27
Portfolios%3D%22707%22
Sculpture
Abraham Lincoln
George Grey Barnard, 1863 - 1938
Barnard, George Grey
United States
1863 - 1938
Male
21 x 11 7/8 x 14 7/16 in. (53.3 x 30.2 x 36.7 cm)
.
.
.
overall
Marble
Marble
ca. 1918
1913
1923
1900-2000, 20th century, Abraham Lincoln, heads, men
Sculpture
1986.5
item
Memorial Art Gallery
9/8/1999
86.5TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
86.5SL1
slide
full frontal
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
86.5DI1
digital image
Memorial Art Gallery
Imaging complete
7/14/2000
http://127.0.0.1:5000/Media/images/86.5_A1.jpg
86.5SL2
slide
full-back
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
86.5SL3
slide
full profile-right
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
86.5SL4
slide
full profile-left
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
46barnard1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/46barnard1.tif
46barnard1(10).tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/46barnard1(10).tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/86.5_A2.jpg
86.5DI2
digital image
Three-quarter
00/00/00
http://127.0.0.1:5000/Media/images/86.5_A3.JPG
Painting
The Dipolar Girls Take a Voyage on the St. Lawrence
Roy De Forest, (North Platte, NE, 1930 - 2007, Vallejo, CA)
De Forest, Roy
United States
1930 - 2007
Male
70 3/4 x 64 1/2 in. (179.7 x 163.8 cm)
.
.
.
without frame
Acrylic
Acrylic
1970
1970
1970
1900-2000, 20th century, paintings
Painting
verso, May be artist's hand
Roy De Forest
1986.134
item
Memorial Art Gallery
9/8/1999
86.134TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
86.134SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
86.134DI1
digital image
Memorial Art Gallery
Imaging complete
6/23/2000
http://127.0.0.1:5000/Media/images/86.134_A1.jpg
Painting
William H. Macdowell
Thomas Eakins, 1844-1916
Eakins, Thomas
United States
1844 - 1916
Male
24 x 20 in. (61 x 50.8 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
ca. 1904
1899
1909
1900-2000, 20th century, figure, men, paintings, portraits, Realism
Painting
Thomas Eakins painted multiple portraits of his father-in-law, William H. Macdowell. Eakins’s sensitive portraits and genre scenes defined American realist art at the end of the 19th century. His art and commitment to realism were enormously influential to the artists of the Urban Realist movement.
[Gallery label text, 2007]
Thomas Eakins was one of America's greatest painters, whose realistic portrayals of people at work and at play have become icons of American culture. He immortalized many friends and family members by using them as subjects, among them his father-in-law, William Macdowell, an engraver and self-styled philosopher, whom Eakins painted and photographed numerous times. In the Gallery's portrait, Macdowell's aged face, rendered with scrupulous care and detail, emerges from a somber background. In this direct and straightforward manner, Eakins suggests Macdowell's strength of character and distinctive personality.
[Gallery label text]
initialed, verso
1941.26
item
Memorial Art Gallery
9/8/1999
41.26TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
41.26SL
slide
photo of Wm. Macdowell
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
41.26SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
41.26DI1
digital image
Memorial Art Gallery
Imaging complete
6/23/2000
http://127.0.0.1:5000/Media/images/41.26_A1.jpg
41.26DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
41.26SL2
slide
photo of Mr. & Mrs. Wm Macdowell
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
M425_p140.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p140.tif
M425_p140(10).tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p140(10).tif
41.26DI#2
digital image
6/4/2012
http://127.0.0.1:5000/Media/images/41.26_A2.jpg
x-ray
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Tom Cafferty
Robert Henri, 1865 - 1929
Henri, Robert
United States
1865 - 1929
Male
22 1/4 x 20 1/8 in. (56.5 x 51.1 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
.
.
.
frame
Oil
Oil
1924
1924
1924
1900-2000, 20th century, children, paintings, portraits
Painting
Robert Henri, the leader of the Urban Realist movement, sought truth in art above all else. Henri promoted this revolutionary idea in support of a uniquely American art.
[Gallery label text, 2007]
In addition to providing guidance and inspiration (as well as occasional financial assistance) to many artists, Robert Henri was himself a very fine painter. Wherever he taught, he gathered around him eager and enthusiastic students who benefited from his instruction. He moved to New York in 1900 and taught at William Merritt Chase's school for a few years. In 1909, he established his own school, and also taught painting at the radical Ferrer School established by former Rochesterian Emma Goldman.
Although a member of the National Academy of Design, Henri actively promoted non-juried exhibitions and the work of younger, less traditional artists. Dictums such as "Know what the old masters did…They made their language. You make yours. All the past can help you" gave his followers the confidence to paint in their own way.
During the 1920s, Henri lived in Ireland and painted a young boy named Tom Cafferty, who was the subject of this painting and a number of others. Characteristically, Henri painted him in a very loose and colorful style, with energetic brush strokes.
