewas a prominent use of naturalistic, boldly sculpturalflowers.Those that dominate the design of this pair of wall lights are a hallmarkof the Royal Porcelain Manufactory,which Frederickestablishedin 1763on acquiringa strugglingporcelain

factory.The wall lights,among the most ambitious objectsmade at the new factory,arebrilliantlyconceivedas a pair.The backplatesare mirrorimages,and many of the same flowers appearon both wall lights,on one depicted with the blossomsopen and on the otherwith them closed.Among the flowersarepeonies, tulips, carnations,roses,and columbine, and their modeling, whetherin low reliefor in threedimensions,representsa tour de force of porcelainproductionin the JHM

eighteenthcentury.

Augustin Pajou French, 173o- 80o

Head of a Bearded Elder 1768

Terracotta,on a socleof bleu turquin marble H. (head)21r, in. (54 cm) Incisedon theproperrightshoulder,before firing: Pajou/fe 1768 Purchase, Lila Acheson Wallace Gift, 2003 2003.25

F-

JPI?**

^ ,:

:X. k_^

S;p --g

The precisemeaning of this bristling elder remainsto be determined. Suggestionsfor his identity have rangedfrom Aristotle to Moses to a retiredpugilist. The work fits within the French academictradition of modeling heads to expressvarious passions, but which could this belligerentcharacterpersonify?Barelycontrolled rage, perhaps,but what does the mantle connote? The ancient marblesthat are most like the head in conveying crossness and contempt representphilosophers of the Cynic school, but they do not wear mantles. In the end perhapsthe main subject is the model himself,no doubt an Italian;duringand afterhis studyyears in Italy (1752-56), Pajoudrew and modeled similartypes,aged but vigorous, hirsuteand ornery.Our head, carried out with canny asymmetricaladjustments of the clay, is the most mesmerizing of these exercises.Unrecordeduntil it was auctionedlastyearin Paris,it was totallyunknown to the authorsof the Museum'sI998 "AugustinPajou"exhibition but will figurein next year's "Playingwith Fire:EuropeanTerracotta Models, 1740 to 1840."

JDD

Gabriel-FranSois Doyen French, 1726-8o06

The Deliverance of Cybele, an Allegory of the Seasons I773 Pen and blackink, brushand brown wash, heightenedwith whitegouache, over blackchalkunderdrawing,on off-whiteantique laidpaper 8 x iS/i in. (65.6x 46.4 cm) Collector'smarkof GermainSeligman (not in Lugt)at bottomedge,left of center Purchase, Van Day Truex Fund, and Partial and Promised Gift of 25

Lansing Moore,

200oo

2002.450

Doyen was one of the most promising young artists of the generation that

came of age in the last decadesbefore the French Revolution, a period when a

vigorous neo-Baroque style was gaining ground against the waning popularity of the Rococo. This large, painterly Allegory of the Seasons was the first drawing he exhibited in the biennial Salons held at the Louvre. The goddess Cybele, identified by her turreted crown and lion-drawn chariot, represents Earth, but also fertility and vegetation. In Doyen's image 25

she is renderedpowerless,beset by the frost of winter. The arrivalof Jupiter Pluvius, god of the rains,with his outstretchedarms and flowing hair, signals the returnof spring, or Cybele's deliverance. The drawingwas commissionedby the duchessede Choiseul,whose husband had been exiled to Chanteloup followingthe death of his supporter, Madamede Pompadour.It has been suggestedthat Cybele'spredicament was intendedas an allegoryfor the banishmentof the duc de Choiseul, whose wife hoped that his return,like Cybele's, would be imminent. In fact, Choiseul remaineda popularfigurein Parisduring his exile and did returnfollowing PS LouisXV's death in 1774.

Ignaz Josef Wiirth Austrian,first mentioned1769, d. 1792 Pair of Wine Coolers Austrian(Vienna), markedI78 Silver H. II ' in. (28.9 cm)

Purchase, Anna-Maria and Stephen Kellen Foundation 2002.26.6Ia, b; .2a, b

Gift,

200oo

The wine coolers formed part of the now dispersedso-called Second Duke of Sachsen-TeschenService,which originallyincluded all kinds of silver tablewareas befit the splendor of royal dining. The overallstyle is indebted to French Neoclassical designs and encapsulates the strong appreciationof contemporaryFrench art and culture by the patrons, Duke Albert Casimir of Sachsen-Teschen(d. 1822)and his consort, ArchduchessMaria Christinaof Austria (d. 1798), sister of Queen Marie-Antoinetteand daughterof EmpressMariaTheresa. Nonetheless, the vigorous design, the sparklingplay of textures,and the daringjuxtaposition of classicalelements with whimsical sculpturaldetails embody the freshnessof the Viennese interpretation of high-styleFrenchNeoclassicism. In 1780 the duke and archduchess were appointedjoint governorsof the AustrianNetherlands.Imperialcourt goldsmithWiirth createda magnificent servicethat fully exploitedthe lightreflectivequalityof the preciousmetal. Drapedaroundthe wine coolers'bodies arelion skins,which referto Hercules' wearingthe skin of the Nemean lion as a symbol of his strength.The lion skins

also teasingly evoke insulation of the coolers. The trophies and grapevines symbolize Bacchus, god of wine and erotic ecstasy, representing the triumph of the pleasures of life over an ancient WK symbol of worldly power.

Workshop of David Roentgen (manufacturer of case)

Thomas Girtin

German, 1743- 807

St. Paul's Cathedralfrom St. Martin'sle-Grand

Attributed to Elie Preudhomme (movement) German(b. Switzerland),first mentionedi776 Clock German(Neuwied), ca. i78o-90 Oak,pin mahogany,brasswithpartial slight residueofgold lacquer,and gilt-bronzemounts (dialframe);enamel(dial); brassand steel,silk

British, i775-I802

Ca. i795

Watercolor, pen and blackink, overgraphite, on white wovepaper I934 x 14 8 in. (48.9 x 37.8 cm)

Purchase, Sir Edward Manton Gift,

2oo2

2002.435

suspendedpendulum(movement) H. I8Y4 in. (46.4 cm)

Gift of The Ruth Stanton Family Foundation,

200oo2

2002.237

From 1768 until about 1792 Roentgen's workshopwas among Europe'smost successful cabinetmakingenterprises,employing more than a hundred specializedworkers. Having secured,with his stylish products that often incorporatedintriguing mechanical devices, nearlyall of the western European courts as clients, Roentgen traveledto Saint Petersburgin I783. Baron Melchior Grimm, Parisianart adviserto EmpressCatherinethe Great, had recommended Roentgen to her; receivinghim, she was impressedby his ingenious creations. Recognizing their impeccable quality and superbarchitecturaldesign, Catherine instantlybecame his most important client. The empressand the Russian nobility who embracedher taste purchased hundreds of superblycraftedpieces of furniture in the Neoclassicalstyle. Indeed, Roentgen's creationswould influence Russian furnituremaking for severaldecadesto come. The graciouslyproportionedcaseof this clock,with its simpleand noble decoration, reflectsthe late Roentgenstyle,distinguishedby fine-grainedmahoganyembellishedwith brass inlayand gildedmounts.The dial is signed Thomaswas a Swiss Jean Thomas/Petersbourg. clockmakerwho livedin SaintPetersburgin the earlynineteenthcentury,repairingand trading clocksof variousmanufacturers. WK

St. Paul'sCathedralfromSt. Martin's-le-Grand conveysthe excitementof its genesis.In the mid-I79os Girtin had concludedhis apprenticeship,debuted at the RoyalAcademyin London, found supportivepatrons,and befriendedhis exact contemporary(and sometimes rival)J. M. W. Turner. Certainelements of the scene the Canaletto-likestaccatooutlines, the Piranesi-likestridentshaft of light, and the Cozens-likeatmosphere-reveal the inspirationof earliermasters.But other aspects-its depiction enplein air, its heroic

presentationof people at work, and its vibrant palette-appear entirelyGirtin'sown. Indeed, the very space depicted in this view links it to the artist:At the time he made it, Girtin lived with his mother at number 2 St. Martin's-le-Grand,where he must have drawnthe scene that lay outside his front door. Significantly,this watercolorappearsto have remainedin the artist'sfamily after his earlydeath from asthma at the age of twentyseven; in 1815Girtin's brother,John Girtin, published a reproductiveengravingafter it. EEB

the values and aestheticsof the ancien regime competed and coexisted with those of the

Baron Antoine-Jean Gros

founding republic. This jockeying for position between the old and new elites gave birth to a varietyof hybrid or transitionalstyles of dress, of which this suit is an outstanding example. Its simple lines recallthe cool Neoclassicism of the Enlightenment,while its complete absenceof decorationreflectsthe Anglomaniaof the

Franfois-Pascal-Simon Baron Gerard

I780s. Yet the opulence of ancien regime court

Both Gros and Gerardwere favoredstudents in the rough-and-tumblefraternitythat was the atelierof Jacques-LouisDavid. Intense friendshipsand near-fatalrivalriesdeveloped in the heady environment that mixed revolutionary politics with cutthroat professional competition. Later,in the early nineteenth century, Gerardwould become court portraitist to Napoleon and Josephine, while Gros would become the chief propagandist of the empire'smilitary exploits. Gros probablymade this sensitiveand delicate portraitin Parisbefore Gerarddeparted

dressremainsin its luxuriousfabricand effervescentcolor. The stand-upcollaris also a vestige of the old order,althoughits exaggerated height anticipatesthe stylesof the incroyables.Like these giddy young men of the mid- to late 1790s, the wearer of this suit was

almost certainlyan elegant,an "enlightened" aristocratwho hid his anti-Jacobintendencies by adoptingthe puritanicaldesignvocabulary AB of the republicans.

French, 1771-1835

Gerard, later

1790

Oil on canvas 22a8 X i8/8 in. (56.2 x 47.3 cm)

Gift of Mrs. Charles Wrightsman,

200oo

2002.441

for study in Rome in September 1790; Gerard

Man's Three-Piece Suit French,ca. 1790 Tailcoat,waistcoat,and breechesofgreensilk velvetwith greenandyellow silk brocadeand ivorysilk twill and ivorylinen lining L. (jacket at center back) 4

in. (I04 cm) Purchase, Irene Lewisohn Bequest, 2003 Y4

2003.45a-c

The dualitiesthat characterizedmale fashion in the earlyNapoleonic period are captured in this strikingensemble. Under the disintegratingforces of the French Revolution (1789-94), the eighteenth-centuryconfidence in its uniformity of aestheticbeliefs disappeared.Social and political reformsresulted in new patternsof consumption and new forms of self-expression.For a time, however, 28

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reciprocatedwith a handsomeportraitof Gros in the wide-brimmedhat favoredby revolutionaries(Musee des Augustins,Toulouse). Even though the friendshipwas broken in JanuaryI793, when Gerarddenounced Gros for contemplatingemigration,potentiallyan accusationof treason,each artistkept his portraitfor the restof his life. The presentportrait of Gerardremainedwith his descendants until recently. This canvas,the firstby Grosto enterthe Museum'scollection,joinsGerard'smagnificent portraitof MadameCharles-Mauricede (acc. no. 2002.31), also Talleyrand-Perigord GT givenby Mrs. CharlesWrightsman.

Caspar David Friedrich German, 1774-I840

Eastern Coast of Riigen Island with Shepherd I8o5-6

Sepia ink, sepiawash, whitegouache,and graphiteon off-whitewovepaper 24 4 x 39 in. (61.6 x

99 cm) Purchase, several members of The Chairman's Council Gifts and Fletcher Fund, and Promised Gift of Leon D. and Debra R. Black, 2002.26o

200oo

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The landscapedepicts the German island of Riigen, in the Baltic Sea, north of the city of Greifswald,the artist'sbirthplace.This austere island, which according to some visitors offered more to the mind than to the eye, had been a favoritehaunt of Friedrich'ssince his first visit in I798-99.

The size and relativeprominence of the old shepherd leaning on his crook is singular here; he is a precursorof the artist'slarge pensive figuresseen from the back that would not appearin his oeuvre until ten yearslater. This sheet belongs to a group of sizable sepia drawings,all dating from 1803 to i806, that Friedrichcomposed before taking up oil paints in I807. These works' large sizes and independent compositions give them nearly the status of paintings within Friedrich's oeuvre and brought the artist earlyfame. MCP

Simon-Joseph-Alexander-Clement Denis Belgian, 1755-i813

View on the Quirinal Hill, Rome Signedand dated (on back)i8oo Oil onpaper, laid down on canvas IIs8 x 16'8 in. (29.5 x 41 cm)

Jean-Charles-Joseph Remond French, i795-I875

View of the Colosseum and the Arch of Constantine from the Palatine Ca. 1820

Oil onpaper, laid down on canvas II4

x 15/4 in. (28.6x 38.7 cm)

Jean-Baptiste-Camille Corot French, I796-i875

Waterfall at Terni Ca. 1834

Oil onpaper, laid down on wood 0oY2x z128 in. (26.7 x 30.8 cm)

The Whitney Collection, Promised Gift of Wheelock Whitney III, and Purchase, Gift of Mr. and Mrs. Charles S. McVeigh, by exchange, 2003 2003.42.20,

2003.42.48,

2003.42.13

Over the last quartercentury, one of the most significantdevelopments in the study of nineteenth-centuryEuropeanpaintings has been the new appreciationof the importance of plein-air (outdoor) oil sketches to the creation of the Realistand Impressionist landscapeaesthetic. Severalsuch works by Francois-MariusGranet,Achille Michallon, and Theodore Caruelled'Aligny, arrestingin their limpid, impromptu style, have been featuredin these pages, but the acquisition of the Whitney collection brings to the Metropolitan a comprehensivesurveyof sketchespainted between I790 and I840 by all the notable French and Belgian artists who worked in this medium. The collection of fifty-sixworks, assembled by Mr. Whitney over the last thirty years, revealsa tradition that begins with the eighteenth-centurypainterswho established important prototypes, Pierre-Henride Valenciennes,Jean-Joseph-XavierBidauld, and Alexandre-HyacintheDunouy, and features six of the raresketches by the Belgian artist Simon Denis, widely regardedas the best practitionerabout I8oo. But the primary emphasis is on the French artistswho receivedfrom the academyin Paristhe Rome

Prizeto study landscapepainting in Italy, Michallon, CharlesRemond, and Andre Giroux, as well as relatedartists,such as Corot, who traveledto Italy independently.Although the traditionof plein-airpainting is most closely associatedwith views by northern artistsworking in Italy, the Whitney collection includes fine studies made in more exotic locales,such as Luxor (Antoine-Xavier-Gabriel de Gazeau),Beirut (Jules-Louis-Philippe Coignet), and Seville (AdrienDauzats). The collection also includes a group of finished works depicting brigandsand aspectsof Italian peasant life, a genre practiced by Leopold Robert and other artistsin the so-called L'Ecole de Rome an international sensation in the first quarterof the nineteenth century, now almost completely forgotten. With sketches and small pictures by figure painterslike Louis-Vincent-Leon Palliere,Leon Cogniet, Horace Vernet, and Henri Lehmann, the collection provides a complete overview of the life and work of European artistswho gravitatedto Italy to learn their craft and experiencethe eternal motifs of Rome, Naples, and their surroundingcountrysides.

