LaurieAnnie's photos with the keyword: 2018

Amenhotep III in the Blue Crown Period: New Kingdom Dynasty: Dynasty 18 Reign: reign of Amenhotep III Date: ca. 1390–1352 B.C. Geography: Possibly from Memphite Region; From Egypt Medium: Quartzite Dimensions: h. 35 cm (13 3/4 in); face only: h. 12.8 cm (5 1/16 in); w. 12.6 cm (4 15/16 in) Credit Line: Rogers Fund, 1956 Accession Number: 56.138 The facial features of this head of Amenhotep III show the stylistic elements of his later representations: highly arched brows, elongated almond-shaped eyes, and full, sharply outlined lips. The Blue Crown (called the khepresh) was apparently the king's preferred royal headdress and is worn by him in many of his statues and reliefs. Text from: www.metmuseum.org/art/collection/search/544477

Funerary relief Date: ca. 150–200 Geography: Syria, probably from Palmyra Medium: Limestone Dimensions: 15.75 x 10.43 in. (40.01 x 26.49 cm) Classification: Stone-Sculpture-Inscribed Credit Line: Purchase, 1901 Accession Number: 01.25.5 Inscription: 1 Maliku, so[n of] 2 Zaba, son of [ ...] or (son of) Bar[‘ateh?] Transliteration: 1 mlkw b[r] 2 zbʾ br[ʿth] This relief is a type of funerary monument characteristic of the prosperous caravan city of Palmyra during the first three centuries A.D. Reliefs with a representation of the deceased and a short identifying inscription were used to seal burial niches in elaborately decorated communal tombs; those with a half-length or bust format became prevalent sometime after A.D. 65. The relief depicts a beardless young man or boy dressed in a draped garment, probably a Greek-style tunic, with a decorative border at the neckline. He holds a shallow bowl with a diamond-patterned surface in his left hand, carved in high relief; the thumb is modeled completely in the round. His expression is serene, although the intensity of his gaze is emphasized by the large size of his eyes, and the incised iris and drilled pupil of each eye. Tear ducts are indicated at the inner corners, and an incised line above each eye marks the eyebrows. His hair is depicted as a row of uniform wavy curls that cover his head like a cap, ending above the ears. The background of the relief is blank except for an inscription in Palmyrene Aramaic to the left of his head giving his name and lineage. Carved in soft local limestone, the relief shows signs of wear including damage to the nose and mouth, although the outline of the lips remains. The modeling of the cheeks, chin, and the lines across the throat suggest a youthful fullness. Stylistically, the relief can be dated to around 150-200 A.D., evidenced by the figure’s beardlessness, the manner in which the eyes are carved, and the type of attribute he holds. Text from: www.metmuseum.org/art/collection/search/322371

Funerary relief Date: ca. 150–200 Geography: Syria, probably from Palmyra Medium: Limestone Dimensions: 15.75 x 10.43 in. (40.01 x 26.49 cm) Classification: Stone-Sculpture-Inscribed Credit Line: Purchase, 1901 Accession Number: 01.25.5 Inscription: 1 Maliku, so[n of] 2 Zaba, son of [ ...] or (son of) Bar[‘ateh?] Transliteration: 1 mlkw b[r] 2 zbʾ br[ʿth] This relief is a type of funerary monument characteristic of the prosperous caravan city of Palmyra during the first three centuries A.D. Reliefs with a representation of the deceased and a short identifying inscription were used to seal burial niches in elaborately decorated communal tombs; those with a half-length or bust format became prevalent sometime after A.D. 65. The relief depicts a beardless young man or boy dressed in a draped garment, probably a Greek-style tunic, with a decorative border at the neckline. He holds a shallow bowl with a diamond-patterned surface in his left hand, carved in high relief; the thumb is modeled completely in the round. His expression is serene, although the intensity of his gaze is emphasized by the large size of his eyes, and the incised iris and drilled pupil of each eye. Tear ducts are indicated at the inner corners, and an incised line above each eye marks the eyebrows. His hair is depicted as a row of uniform wavy curls that cover his head like a cap, ending above the ears. The background of the relief is blank except for an inscription in Palmyrene Aramaic to the left of his head giving his name and lineage. Carved in soft local limestone, the relief shows signs of wear including damage to the nose and mouth, although the outline of the lips remains. The modeling of the cheeks, chin, and the lines across the throat suggest a youthful fullness. Stylistically, the relief can be dated to around 150-200 A.D., evidenced by the figure’s beardlessness, the manner in which the eyes are carved, and the type of attribute he holds. Text from: www.metmuseum.org/art/collection/search/322371