[Gallery label text, 2003]
lower rightyes, verso
1926.1
item
Memorial Art Gallery
9/8/1999
26.1TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
26.1SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
26.1DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
http://127.0.0.1:5000/Media/images/26.1_A1.jpg
26.1DI#2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/26.1_A2.jpg
26.1DI#3
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/26.1_A3.jpg
26.1DI#4
digital image
6/22/2010
http://127.0.0.1:5000/Media/images/26.1_A4.jpg
Painting
Girl with a Tricorne (Vénitienne)
Henri Matisse, (Le Cateau-Cambrésis, France, 1869 – 1954, Nice, France)
Matisse, Henri
France
1869 - 1954
Male
24 3/8 x 20 in. (61.9 x 50.8 cm)
.
.
.
.
.
.
approximate installation dimensions
frame
Oil
Oil
1922-1923
1922
1923
1900-2000, 20th century, paintings, women
Painting
lower right
1924.38
item
Memorial Art Gallery
1/30/2001
24.38TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
24.38SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
5 x 7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
5 x 7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
24.38SL2
slide
detail
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
24.38DI1
digital image
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/24.38_A1.jpg
24.38DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/24.38_A2.jpg
24.38DI#3
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/24.38_A3.jpg
24.38DI#4
digital image
Detail left side of dress
00/00/00
http://127.0.0.1:5000/Media/images/24.38_A4.jpg
24.38DI#4
digital image
Detail of dress
00/00/00
http://127.0.0.1:5000/Media/images/24.38_A5.jpg
pdf file
00/00/00
http://127.0.0.1:5000/Media/images/surrogates/pdf/24.38_R1.pdf
Painting
Charles Gaspard Guillaume de Vintimille du Luc, Archbishop of Paris (1656-1746)
Hyacinthe Rigaud, (Perpignan, France, 1659 - 1743, Paris)
Rigaud, Hyacinthe
France
1659 - 1743
Male
61 7/8 x 52 3/4 in. (157.2 x 134 cm)
.
.
.
Oil
Oil
1731
1731
1731
1600-1800, 18th century, church officials, men, paintings, portraits
Painting
Next to the King, the archbishop of Paris was one of the most powerful men in France, and he surrounded himself with only the finest quality. Rigaud was the leading French portraitist of the early eighteenth century, often painting kings and royal families. His account book reveals that Archbishop Vintimille du Luc paid 3,000 livres (the French currency of the time) for this masterful likeness. The painting documents the archbishop's character and stature. The mild expression admirably suggests the conciliatory nature that made Vintimille du Luc famous for his diplomatic skills. Writing materials close at hand and a vest library in the background allude to his scholarly attainments and his work. His sumptuous attire, the exquisite workmanship of his desk and chair, and the theatrical backdrop of cloth are calculated to impress the viewer with the archbishop's power and wealth.
[Gallery label text, 2008]
1968.1
item
Memorial Art Gallery
1/25/2001
separations
6 x 7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
68.1TR1
transparency
before conservation
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
68.1SL1
slide
full- before conservation
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full before conservation
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full w frame before conservation
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full before conservation
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
68.1SL2
slide
detail- lace before conservation
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
68.1SL3
slide
detail- eye before conservation
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
68.1DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/68.1_A2.jpg
68.1TR2
transparency
full after conservation
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
68.1SL4
slide
full after conservation
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
68.1DI6
digital image
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/68.1_A1.jpg
68.1DI7
digital image
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
68.1DI3
digital image
with frame- before conservation
00/00/00
http://127.0.0.1:5000/Media/images/68.1_A3.jpg
Painting
Two Musicians
Bernardo Strozzi, (Genoa, 1581 - 1644, Venice)
Strozzi, Bernardo
Italy
1581 - 1644
Male
45 5/8 x 47 7/8 in. (115.9 x 121.6 cm)
.
.
.
Oil
Oil
1630-1635
1630
1635
1600-1800, 17th century, musical instruments (depictions), musicians, paintings
Painting
This scene of a middle-aged lute player and young violinist illustrates many qualities of Baroque art. Both musicians look directly out from the painting, their eye contact and lively expressions establishing a sympathetic psychological relationship with their audience. A parapet that separates performer from spectator links imaginary and actual space; dramatic lighting, naturalistic details and richly saturated colors all merge to intensify the viewer’s visual experience.
The meaning of Two Musicians leaves much to the imagination. The two figures here could suggest a contrast between naïve youth and experienced age; the violin and the lute both refer to ideas of balance and harmony. Concert scenes sometimes symbolize the sense of hearing or the idea of harmony and love. Whatever the interpretation, these paintings of concerts were, like the music they represent, extremely popular with their public during the Baroque period.
As a young man, Strozzi entered a monastery where he painted religious subjects. After his father’s death, he was allowed to leave the monastery to support his mother; he refused, though, to return after she died and was forced to flee his native Genoa. In 1631, he settled in Venice, where he became a Roman Catholic prelate, or church official. He enjoyed continuous success as a painter for the rest of his life.