2003.42.46

Julius Schnorr von Carolsfeld German, 1794-i872

Charles the Great's Entrance into Pavia 1840

Black chalk,graphite,and brownink washes, red chalk, brushand red watercoloron offwhite laidpaper;squaredfortransferin graphitewith numericalindicationsof vertical divisionsat the loweredge I8Y4X 25 /4 in. (46.3 x 65.4 cm)

Purchase, Anna-Maria and Stephen Kellen Foundation

Gift, zoo3

2003.85

This monumental drawing depicts the conquest of Pavia, the capital of Lombardy,by the young Frankishking Charles(Charlemagne; 742-814) in 774. With that victory Charles

ended a warwith the Lombardsthat had lasted for decades.Charlesis seen enteringthe city on horsebackin front of an antiquearch.On the left, pushed into the corner,the Lombardking Desideriusis almostdefeated.Desideriusis depictedcommittingsacrilege,with one foot plantedon a churchchest. On the rightecclesiasticssurgetowardtheir liberators. The sheet is a characteristicwork of Julius Schnorrvon Carolsfeld,a versatilepainter and draftsmanwho belonged to the group of German artistsknown as the Nazarenes.The drawingwas Schnorr'sdesign for a largewall painting in the Munich royal palace, the Residenz. Since the painting was executed by one of Schnorr'spupils and was destroyed in World War II, this sheet and the full-size working drawing (Dresden) are the artist's MCP final statement on the subject.

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Standing Cup (coupe Chenavard) French (Sevres), 1837

Hard-pasteporcelain H. 12 s in. (32.7 cm) Purchase, Friends of European Sculpture and Decorative Arts Gifts, 2003 2003.153

The Sevresfactorydeveloped this model of standing cup in I836 and named it after its designer,Aime Chenavard.Both its form and its decoration referdirectlyto French Renaissancemetalworkand ceramics,and indeed one of the first coupesChenavardproduced was describedin factoryrecordsas "agoblet in the i6th century style." The low-relief interlacepatternsof the coupeare derivedfrom those found on a type of French Renaissancepottery known as Saint-Porchaireware. The first piece of SaintPorchairepottery to be identified as dating to the sixteenth centurywas sold at auction in Parisin I837. It has been suggestedthat the 32

then directorof the Sevresfactorywas aware of its existence prior to the sale and used it as a sourceof inspirationfor the coupeChenavard. The exuberantcolor scheme of the coupe, however, is far removed from the restrained palette of white and browns that characterizes Saint-Porchairepieces and reflectsits nineteenth-centuryorigin. This coupewas likely the second one produced at Sevres.Archivalrecordsindicate that a coupewith this distinctive orange red ground was deliveredto Queen MarieAmelie, wife of King Louis Philippe, in August I837.

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Ca. 84546

Oil on canvas x in. (46.4 x 38.I cm) i8_ XI5

Gift of Sarina Tang and Peter M. Wood, 2002 2002. 6I3

Given the popularity of Millet's paintings with American collectors at the end of the nineteenth century, it is surprisingthat there is not an extensive group of his works at the Metropolitan. The gift of this striking composition from Millet's early maturity is therefore all the more welcome. The painting shows a faggotgatherer clutching in one hand the day'sharvestand in the other, her child. The impending storm is more than an inconvenienceto these, the poorest of ruralpeasants,whose subsistence depends on straysticks.Throughout the 184os the number of homeless peasantsincreased dramaticallyin France,reachinga crisisin the recessionof 1847 and contributingto the fall of King Louis Philippe in the I848 revolution. Millet's singularimage, recallingDelacroixin its depth of emotion and Daumier in its graphiceconomy, portendsthe roilingsocial forcesthat would soon erupt. Although Millet would reworkthe composition for a canvas of the same size, now at the Denver Art Museum, this is probably his first treatmentof the theme. A sketch for the Museum's picture was offered at GT auction in 200oo. 33

colors to make the figure nearlymonochrome, and by abandoning Ingres'smeticulous naturalismfor a stylized depiction of sitter and setting. Charlotte de Pange was born in I816.At twenty-one she became the second wife of Armand-Charles-Septimede Fay, comte de La Tour-Maubourg, a lifelong diplomat. In 1840 she posed in her garden at the Palazzo Colonna in Rome: the domes of the churches in Trajan'sForum and the top of the Colosseum, dark ocher in the light of sunset, are visible at right. When the portraitwas shown at the 1841 Salon, critics objected to the expressive elongation of the head, the gazellelikeeyes, the pallor of the skin, and the delicacy of the hands-qualities that today make the picture GT seem so remarkable.

Pierre-Auguste Renoir French, 184-I9rp9

The Daughters of Catulle Mendes, Hughette (I871-1964), Claudine and Helyonne (1879-1955) (I876-I937), i888 Oil on canvas 6334 x 51i8 in. (161.9 x I29.9 cm)

The Walter H. and Leonore Annenberg Collection, Gift of Walter H. and Leonore Annenberg, 1998, Bequest of Walter H. Annenberg, 1998.325.3

Theodore Chasseriau French, 1819-i856

Charlotte de Pange, La Comtesse de La Tour-Maubourg Oil on canvas 52 x 37'4 in. (132.1 x 94.6 cm)

Signedand dated (lowerleft):T. Chasseriau/ Rome 1841 Wrightsman 2002.2291

Fund,

2002

For Chasseriau,the portraitof the comtesse de La Tour-Maubourg,wife of the French ambassadorto the Holy See, representedthe subtle defiance of his master,J. A. D. Ingres. As a three-quarter-lengthportraitof the wife of a powerful official-young, beautiful, wellborn, and elaboratelycostumed-it conforms preciselyto Ingres'smethod. However, the twenty-two-year-oldartistsubverted Ingres'sapproachby casting a melancholic mood over the painting, by banishing bright

2002

In I991 AmbassadorWalter H. Annenberg announced his intention to bequeath to the Metropolitan the collection of fifty-three Impressionistand Post-Impressionistpaintings, watercolors,and drawingsthat he and his wife, Leonore, had formed. Since I993 the Annenbergshave lent their collection to the Museum for half of each year, delighting literallymillions of visitors. With the death of AmbassadorAnnenberg last year, the pictures will remain permanentlyin the speciallybuilt Annenberg Galleries. Its impact on the Museum's collection begs comparisonwith the great bequests of French painting made by Louisine Havemeyer (I929), Stephen C. Clark (I960), and Robert Lehman (I975), although the

Annenbergs acquiredtheir pictures much

later,when such works had become infinitely rarerand more expensive. In many ways, the group providesthe perfect complement to the Museum's existing holdings: exceptional canvasesby Degas, Fantin-Latour,Manet, Monet, Renoir, Seurat,Toulouse-Lautrec, Vuillard, and, in the twentieth century,

Bonnard, Braque,Matisse, and Picasso. But with its glorious paintings by Cezanne, Van Gogh, and Gauguin-from Cezanne'sMont Sainte-Victorie,to Van Gogh's WheatField with Cypresses, to Gauguin's The Siesta--the Annenberg collection brings incomparable masterpiecesto what was alreadyone of the

most extensive assemblagesof French painting in the United States.Ambassador Annenberg'smotto, "FromStrength to Strength,"perfectlycharacterizeshis bequest to the Metropolitan. GT

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Victor Hugo French, 1802-1885

The Hanged Man Ca. i855-60 Brushand brownink wash on wovepaper 12 x 7/8 in. (30o. x 19.5 cm) Gift of Kristina and Guy Wildenstein, 2003 2003.144

The thunderous gloom of Hugo's novels pervadesjust as effectivelyhis shadowy sketches, most of which were penned while the author lived in exile on the Channel Islands. He witnessed a hanging there in I854 and afterwardbegan drawingdead men suspended from gallows, a practicethat seems to have been intensified by reportsof the execution of abolitionistJohn Brown in America in I859. Guided by impulse ratherthan by plan,

Hugo often diverted his inks from writing prose or verse to shaping obscure imageswith a very free hand. He viewed such drawings as mere distractions,but other writers and artists,such as Baudelaireand Picasso, have admired their singular, intuitive force. Indeed, because each new generation of artistscomes to admire the surreal,abstract, or impromptu nature of Hugo's pictorial art, the Museum welcomes its first acquisition of one of his drawings. cI

NORTH

AMERI

1700-1900

John Singleton Copley American, 1738-1815

John Greenleaf Ca. 1753-54

Oil on canvas 212 x 1X4 7

in. (54.6 x 45.1 cm)

Partial and Promised Gift of Stuart and Rhoda Holzer,

2002

2002.611

Elizabeth Greenleaf Ca. 1753-54

Oil on canvas 21/2 x 174 in. (54.6x 45.1 cm)

Partial and Promised Gift of Marc Holzer, 2002 2002.612

While there is no doubt of Copley's innate talent, these very earlyportraitsgive new meaning to the term precocious.At the age of fifteen, with no formal training, almost no art to study, and before he had establishedhis professionalpractice,Copley could not only paint quite skillfullybut also knew that his patrons desired accurateand richly embellished likenesses.The handsome siblings, offspringof John and PriscillaBrownGreenleaf of Boston, wear just the sort of elaborate, inventive costumes that became the artist's fortein his portraitsof adults.Miss Greenleaf, who would have been five or six at the time, is dressedin a white satin, closed-robegown

with three-quartersleeves, a bodice with stays and a five-jewelbrooch, and a white skirt. Copley derived four-year-oldMaster Greenleaf'sexotic cap and the pose with a lamb from John Smith's I704 print after Sir Godfrey Kneller'sportraitof Lord Bury as a child. He also painted a third sibling, Priscilla(privatecollection). There is some speculation that he executed the portraits posthumously, as at least one report suggests that all three children died of laudanum poisoning in 1751 at the hand of a negligent maid.

CRB

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

Boston and Sandwich Glass Company

glass. Most earlypressedglasswas clear and colorless.Appealing jewel tones, such as this brilliant canaryyellow, were rare. ACF

American, 1825-I888

Compote ca. 1835-40 Sandwich,Massachusetts, Lacypressedglass H. 6in. (15.2 cm)

Gift of Mr. and Mrs. Robert Keuffel Keller, from the Gretchen Keuffel Collection,

Louis Comfort Tiffany American, 1848-1933

Leaded Glass Window New YorkCity, i880 Leadedglass

2oo2

2002.566

Anna Claypoole Peale American, I79r-1878

Sarah Ann Beck Ca. i818 Watercoloron ivory 3 x 2'2 in. (7.6x 6.4 cm) Dale T. Johnson Fund,

200oo

2002.292

Anna Claypoole Peale (laterMrs. James Staughton)was the daughterof portraitistand miniaturepainterJamesPeale. She studied with her father,assuminghis practicewhen his eyesightfailed, and became an accomplished miniaturist-indeed the most accomplished female painterin her distinguished family of artists.Her enchantingportrait of SarahAnne Beck (1804-1877) of York, Pennsylvania,holding her prettygreen parasol, is a fine exampleof Peale'searlywork, showing off her experttechnique in an intricate composition. The miniatureis in its original leatherettecasewith a white satin lining. Pealepainted it just beforegoing on a three-monthtrip to promote her skillsin Washington,D.C., with her uncle Charles Willson Peale,who had greatambitionsnot only for his own childrenbut also for select nieces and nephews.FromWashington in October I818,he reportedto his son RembrandtthatAnna's "merrit[sic] in miniature paintingbringsher into high estimationand so many ladiesand Gentlemen desireto sett [sic] to her that she is frequentlyobliged to raiseher prices."There the elderPealebooked sittingswith PresidentJamesMonroe, General AndrewJackson,and other statesmen,while Anna looked on and paintedminiaturesof CRB the same distinguishedsubjects. 38

The development of the glass presswas one of the most important innovations to glass technology since the invention of the blowpipe. In Americaby the mid-I82os decorative molds enabled artisansto fabricatethe form and ornament of a vessel in virtuallyone motion. Although the earliestdecoration tended to be geometric and based on patterns in cut glass, by the I83os pressedglass often featuredintricatedesigns with stippled backgrounds, giving a lacy appearance.This compote is one of the most elegant examplesof lacy pressedglass. The undulating rim is scalloped and has a ribbon of stippling, producing a shimmering effect. The bowl displays motifs of scrolls and other classicaland Rococo elements. Pressedglasswas fabricatedat many differentglasshousesduring the earlynineteenth century. This compote is attributedto the Boston and Sandwich Glass Company, one of the country'smost successfuland long-lived factories.It was made by pressing the bowl and the base separately;the bowl could also have been a stand-alonepiece. The two partswere joined by a wafer of molten