Louis XVI Artist: Louis Simon Boizot (French, Paris 1743–1809 Paris) Date: 1777 Medium: Marble Dimensions: Bust: 25 3/8 × 20 1/16 × 14 3/8 in., 220.5 lb. (64.5 × 51 × 36.5 cm, 100 kg) Base: 5 11/16 × 9 13/16 in. (14.5 × 25 cm) Classification: Sculpture Credit Line: Musée National des Châteaux de Versailles et de Trianon (MV 5789) Visitors commented on the king’s apparent good nature, which Boizot ably expressed in this bust, a departure from an official, idealized portrait. Marie Antoinette commissioned this work as well as a companion piece of her brother, Emperor Joseph II of Austria, to commemorate the latter’s 1777 visit. Their informal appearance relates to the fact that they were intended for display in the Petit Trianon, the queen’s private retreat. Text from: www.metmuseum.org/art/collection/search/699686

Louis XVI Artist: Louis Simon Boizot (French, Paris 1743–1809 Paris) Date: 1777 Medium: Marble Dimensions: Bust: 25 3/8 × 20 1/16 × 14 3/8 in., 220.5 lb. (64.5 × 51 × 36.5 cm, 100 kg) Base: 5 11/16 × 9 13/16 in. (14.5 × 25 cm) Classification: Sculpture Credit Line: Musée National des Châteaux de Versailles et de Trianon (MV 5789) Visitors commented on the king’s apparent good nature, which Boizot ably expressed in this bust, a departure from an official, idealized portrait. Marie Antoinette commissioned this work as well as a companion piece of her brother, Emperor Joseph II of Austria, to commemorate the latter’s 1777 visit. Their informal appearance relates to the fact that they were intended for display in the Petit Trianon, the queen’s private retreat. Text from: www.metmuseum.org/art/collection/search/699686

Louis XIV Artist: Antoine Coysevox (French, Lyons 1640–1724 Paris) Date: 1678–81 Medium: Marble Dimensions: 47 1/4 × 37 3/8 × 13 3/8 in., 661.4 lb. (120 × 95 × 34 cm, 300 kg) Classification: Sculpture Credit Line: Musée National des Châteaux de Versailles et de Trianon (MV 789) Coysevox represented Louis XIV as few of his subjects or foreign tourists would have encountered him: dressed in armor. The king’s serene features below the long wig convey the majesty of an official portrait. By 1693 the imposing bust had been placed in a niche on the north wall of the Ambassadors’ Staircase used by overseas diplomats at Versailles. The bust left no doubt whose palace they had just entered. Text from: www.metmuseum.org/art/collection/search/699688

Louis XIV Artist: Antoine Coysevox (French, Lyons 1640–1724 Paris) Date: 1678–81 Medium: Marble Dimensions: 47 1/4 × 37 3/8 × 13 3/8 in., 661.4 lb. (120 × 95 × 34 cm, 300 kg) Classification: Sculpture Credit Line: Musée National des Châteaux de Versailles et de Trianon (MV 789) Coysevox represented Louis XIV as few of his subjects or foreign tourists would have encountered him: dressed in armor. The king’s serene features below the long wig convey the majesty of an official portrait. By 1693 the imposing bust had been placed in a niche on the north wall of the Ambassadors’ Staircase used by overseas diplomats at Versailles. The bust left no doubt whose palace they had just entered. Text from: www.metmuseum.org/art/collection/search/699688