[Gallery label text]
back of stretcher, Presumably MAG incoming receipt number?back of stretcherback of stretcher, Circular stamp, stamped twice: Swiss export stamp.back of stretcherback of stretcher, On crossbar of stretcher
1953.8
item
Memorial Art Gallery
1/22/2001
53.8TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.8SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.8SL2
slide
detail-older man hands
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.8DI1
digital image
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/53.8_A1.jpg
53.8SL3
slide
detail-man's head
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.8SL4
slide
detail- boy's head
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.8SL5
slide
detail-boy's hand
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.8DI#2
digital image
4/7/2009
http://127.0.0.1:5000/Media/images/53.8_A2.jpg
53.8DI#3
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/53.8_A3.jpg
53.8DI#4
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/53.8_A4.jpg
53.8DI#5
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/53.8_A5.jpg
53.8DI#6
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/53.8_A6.jpg
53.8DI#7
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/53.8_A7.jpg
x-ray
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Sculpture
Crest Mask: Female Antelope (Chi Wara)
Bamana artist, (active )
Bamana artist
Mali
Primary
30 1/2 x 7 5/8 x 8 in. (77.5 x 19.4 x 20.3 cm)
.
.
.
Wood
Wood
Bamana; made in Mali
0
0
African art, antelopes, Bamana, chi wara, sculpture
Sculpture
In many cultures, gods and spirits take the form of animals. Selected for their physical or behavioral traits, features of different animals are combined to create mythical creatures whose symbolic powers are greater than those of ordinary beasts. This antelope crest mask combines the curved horns of an antelope, the curious snout and scales of a pangolin (a kind of anteater) and the squat body of an aardvark—all animals that dig up the earth. This makes them fitting representations of Chi Wara, the supernatural being the Bamana believe taught humans to farm. The masks were worn in male/female pairs during dance performances in the fields that taught and encouraged good farming. Today, because of conversion to Islam and a variety of social changes due to westernization, the Chi Wara masquerade is now performed for entertainment and cultural pride.
[Gallery label text, 2009]
1993.14
item
Memorial Art Gallery
9/8/1999
93.14SL1
slide
3/4 view
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
2 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
93.14DI1
digital image
3/4 view
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/93.14_A1.jpg
93.14DI#2
digital image
Three-quarter
1/13/2009
http://127.0.0.1:5000/Media/images/93.14_A2.jpg
93.14DI#3
digital image
side
1/13/2009
http://127.0.0.1:5000/Media/images/93.14_A3.jpg
93.14DI#4
digital image
Front
1/13/2009
http://127.0.0.1:5000/Media/images/93.14_A4.jpg
93.14DI#5
digital image
1/13/2009
http://127.0.0.1:5000/Media/images/93.14_A5.jpg
93.14TR1
transparency
Front
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Sculpture
Crest Mask: Male Antelope (Chi Wara)
Bamana artist, (active )
Bamana artist
Mali
Primary
40 9/16 x 2 15/16 x 13 9/16 in. (103 x 7.5 x 34.5 cm)
.
.
.
overall
overall
Wood
Wood
Bamana; made in Mali
0
0
African art, antelopes, Bamana, chi wara, sculpture
Sculpture
In many cultures, gods and spirits take the form of animals. Selected for their physical or behavioral traits, features of different animals are combined to create mythical creatures whose symbolic powers are greater than those of ordinary beasts. This antelope crest mask combines the curved horns of an antelope, the curious snout and scales of a pangolin (a kind of anteater) and the squat body of an aardvark—all animals that dig up the earth. This makes the mask a fitting representations of Chi Wara, the supernatural being the Bamana believe taught humans to farm. Chi wara masks were worn in male/female pairs during dance performances in the fields that taught and encouraged good farming. Today, because of conversion to Islam and a variety of social changes due to westernization, the Chi Wara masquerade is now performed for entertainment and cultural pride.
The small pieces of red cloth attached to the snout of this male Chi Wara may have originated in the woolen bandages imported by the French during the First World War. In Bamana culture, red is the color of danger and is often restricted to men of certain status.
[Gallery label text, 2009]
1969.107
item
Memorial Art Gallery
11/28/2000
69.107SL2
slide
worn w fiber costume
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
69.107SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
69.107DI1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/69.107_A2.jpg
69.107DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/69.107_A1.jpg
69.107DI#3
digital image
Three-quarter
1/13/2009
http://127.0.0.1:5000/Media/images/69.107_A3.jpg
69.107DI#4
digital image
Side
1/13/2009
http://127.0.0.1:5000/Media/images/69.107_A4.jpg
69.107DI#5
digital image
Front
1/13/2009
http://127.0.0.1:5000/Media/images/69.107_A5.jpg
69.107DI#6
digital image
1/13/2009
http://127.0.0.1:5000/Media/images/69.107_A6.jpg
69.107TR1
transparency
Front
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Sculpture
Head of the Bodhisattva Avalokitesvara
Cambodian artist, (active )
Cambodian artist
Cambodia
Primary
16 x 8 1/4 x 5 1/2 in. (40.6 x 21 x 14 cm)
.