X 42 in. (85.i x o06.7 cm) Gift of Robert Koch, 200oo

332

2002.474

This window is one of the earliestand most unusual Tiffany windows known. Made for the entrancehall of the designer'sown apartment at 48 East Twenty-sixth Street, New York City, which Tiffany createdin 1878, it provided a bold artisticstatement consistent with other innovations of that avant-garde space. It is composed of irregularlyshaped glass in amber, brilliantpurple, and varied shades of blue, green, and opal. The window incorporatessome of the earliestkinds of glass utilized by Tiffany, including opalescent, confetti type, colored crown, and large, thick, rough-cut "jewels." Although scholarshave arguedthat it is one of the first expressionsof high art nouveau, it can also be considered protomodern in its daringlyabstract,nonrepresentational composition; it is in starkcontrast to the illusionistic compositions based on nature for which Tiffany is best known. An art critic in I880 contended that oil pigments may

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design and use of luxurious materials,they epitomize the delicacy, opulence, and elegance of that room and of the Gilded Age. ACF

Candace Wheeler for Associated Artists American,1827-1923 Portiere New YorkCity, ca. I883 Silk velvetand silk appliquddand embroidered with silk and wool II5 X 45 in. (29.2 X 113.3 cm) Purchase, Barrie A. and Deedee Wigmore Foundation

Gift, 2003

2003.48

have inspired the piece, suggestingthat Tiffany conceived of its design by daubing "the scrapingsof his palette with a view to the achievementof accidentaleffects." ACF

Herter Brothers American,activeI864-1906 Pair of Pedestals New YorkCity,I882 Carvedonyxand ormolu H. (each)64 4 in. (15.6 cm) Purchase, Barrie A. and Deedee Wigmore Foundation 2002.298.1,

Gift,

200oo

Herter Brothers,the leading cabinetmaking, design, and decoratingfirm during the second half of the nineteenth century, created this pair of opulent pedestalsfor their most prestigiouscommission, the grand Fifth Avenue residenceof William H. Vanderbilt. Each pedestal is a column carvedwith ribbons and "jewel"-encrustedgarlands.Ormolu capitalsincorporateclassicalfemale masks and birds'heads;decorativemounts feature stylized foliate patterns.They were intended as an integralpart of the ornate decoration of Vanderbilt'sdrawingroom, describedin 1883-84, shortly after its completion, as "gorgeous in the extreme:everythingsparklesand flasheswith gold and color-with mother-ofpearl,with marbles,with jewel-effectsin glass -and almost everysurfaceis covered, one might say weighted, with ornament." The drawingroom was unquestionably

the house's most sumptuous space. It was likened to the interiorof a richly lined jewel box, its walls hung with crimson fabric, embroideredwith gold threadand jewels of mother-of-pearl.Although the pedestalswere originallypart of an extraordinaryinterior scheme long since destroyed,they stand eloquently as independent works of art. In their

The elegant portiere (shown here in a detail) is the most recent addition to the Museum's collection of more than forty works by this innovative artist. It is a companion piece to a large embroiderygiven by her daughter Dora Wheeler Keith in 1928 (acc. no. 28.34.I), showing a field of purple and gold irises spangled with beaded dragonflies.That example and our new portiere,with its appliqued and embroideredpanel of purple and gold pansies dappled in sunlight and shadow, were exhibited together in a display by Wheeler and her new all-woman design firm, Associated Artists, in January1884, at a benefit to raise money for the base of the Statue of Liberty. One contemporaryarticle described our portiere:"'The Pansy Bed' by Mrs. T. H. Wheeler, is a good example of distinctly original work both in design, color and method. The effect is of a pansy bed in its greatestluxurianceof color, and shows how far towards realismand picturesqueness

detail

decorativework can be safely carried."The portierehas A A embroideredon one of the velvet panels, and A A is woven into the selvage of the gold silk-damasklining, which is patternedwith interlacingcolumbines. AP

Augustus Saint-Gaudens American,I848-I907 Richard Watson Gilder, Helena de Kay Gilder, and Rodman de Kay Gilder Modeledi879; castca. 1883-84 Plaster 8Y x I67s in. (21.9 x

42.9

cm)

Gift of David and Joshua Gilder, 20oo 2002.445

Among Saint-Gaudens'smost technically innovativesculpturesis a charmingseriesof low-reliefportraitscompleted during the late I87os in Paris.This example, a compact rectangularportraitof the Gilder family, modeled in May 1879,was the sculptor'smost ambitious to date. It depicts the sittersin shoulder-lengthprofilewith RichardGilder facing his wife, Helena, and their two-yearold son, Rodman. The Gilders, scions of genteel New York society, were close friends of Saint-Gaudens'sand ardentlypromoted him throughout his career.RichardWatson Gilderwas a poet, civic activist,and the influential editor of CenturyIllustratedMonthly Magazine (I88I-I909); Helena de Kay was a

still-life painter and a founder of the Art Students Leagueof New York. Rodman de Kay became an author and marriedComfort Tiffany,a daughterof LouisComfortTiffany. This bronze-tonedplasterand a bronze cast now at the DenverArt Museum were in the Gilder family for many years, as was a separatebronze relief of young Rodman 40

excerptedfrom the familyportraitand acquired by the Metropolitanin I994 (acc.no. 1994.50). The cast, in its original frame, is the first plasterto enter the Museum's extensive holdings of this consummateAmerican Beaux-Artssculptor. TT

Louis Comfort Tiffany American,I848-1933 Hair Ornament New YorkCity,1904 Silver,enamel,blackandpink opals,and demantoidgarnets H. 3'4 in. (8.3 cm) Gift of Linden Havemeyer Wise, in memory of Louisine W. Havemeyer, 2oo2 2002.620

This delicate hair ornament is acknowledged to be the most important example of Tiffany'sjewelryto come to light. It is a singularexpressionof his reverencefor nature in its fragilestate, in the form of two dragonfliesrestingon two dandelion seed balls. The dragonflies'backs are composed of black opals and the heads are of pink opals with demantoid garneteyes. The wings are fine silverfiligree.The dandelion seed balls are delicate creationsof enamel and filigree that aptly convey the plant's fragility.One of the two is shown as partiallyblown away by the wind. As an extraordinaryexample of the highest skills, it transcendsjewelryto become a sculpturalwork of art. The piece is consistent with a shift in jewelryproduction about I900, when artistsemployed semiprecious stones and enamelswith an emphasison craftsmanshipand design. Following the FrenchjewelersLaliqueand Fouquet, Tiffany introduced subjectsbased on nature, selecting insects and common wildflowers.The ornament has an unbroken provenancefrom its originalowner, Louisine Havemeyer, who, with her husband, Henry Osborne Havemeyer,was one of Tiffany's most ardent patrons.

ACF

MODERN Balthus (Balthasar Klossowski) French, I908-2001

Pierre Matisse 1938

Oil on canvas 51Y4 x 35 in. (130.2

X 88.9 cm)

Signedand dated (lowerleft):Balthus I938 The Pierre and Maria-Gaetana Matisse Collection,

2oo2

2002.456.7

At the age of twenty-four PierreMatisse (1900o-989),

Henri Matisse's second son,

ventured to New York to try his luck as an art dealer.In 1931he opened his own gallery in the Fuller Building on Fifty-seventhStreet, where, until 1989, he introduced the best of modern Europeanart to these shores. Pierregave Balthushis firstexhibition in I938,the yearhe also posed in the artist'sParis studio. After the scandalBalthus'serotic paintingshad causedin Parisin I934, he concentratedon portraitsin the succeedingyears. In these works he mingled truthfulness,stylization, and elements of the bizarre.He also reducedhis palette to a narrowrangeof browns,grays,and blacks,enlivened by an occasionalpatch of red, as here in Pierre's left sock. The French PierreMatissewas known for his reticence and reserve.Balthus, however, depicted him as a jaunty, relaxed Americanwith a loud tie. Shortly after World War II, the painting disappeared from the storagein which Pierrehad placed it. The portrait resurfaced in I99I, two years

after Pierre'sdeath. It is one of 124 works bequeathedto the Museum by Pierre'swife, Maria-Gaetana. SR

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

Henri Matisse

Marguerite Matisse (1894-1982), Henri

French, I869-r954

Matisse'sdaughter,is rememberedas a formidable woman. In his numerous portraits of her, Matisse alwaysconveyed her strength of character.He never idealizedher looks. Here the twenty-four-year-oldMarguerite fixes us with an unflinching gaze through her almond-shapedeyes. She wears a voluminous dark robe with white piping, topped by a fur stole, and the blue feathertoque is her only concession to color and femininity. At age six or seven Margueritesuffereda life-threateningbout of typhoid that necessitated severaloperationson her neck over the next years.The black velvet ribbon covering

Marguerite Wearing a Toque 1918

Oil on canvas 3I2 x 252

in. (80 x 64.7 cm)

Signed(lowerleft):H. Matisse The Pierre and Maria-Gaetana Matisse Collection, 2002.456.

2002

her scarsbecame her trademark.Marguerite took up painting, showing her works at the Salon des Independants. In the I930s, by then marriedto the ByzantinescholarGeorges Duthuit, Margueriteand her mother started the monumentaltaskof cataloguingMatisse's work, an ongoing project, today continued by Marguerite'sson Claude Duthuit and Wanda de Guebriant. This portraitremained in the Matisse family. Marguerite'syounger brother, Pierre Matisse, lent the picture only once to an exhibition of his father'swork. This may explain the work's near absence in Matisse literature.

Joan Miro Spanish, 1893-I983

Photo-

This Is the Color ofMy Dreams

1925

Oil on canvas 38 x 5- in. (96. x 129.5 cm)

Signedand dated (lowerright):Miro / I925 The Pierre and Maria-Gaetana Matisse Collection,

2002

2002.456.5

On the empty white canvasfloat only black letters forming the word "Photo,"the sentence "ceciest la couleurde mes reves"(this is the color of my dreams),and a patch of blue paint. If the script evokes a school primer, the curlicue lines of"Photo" bring to mind oldfashioned provincialshop signs. The color blue and the appearanceof words-independent of their meaningsplay large roles in Miro's native Catalan culture. Blue signals both hope and dreams. Catalanpeasantspaint the doors of their houses blue to signal the interior'ssacredness and decoratetheir cartswith elaborate inscriptionsand arabesques.

This work is the most evocative and written about of the artist'speinture-poesie,poetic paintings dating from 1924 to 1927, in which broad fields of color are animated by just a few enigmatic signs. Mir6 created these radically differentworks during a period when he was befriendingthe poets and writerswho laterjoined the Surrealistmovement. These poets, also known as the Rue Blomet group afterthe locale of their meeting place, sparked Mir6's alreadyfertile imagination. They encouragedhim to explore and use as sources for his paintings the subconscious, the irrational, hallucinations, automatism, and, of SR course, dreams.

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Alberto Giacometti Swiss, 1901-I966

The Apple I937

Oil on canvas 283/8 X 293/4 in. (72 X 75.5

cm) and dated (lower Signed right):Alberto Giacometti I937 The Pierre and Maria-Gaetana Matisse Collection, 2oo002 2002.456.3

Giacometti was both a sculptor and painter, although until 1946 he devoted himself mostly to sculpture.Since he painted only about a dozen canvasesduring the preceding decades,it is remarkablethat he painted in a single year, 1937,two still lifes of a small yellow apple.A much smaller,close-up view of the apple is in a privateNew York collection. 44

The artist began this still life with several apples.According to his brotherDiego, however, he then decided that one sufficed. The one he chose is barelylargerthan the knob of the sideboard'sright drawer.Giacometti further heightened the dramabetween the tiny fruit and the large rustic sideboardby placing them at a distance from the viewer. The interior depicts the family'ssummer house at Maloja, Switzerland.The identical reddish wood of the sideboardand the wainscoting form a warm monochrome backgroundto the apple, the yellow hue of which is echoed in the strip of wall above. In 1936 Francecelebratedthe thirtieth anniversaryof Cezanne'sdeath with a large retrospectiveexhibition and numerous books and articles.Giacometti honored Cezanne with two still lifes of an apple. SR

Josef Hoffmann Austrian,1870-g956 Center Table 1903

Ebonizedwood, marquetry,marble,nickelplated brass H. 23/2 in. (59.7 cm)

Purchase, Lila Acheson Wallace Gift, zoo2 2002.307

Hoffmann, the Austrian architectand designer,was at the center of the modern movement that flourished in Vienna in the first decade of the twentieth century. Before 900o his designs were inspired by the art nouveau or Jugendstil emphasis on organic motifs and curvilinearforms. In I903, as a founder of the Wiener Werkstatte,a company of designers,artists,and craftsmen who produced luxury objects in the most

In this art nouveau evocation of a German Renaissancestonewarejug, the designer took his personalstyle to a dramaticconclusion: The body of crystalglasswith its stylized cut and matte thistle flowers is mounted in three slender,root-shapedsilverstrapsdescending from a wide silverlip decoratedwith embossed thistle motifs. The handle is formed to suggest a narrowbranch,and the whole is crowned by a domed lid. This imaginativewine jug was the first of many vibrant creations invented by Adler for the firm of P. Bruckmannund S6hne, a leading Europeansilver manufacturerin the late nineteenth and the first half of the twentieth century. Adler was unquestionablyone of the most gifted German designersand sculptors of his time. As a professorof applied arts and crafts,he taught at the prestigious Kunstgewerbeschulein Hamburg from I907 to I933. In Nuremberg he directed an annual master class in design from I9Io to 1913,thus influencing a generation of young European craftsmen.Adler was dismissed from his various positions in I933. In 1942 he was

deported to Auschwitz, where he died.

advancedstyle, Hoffmann abandonedthese earlierdesigns for a revolutionaryapproach based on strict geometry and a rejectionof historicistdecoration. This center table dates from Hoffmann's most innovative period. Inset white marble highlights the octagonal tabletop of ebonized wood; the side edges are inlaid with a pattern of squaresin alternatingwoods that enforce the geometric motifs. Four straightlegs meet the circular,slightly domed base of hammered nickel-platedbrass,furtheremphasizing the design's adherenceto Hoffmann's new ideal forms. This table was part of a suite of furniturethat included two matching cubic armchairsand a settee, designed for the salon of AlexanderPazzani,an JA importantclient of Hoffmann's.

