{ "objects" : [ { "embark_ID" : 7801, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7801", "Disp_Access_No" : "1944.10", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 865 BCE-860 BCE", "_Disp_Start_Dat" : "865 BCE", "_Disp_End_Date" : "860 BCE", "Disp_Title" : "Winged Genius", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Assyrian", "Sort_Artist" : "Unknown, Assyrian", "Disp_Dimen" : "33 3/8 x 29 1/8 x 2 1/2 in. (84.7 x 73.9 x 6.4 cm)", "Disp_Height" : "33 3/8 in.", "Disp_Width" : "29 1/8 in.", "Dimen_Extent" : "with mount", "Medium" : "Alabaster", "Support" : "", "Disp_Medium" : "Alabaster", "Info_Page_Comm" : "This mythical guardian figure, called a Genius, wears a two-horned helmet and fringed garment and carries a double-handled dagger, all attributes of his divine nature. His hands gesture protectively toward a flowering tree, just visible at the right edge of the sculpture. This relief, once brightly painted, is a fragment from the Northwest palace built by the Assyrian king Ashirnasirpal II (883—859 BCE) in his capital city at Kalhu, now the Iraqi city of Nimrud. Dozens of huge stone slabs carved with scenes of human and divine figures decorated the palace walls. [Gallery label text, 2009] This relief is a fragment of a larger composition of similar figures that once decorated one of the palaces of King Ashurnasirpal II, who ruled Assyria from 883 to 859 BCE. He established his capital at Kalhu, now the Iraqi city of Nimrud. Carved in a technique typical of Assyrian bas-reliefs, with contours deeply channeled to make them discernible in diffuse light, the figure’s facial features and musculature are carefully modeled. The hair and garments are also carved in detail, enhancing the decorative effect that the Assyrians favored in such reliefs. The wings and the two-horned helmet worn by the figure, called a Genius, are attributes of his divinity. That he is a protective deity is implied by his gesture toward the tree form, which suggests the care of a farmer for planted crops. The palmettes of a tree behind the figure’s right foot separated this figure from a similar one, now in the Vatican Museum in Rome, facing in the opposite direction. The motif of tending to these tree forms appears on many of the more than 315 Assyrian reliefs in collections outside of Nimrud, and is believed to represent an act that was part of ritual ceremonies. While such ceremonies remain unexplained, their frequent representation in palace reliefs suggests their importance to Assyrian court life. "I, Ashurnasirpal, the king whose glory is mighty, took Kalhu and changed its ancient mound… A palace of boxwood, mulberry, cedar, cypress, pistachio, tamarisk, and poplar… for my royal dwelling and for my lordly pleasure I founded therein, I adorned and made glorious.” King Ashurnasirpal II, who ruled Assyria from 883-859 BCE, so described the founding of his new capital city at Kalhu (modern-day Nimrud) on the banks of the Tigris River. Ashurnasirpal’s most elaborate project was the construction of the Northwest Palace, which included state apartments, a throne room, administrative offices, a harem and a tomb. Built during his reign and completed by his successors, the palace was decorated with huge stone slabs that were carved with scenes of figures in relief and inscribed with a record of important events during Ashurnasirpal’s reign. The Gallery’s relief, Winged Genius, probably comes from this palace. [Gallery label text, 2004] ", "Dedication" : "R. T. Miller Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "Assyrian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Per John Stearns of Dartmouth, this panel came from the Northwest Palace of Assurnasirpal II, the left half of the upper register of Room I; the right half of the panel is in the Vatican Museum. Deaccessioned from Cleveland Museum of Art in 1944 due to space considerations (see letter in curatorial file). --KSchauber, Curatorial Research Ass''t", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/44.10_A4.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/44.10_A4.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/44.10_A4.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/44.10_A4.jpg", "IsPrimary" : "1", "_SurrogateID" : "29017", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Digitally manipulated by Andy Olenick to combine photos to get an even distribution of lighting. On disk 1, 090330", "View" : "" } , ] },{ "embark_ID" : 4910, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4910", "Disp_Access_No" : "1969.107", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Crest Mask: Male Antelope (Chi Wara)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Bamana", "Sort_Artist" : "Unknown, Bamana", "Disp_Dimen" : "40 9/16 x 2 15/16 x 13 9/16 in. (103 x 7.5 x 34.5 cm)", "Disp_Height" : "40 9/16 in.", "Disp_Width" : "2 15/16 in.", "Dimen_Extent" : "overall", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood, fiber, and metal", "Info_Page_Comm" : "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] ", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "Malian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/69.107_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/69.107_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/69.107_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/69.107_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "28367", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On disk 090113", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/69.107_A4.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/69.107_A4.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/69.107_A4.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/69.107_A4.jpg", "IsPrimary" : "0", "_SurrogateID" : "28368", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On disk 090113", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/69.107_A6.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/69.107_A6.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/69.107_A6.