Louis XIV Artist: Antoine Coysevox (French, Lyons 1640–1724 Paris) Date: 1678–81 Medium: Marble Dimensions: 47 1/4 × 37 3/8 × 13 3/8 in., 661.4 lb. (120 × 95 × 34 cm, 300 kg) Classification: Sculpture Credit Line: Musée National des Châteaux de Versailles et de Trianon (MV 789) Coysevox represented Louis XIV as few of his subjects or foreign tourists would have encountered him: dressed in armor. The king’s serene features below the long wig convey the majesty of an official portrait. By 1693 the imposing bust had been placed in a niche on the north wall of the Ambassadors’ Staircase used by overseas diplomats at Versailles. The bust left no doubt whose palace they had just entered. Text from: www.metmuseum.org/art/collection/search/699688

Louis XIV Artist: Antoine Coysevox (French, Lyons 1640–1724 Paris) Date: 1678–81 Medium: Marble Dimensions: 47 1/4 × 37 3/8 × 13 3/8 in., 661.4 lb. (120 × 95 × 34 cm, 300 kg) Classification: Sculpture Credit Line: Musée National des Châteaux de Versailles et de Trianon (MV 789) Coysevox represented Louis XIV as few of his subjects or foreign tourists would have encountered him: dressed in armor. The king’s serene features below the long wig convey the majesty of an official portrait. By 1693 the imposing bust had been placed in a niche on the north wall of the Ambassadors’ Staircase used by overseas diplomats at Versailles. The bust left no doubt whose palace they had just entered. Text from: www.metmuseum.org/art/collection/search/699688

Robe à l'Anglaise Date: 1785–87 Culture: French Medium: silk Credit Line: Purchase, Irene Lewisohn Bequest, 1966 Accession Number: C.I.66.39a, b In eighteenth-century dress, the torso was encased by layers of quilted linen and boning that constitute an exaggerated exoskeleton. An inevitable consequence of this redefinition of the torso is an emphasis on the hip and bustline. By mid-century, especially in France, the style was for the bust, veiled by lace or a sheer mull fichu, to emerge above the top line of the bodice. Text from: www.metmuseum.org/art/collection/search/81105

Robe à l'Anglaise Date: 1785–87 Culture: French Medium: silk Credit Line: Purchase, Irene Lewisohn Bequest, 1966 Accession Number: C.I.66.39a, b In eighteenth-century dress, the torso was encased by layers of quilted linen and boning that constitute an exaggerated exoskeleton. An inevitable consequence of this redefinition of the torso is an emphasis on the hip and bustline. By mid-century, especially in France, the style was for the bust, veiled by lace or a sheer mull fichu, to emerge above the top line of the bodice. Text from: www.metmuseum.org/art/collection/search/81105

Robe à l'Anglaise Date: 1785–87 Culture: French Medium: silk Credit Line: Purchase, Irene Lewisohn Bequest, 1966 Accession Number: C.I.66.39a, b In eighteenth-century dress, the torso was encased by layers of quilted linen and boning that constitute an exaggerated exoskeleton. An inevitable consequence of this redefinition of the torso is an emphasis on the hip and bustline. By mid-century, especially in France, the style was for the bust, veiled by lace or a sheer mull fichu, to emerge above the top line of the bodice. Text from: www.metmuseum.org/art/collection/search/81105

Robe à l'Anglaise Date: 1785–87 Culture: French Medium: silk Credit Line: Purchase, Irene Lewisohn Bequest, 1966 Accession Number: C.I.66.39a, b In eighteenth-century dress, the torso was encased by layers of quilted linen and boning that constitute an exaggerated exoskeleton. An inevitable consequence of this redefinition of the torso is an emphasis on the hip and bustline. By mid-century, especially in France, the style was for the bust, veiled by lace or a sheer mull fichu, to emerge above the top line of the bodice. Text from: www.metmuseum.org/art/collection/search/81105