Friedrich Adler (designer) German (I878-between 1942 and 1945)

P. Bruckmann und Sohne (silver manufacturer) German(Heilbronn),activei8o5-i973 Graflich-Schaffgot'sche Josephinen-Hutte (glass manufacturer) German(Schreiberhau,now SzklarskaPoreba, Poland), closed1945 Wine Jug

lJ!

1903

Silver,andpartially cutglass H.

3 /8 in.

(34.5 cm)

Purchase, Rogers Fund and funds from

various donors, 2oo2 2002.413

This example, with its raisedwaistline, vestigial draperyevoking an earliermonobosom bodice, and columnar silhouette with a faint S-curve, conforms to the styles of I9I0 at such venerablehouses as Paquin, Doucet, and Worth. These firms, not as avant-garde as that of Paul Poiret (whose innovations were embracedby the Viennese intelligentsia), reflectedthe regalconservatismof the Hapsburgcourt. In this instance scrolling "bizarre"motifs in silk floss and the applicationof bugle beads lined with pure gold createa particularlysumptuous effect. Becauseof the uncommon purity of the metal, the beading'sbrilliancecontributesan uncanny freshnessto the gown's appearance. HK

Imile-Jacques Ruhlmann French, 1879-s933

Carpet (design no. 3002) Ca. I925 Wool Diam. 8ft.

in. (245 cm)

Purchase, Bequest of Thelma Williams Gill, by exchange, 2002 2002.365

G. and E. Spitzer Austrian, active 1837-1932

Ball Gown Vienna,I9Io-12 Pink silk satin and emboideredpinksilk net L. (at center back) 68 in. (r74 cm)

Purchase, Irene Lewisohn Bequest, 2003 2003.46

This ball gown from a collection of dresses associatedwith the duke of Cumberland's wife, Thyra, princessof Denmark, and his daughtersmerges the aestheticsof the Frenchhaute couture with the technical mastery of a renowned dressmakingestablishment of early-twentieth-centuryVienna. G. and E. Spitzer,along with the houses of Christoffvon Drecoll and Griinbaum, furnished the Viennese upper classeswith gowns reflectingthe most recent Parisiantrends.

The most renowned designerof his day, Ruhlmann is still considered the primary exponent of high-style French art deco in the yearsafterWorld War I. Though best known for extraordinarilyluxurious furniture, Ruhlmann'sfirm, Ruhlmann et Laurent,could provide any element needed for an interior, from architecturalsettings to upholsterytextiles. His work set the standard for other French designers. Ruhlmann's furnitureis noted for its rich materials,subtlety of line, and exquisite craftsmanship;his patterneddesignsaremuch more flamboyant.The still-vivid palette of this carpet-with its sumptuous juxtapositions of pink, orange, red, ecru, gray, and blue-is typical of his taste for vibrant color, which he melded with the swirling abstract floral spiralsset within a geometric border. Ruhlmann's interest in the integration of color and pattern has close ties to other avant-gardearts of the period, from Fauve paintings to the set and costume designs of the Ballets Russes.This carpet is the first by Ruhlmann to enter the Museum's collection, and it joins an important group of his furniture, wallpapers,textiles, and lighting that forms one of the principal strengthsof the modern design collection. JG

Hugo Stinnes

:~~~owner ?,

Portfolwscathing I7~

f irst p870oI924) was the

of Max Beckmann's famous portfolio Hell (i919), of which Night (plate 7) is shown at the left. Stinnes acquired HellinI92n , the same year Grosz depicted him in this portrait. was one of the most renowned and

/Stinnes / r?

)

enlightenedcollectorsof drawingsand prints of his time. He was also one of the most pow-

?:::~~~I:

was vast real and reached EachHis in from rfulempire and ruthless industrialists Germany. ;. s:::~!}paper: and Argentinato oil concessionsin ~~~~~~~~~~i~~~~~Purchase,~estate , ~Lsequence;mines foundries, shippinglines, papermills, ~ banks,and newspapersin Germany.Stinnes's ;ga~~est ~~ ~~a~~industries profitedgreatlyduringWorld War I, and afterwardhe took advantageof Germany's severeeconomic dislocationsto extend his Beckmnfactory and businessholdings. his customarybowlerhat and i!~ness:i and paSportcping Stinnes standshere in a rubbleof skulls cigar, bones scattered ~:~~~~~~~~~~~~Thei ~~~~~and among the bundles and bags of currencyat the tycoon's disposal.Since War I his power had far exceededthat vividlyexpeWorld George Grosstz MaxBearth n German emperor shown in Stinnes's the earlymasterpiece,thepaintingNightG(r98-of 13 90AerG, hands as a nearlynaked puppet with the word GerIman,9588 The Secret Emperor (The Industrialist Hell had fat belly--who stenciled on "Fritz" inits November abdicated Hugo I9I8 and I9I9 gone already Hugo stiNnes) I~~~~~~~~~~919 abdicatedin November 1918and gone ~already S~~tinnes)~ Portfoliowith it transferlithographsonJapan r1920 SR into exile in Holland. and ink on brush, Pen, paper paper 25 38 x 19 in. (64.5 x 48.3 cm) 34 2 x 24 in. (87.6x 6r cm) Each lithographis signed,titled,and numbered Purchase, Lila Acheson Wallace Gift, a

I/75

2002

Purchase, Lila Acheson Wallace Gift, 2002

2002.492

20oo02.49a-n

Beckmanncreatedthe portfolio Hell, a sequenceof eleven lithographs,afterhe visited from his attic.Beckmann copiedorthis image of the bloodiwhen one Berlinin March191i9, est and cruelestepisodes of the post-World War I revolutionshook the city. In just two days duringMarch twelve hundred people were killed. In exceptionallylargeimages, Beckmannnarratedhis journey, as both wit-!: ness and participant,through this city unhinged by violence and vice, revolutionand counterrevolution,death and starvation. The artist'sconviction that hell is life on earthis most vividly expressedin plate 7 of the series,Night (illustrated),in which three murderersambush and torturea family in an attic. Beckmanncopied this image from his earlymasterpiece,the painting Night (I918-

I::i-

A '

19; Kunstsammlungen Nordrhein-Westfalen,

Diisseldorf), a scene of violence and rape unparalleledin contemporaryGerman art.-O

Walter Sickert British, I86o-1942

Maple Street Ca. 1923

Etching Sheet Io s x 8 in. (26.4 x 5y8 in. (20 x 3 cm)

20.3

cm); plate 7 58 x

Purchase, Emma Swan Hall Gift,

2002

2002.465

Sickert, painter and etcher, apprentice to J. A. M. Whistler, and friend of Edgar Degas, was chiefly interested in portraying the world as seen by the man in the street. His subject matter included indoor life-specifically popular music-hall and theater interiors, parlors, bedrooms, and studios-and city scenes that caught his visual imagination. Here Sickert depicts buildings at the intersection of Cleveland, Maple, and Southampton Streets in central London. Silhouettes of two women in long skirts pass before a storefront. The overall atmosphere is eerily quiet. Periodically between I905 and I929 Sickert had studios in Fitzroy Street, which crosses Maple, and he repeatedly used the neighborhood as his subject. The Museum recently acquired a painting, Maple Street, London (ca. in which the motif I922; ace. no. I998.45I.2), is rendered in somber colors. O Sole Mio (ca. 1923; ace. no. 2002.466), a smaller version of the Maple Street etching, was also acquired in 2002. It was characteristic of Sickert's method

to study and reworka particularsubjectin differentmedia, as illustratedby the oil painting and these two prints now in the Museum's collection. ALS

Feininger's name is always closely associated with the Bauhaus and with his favorite In 1936, after almost in of fifty years Germany, Feininger living decided to return to America. That summer medium-watercolor.

and the next, he taught in Oakland, California, and visited San Francisco. This nocturnal view of San Francisco's skyscrapers, rising against a delicately tinted bluish sky with a hovering crescent moon,

Lyonel Feininger American, I87r-I056

San Francisco I r939 Watercolor, pen and ink, and charcoalonpaper Signed(lowerleft, in blackink): Feininger; titled (lowercenter):San Francisco/ I; dated (lowerright).i8 ix 39

was painted in September 1939. Stylistically, it represents a transitional phase in Feininger's development: A more fluid, gestural, almost nervous, line is replacing a rigid linear structure, in which angular, frequently faceted forms, are lit in a way that makes the objects seem refracted through a prism. Here the spidery lines drawn in ink define the architec-

Gift in memory of Helen Serger, 2002

ture, rendered in muted hues of gray, yellow, and blue watercolor. The artist's exceptional

2002.402.3

command of the watercolor medium adds

222 X I8Xs in. (56. X 46.7 cm)

intensity and mystery to the mood of the city MD by night. 48

establishedby the artistin his numerous paintings, drawings, and prints. The remarqueson the extraset of etchings are fragmentarysketches of different motifs. Together with the unpublished prints, they provide exceptional insights into Matisse's MD processof creation.

'I /i/

Wassili Luckhardt German, I889-1972

Hans Luckhardt German, I890o-954 -' . /

Henri Matisse French, i869 -954

"Poesies" by Stephane Mallarme Illustratedbook (unbound quarto) 1932

Etching Book page I3 x 9 p in. (33 x 25. cm) Purchase, Eugene and Claire Thaw Gift, in honor of Pierre and Maria-Gaetana

Yeshwant Rao Holkar Bahador (1905-1956),

maharajaof Indore, was enamored of Europeantaste and spent much of his time in Paris,where he patronizeda number of artists.Desiring a new palace in India, he chose for the project the modernist German and architect Eckart Muthesius (1904-1989), after the building's completion in 1930, he

outfitted it with furnitureby such important designersas Eileen Gray, Le Corbusierand CharlottePerriand,1Emile-Jacques Ruhlmann, and the Luckhardtbrothers,who were responsible for this chair.The maharajanamed his palaceManik Bagh (ewel Garden)and plannedwith the sculptorConstantinBrancusi

Chair (model STI4)

(I876-I957), from whom he acquired the three

193I-32

final and largestversions of the sculpture Bird in Space,the addition of a mausoleum and temple for meditation; they were never built. This boldly cantileveredchairwith its sweepinglines is one of a largegroup ordered by the maharaja.It is both lightweightand easily portable-qualities that recommendedit for use in the combined theater-ballroomof the palace.It is also extremelyelegantin form.

Chrome-platedtubularsteel,painted laminated wood H. 34 in. (87.6 cm) Purchase, The Horace W. Goldsmith Foundation 2003.292

Gift, 2003

JSJ

Matisse, 2003 2003.84a-rrrr

Matisse did not try his hand at book illustration until he was sixty-two yearsold. In I93I a young Swiss publisher,Albert Skiraof Lausanne,invited him to illustratehis choice of poems by the French Symbolist poet Mallarme(1842-1898). Matisse produced an extraordinaryvolume of poems accompanied by twenty-nine etchings (23 full-page and 6 half-page). The present copy is exceptional. Besides the twenty-nine etchings, it contains a duplicate suite with remarques(artist'snotes) and an additional nineteen etchings that were not published. Executedwith an unshaded, energetic, and flowing line achievedthrough the use of a sapphireneedle point, each etching spreadover an entire page (or half page). The whiteness of the sheet is thus carefullybalanced with the blacknessof the printed image. Many of the illustrationsrelateto the dance, while some are portraits,landscapes, or views from a window. The motifs, not literaldepictions but Matisse'simpressions of the poems they accompany,were mostly derivedfrom the vocabularypreviously

1- F-

Study for "Banquet"

Untitled

Studio 65 (designer) Italian (Turin),founded z965 Gufram (manufacturer)

1950

Ca. 1950-52

Italian (Turin), founded 1952

Brushand ink and gouacheonpaper

Brushand ink on cut and pastedpapers

"Capitello" Side Chair

David Smith

Franz Kline

American, I906-1965

American, 9I10-r962

x i8 Y in. (3.8 x 47.9 cm)

Signedand dated (uppercenter):David Smith 1950; inscribed(upperright):Black / Frame/ painted / segments / 50 Bequest of Emily Genauer Gash, 2oo2 2003.38

Smith, well known for his large burnishedsteel constructions,was also a prolific draftsman. Among the hundredsof drawingshe produced, there are ones conceived as independent works of art in addition to those that were preparatorysketchesfor sculpture.In this line drawingSmith's brushstrokesof black ink are assuredyet spontaneous, conveying the artist'sgreat exuberancethrough his personal"handwriting."It is one of several studies that he made for Banquet(I95I; National Trust for Historic Preservation, Nelson A. RockefellerBequest), a metal work that combines the flatnessof painting with the form and substanceof sculpture.In both the drawn and sculpted versions of this composition varioussigns, symbols, and objects are attachedin horizontal registersto an open, two-dimensional armature;in each version, certainelements are also painted in. The highly abstractshapes seem to resemble chairs,tables, plates, and food items, including fish, evoking the theme of a banquet. LMM

x 3 s in. (12.1 x 9.8 cm)

Gift of David and Renee McKee,

I971 2002

2002.580

This black-and-whitecollage consists of two trapezoidalpieces of paper, each painted with abstractforms in black ink, mounted on a white paper support. Like many of Kline's largehouse-paint or oil paintings of this period, the vigorous but tightly locked black forms appearto extend at the lower left and right cornersbeyond the support, perhaps into the actual space of the observer.In this small, elegant work, the narrow,pointed shape extending from the middle of the lower cut paper to the right perimeterof the collage causesthe viewerto see the tension between the centerand the edge of the composition. As with Kline's small works on paper of the I950s, this drawing appearsto be a study for a largeAbstractExpressionistcanvas. It joins two other Kline drawingsfrom the same donors in the Museum's collection, as well as NR severalof his important paintings.