.
.
Stone
Stone
11th century-12th century
1000
1199
1000-1400, Avalokitesvara, Cambodian
Sculpture
1936.4
item
Memorial Art Gallery
1/30/2001
36.4SL1
slide
full front
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full front
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
3/4 front
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
full front
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
profile
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
36.4SL2
slide
full-profile fr left
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
full back
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
full front
5x7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full front
5 x 7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
full front
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
full front
3x2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
3/4 front
3x2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
36.4DI1
digital image
full front
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/36.4_A1.jpg
Sculpture
Bodhisattva Guanyin on Mount Potala
Chinese artist
Chinese artist
China
Primary
45 1/2 x 26 3/8 x 20 1/2 in. (115.6 x 67 x 52.1 cm)
.
.
.
Wood
Wood
early 13th Century
1200
1232
1000-1400, Chinese, Guanyin: Chinese, statues
Sculpture
This aspect of Guanyin, enthroned on his legendary mountain abode, Potala, was especially favored in China during the 12th and 13th centuries. The figure is seated in a position of Royal Relaxation. Its rustic base, visible at the left, symbolizes a rocky ledge of the mountain paradise, from which Guanyin beholds with sublime compassion the sufferings of earthly beings.
Public temple images such as this, gilt and richly polychromed, were often installed in an elaborate naturalistic setting. They combined the two concepts of the immutability of the Divine and the transitory nature of the world.
[Gallery label text, undated]
1942.21
item
Memorial Art Gallery
1/30/2001
separations
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
42.21CNEG1
negative
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
42.21CNEG2
negative
5 x 7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
42.21TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
42.21SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
1 detail
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
detail
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
42.21SL2
slide
detail- torso
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
42.21SL3
slide
detail- head fr right
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
42.21SL4
slide
detail- head fr left
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
42.21SL5
slide
full-profile fr left
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
42.21SL6
slide
full-profile fr right
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
42.21SL7
slide
full-3/4 from right
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
42.21SL8
slide
full-3/4 from left
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full frontal
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
42.21DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/42.21_A2.jpg
42.21DI4
digital image
00/00/00
http://127.0.0.1:5000/Media/images/42.21_A4.jpg
42.21DI3
digital image
00/00/00
http://127.0.0.1:5000/Media/images/42.21_A3.jpg
42.21DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/42.21_A1.jpg
42.21DI#5
digital image
4/18/2011
http://127.0.0.1:5000/Media/images/42.21_A5.jpg
42.21DI#6
digital image
Detail
4/18/2011
http://127.0.0.1:5000/Media/images/42.21_A6.jpg
42.21DI#7
digital image
Detail
4/18/2011
http://127.0.0.1:5000/Media/images/42.21_A7.jpg
42.21DI#8
digital image
Detail
4/18/2011
http://127.0.0.1:5000/Media/images/42.21_A8.jpg
Ceramics
Court Lady
Chinese artist
Chinese artist
China
Primary
15 9/16 x 5 11/16 x 4 3/4 in. (39.6 x 14.5 x 12 cm)
.
.
.
overall
overall
Terracotta
Terracotta
0
0
500-1000, ceramics, Chinese, female figures, women
Ceramics
1949.1
item
Memorial Art Gallery
3/10/2001
49.1SL1
slide
full frontal
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
49.1DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/49.1_A1.jpg
49.1SL1
slide
with 48.90
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
49.1DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
49.1DI#3
digital image
Front
8/31/2010
http://127.0.0.1:5000/Media/images/49.1_A2.jpg
49.1DI#4
digital image
Side
8/31/2010
http://127.0.0.1:5000/Media/images/49.1_A3.jpg
49.1DI#5
digital image
Side
8/31/2010
http://127.0.0.1:5000/Media/images/49.1_A4.jpg
49.1DI#6
digital image
Back
8/31/2010
http://127.0.0.1:5000/Media/images/49.1_A5.jpg
Ceramics
Court Musicians from a Tomb
Musicians from a Royal Tomb at Shansi
Chinese artist
Chinese artist
China
Primary
8 3/16 x 4 13/16 x 4 13/16 in. (20.8 x 12.2 x 12.2 cm)
.
.
.
Terracotta
Terracotta
7th century - early 8th century
600
732
500-1000, ceramics, Chinese, musical instruments (depictions), musicians
Ceramics
underside, Base and top coats: Acryloid B72 in acetone. Paper label, laser-printed. Numbered 9/3/10, M. Simpson, Registrar
1931.2
item
Memorial Art Gallery
3/10/2001
31.2SL1
slide
3 detail
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
31.2DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/31.2_A1.jpg
31.2DI2
digital image
detail
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/31.2_A2.jpg
31.2DI#3
digital image
8/31/2010
http://127.0.0.1:5000/Media/images/31.2_A3.jpg
Ceramics
Dancing Court Lady (one of a pair)
Chinese artist
Chinese artist
China
Primary
9 7/16 x 3 3/8 x 3 3/8 in. (24 x 8.5 x 8.6 cm)
.