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/69.107_A6.jpg", "IsPrimary" : "0", "_SurrogateID" : "28370", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "At the left, with 93.14 on the right. On disk 090113", "View" : "" } , ] },{ "embark_ID" : 6365, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6365", "Disp_Access_No" : "1940.66", "_AccNumSort1" : "", "Disp_Create_DT" : "2680 BCE - 2258 BCE", "_Disp_Start_Dat" : "2680 BCE", "_Disp_End_Date" : "2258 BCE", "Disp_Title" : "Standing Male Figure", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Egyptian", "Sort_Artist" : "Unknown, Egyptian", "Disp_Dimen" : "11 7/8 x 2 3/4 x 1 7/8 in. (30.2 x 7 x 4.7 cm)", "Disp_Height" : "11 7/8 in.", "Disp_Width" : "2 3/4 in.", "Dimen_Extent" : "overall", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood, paint", "Info_Page_Comm" : "In Egyptian art, the male figure was invariably shown striding forward, with the left leg advanced. [Gallery label text]", "Dedication" : "Gift of Miss Eleanor Lovett in memory of her aunt, Miss Edith Morgan", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "Egyptian", "Department" : "", "Obj_Name" : "", "Period" : "Old Kingdom (2686-2125 BCE)", "Style" : "", "Edition" : "", "Curator" : "Note on catalog card: should be 51.___ It is unclear what this means; the Frederic Morgan collection was acquired in 1951 and Edith Morgan, mentioned in this credit line, may be related to Frederic, but this figure does not appear in the ledger for 1951.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/40.66_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/40.66_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/40.66_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/40.66_A1.jpg", "IsPrimary" : "0", "_SurrogateID" : "13951", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/40.66_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/40.66_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/40.66_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/40.66_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "25383", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 7883, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7883", "Disp_Access_No" : "1973.146", "_AccNumSort1" : "", "Disp_Create_DT" : "1st century", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "99", "Disp_Title" : "Togatus", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Roman", "Sort_Artist" : "Unknown, Roman", "Disp_Dimen" : "68 7/8 x 31 1/4 x 20 in. (174.9 x 79.4 x 50.8 cm)", "Disp_Height" : "68 7/8 in.", "Disp_Width" : "31 1/4 in.", "Dimen_Extent" : "", "Medium" : "Marble", "Support" : "", "Disp_Medium" : "Marble", "Info_Page_Comm" : "This man was a significant public figure in ancient Roman society. His toga—the traditional status garment symbolic of Roman citizenship—the scroll in his hand, and the box of scrolls at his feet mark his high status. He may have been one of the 300 Roman Senators who addressed important matters of civic law, religious practice, or foreign policy, all aspects of Roman life controlled by the Senate. [Gallery label text, 2009]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "Roman", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/73.146_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/73.146_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/73.146_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/73.146_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "12701", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 7407, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7407", "Disp_Access_No" : "1969.72", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Rhythm Pounder (Deble)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Senufo", "Sort_Artist" : "Unknown, Senufo", "Disp_Dimen" : "42 1/2 in. (108 cm)", "Disp_Height" : "42 1/2 in.", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood", "Info_Page_Comm" : "In many African societies, life on earth is seen as part of a continuum that permits movement between the spirit and earthly worlds. As ancestors are in a position to assist the living, they must be respected and attended to. The rhythm pounders of the Senufo originally functioned as communication devices in calling the spirits of ancestors to participate in funerals. Held by the upper arms, the rhythm pounder’s thick base is thumped into the earth in rhythm with the sounds of chants, drums and rattles. [Gallery label text, 2009]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "Ivoirian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/69.72_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/69.72_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/69.72_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/69.72_A3.jpg", "IsPrimary" : "0", "_SurrogateID" : "28660", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/69.72_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/69.72_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/69.72_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/69.72_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "28661", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 7411, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7411", "Disp_Access_No" : "1970.22", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Helmet Mask (Waniougo)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Senufo", "Sort_Artist" : "Unknown, Senufo", "Disp_Dimen" : "14 3/8 x 25 3/4 x 13 in. (36.5 x 65.4 x 33 cm)", "Disp_Height" : "14 3/8 in.", "Disp_Width" : "25 3/4 in.", "Dimen_Extent" : "", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood", "Info_Page_Comm" : "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] ", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "Ivoirian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/70.22_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/70.22_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/70.22_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/70.22_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "15068", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 7541, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7541", "Disp_Access_No" : "1955.49.1", "_AccNumSort1" : "", "Disp_Create_DT" : "17th Century", "_Disp_Start_Dat" : "1600", "_Disp_End_Date" : "1699", "Disp_Title" : "Female Satyr, Bacchus, and Putti", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Gerhard van Opstal", "Sort_Artist" : "Opstal, Gerhard van", "Disp_Dimen" : "8 1/2 x 6 1/4 x 1 in. (21.6 x 15.9 x 2.5 cm)", "Disp_Height" : "8 1/2 in.", "Disp_Width" : "6 1/4 in.", "Dimen_Extent" : "", "Medium" : "Ivory", "Support" : "", "Disp_Medium" : "Ivory", "Info_Page_Comm" : "", "Dedication" : "Bertha Buswell Bequest", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "Flemish", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/55.49.1_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/55.49.1_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/55.49.1_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/55.49.1_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "31812", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] }, ] }