Polyurethane foam H.

2602

in. (67.3 cm)

Purchase, Friends of Twentieth Century Decorative Arts Gifts, by exchange, 2003 200o3.2a,

In Italy throughout the I96os and I970s,

radicaldesign groups were establishedin opposition to the pure functionalism of the InternationalStyle. In I965 Studio 65 was founded by Piero Gatti, Cesare Paolini, and Franco Teodoro, architectureand art students in Turin. Their ironic adaptationof classicalelements predatesthe historicist designs of such I98os postmodernistsas Robert Venturi and Michael Gravesin America and Hans Hollein, Ricardo Bofill, and Aldo Rossi in Europe, and it also takes note of pop art developments of the period. The "Capitello"side chair is made from a self-skinning polyurethanefoam that has

been molded into the uppermostarchitectural element of the Greek Ionic columnthe capital. Its ironic humor lies in the fact that this soft, pliable modern materialhas been shaped as a hard, load-bearingform, an importantsymbol of ancient Greek architecture. The visual referencesderivedfrom architectureand art supersedefunctionalism, as indeed they do in most objects designed by Studio 65 and other antidesigngroups of this period, transformingfurniture,jewelry, accessories, and even architectureitself into objects of fantasy.

public space in which he is both ever present and never quite welcome-as invisibleman, as unsightlynuisance, and, just beneath the surface,as a figureof menace. Clad in black and literally"kickingthe bucket"through the streets,Hammons performsthe condition of exile-at-homeas a kind of walking death, epitomized by the ominous, extended blackout that opens the piece. Yet, paradoxically,it is this very death, the artistsuggests,that gives birth to African-Americanculture, specifically the blues, with its unique combination of DE sufferingand joy, rageand release.

David Hammons American,b. 1943 Phat Free

Rodney Graham Canadian,b. 1949 Welsh Oak, #i

I995

1998

Single-channelvideowith sound Dimensionsvariable;5:20 Purchase, Alfred Stieglitz Society Gifts,

89 x 72 in. (226.1 X 182.9 cm)

Purchase, Alfred Stieglitz Society Gifts,

2003

2002

2003.269

2002.381 zooz.38r

One of the most interestingand provocative artistsworking today, Hammons has examined black urban culture for three decades, using the strategiesof the avant-gardefrom Duchamp's Readymadesto Minimalism and Fluxus. He has sold snowballson an uptown sidewalkand createdelegant, less ephemeral sculpturefrom chickenbones and from human hair gathered from a Harlem barbershop; Hammons recyclesthe detritusof the everyday into highly poetic, antimonumentalreflections on the African-Americanexperiencethat are alternatelysardonic,wistful, or jubilant. In this hauntingwork of video art, Hammons maps the path of a black male (in this case the artisthimself) through a (white)

Graham,a multimedia conceptual artistfrom Vancouver, built a giant pinhole cameraand parkedit for a month in 1979 in front of

Chromogenic print

twelve different trees. The public was invited to enter the camerato view the luminous image of a tree cast upside down on the camera'sback wall. In 1990 he again approached the subject, this time photographingancient oaks in the English countrysidewith a conventional camera.Invertedon gallerywalls, the impressivelylarge prints suspended the trees as if in the mind, while insistently recallingthe constructed aspect of all artistic representation. In 1998 Grahamproduced his definitive work on this theme, a series of seven monumental images of Welsh oaks printed on colored paper to produce warm, deep sepia and charcoalhues. Referringto the traditions of depicting noble trees, from CasparDavid Friedrichto Atget, Graham reworkedthe Romantic idea of the heroic, solitarysentinel, divesting it of nostalgia by clarifyingthe present context-the ancient tree, although still magnificent, was now a mere icon of the natural environment hemmed in by human concerns. The almost hallucinatorytransformation wrought by the inversion of the images is profound, as disorienting as if the ground were to become transparent,the branchesto become roots, and the sky were to fall.

MMH

......

, i ; t .....

a . i . x ^ .

Richard Avedon American, b. I923

June Leaf, Artist, Mabou Mines, Nova Scotia July i8, I975

Gelatinsilverprint 49y2 X 39/2 in. (125.7 x 99.3

cm)

Gift of the artist, zoo002 2002.379.24

This mesmerizingphotographof the artist June Leaf is a masterpieceof Avedon's mature,white-backgroundportraitstyle. With uncompromising directness,Avedon depicts his subjectsagainsta bright white backdrop,with no distractingprops or extraneous details. With everythinginessential stripped away, what remainsis a remarkable intensity of characterization,at once iconic and dazzlinglyspecific.A bohemian

Madonna, Leaf folds her arms in a gesture of self-protection,yet her featuresradiatea deeply humane warmth and generosity of spirit. The portraitis part of Avedon's gift to the Museum of I28 photographsthat made up the entire contents of his landmarkexhibition of portraitwork, held at the Marlborough Galleryin New York in I975. Featuringsuch luminariesas Igor Stravinsky,EzraPound, Isak Dinesen, Jean Genet, and Buckminster Fuller, this collection constitutes a modernday pantheon of the key intellectual, artistic, and political figuresof the late I950o through the early I970s. Among the other highlights are three spectacularmural-sizedgroup portraits-twenty-one to thirty-five-feetwideof Andy Warhol and the members of the Factory (1969), of the Mission Council (I971), and of the Chicago Seven (I969). MF

Till Freiwald German(b. Peru) 1963 Untitled 2000

Watercoloronpaper 3o x 203/ in. (76.2 x 5i.8 cm)

_ _____ _______ __I_

Gift of Barbara Schwartz, in memory of Eugene M. Schwartz, 2ooz 2002.368

Freiwald'smonumental (90 by 60 inches) watercolorportraitsof unidentified, often androgynous-lookingyoung people are painted from memory. However, each is based on a carefulstudy of the model painted from life, such as the young woman in this smaller watercolor. The visage of the woman is centered on a monochrome backgroundand cropped at the top of the head, which flattens the image. Freiwaldcreatedthe sides of the face with sharplydelineatededges,which also reinforces the two-dimensionalityof the portrait.The artistwields watercolorpreciselyto renderthe exact featuresof the face but does not disclose the emotions of the sitter. NR

Paula Rego British(b. Portugal)1935 Getting Readyfor the Ball

Irving Penn American,b. i917 Nude No. 70

2001-2

1949-50

Lithographs

Gelatinsilverprint

Overall 332 x 72 in. (85.I x 182.9 cm)

5/2 x i434 in. (9.4 x 37.5 cm)

Purchase, Gertrude Whitney Conner Gift,

Gift of the artist, 2oo2

2003

2002.455.30

2003.120a-c

This triptychof lithographsprinted in eighteen colors was inspiredby Rego's long interest in CharlotteBronte'snovel Jane Eyre.A scene of women and young girls preparingfor a formalparty unfolds in a single moment, with Jane Eyre appearingin each panelhomely and dour at left, watching young girls primping before a mirrorat center, and being fitted in a gown at right. Rego at once draws the viewer into her distinctive pictorialworld, where she combines themes from Jane Eyre with the grotesquefigure types of Diego Velazquezand Franciscode Goya and the mordantwit of eighteenth- and nineteenthWilliam Hogarth, centuryBritishcaricaturists JamesGillray,and GeorgeCruikshank. After many yearsof producing etchings, Rego found that drawingon stone gave her a freedom she had not known since her student days. The twenty-fiveJane Eyre prints-her first major lithographicportfolio-are part of a largebody of paintings, drawings,and prints on the subject that she began in 200I. This triptychand a singlelithographin black on white depictinga solitaryJaneEyrearethe firstworksby this celebratedBritishfigurative artistto enterthe Museum'scollection. ALS

One of the world'spreeminentphotographers, IrvingPenn is famousfor his insightfulportraiture,surprisingstill lifes, and influential

fashionwork;he is less well known as a superb photographerof the female nude. His most importantpicturesin this genrewere made over fifty yearsago, when the then-youngPenn engagedseveralartist'smodels in a seriesof intense sessionsmodeling only their unadorned bodies. The sessions took place on weekends and in the evenings and were essentiallya personalantidote to the ephemeralfashion world of women's magazinesthat occupied Penn's days. The women he chose as subjectsand the ways he viewed them produced nudes that were highly unorthodox by midcentury fashion standards:their fleshy torsos are stretched, twisted, and folded, giving them extrabelly, mounded hips, and puddled breasts.Like Matisse, who often left contours open because the light ate them away, Penn createdfiguresthat are fragmentarybut alwayscomplete; although they lack limbs and heads, they seem whole, like antique torsos resplendentin the light. This photograph is one of sixty-six exquisitelywrought prints that the artist donated to the Museum. MMH/MF

AFRICA,

OCEANIA,

AND

THE

AMERICAS

Neck Emblem or Sash

Lidded Bowl

Peru(Pukara),2nd centuryB.c.-2nd centuryA.D. Camelidand human hair H. (withouthair) 25 x 714 in. (63.5x i8.5 cm) Purchase, Pat and John Rosenwald, Fred and Rita Richman, and Discovery Communications Inc. Gifts, 2003

Mexico (Rio Blanco), 6th-gth century Ceramic H. 7y2 in. (Ip.I cm) Purchase, Gift of Mortimer D. Sackler, Theresa Sackler and Family; and Mark and Anla Cheng Kingdon Foundation Gift, in memory of Leonard Bernheim, oo002 2002.4Y8a,b

2003.23

This textile, of a highly unusualshape, is extremelyrare.While attributedto the Pukara tradition,believedto be a precursorof the better-knownTiwanaku culturein the Lake Titicaca areaof highland Peru and Bolivia, it is said to have come from the Ica Valley on the coast of southern Peru. The iconography, in fine interlockedtapestryin colors ranging from naturalbrown and beige to dyed red, blue, green, and yellow, consists of human and animal faces in profile.The arrangement of the human headswith pointed noses and split eyes, looking in differentdirections,and the diamond-patternedpanel are characteristic of the Pukarastyle. The principalhead faces down and expressesa sense of supernaturalpower, with its fanged mouth, snake, and profilepuma with spotted pelt decoratingit. Below the head and connected to it by two bands is an upside-downhead, from which hang long strandsof human hair. It is readas a trophy head, a common theme during this period in southern Peru. The long stringsat the top suggestthe piece was worn around the neck or waist of an importantindividual, HK either at the front or at the back.

Made in the Mexican gulf coast region of Veracruzbetween the sixth and ninth centuries, this bowl relatesclosely to an ancient American ball game. A form of competition and/or ritual that was at least two thousand yearsold when the bowl was produced, the game was played with a hard rubberball and had rules and meanings that differedwith time and place. On the gulf coast it was highly significant, and many game images are found in the art of the region. Worked in reliefaround the body of this bowl aresix figures,four of whom are dressed as players.Between them are seatedlordly personages,one of which (center)sits within the coil of an undulatingserpent.On the lid are two other pairsof players,in active, body-tothe-groundposes. The largeball between them displaysa profilebird'shead. While the imageryof vesseland lid is clearlythat of game and players,the significanceof the whole is not clear.An unusualfeatureof the work is its combination of styles;aspectsof both the centralVeracruzregion of Rio Blanco and the Maya areato the south arepresent. JJ

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

On this figure, in addition to the use of black to articulatefeatures,broad passagesof red and white pigments are thickly applied to the surface.Throughout the region these colors referto essentialprecepts:red to life force, white to social order and unimpeded perception, and black to death and mourning. The use of all three alludes to the work's status as an abstractportraitof distant ancestorsand to its role in diagnosis and divination. AL

Mosquito Mask Alaska(Tlingitpeople),before1843 (?) Painted wood,copper,and shell W 6/4 in. (I7.i cm)

origins of the Peter the Great Museum of Anthropology and Ethnology go back to the time of the ruler'sKunstkammer(art room) in the earlyeighteenth century. jj

Gift of Ralph T. Coe, 2ooz 2002.602.1

Among the Tlingit people of southeastern Alaska,who inhabit a heavilywooded, rugged region between mountains and sea along the Pacific coast, mosquitoes are thought to have supernaturalassociationsand are given roles as spirit helpers.As represented in masks during the nineteenth century, mosquitoes were carvedof wood and had very long insect proboscises.Embellished with side flaps,walruswhiskers,and feathers, the depictions were imposing, and when worn on the foreheadsof participantsin curing ceremonies,they were much respected. The present example,which may have been collected in the early I84os, when Alaska was

in Russianhands, has lost those attachments, but the mosquito has retainedits imperious demeanor. A similarmosquito mask is in Russia's Peter the Great Museum of Anthropology and Ethnology in Saint Petersburg,where it was acquiredin the earlyI84os when conscious effortswere made to expand the collections of that museum. The acquisition date of the Saint PetersburgTlingit collection puts it among the most important native Northwest Coast collections in the world. The

Reliquary Figure Gabonor Republicof the Congo(Ambete),igth century Wood,pigment, metal,and cowrieshells H. 322 in. (82.6cm) The Pierre and Maria-Gaetana Matisse Collection, 2oo0 2002.456. 7

Like his father, Henri, PierreMatisse acquiredworks of Africanart that relatedto the Modernist interest in abstractionof the human form. Strikingfor its juxtapositionof still and active attitudes, this standing male figure is a receptaclefor ancestralrelics. The interior of its hollow torso is accessiblethrough the back'sremovablerectangularpanel. While sculpturaltraditionsamplifying the importance of sacredancestralrelics are widespread in this region of centralAfrica, they generally consist of figurativesculpturesthat accompany relic containersor bundles. This example is one of a seriesof eight relatedAmbete works collected north of present-dayCongo-Brazzavilleby Aristide Courtois during the early twentieth century.