.
.
overall
overall
Terracotta
Terracotta
7th century - early 8th century
600
732
500-1000, ceramics, Chinese, dance, female figures, women
Ceramics
1948.90.1
item
Memorial Art Gallery
3/10/2001
48.90SL1
slide
pair
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
7.5x7.5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
3x2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
48.90DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/48.90_A1.jpg
48.90.1DI#2
digital image
Front
8/31/2010
http://127.0.0.1:5000/Media/images/48.90.1_A1.jpg
48.90.1DI#3
digital image
Side
8/31/2010
http://127.0.0.1:5000/Media/images/48.90.1_A2.jpg
48.90.1DI#4
digital image
Side
8/31/2010
http://127.0.0.1:5000/Media/images/48.90.1_A3.jpg
48.90.1DI#5
digital image
Back
8/31/2010
http://127.0.0.1:5000/Media/images/48.90.1_A4.jpg
48.90.1DI#6
digital image
Back
8/31/2010
http://127.0.0.1:5000/Media/images/48.90_A2.jpg
Sculpture
Bodhisattva Kannon
Japanese artist, (active )
Japanese artist
Japan
Primary
56 1/8 x 14 15/16 x 14 15/16 in. (142.5 x 38 x 38 cm)
.
.
.
without base
overall
.
.
.
with base
overall
Wood
Wood
1100-1199
1100
1199
1000-1400, Japanese, Kannon: Japanese, statues
Sculpture
1974.83
item
Memorial Art Gallery
1/30/2001
74.83SL1
slide
full-frontal
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
74.83SL2
slide
full-left side
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
74.83SL3
slide
full- 3/4 view
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
74.83SL4
slide
full-right side
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
74.83SL5
slide
detail-head frontal
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
74.83SL6
slide
detail-left side
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
74.83SL7
slide
detail-head 3/4
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
74.83DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/74.83_A1.jpg
Woodwork
Raven Dance Mask
Kwakwaka'wakw artist, (active )
Kwakwaka'wakw artist
Canada
56 in. (142.2 cm)
.
.
.
Wood, pigment
Wood, pigment
Kwakwaka'wakw; made in British Columbia, Canada
mid 19th century
1833
1866
birds, masks (sculpture), Native American, Native American art, religious & ritual objects
Woodwork
This mask represents Raven, one of the creatures most important to the Kwakwaka’wakw people. Known to be quick learners, aggressive defenders of territory, and very social with one another, ravens have been a respected clan emblem for centuries. Raven masks are worn during a portion of the hamatsa, an initiation masquerade for young men. Following a choreographed sequence, with beaks projecting upward and masks moving wildly from side to side, the hinged lower jaw of the mask is manipulated with a cord. When the cord is pulled, the mask responds with a loud clacking sound – the “hap, hap” of the birds’ voices – adding to the dramatic effect of the performance.
Hamatsa is performed at Kwakwaka’wakw potlatches. Potlatches are traditional cross-clan celebrations including dancing, feasting and magnanimous distribution of gifts held to honor births, marriages, deaths and other changes in social relationships. Potlatches continue to this day, despite attempts to ban them by both the Canadian and United States governments in the late 19th century.
[Gallery label text, 2009]
1964.111
item
Memorial Art Gallery
11/21/2000
64.111TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
64.111SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
3 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
64.111SL2
slide
detail of eye
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
64.111DI2
digital image
Inhouse58
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/64.111_A2.jpg
64.111DI1
digital image
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/64.111_A1.jpg
64.111DI3
digital image
TRC4
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Ceramics
Stirrup Spout Vessel: Frog
Moche artist, (active )
Moche artist
Peru
Primary
8 1/2 in. (21.6 cm)
.
.
.
Terracotta
Terracotta
Moche; made in Peru
300-450 CE
300
450
1000 BCE - 500 CE, ceramics, frogs, Mochica, Pre-Columbian art of Central & South America, vessels
Ceramics
1945.30
item
Memorial Art Gallery
11/16/2000
45.30SL1
slide
full 3/4
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
45.30DI1
digital image
full 3/4
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/45.30_A1.jpg
glossy
w 43.8 & 44.65
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
45.30DI#2
digital image
5/12/2009
http://127.0.0.1:5000/Media/images/45.30_A2.jpg
Sculpture
Shaman Medicine Charm
Tlingit artist, (active )
Tlingit artist
United States
6 1/4 x 2 1/4 in. (15.9 x 5.7 cm)
.
.
.
Walrus ivory
Walrus ivory
Tlingit; made in Alaska
0
0
1800-1900, Native American, Native American art, religious & ritual objects
Sculpture
The belief that humans can draw power from the non-human world is a framework that underlies many belief systems, and is especially strong in most Native North American culture groups. Shamans played an especially important role in this respect. Responsible for curing the sick, controlling the weather, guaranteeing successful fish runs, combating witches, and providing assistance during battle, shamans moved freely between the human and spirit world. Tlingit shamans often carried charms like this one. Each charm is unique and often includes a multiplicity of figures. This charm is in the form of a whale, with the rear assuming the form of a land otter, a highly powerful spirit helper to the shaman.