Title: Mater Dolorosa Artist: Pedro de Mena (Spanish, Granada 1628–1688 Málaga) Date: ca. 1674–85 Culture: Spanish, probably Málaga Medium: Partial-gilt polychrome wood Dimensions: sculpture only, confirmed: 24 13/16 × 23 1/8 × 15 in. (63 × 58.7 × 38.1 cm); on black base, confirmed: 26 × 24 3/4 × 16 1/2 in., 44.2 lb. (66 × 62.9 × 41.9 cm, 20 kg) Classification: Sculpture Credit Line: Purchase, Lila Acheson Wallace Gift, Mary Trumbull Adams Fund, and Gift of Dr. Mortimer D. Sackler, Theresa Sackler and Family, 2014 Accession Number: 2014.275.2 Carved wood sculpture, enhanced by paint and other media, including glass eyes and hair, reached a pinnacle of naturalism and expressive force in 17th-century Spain. Pedro de Mena’s virtuoso manipulation of these materials created startling likenesses of bodies and clothing. They encourage in the beholder an empathetic response to the suffering of mother and son, who appear as exemplars of worldly forbearance in the face of tragedy. Carved details such as the twisted and knotted rope binding Christ’s hands or the Virgin’s thin, deeply undercut drapery are joined by the subtle and descriptive painting in thin glazes of the silver and red brocade of the Virgin’s tunic and the bruises that cover Christ’s flesh. Mena’s desire was to make the figures seem physically present before the viewer. At the same time, they have a dignity and reserve that made them ideal works for contemplation. Text from: www.metmuseum.org/art/collection/search/647705

Title: Mater Dolorosa Artist: Pedro de Mena (Spanish, Granada 1628–1688 Málaga) Date: ca. 1674–85 Culture: Spanish, probably Málaga Medium: Partial-gilt polychrome wood Dimensions: sculpture only, confirmed: 24 13/16 × 23 1/8 × 15 in. (63 × 58.7 × 38.1 cm); on black base, confirmed: 26 × 24 3/4 × 16 1/2 in., 44.2 lb. (66 × 62.9 × 41.9 cm, 20 kg) Classification: Sculpture Credit Line: Purchase, Lila Acheson Wallace Gift, Mary Trumbull Adams Fund, and Gift of Dr. Mortimer D. Sackler, Theresa Sackler and Family, 2014 Accession Number: 2014.275.2 Carved wood sculpture, enhanced by paint and other media, including glass eyes and hair, reached a pinnacle of naturalism and expressive force in 17th-century Spain. Pedro de Mena’s virtuoso manipulation of these materials created startling likenesses of bodies and clothing. They encourage in the beholder an empathetic response to the suffering of mother and son, who appear as exemplars of worldly forbearance in the face of tragedy. Carved details such as the twisted and knotted rope binding Christ’s hands or the Virgin’s thin, deeply undercut drapery are joined by the subtle and descriptive painting in thin glazes of the silver and red brocade of the Virgin’s tunic and the bruises that cover Christ’s flesh. Mena’s desire was to make the figures seem physically present before the viewer. At the same time, they have a dignity and reserve that made them ideal works for contemplation. Text from: www.metmuseum.org/art/collection/search/647705

Cruz del Milagro Monument 1 (El Príncipe) Date: 1200–900 B.C. Geography: Mexico, Veracruz Culture: Olmec Medium: Basalt Dimensions: H. 50 1/4 × W. 31 1/2 × D. 30 in., 1300 lb. (1.28, 80 × 76.2 cm, 589676.132 g) Classification: Stone-Sculpture Credit Line: Museo de Antropología de Xalapa, Universidad Veracruzana, Xalapa (Reg. 49 P.J. 4023) Nicknamed El Príncipe (the Prince), this basalt sculpture, with its rounded face, slightly parted lips, and squinting eyes, exemplifies the naturalistic Olmec figural style. The figure assumes the posture of a ruler: seated, with the torso leaning forward and fists resting in front of crossed legs. His headdress, carved to resemble knotted leather or textile, features a rectangular plaque. Cylindrical earspools likely represent elongated jade beads. Olmec rulers valued basalt and had either massive boulders or finished artworks transported from distant quarries, probably by floating them on rafts along rivers. Text from: www.metmuseum.org/art/collection/search/722110