Elephant Republicof Benin, KingdomofDanhome (Fon), ipth century Silverand iron H. 12 in. (30.5cm) Partial and Promised Gift of Anne d'Harnoncourt and Joseph Rishel, in memory of Rene and Sarah d'Harnoncourt and Nelson A. Rockefeller, 2ooz

Fon proverbs-such as "the elephant steps on the ground with strength"-that emphasize the enduring impressionof their actions on successivegenerations. While servingas icons of royal strength and identity, such silver sculpturescreatedat this court were also looked upon as "power" objects that repelleddangerand enhanced the AL well-being of the state.

2002.517.2

This silver-platedsculpturewas designed as a conceptualportraitof the life sign of a Fon sovereignof the West Africankingdom of Danhome. In the eighteenth and nineteenth centuriesDanhome's leadershipengagedin aggressivemilitaryand economic expansionas participantsin the Atlantic slavetrade. Silver, derivedlargelyfrom Europeancoins, was hammeredto encase royalsculpturalrepresentations and to createjewelryfor membersof the court. These resplendent,preciousculturalicons were removedfrom palaceshrines dedicatedto the war god, Gu, and displayed annuallyin public ceremonialprocessions. Most important among the works featured were those formallyderivedfrom an individualruler'slife sign. The elephant imageryrepresentedin this piece is associated with the divination signs of two nineteenthcenturykings renowned for their military successes:Guezo and his son Glele. This visual metaphor, intimately associatedwith their legacy, is complemented by a number of

RoofFinial (yaba) Papua New Guinea (EastSepikProvince, Tongwindjamvillage,Kwomapeople),ipth20th century Woodwith tracesofpaint L. 93 in. (236.2 cm)

Gift of the de Teliga Family, in memory of Douglas Newton, zooz 2002.352.1

This impressiveroof finial, or yaba, once adorned the apex of the gable of a men's ceremonial house among the Kwoma people of Tongwindjam village, Papua New Guinea. The house servedboth as the daily meeting place for the village men, as well as the focus of annual religious ritualscelebratingthe yam harvest.The finial, which would have looked down upon the men as they entered and left the house, consists of two figures,depicted from two differentformal perspectives.The first, facing the viewer, shows a stylized male image that likely representsa clan spirit or

figure from Kwoma mythology. The head displaysthe concave face, prominent linear brow ridge, pendant nose, and protruding eyes that typify Kwoma sculpture. The firstfigureis surmountedby the image of a crocodile, with slender, elongated body and pointed jaws depicted as if viewed from above. Hooklike projectionsextend backward from the bases of its front legs, which are shown with the feet resting on the top of the rearsection of its head. This imposing crocodile,which forms the apex of the finial, probablyrepresentsthe totemic species of EK one of the village clans.

Seated Figure CarolineIslands(SatawalIsland), late Igthearly20th century Woodand shell with tracesofpaint and resin H. 8Y4in. (21 cm) Purchase, Fred and Rita Richman Gift, in memory of Douglas Newton, 2003 200oo.8

Martin Chambi Peruvian,i89I-i973 Panorama ofMachu Picchu

With its stylized facial featuresand angular body, this figure embodies the spare, minimalist approachto the human form typical of the sculpturaltraditionsof the Caroline Islandsof Micronesiain the western Pacific. The domed head and smoothly curving brow lines contrastwith the angularityof its thin lozenge-shapedmouth and markedlypointed chin, giving the face an almost masklike appearance.Of indeterminategender, the body is renderedas a seriesof interlocking angularforms, with the hands resting on the knees, which are only subtly indicated. While a stone example recoveredarchaeologically attests to the antiquity of the tradition, there is little preciseinformation on the iconographyor function of Carolinianseated figures.Some sources indicate that they may have representedrecentlydeceasedancestors and were kept in the home, where they could be called upon to interveneon behalf of their living descendants.They may also have been associatedwith a type of canoe magic, in which the figurewas placed in a small canoe and set adriftto lure evil influencesaway from the village. Showing evidence of extensiveuse and handling, this examplemay possibly have been employed in a varietyof contexts. EK

Machu Picchu has fascinatedour imaginations since archaeologistHiram P. Bingham firstvisited it in I91. Few locations are as remote, intriguing, and visually compelling as this former center of the Inka empire, now thought to have been a country palace during the late fifteenth to early sixteenth century. Photographsrarelycaptureits sweeping grandeurand architecturalcomplexity, and equally uncommon are images of it made by Quechua artists.Thus we marvelat this stunning image by Peruvianphotographer Martin Chambi. Born in Coaza village in the high country near LakeTiticaca, Chambi first encountered photographyat the mining company where his fatherworked. Inspiredby the medium, Chambi traveledto the thriving artisticcommunity of Arequipa to study with the photographerMax T.Vargas. Chambi later opened his own portraitstudio in Cuzco, where he was based for his entire career.His desire to make photographyaccessibleto all prompted him to sell hundreds of photographic postcards, and he is creditedwith popularizing the format in Peru. Chambi is said to have been passionate about photographing Machu Picchu and did so many times beginning in I9I7. His vision and his heritageare evident in this exquisitely

I925-3os

Twogelatin silverprints 6'2 x 18 in. (6.5 x 45.7 cm)

Purchase, Arthur M. Bullowa Bequest, 2003 2003.3I

detailed panorama.

VLW

ASIA

Short Sword

StandingAttendant

Chinese,EasternZhou dynasty(770-256 B.c.), ca. 6th-5th centuryB.c. Bronze L. 14 in. (35.6cm) Gift of Eugene Victor Thaw Art

Chinese,Tangdynasty(6I8-906), 7th century Earthenwarewith slip andpigment H. 20 8 in. (5I.I cm) Purchase, Barbara and William Karatz

Foundation, 2003

2002.501

2003.I93

Throughout the first millennium B.C., the nomadic tribes on the Eurasiansteppes remainedan important conduit between China and the West. Their frequent contact with the sedentarycultureshelped bring about some of the earliestexchangesbetween the two civilizations,of which this rarebronze short swordprovidessignificantevidence. Short swordswith integrallycast handle and blade like the present example originated among the nomadic tribes. The ornate decoration on this handle, however, had its source in the art of the West: The complex relief designs and the tiny raiseddots on the handle show a conscious effort to simulate the multifaceted and granulatedsurfacesof imported goldwork. Recent archaeologicalfinds suggest that the short sword was most probablymade in the bronze foundriesof the Qin state in far northwesternChina that had close connections with the nomads. The craftsmencombined the exoticism of gold and the exacting standardsof Chinese bronze casting to satisfy their demanding non-Chinese patrons. zjs

Gift, 20oo

During the fourth and sixth centuries, the population in northern China, particularlyin the areasnear Xi'an, was ethnically mixed. This standing attendant, wearing a belted tunic and tall boots, and with a rolled-up cloth wrappertied around his chest, is likely to have come from the northernAsian steppe beyond the Great Wall. The production technique for funerary figuresin northern China at the beginning of the seventh century was ratherunusual. They were modeled in clay on an iron armature and apparentlyfired before the application of a slip and pigments. This method allowed for the fine tooling of details, such as the pouches suspended from the narrowbelt on this example and the elaboratetreatment of the hair. This type of hand-sculpted figure is more expressiveand possessesgreaterindividuality than the later molded ones, which are usually coveredwith three-colorglazes. DPL/JCYW

Bodhisattva Manjushri with Attendants Chinese, Liao dynasty (907-zI25),

loth-ith century Marble 23

2434

in. (58.4 x 6.6 cm)

Purchase, The Vincent Astor Foundation Gift, tooz 2002.440

Manjushri(Chinese:Wenshu), the bodhisattva of wisdom, is identified by both the text (Perfectionof Wisdom)that he holds in his left hand and the lion he rides. He sits in a lotus posture on a cloth-coveredthrone carriedby a lion with curly mane and tail that wears a fringed saddleclothand a jeweled harness. The trousers,bare chest, and curly hair of the groom indicate non-Chinese, possibly central Asian, origins. Cloudlike forms depicted beneath the lion's feet and the two smaller attendantsat the upper right and left suggest that the sculpturedepicts Manjushri'sdescent from his abode on Mount Wutai in Shanxi Province to guide the faithful. Uncommon in

Wine Container (hu) Chinese, WesternZhou dynasty (1046-771 ca. late Iith-early ioth centuryB.c.

B.c.),

Bronze H. I6 8 in. (41.1 cm)

Gift of Katherine and George Fan, in honor of James C. Y. Watt, 2003 200. 66.IIa, b

This wine containerfeaturesa flowing, slender silhouette and a smooth, undecorated surface.Its fitted lid, when inverted, can serve as a cup. Four small holes were drilled in the vessel, two on its flaredfoot and two on its lid. A cord or leatherstrapcan be passed through the holes and through the two lugs on the neck to secure the lid for travel. The shapeof the vesselis clearlyinspiredby that of portablebeveragecontainers,often of leatheror other materials,used by the nomads along China'snorthernborders.Many such vesselsappearto have been made in Chinese workshopsthat cateredto both Chineseand non-Chinesepatrons.They reflectthat country'sincreasedcontactwith its nomadicneighborsand its fascinationwith theirexotic zjs foreignwaysof life on the steppes.

sculpture, this iconographyplays a primary role in later East Asian Buddhist painting. The bodhisattvawears a full skirt, long scarves,and a thin diadem with pearl tassels. His compact yet fleshy form, clinging drapery, and round, chubby face with closely grouped featurestypify sculpturesproduced in northeasternChina duringthe Liaodynasty. The Khitan rulersof this realm adopted and preservedstyles and images from the late Tang dynasty (618-906) and also played a seminal role in the development of Buddhist art in Koreaand Japan. DPL

The Yongle emperorof the Ming dynasty (r. 1403-24) was a devout Buddhistand a great patronof Tibetan templesand lamas.The vast majorityof the productsof the imperialworkshops duringhis reignwere Tibetan Buddhist imagesand ritualimplementsin various media, all of the highest qualityand design. One particularcategorywas devotionalimages in silk-woven or embroidered-of which very few have survived. On this largehanging of red damask,the centralfigure is that of Avalokiteshvarain his manifestationas the four-armedShadakshari Lokeshvara,with a mantrain Sanskritabove and an exaltationin Tibetan script below. The weave is that of twill damaskrather than the satin damaskthat was more common at this time. JCYW

Nardunbu Chinese,activemid-I7thcentury Horsemanship Competition for the Shunzhi Emperor Hanging with Avalokiteshvara Chinese,Ming dynasty(1368-1644), earlyisth century Silk

Purchase, The Dillon Fund Gift, zooz

o10 x 5I/2 in. (256.5 x 130.8 cm)

2002.328

Purchase, Sir Joseph Hotung Gift, 2oo0 2002.271

Qing dynasty (1644-9-I1),

dated I662

Handscroll,ink and coloronpaper 8 x 655 in. (20.3 x 1,663.7 cm)

This long handscrolldocuments one of the celebratoryeventsaccompanyingthe entrance of the Shunzhi emperor (r. 1644-61) into Beijing shortly after the fall of the Ming dynastyto the Manchus. Paintedby a Manchu artist, it is among the earliestexamplesof Qing courtly painting known and suggests the unsophisticatednature of Manchu art prior to the sinicization of the court under the Kangxi emperor (r. 1662-1722). The scroll is not only of great historicalinterest but also servesas a striking foil to TheKangxi Emperor'sSouthernInspectionTour(acc. no. I979.5) of about I697, which reflectsthe impact of mainstreamChinese culture on court patronage. The painting, which is probablya preparatorysketch, presents a file of horsemen each performinga different riding stunt (below). At the right end two rows of imperial bodyguardsflank two horsemen who are about to perform. Five men blow conches to announce the next rider,while two officers, one identified by a peacock featherin his cap, direct. Each riderwas originally accompanied by two label strips naming his pose and military unit. All of the horsemen belong to one of the three highest-rankingof the eight "banners"that divided the Manchu army. MKH

Accordingto Xu Yang'seffusivededication, the paintingwas executednot long afterhe was grantedan honorary"presentedscholar" MKH (jinshi)degreeby the emperor.