[Gallery label text, 2009]
1922.5
item
Memorial Art Gallery
9/8/1999
22.5SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
22.5DI1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/22.5_A1.jpg
22.5DI#2
digital image
2/19/2008
http://127.0.0.1:5000/Media/images/22.5_A2.jpg
Ceramics
Head Fragment
Edo (Bini) artist, (active )
Edo (Bini) artist
Nigeria
4 1/4 x 3 3/16 x 2 5/16 in. (10.8 x 8.1 x 5.9 cm)
.
.
.
Clay
Clay
Edo (Bini); made in Benin Kingdom, Nigeria
0
0
17th century, African art, heads
Ceramics
1965.25
item
Memorial Art Gallery
3/10/2001
65.25SL1
slide
frontal 3/4
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
front
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
front
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
front
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
65.25DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/65.25_A1.jpg
65.25SL2
slide
frontal
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
65.25DI#2
digital image
Front
1/22/2008
http://127.0.0.1:5000/Media/images/65.25_A2.jpg
Sculpture
Twin Figure (Ere Ibeji)
Yoruba artist, (active )
Yoruba artist
Nigeria
9 3/8 x 2 5/8 x 2 3/4 in. (23.8 x 6.7 x 7 cm)
.
.
.
Wood
Wood
Yoruba; made in Nigeria
0
0
1900-2000, African art, religious & ritual objects, sculpture, Yoruba
Sculpture
The Yoruba have one of the highest rates of twinning in the world. Twins are endowed with powerful attributes, both auspicious and dangerous. Due to the high mortality rate of twins, when one or both dies, Yoruba mothers procure small wooden statues (ere ibeji) to house the spirits of the deceased. If there is a single ibeji, it is likely that one twin died and one survived. If there are two ibeji figures, then it is likely that both twins died. Wealthy women clothe their ere ibeji in beaded or shelled vests.
Surface accumulation and signs of wear are common as ibeji figures are cared for in the same manner as a living child and are handled, clothed, washed, fed and honored with dances and songs. Lyrics from a Yoruba song explain how the care of ere ibeji can control the potentially negative influence of twins’ spirits, “Abuse me and I shall follow you home. Praise me and I shall leave you alone.” Subsequent generations inherit the care of ere ibeji from their ancestors.
[Gallery label text, 2009]
1965.9.1
item
Memorial Art Gallery
3/10/2001
65.9.1_.2DI1
digital image
2 detail
2 x 2
12/1/2001
http://127.0.0.1:5000/Media/images/65.9.1-.2_A1.jpg
65.9.1-.2SL1
slide
full with 65.9.2
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
65.9.1DI2
digital image
2 detail
2 x 2
12/1/2001
http://127.0.0.1:5000/Media/images/65.9.1_A1.jpg
65.9.1DI#3
digital image
Front
1/22/2008
http://127.0.0.1:5000/Media/images/65.9.1_A5.jpg
negative
frontal with 65.9.2
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
frontal with 65.9.2
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
frontal with 65.9.2 side
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
frontal with 65.9.2 side
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
65.9.1DI#4
digital image
back
1/22/2008
http://127.0.0.1:5000/Media/images/65.9.1_A6.jpg
65.9.1_.2DI#5
.1&.2
digital image
1/22/2008
http://127.0.0.1:5000/Media/images/65.9.1-.2_A4.jpg
Ceramics
"Smiling" Figure
Remojadas artist, (active )
Remojadas artist
Mexico
Primary
14 in. (35.6 cm)
.
.
.
Clay
Clay
Remojadas; made in Veracruz, Mexico
300-900
300
900
Pre-Columbian art of Central & South America
Ceramics
Smiling figures have been found in abundance in the Remojadas region of Veracruz, Mexico. A flattened head, filed teeth and raised hands are their common features. Many more heads than bodies have been found, possibly as a result of ceremonial decapitations.
These unique figures may represent laughing, happy people associated with a god of dance or music, or perhaps their smiles show the effects of intoxicants fed to victims before they were sacrificed to the gods.
[Gallery label text, 2009]
1954.39
item
Memorial Art Gallery
2/3/2001
54.39SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
5x7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
3x2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
5x7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
8 x 6
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
54.39DI1
digital image
8x10
00/00/00
http://127.0.0.1:5000/Media/images/54.39_A1.jpg
54.39DI#2
digital image
6/9/2009
http://127.0.0.1:5000/Media/images/54.39_A2.jpg
Sculpture
Helmet Mask (Waniougo)
Senufo artist, (active )
Senufo artist
Côte d'Ivoire
Primary
14 3/8 x 25 3/4 x 13 in. (36.5 x 65.4 x 33 cm)
.
.
.