Xu Yang Chinese,activeca. 17so-afteri776 Palaces of the Immortals Qing dynasty(I644-19II), dated1753 Foldingfan mountedas an album leaf ink, color,and gold onpaper 634 x i8/2 in. (I6x 47 cm) Purchase, The B. D. G. Leviton Foundation Gift, in honor of Marie-Helene

Jarfor Sutra Burial Japanese,late Heian period (ca.

and Guy Weill, 2003

early i2th century

2003.132

Stonewarewith naturalashglaze

This scene of ornate palacesin a fantastic landscapeof azureand malachitemountains is readilyidentifiableas a Daoist paradise-a suitablyauspicioussubject for its function as a birthdaygift. Such images are conventionally painted in the archaicblue and green landscapestyle. Xu Yang'simage demonstrateshis masteryof this decorativemanner. His angular,frontallyarrayedmountains are first outlined in ink and then filled in with mineralcolors-darker in the foreground and paler in the distance-to enhance the illusion of recession.The crisp contour lines used to describethe nearerpeaks are further embellishedwith gold highlights. Xu Yangwas recruitedas a court painterin I75Iand becameone of the emperor'sleading artistswith his selectionin 1764 to execute The SouthernInspectionTour QianlongEmperor's nos. (acc. I984.I6, I988.350). This gemlike work in the intimatefan formatshows Xu employinga miniaturiststyle and a decorative blue greentechniquethat is quite different from his grandimperialcommissions.The fan, one of the artist'searliestextantworks, also fulfillsa valuabledocumentaryfunction.

oo00-185),

(Tokonameware) H. 934 in. (24.8 cm) Dr. and Mrs. Roger G. Gerry Collection, Bequest of Dr. and Mrs. Roger G. Gerry, 2000

2002.447.12

A cloak of soft color, from etherealpale blue, iridescentin places or nearlywhite, to a vernal green, gracesthe dignified form of this chestnut-coloredstonewarejar in overlapping layersof thick, kiln-fused ash glaze. Buried sometime in the early twelfth century, when Buddhist law was believed to be in decline, this sturdyjar protected a bronze cylinder that held precious Buddhist sutrasand relics. Made near present-dayNagoya at Tokoname, one of Japan'soldest pottery centers, it was built up with thick coils of cream-colored clay and then smoothed on a wheel, a process that inspired the area'sdistinctive embellishment of lightly incised rings that encircle the body at severalpoints. The jarwas partof a collectionof more than I20 Japaneseceramics,Buddhistsculptures,and paintings.Assembled over four decades, it also includes a prized twelfthcentury Buddhistvotive sutraand a major Muromachiink painting on a pair of screens attributedto Kano Totonobu (I476-1559). BF

Zao Gongen Japanese,Muromachiperiod (1392-I573) Wood,gilt-bronzeornamentswith colored beads,and crystaleyes H. 2o8s in. (y51. cm)

Gift of Marielle Bancou-Segal, in memory of the vision of William Segal, zooz 2002.446a-c This boyish figure of ferocious mien, carved of a single block of Japanesecedar, is a rare variantof the standardform of Zao Gongen, a guardianspirit veneratedin a cult of mountain ascetism. His fierce but princely appearance is based on that of a guardianin the mandala of Esoteric Buddhism, derived from Hindu iconographyvia China. Posed in action, he stands on the extended left leg; the right is raised, about to stomp, as he hurls a now-missing vajra(the ritual thunderbolt indicative of supremewisdom). Naked to the waist, he wears a dhoti, a garment of Hindu origin. His garmentsflare upwardwith a force that sweeps the hair into four flamelike tufts and blows the tall chignon backward. His grimacing face is ferocious, with a bulging brow and open, roaringmouth. Crystaleyes, including a third in the forehead, are tinged with red to appearblood-

shot, intensifying the fervorof his grimace. Zao Gongen has been widely worshiped in Japansince the twelfth century as one of the prime deities of Buddhist and Shinto assimilationthat characterizedJapanesereligion until the Meiji period (I868-I912), when Shinto was institutionalizedas the state religion as part of the restorationof BF imperialrule.

A Long Talefor an Autumn Night Japanese,Nanbokuchoperiod (i336-92), late i4th century Threehandscrolls,ink, color,and gold onpaper Each approx. I128 in. x 41 ft. 28 in. (30.p x 1,255.2

cm)

Purchase, Funds from various donors, by exchange, Fletcher Fund and Dodge Fund, 2002 2002.459.I-.3

The rise of romantic literaturein tenthcenturyJapanspurredthe development of emaki(romantictales, battle epics, and religious legends illustratedin handscrolls), which evolved into a vibrant art form akin to modern films. The mid-fourteenthcentury witnessed a new genre called chigomonogatari (talesof young male acolytes), recounting romancesbetween mature Buddhist monks and young male novices (chigo).The Akino yono naga monogatari(A Long Tale for an Autumn Night) is consideredthe oldest extant example of this genre, and our new handscrollsrepresentthe earliestknown emakiillustratingthe tale. The emaki,by an unknown artist, relates the story of the monk Keikaifrom a temple on Mount Hiei, who loved the novice Umewaka from the nearbyMiidera temple. They met secretlyuntil one night Umewakawas said to have been kidnappedby goblins. Umewaka'sfriends at Miidera accused Keikai and his cohorts of this act, and the two temples' monk-soldiersbattled fiercely,destroying Miidera. Full of remorse,Umewaka drowned himself in a lake. Keikai devoted the rest of his life to prayingfor him. The handscrollsremainedin the imperial collection until I438;in modern times they were seldom exhibited publicly. Thus they are in extremelygood condition, making them an invaluableaddition to the Museum's collection. MM

Robe (kosode) Japanese,Edoperiod (i6i5-1868), 2nd halfof i8th century Silk crepewith silk embroideryand couched, gold-wrappedthread L. 50 in. (i65.i cm)

Purchase, Parnassus Foundation/Jane and Raphael Bernstein Gift,

200oo

2002.325

This kosode,the short-sleevedgarmentworn in premodernJapan, is a splendid example of late-eighteenth-centuryfashion. Its decoration, similaron front and back, is dyed with stencils and embellished in lustrous silk and gold embroidery.Cursive Chinese characters overlaya mandarinorange tree that spreads its branchesfrom hem to sleeves. This is an auspiciouscombination: three words

meaning "pleasure,""goodfortune,"and "longevity"specify the propitious symbolism of the tachibana.An auger of long, fruitful life, it is often used in wedding ceremonies. As one of the two trees planted outside the imperial chambers,it is redolent of the court life immortalizedin the eleventh-century Tale of Genji. This robe'svenerablepoetic motifs reflect Edo's literateculture, and its luxurious materials the characteristicextravaganceof its citizens. Such a garment was appropriateattire for a woman of the ruling samuraiclass. Similar designs were worn by commoners, but sumptuarylaws restrictedthe use of silk and gold in their clothing. BF

Katsura Mitsuharu Japanese, 1871-1962

Mountingfor a Dagger (tanto) Taisho period (1912-26), dated 1922

Silver,copper,gold, and silk L. 22Y2 in. (57. cm)

Purchase, Arthur Ochs Sulzberger Gift, 2002

2002.438a-f

Images of the pensive bodhisattva-many representingMaitreya,bodhisattvaof the future-were produced from India to Japan. In Koreathe type emerged as an important Buddhist icon during the sixth and seventh centuriesin all three kingdoms. While the iconographicand stylistic origins can be firmly tracedto India and China, the pensive bodhisattvais one of the most distinctively

Koreanof Buddhist sculptures.This piece is among the best preservedand most spectacular of the extant Koreanpensive images. Severalunusual featuresof this sculpture are noteworthy. The atypicalnine-sided dais on which the bodhisattvasits has an attractive openwork design, which is concealed by the draperyfolds in the front but revealedin the back. This type of openwork dais may derivefrom rattanstools of Tang China (6I8906). The bodhisattva'scrown is topped with an orb-and-crescentmotif, which indicates influence from centralAsia. His braidedhair, parted in the middle and falling down his shoulders,has a dramaticlinear pattern. The fingersand toes-especially the big toe on the right foot-are extremelypliant and vibrant. The crisp decoration on the garment appearsto have been executed after the bronze was gilded, an uncommon technique. SL

This mounting is one of the masterpiecesof KatsuraMitsuharu,the last traditionally trainedsword-mountingssmith in Japan. The silversheath and grip have applied giltcopper fittings chiseled in high reliefwith peony blossoms againsta punched ground; the kurikata(cord mount), the kozuka(handle for a small utility knife), and kogai (skewer-shapedimplement), utensils fitted into recessesin the sides of the scabbard,are decoratedto match. The scabbardis further engravedwith floweringpeonies around the kurikata. In addition to its superbworkmanship, the mounting is also important as an exact copy of a unique example dating to the late twelfth to earlythirteenth century that was formerlyin the Aso Shrine (KumamotoPrefecture)and registeredas a national treasure. The replicawas orderedby the Yushokan Museum of the YasukuniShrine in Tokyo. The originalhas been missing since the end MO of World War II.

Pensive Bodhisattva Korean,ThreeKingdomsperiod (57B. . A.D. 668), mid-7thcentury Gilt bronze H. 8 s in. (22.5 cm) Purchase, Walter and Leonore Annenberg and The Annenberg Foundation Gift, 2003 2003.222

Antefix with Kneeling Guardian Cambodia,Angkorperiod,Khmerstyleof BanteaySrei,3rd quarterofioth century Pinkishsandstone H. 25 in. (63.5cm) Gift of The Randall and Barbara Smith Foundation Inc., 2003 2003.142

A benign guardiandeity, carvedin extremely high relief, is seated in a relaxed,secularposture in an architecturalsetting comprising a wide plinth and engaged pilastersthat support an elaboratecusped arch surroundedby foliation or stylized cloud formations.

The Kota Master Indian, activeearlyto mid-i8th century Radha and Krishna Walk in a Flowering Grove Indian (Rajasthan,Kota), ca. 1720 Ink, opaquewatercolor,and gold onpaper 7/2 X 4/8 in. (19.1 x II.

cm)

Cynthia Hazen Polsky and Leon B. Polsky Fund, 2003 2003.178a

Radhaand Krishna,the archetypallover and his beloved, gaze into each other's eyes during a sunset walk beneath floweringtrees. Palm trees seem to explode on the horizon, and a multitude of birds throng the boughs and the foregroundstream.The lovers'bodies and their garments,like the floralgarlands they hold, appearsuspended in motion, while the setting vibratesto their ecstasy.This quintessentialIndian idea, that nature echoes the passions, is beautifullymanifest here in the work of a masterartistwho has translated emotion into visual delight. The small kingdom of Kota became an importantartisticcenter beginning in the late seventeenthcentury and is best known for paintings of tiger hunts. This is the firstwork by this master,one of the most important of the early-eighteenth-centuryKota atelier, to SMK enter the collections.

Antefixesof this type were placed on the upperlevels of some tenth-centuryKhmer temple towers.They are seen to greatest advantageat BanteaySrei, the small and exquisitetemple complex northeastof Angkor dedicatedin 968. The hallmarksof this temple include superbmodeling of sculpted figures, preciseand highly refineddetailingof decorative elements, and use of a rareand very attractive pinkish sandstone,featuresseen in this antefix. This work is a significant addition to our small collection of Khmer sculpture in the ML Banteay Srei style.

Standing Eight-ArmedAvalokiteshvara, the Bodhisattva of Infinite Compassion Cambodiaor Thailand,Angkorperiod, Khmer styleof the Bayon,late i2th century Stone H.

77'2

in. (I96.9 cm)

Gift of Jeffrey B. Soref, 20oo 2002.477

Heads of Hevajra and Four Yoginis Cambodiaor Thailand,late ith-ist half of i2th century

Bronze H. 4 in. (Io.2 cm) to 44 in. (0o.8cm) Gift of Miriam and Ira D. Wallach Foundation, 2oo0 2002.37oa-e The main element in this incomplete group is the upper part of a sculptureof the eightfaced Hevajra,an important deity in later KhmerTantric Buddhism. Originally, the group would have included the complete eight-faced,sixteen-armedHevajraand eight small dancing yoginis, the female destroyers and dispellersof ignorancein the eight divisions of the universe.Our group preserves four of the yoginis, each of them a delightful and lively self-sufficientsculpture.This grouping, though not large, conveys an unexpected sense of monumentality. The isolation of whateverstylistic ingredients have gone into this group is not easy. The four missing dancing figureswould not provide more visual information than the ones we have, but the rest of the main deity certainlywould have been useful. The soft, rounded forms and generalphysiognomy recallelements from the Mon stylistic vocabularyof Thailand. There seems to be little of Khmer artisticsensibilityhere, other than the Khmer-styleear pendants and tiara.Yet something of the Khmer late Baphuon style is suggestedin the uppermosthead and the treatmentof the bodies of the yoginis. This prompts me to believe that the remarkable ensemble cannot date to later than the first half of the twelfth century. ML

The finest statues from the greaterKhmer empire rankvery high in the history of world sculpture. Over a period of approximately three decades the Museum's collection of Khmer art has, by common assent, evolved into the finest outside of Cambodia and Paris.Nevertheless,with the addition of this extraordinarysculpturethe importanceof the collection is elevated to a new level. This multiarmedAvalokiteshvara,the most popular deity in MahayanaBuddhism,

was carvedduring the reign of Jayavarman VII (r. II8I-I2I9?),

one of the most impor-

tant and dynamic of all Khmer rulers.During his lifetime, in addition to the introduction of new body proportions, a new physiognomy began to appearin sculpture, both in relief and in the round, which must have reflectedthe appearanceof the rulerhimself. With a sculptureas important as this, it is likely that we cannot be far away from an idealized portraitof the youthful Buddhist ruler. The sensitivelymodeled face exhibits the inner calm and supreme bliss that come from perfect enlightenment. The bodhisattva'seyes are closed in meditation, all facial muscles are relaxed,and his wide mouth is set into the most subtle suggestion of a smile-the mystic, enigmatic, worldfamous "Khmersmile." ML

Donors of Gifts of Worksof Art or of Fundsfor Acquisitionof Worksof Art July I, 200oo-June 30, 2003 Donors of Gifts of Works of Art AndrewAchsen BrianT. Aitken Bequestof ArthurG. Altschul AmericanAcademyof Artsand Letters Bequestof WalterH. Annenberg PierreApraxine GiorgioArmani Mr. and Mrs.HenryArnhold Mrs.VincentAstor RichardAvedon MarielleBancou-Segal BarbaraS. Barnett Anne H. Bass Timothy Baum Mr. and Mrs. StephenR. Beckwith KatrinBellinger Mr. and Mrs. RichardBenedek Dawn F. Bennett JeffreyL. Berenson Bequestof LillianBerkman RobertGiffordBerryand Christiane LausBerry Dirk Bikkembergs PattiCadbyBirch Leonand DebraBlack Mrs.WilliamMcCormickBlair,Jr. Bill Blass,Ltd. Jamesand GenevieveBleecker Dries and Diana Blitz AnthonyBlumka AndrewBolton Bequestof LouisBowen LoisZiff Brooks Holly Brubach BuffaloBoots London MaryBurr Helenavan CortlandtBurrill PeterButtenwieser Lillianand StuartCaplin EricG. Carlson

CatherineG. Curran PaulCushman,Jr. John D'Agostino Bequestof David M. Daniels MartinJ. Davidson TorkomDemirjian Charlesand ValerieDiker Drs. Nicole andJohn Dintenfass LorenDobbs Amy and David Dufour Mr. and Mrs.JosephDuke DeborahS. DuSault WalterA. Eberstadt EileenEkstract GaetanaEnders Prof.EarlL. Ertman ThomasM. Evans,Jr. Katherineand GeorgeFan AlbertaFerretti ArmandJ. FredFerrettiand Eileen Yin-FeiLo BarbaraW. File The Familyof AveryFisher RobertFlynt ElizabethSanderFoley Bequestof ErnestL. Folk Nancy Ford Ruth Ford AllanForsyth JacquelineLoeweFowler JaimeFrankfurt JamesFreeman BarryFriedman,LTD EugenieFromer StephenGan Bequestof EmilyGenauerGash StephenA. Geiger Bequestof PeggyN. Gerry Alan and Monah L. Gettner David andJoshuaGilder ArmandGilinsky,Jr.

JessicaCarnegie RobertoCavalli CDS Gallery,New York MarianClayden RalphT. Coe Bequestof BarbaraW. Cohen JosephM. Cohen KarenB. Cohen BrianD. Coleman LuisAngelCol6n Williamand Toni Conte Soussanand Scott Cook Beatriceand CharlesCooper Bequestof IrmaL. Croll Mrs. CorinneCuellar

RalphGinzburg PaulaBrownGlick Robertand Debbie Gordon Ion Gresser,M.D. Jeff Guerrier C. Z. Guest Dr. Wesleyand CarolynHalpert Vivi and LiorHaramaty ClaudeC. Heckscher StevenHeiblim LindaA. Henselman JudithF. Hernstadt ArielHerrmann JamesHolderbaumand BrooksBeaulieu JaneHolzer

MarcHolzer Stuartand RhodaHolzer RobertHomma StephaneHouy-Towner Anita Huffington RobertJ. Hurst CarleenMaleyHutchins CharlesIsaacsand CarolNigro SimonJackson ProfessorIrmaB. Jaffe GladysJanecek LisaPapamarkou Jewell AlexanderB. V. Johnsonand Roberta J. M. Olson Dr. HortonA. Johnson Bequestof LauraJohnson MargotJohnsonand Bogdan Lenkiewicz JonesApparelGroup,U.S.A. The PeterT. JosephFoundation JackA. Josephson StefanieA. Juster Norma Kamali MartinKamer BarbaraRochelleKaplan SubhashKapoor Mr. MichaelKaye Mr. and Mrs.WalterKaye NanetteRodneyKelekian Mr. and Mrs. RobertKeuffelKeller KimonoHouse EmilieStehliKnoerzer Nancy S. Knox RobertKoch HaroldKoda Dany Kornfeld Mr. and Mrs. S. RichardKrown Robertand AnitaV. LaGamma IsaacLagnado La Perla JudithLeiber MarieJoseLepicard Bequestof JaniceH. Levin The PhilipandJaniceLevin Foundation Jo Levitt EllenLevy MireilleLevy WilliamS. Lieberman VeraG. List Bruceand AngelikaLivie Peterand PaulaLunder RoseLynnMangan GeorgeMangini PaulaA. Marincola PhyllisD. Massar

Matisse Bequestof Maria-Gaetana BannonMcHenry David and ReneeMcKee MaryBeth McKenzie Gracielaand Neal Meltzer The MercerTrust JosephF. Metzendorf EleanoreMikus CarolineRennoldsMilbank SamuelH. Milligan Anne W. and David T. Mininberg Jan Mitchell M-K Enterprises LansingMoore CatherineO. Mosley SusanSpaldingMunroe MiyekoMurase Bequestof Dr. EdithNeumann Jill Newhouse MurielKallisNewman JosephVeachNoble Not Vital JulesOlitski HideyukiOsawa ChristopherR. Ostafin PacePrimitive BernardPapillon GeraldS. andAlice C. Parker RomanoI. Peluso J. VicentePefiarrocha IrvingPenn Tina S. Perlmutter RobertaPeters StanleyPosthorn MarkShrumPratt David and GeorgettePreston MartinF. Price MonroeE. PriceandAimeeBrownPrice AlessandraRagionieri JosephG. Reinis Mrs.Annettede la Renta BartlettR. Rhodes FrancescoC. Ribando,Sr. Anne d'HarnoncourtRishel MiriamN. Rosen BarbaraS. Rosenthaland Kenneth W. Juster GemmaRossi The JudithRothschildFoundation LisaRoumelland MarkRosenthal Mr. and Mrs. DeraldH. Ruttenberg CharlesRyskamp JulieSaul Gallery,New York Don Sayres ErikAndrewSchneider GraceandAndrewSchoelkopf

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BarbaraCirkvaSchumacher BarbaraSchwartz JackShainmanGallery Shamask SallyHart Sheehy Rose Simon Dr. and Mrs. David L. Smith The Randalland BarbaraSmith Foundation,Inc. HowardSochurek JeffreyB. Soref Leo Steinberg MartiStevens GloriaStuart Dr. MichaelSze SarinaTang Louisede Teliga Mariede Teliga Markde Teliga EugeneV. Thaw AddisonThompson AndrewTilberis Ms. TylerTinsworth Bequestof ThomasRaynerTodd Bequestof BarbaraTropp Mrs. CharlesW. Tucker,Jr. FrancesE. Vieta Jona C. Vieta PaulA. Vieta, M.D. John C. Waddell KathrynWalker PaulF. Walter MiriamandIraD. WallachFoundation Mr. and Mrs. C.C. Wang VeraWang MichaelL. Ward FranWeinberg Thea Westreichand EthanWagner CandacePullmanWheeler GwendolynWidell Kristinaand Guy Wildenstein ArthurJ. Williams Wilson Centerfor Photography Dadi Wirz LindenHavemeyerWise Joan C. Witek DanielWolf Diane Wolf MathewWolf Mr. and Mrs. ErvingWolf Bequestof Ilse BingWolff Mr. and Mrs. GaryWolkowitz PeterM. Wood GeorgeWoodman Faith-Dorianand MartinWright Mrs. CharlesWrightsman David and ConstanceYates KohleYohannan ValentinYudashkin ZamasportS.p.a. BerniceandJeromeZwanger Anonymous(8)

Donors of Funds for Acquisition of Works of Art Giftsof $iooo or more AmericanInternationalGroup,Inc. HarriettAmes CharitableTrust The AnnenbergFoundation CarlApfel and Iris BarrelApfel PlacidoArango Mr. and Mrs. RonaldR. Atkins R. EllenAvellinoand Max Falk SarettaBarnet Mr. and Mrs. Sid R. Bass MarvinBaten Mr. and Mrs. CarswellR. Berlin The Patti BirchI99I Trust The Leon BlackFamilyFoundation Anne andJeanBonna Dr. and Mrs. Goodwin M. Breinin Cynthiaand StevenBrill KatharineR. Brown Mrs.JacksonBurke Mr. and Mrs.JamesE. Burke Mr. and Mrs.WalterBurke Constanceand CarrollL. Cartwright ThomasA. Cassilly CharinaFoundation,Inc. Chilton FamilyFoundation The ChinesePorcelainCompany Louis& VirginiaClemente Foundation,Inc. Bequestof BarbaraW. Cohen JonathanL. Cohen JosephM. and BarbaraCohen Foundation,Inc. The ConcordiaFoundation GertrudeWhitneyConner CoralReef Foundation CranshawCorporation Bequestof JoanneToor Cummings ElizabethB. Dater Estateof DavidAllen Devrishian DidierAaronInc. ValerieCharlesDiker Fund, Inc. The Dillon Fund The CharlesEngelhardFoundation Mrs. RichardEttinghausen MarthaFeltenstein Mrs. LawrenceA. Fleischman MarthaJ. Fleischman JacquelineLoeweFowler Barbaraand HowardFox GeorgeL.K. Frelinghuysen The HonorablePeterH.B. Frelinghuysen The FriedFoundation The J. PaulGettyTrust The HonorableSir David and Lady Gibbons Mr. and Mrs. S. ParkerGilbert Bequestof ThelmaWilliamsGill ArthurF. Goldberg HoraceW. GoldsmithFoundation The MaryLivingstonGriggsand Mary GriggsBurkeFoundation Audrey& MartinGrussFoundation

Gulton Foundation,Inc. The MarcHaasFoundation MerrillG. and EmitaE. Hastings Foundation Hazen PolskyFoundation Drue Heinz Trust Mr. and Mrs. RaymondJ. Horowitz SirJosephHotung Mr. and Mrs.JamesR. Houghton Estateof CharlotteG. Howland Mr. and Mrs. HerbertIrving Foundation The Isaacson-Draper The JaharisFamilyFoundation,Inc. ThomasJayneStudio Dudley D. Johnson Anne K. Jones Ann F. Kaplanand RobertA. Fippinger The Barbaraand WilliamKaratzFund The MurielMcBrienKauffman Foundation W.M. KeckFoundation Anna-Mariaand StephenKellen Foundation Mrs.JosephH. King Ruth& SeymourKleinFoundation,Inc. Henry R. Kravis Henry R. KravisFoundation,Inc. KurtzFamilyFoundationInc KennethS. Lam Nancy L. Lane The LattimerFamilyFund Mr. and Mrs. LeonardA. Lauder RonaldS. Lauder LazardFreres& Co. LLC ThomasH. Lee andAnn Tenenbaum Lee Bequestof RobertAlonzo Lehman Sallyand HowardLepow The PhilipandJaniceLevin Foundation Mr. and Mrs. Noel Levine The B. D. G. LevitonFoundation Estateof Ellen L. Lichtenstein GeorgeL. Lindemann DelaneyH. and WalterB. Lundberg StewartS. MacDermottFund Mr. and Mrs. FrederickJ. Mali Mrs. FritsMarkus MarstellerFamilyFoundation The Pageand Otto Marx,Jr. Foundation The Virginia& LeonardMarx Foundation Kendalland Tom Massey The RobertandJoyceMenschel FamilyFoundation MarleneNathanMeyersonFamily Foundation Lee P. Miller Andreaand KennethMiron JanMitchell Mr. and Mrs. LawrenceJ. Mohr KatherinePriceMondadori JuliaB. Monge

The Maryand LouisS. Myers Foundation NAMSB Foundation NeubergerBermanFoundation Janiceand RogerOresman HideyukiOsawa Ellen Palevsky 200I Trust

LouiseB. Palitz ParkAvenueCharitableFund David Scott Parker Mrs. Milton Petrie Point GammonFoundation PolskyFoundation Mr. and Mrs. CharlesPrice Mr. and Mrs. Oscarde la Renta RepublicanMain StreetPartnership The RichardsonFoundation RichmanFamilyFoundation Bequestof ElizabethM. Riley Rockefeller& Co., Inc. Mrs.AlexandreP. Rosenberg The RosenkranzFoundation,Inc. Helen Rosenthaland CarmenMarino Mr. and Mrs.JamesJ. Ross Mr. and Mrs. DeraldH. Ruttenberg Galleries,LLC Salander-O'Reilly The CharlesE. SampsonTrust Sayn-WittgensteinFineArt, Inc. EdwardJ. Scheider Dr. and Mrs. StephenK. Scher Mr. and Mrs. David T. Schiff SchiffFoundation AlfredM. Schlosser The SchultzFoundation,Inc. Dorothy Schwartz SusanSeidel The SherrillFoundation The ShorelandFoundation Mr. and Mrs. CrosbyR. Smith JudithSommerTrust Sotheby's Diane and HaroldSpalter Williamand Bette-AnnSpielman Anne B. Stern David E. Stutzman Mr. ArthurOchs Sulzbergerand Ms. AllisonS. Cowles The Mary& JamesG. Wallach Foundation WechslerFoundation John L. and Sue Ann Weinberg Foundation The Isakand RoseWeinman Foundation,Inc. Mr. and Mrs. EdwinL. Weisl,Jr. Roberta& AllanWeissglass Foundation MalcolmHewitt WienerFoundation BarrieA. and Deedee Wigmore Foundation Mrs. CharlesWrightsman

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title: THE METROPOLITAN

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Publicationno:885-660 Date offiling:OctoberI, 2003 Quarterly Issuefirequency: No. of issuespublishedannually:Four Annualsubscription price:$25.00, or freeto MuseumMembers address Completemailing ofknownofficeofpublication:1ooo FifthAvenue,New York,N.Y. io008-oI98 orgeneralbusinessofficeofpublisher: Completemailingaddressofheadquarters FifthAvenue,New York,N.Y. 10028-0198 IOOO Full namesand addresses ofpublisher,editor,and managingeditor: Publisher: The MetropolitanMuseumof Art, IOOO FifthAvenue,New York,N.Y. 10028-oi98 Editor:JoanHolt, Ioo0 FifthAvenue,New York,N.Y. 00o28-o198 ManagingEditor:None Owner:The MetropolitanMuseumof Art, 1oo0 FifthAvenue,New York,N.Y. 10028-0198 Knownbondholders, and othersecurityholdersowningor holdingonepercent mortgages, or moreof thelocalamountof bonds,mortgages, and othersecurities: None Taxstatus:The purpose,function,and nonprofitstatusof this organizationand the tax exempt statusfor federalincometax purposeshas not changedduringthe preceding12 months.

Averagenumberof copies duringpreceding12months (Oct. 02-Sept. A.

Total copies printed (net press run)

Paid and/or requested circulation I. Paid and/or requested outside-county

(July 03)

II15,929

113,875

mail subscriptions

70,063

69,834

2. Paid in-county

33,904

34,118

None

subscriptions

3. Sales through dealers, carriers, street vendors, counter sales, and other non-USPS 4. Other classes mailed through USPS C.

Total paid and/or requested

Free distribution by mail I. Outside-county 2. In-county 3. Other classes mailed through USPS Free distribution outside the mail

E. E

03)

Singleissuesnearest to filingdate

circulation

6,474 110,441

None None 150 5,263

Total free distribution (sum of Di, D2, D3, and E) G. Total distribution (sum of C and F) H. Copies not distributed

115,854

Total (sum of G and H)

115,929

Percentagepaid and/or requested circulation

95.32%

5,413 75

6,254 110,206

None None 130. 3,479 3,609 113,815

6o 113,875 96.82%