Wood
Wood
Senufo; made in Côte d'Ivoire
0
0
masks
Sculpture
The sharp edges and angular forms of this double-faced mask (waniougo) result in a fierce and expressive presence. A fearsome appearance is desirable as waniougo’s role is to frighten away evil spirits wishing to harm a Senufo village at times of particular vulnerability, for example at funerals. Their appearance in nighttime masquerades enhances the otherworldly presence of these “firespitter” masks; embers or burning grass are held in front of the mouths through which the wearer blows to creating a dramatic shower of sparks into the night sky.
Waniougo combines the features of crocodiles (teeth), hippos (tusks), warthogs (upper tusks) and chameleons (two are visible on the top). In order to empower the mask before the ceremony, the cup held by the chameleons is filled with magical materials and the mask freshly painted with spots.
[Gallery label text, 2009]
1970.22
item
Memorial Art Gallery
3/10/2001
70.22TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
70.22SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
70.22DI1
digital image
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/70.22_A1.jpg
Mosaic
Mosaic Floor Panel with Head of Tethys
Roman artist
Roman artist
Italy
Primary
50 1/4 x 82 1/16 x 2 7/16 in. (127.7 x 208.5 x 6.2 cm)
.
.
.
overall
overall
.
.
.
Marble
Marble
Roman; made in Antioch, Syria
3rd century
200
299
1000 BCE - 500 CE, Antioch, mosaic, Tethys
Mosaic
This mosaic depicting the head of Tethys, a Greek goddess of the sea, was discovered in 1939 in the ruins of Daphne, a wealthy suburb of Antioch. Tethys may have been a special patron of Antioch, a wealthy and diverse seaside city located in Syria but founded by settlers from a variety of nations. Antioch’s central location on the coast of the Mediterranean, easily reached from Europe, Africa, and the Middle East, made it a crossroads of cultures, religions, and languages.
Seleucus I, one of Alexander the Great’s former generals, founded Antioch on the Orontes River around 300 BCE. Settled by Macedonians, Athenians, and Jews, it maintained its reputation as a sophisticated and multi-ethnic city for centuries. At its peak, Antioch was the third largest city in the world, behind only Rome and Alexandria. Rome annexed Antioch in 64 BCE and made it the Syrian provincial capital. Despite a sequence of political upheavals and repeated catastrophic earthquakes, Antioch and its suburbs remained luxuriant and lively, drawing from the best of the eastern and western worlds.
The goddess Tethys, a figure from Greek legend, was also revered by the Roman citizens of Antioch. Born of Gaea, the earth deity, and Uranus, the god of the sky, Tethys was the wife of the sea god Oceanus, whose mythical river encircled the earth. She controlled the distribution of water throughout the streams of the world. She is often depicted with wings on her brow, possibly representing the winds that drove rainclouds.
In 1939, an archaeological excavation in the area of Antioch uncovered the Tethys mosaic. It had been part of a floor in an opulent Roman-era villa in the luxurious resort town of Daphne. This mosaic was one of more than three hundred pavements discovered in the vicinity. They featured scenes of the gods, animals including fish and birds, and repeating decorative ornament. The Memorial Art Gallery purchased the Tethys mosaic from Princeton University, one of seven institutions participating in the project. The excavations ended soon thereafter, as World War II destabilized the region. The province of Hatay, which includes Antioch and Daphne, is now part of northern Turkey.
Mosaics are designs made from tesserae, small pieces of colored stone or glass, embedded into a flat, prepared surface of damp concrete-like material. Although mosaics were first made before 1500 BCE, the Romans elevated the Greek art of mosaic, creating intricate patterns to cover floors of private homes as well as public buildings throughout the Empire.
[Gallery label text, 2009]
right edge, Black paint or crayon?
1942.2
item
Memorial Art Gallery
4/24/2001
42.2TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
42.2SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
42.2DI1
digital image
Memorial Art Gallery
Imaging complete
4 x 5
11/21/2001
http://127.0.0.1:5000/Media/images/42.2_A1.jpg
42.2SL1
slide
full-3/4 view
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
42.2SL3
slide
detail-head
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
42.2SL4
slide
original site in Antioch
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
42.2DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
42.2TR2
transparency
detail- center image
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/42.2_R1.jpg
Sculpture
Spoon
Yaoure or Baule artist, (active )
Yaoure or Baule artist
Côte d'Ivoire
7 1/16 x 1 3/4 x 3 3/8 in. (18 x 4.5 x 8.5 cm)
.
.
.
overall
overall
Wood
Wood
Yaoure or Baule; made in Côte d'Ivoire
0
0
eating & serving utensils
Sculpture
1964.102
item
Memorial Art Gallery
11/28/2000
64.102SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
64.102SL2
slide
detail- handle
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
64.102DI1
digital image
front
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/64.102_I1.jpg
64.102DI#2
digital image
front
1/22/2008
http://127.0.0.1:5000/Media/images/64.102_A1.jpg
64.102DI#3
digital image
Three-quarter
1/22/2008
http://127.0.0.1:5000/Media/images/64.102_A2.jpg
64.102DI3
digital image
00/00/00
http://127.0.0.1:5000/Media/images/64.102_A3.jpg
64.102DI4
digital image
00/00/00
http://127.0.0.1:5000/Media/images/64.102_A4.jpg
Sculpture
Twin Figure (Ere Ibeji)
Yoruba artist, (active )
Yoruba artist
Nigeria
Primary
9 1/4 x 2 5/8 x 2 5/8 in. (23.5 x 6.7 x 6.7 cm)
.
.
.
Wood
Wood
Yoruba; made in Nigeria
0
0
1900-2000, African art, religious & ritual objects, sculpture, Yoruba
Sculpture
The Yoruba have one of the highest rates of twinning in the world. Twins are endowed with powerful attributes, both auspicious and dangerous. Due to the high mortality rate of twins, when one or both dies, Yoruba mothers procure small wooden statues (ere ibeji) to house the spirits of the deceased. If there is a single ibeji, it is likely that one twin died and one survived. If there are two ibeji figures, then it is likely that both twins died. Wealthy women clothe their ere ibeji in beaded or shelled vests.
Surface accumulation and signs of wear are common as ibeji figures are cared for in the same manner as a living child and are handled, clothed, washed, fed and honored with dances and songs. Lyrics from a Yoruba song explain how the care of ere ibeji can control the potentially negative influence of twins’ spirits, “Abuse me and I shall follow you home. Praise me and I shall leave you alone.” Subsequent generations inherit the care of ere ibeji from their ancestors.
[Gallery label text, 2009]
1965.9.2
item
Memorial Art Gallery
3/10/2001
65.9.1-.2DI1
slide
2 detail
2 x 2
12/1/2001
http://127.0.0.1:5000/Graphics/blank.gif
65.9.2SL1
slide
full w 65.9.1
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
65.9.1-.2DI1
digital image
2 detail
2 x 2
12/1/2001
http://127.0.0.1:5000/Media/images/65.9.1-.2_A1.jpg
65.9.2DI2
digital image
2 detail
2 x 2
12/1/2001
http://127.0.0.1:5000/Media/images/65.9.2_A1.jpg
negative
frontal with 65.9.1
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
frontal with 65.9.1
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
side with 65.9.1 frontal
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
side with 65.9.1 frontal
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
65.9.2DI#3
digital image
Front
1/22/2008
http://127.0.0.1:5000/Media/images/65.9.2_A7.jpg
65.9.2DI#4
digital image
back
1/22/2008
http://127.0.0.1:5000/Media/images/65.9.2_A8.jpg
65.9.1&.2DI#5
.1&.2
digital image
1/22/2008
http://127.0.0.1:5000/Media/images/65.9.1-.2_A4.jpg
Painting
The Death of Richard II
Francis Wheatley, (London, 1747 - 1801)
Wheatley, Francis
England
1747 - 1801
Male
78 x 60 in. (198.1 x 152.4 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
ca. 1792-1793
1792
1793
1600-1800, 18th century, armor, men, paintings, violence, world history
Painting
Francis Wheatley was best known for his historical paintings, scenes of daily life, and portraits. He trained at the Royal Academy in London and became the director of the Society of Artists in 1774. Debts and an unfortunate affair with the wife of a colleague led to his abrupt departure from England to Ireland. He returned in 1783, when he began painting illustrations for works by contemporary authors. The success of these “painted illustrations” led to major commissions, including the one for this monumental painting from the print publisher Robert Bowyer.
One of Bowyer’s most ambitious projects was an illustrated edition of David Hume’s "The History of England." It comprised not only a lavish publication, but the creation of a “History Gallery” for the public display of the original paintings. According to Bowyer’s prospectus, the paintings were intended “to rouse the passions, to fire the mind with emulation of heroic deeds, or to inspire it with detestation of criminal actions.”
Wheatley responded to this challenge by depicting the more dramatic version of Richard’s death, in which he was beheaded rather than starved in prison. The theatrical gestures and expressions, lurid coloring, and bold brushwork serve to heighten the violent drama of the events. In the end, the project was a financial disaster; the paintings from the gallery, including Wheatley’s "The Death of Richard II," were sold in a lottery in 1807.
[Label text from It Came From the Vault exhibition, 2013]
1987.1
item
Memorial Art Gallery
11/3/2000
87.1TR1
transparency
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
87.1SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
87.1DI1
digital image
8 x 10
00/00/00
http://127.0.0.1:5000/Media/images/87.1_A1.jpg
87.1DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Study for "The Death of Richard II"
Francis Wheatley, (London, 1747 - 1801)
Wheatley, Francis
England
1747 - 1801
Male
14 1/2 x 11 1/2 in. (36.8 x 29.2 cm)
.
.
.
Oil
Oil
ca. 1792-1793
1792
1793
European art
Painting
1987.2
item
Memorial Art Gallery
11/3/2000
87.2TR1
transparency
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
87.2SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
87.2DI1
digital image
8 x 10
00/00/00
http://127.0.0.1:5000/Media/images/87.2_A1.jpg