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Recent
I992-I993

Acquisitions: A SelectZon

THE METROPOLITAN

M U S E U M OF ART

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

The Metropolitan Museumof Art Bulletin FallI993 VolumeLI,Number2 (ISSN 0026-I52I) Published quarterly C)I993 by The Metropolitan Museum of Art,IOOO FifthAvenue, New York, N. Y. I0028-OI98. Second-class postage paidat New York,N. Y. and Additional MailingOffices.TheMetropolitan Museum ofArtBulletin is provided as a benefitto Museummembers andavailable by subscription. Subscriptions $25.00 a year.Singlecopies$6.95. Fourweeks'noticerequired forchange of address. POSTMASTER: Sendaddress changes to Membership Department, The Metropolitan Museum of Art,IOOO FifthAvenue, New York, N. Y. I0028-OI98. Backissuesavailable on microfilmfromUniversity Microfilms, 300 N. Zeeb Road,AnnArbor, Mich.48I06. Volumes I-XVII (I905-I942) available as clothbound reprint set or as individual yearly volumes fromAyerCompany Publishers, Inc., 50Northwestern Drive#Io, Salem,N. H. 03079, or fromthe Museum,Box 700, MiddleVillage, N. Y. II379. General Manager of Publications: JohnP. O'Neill Editorin Chiefof the Bulletin: JoanHolt Associate Editor: ToniaPayne Production: Peter Antony Design:BruceCampbell Design Mahrukh Tarapor andSianWetherill, Coordinators Allphotographs, unless otherwise noted,by thestaff of The Photograph Studioof The Metropolitan Museum of Art.Photographers: JosephCoscia Jr., Katherine Dahab, Anna-Marie Kellen, Oi-Cheong Lee,Patricia Mazza, Bruce Schwarz, Eileen Travell, Karin L. Willis,andCarmel Wilson.Othersource: LyntonGardiner, p. 63. On the cover: Detailof WheatFiel61 withCypresses by VincentvanGogh(seepp. 50-SI)

Contributors

American Decorative Arts North America I700-I900: Morrison H. Heckscher (MHH),Curator; AliceCooney Frelinghuysen (ACF), Associate Curator; Catherine HooverVoorsanger (CHV), Assistant Curator. Twentieth Century: Catherine HooverVoorsanger (CHV). American Paintings and Sculpture North America I700-I900: H. Barbara Weinberg (MBW), Curator; Kevin J. Avery (KJA), Assistant Curator; Thayer Tolles (TT), Curatorial Assistant. AncientNearEastern Art Ancient World: Prudence O. Harper (POH), Curator; JoanAruzaA), Assistant Curator. ArmsandArmor Islam: Stuart W. Pyhrr (SWP),Curator in Charge. Renaissance andBaroque Europe: Stuart W. Pyhrr (SWP).Europe I700-I900: Stuart W. Pyhrr (SWP).North America I700-I900: DonaldJ. LaRocca (DJL), Associate Curator. Artsof Africa,Oceania,andthe Americas Afi2ca} Oceania} andtheAmericas: KateEzra (KE),Associate Curator; HeidiKing(HK), Research Associate. AsianArt Asia: James C.Y.Wattac Brooke Russell AstorSeniorCurator; Martin Lerner (ML),Curator; Suzanne G. Valenstein (SGV),Research Curator;Barbara Brennan Ford(BBF), Associate Curator; StevenM. Kossak (SMK), Assistant Curator. CostumeInstitute Europe I700-I900: MicheleM. Majer(MM), Assistant Curator.

Drawings and Prints Renaissance andBaroque Europe: Suzanne Boorsch (SB),Associate Curator; William M. Griswold (WMG),Associate Curator; Helen B. Mules(HBM),Associate Curator; Nadine M. Orenstein (NMO),Assistant Curator. Europe I700-I900: ColtaIves(CI),Curator; William M. Griswold (WMG). Twentieth Century: ElliotBosavick Davis(EBD), Assistant Curator. Egyptian Art Ancient World: Dorothea Arnold(DoA), LilaAcheson Wallace Curator in Charge. European Paintings Renaissance andBaroque Europe: Everett Fahy (EF), JohnPope-Hennessy Chairman; Walter Liedtke (WL),Curator. Europe I700-I900: GaryTinterow(GT),Engelhard Curator. European Sculpture andDecorative Arts Renaissance andBaroque Europe: OlgaRaggio (OR),IrisandB. Gerald Cantor Chairman; Clare Vincent(CV),Associate Curator. Europe I700-I900: OlgaRaggio(OR);James DavidDraper aDD), Curator; Clare LeCorbeiller (CLC),Curator; Jessie McNab aMcN), Associate Curator; WilliamRieder (WR),Associate Curator andAdministrator. Twentieth Century: ClareLeCorbeiller (CLC). Greekand RomanArt Ancient World: Carlos A. Picon(CAP), Curator in Charge; JoanR. Mertens aRM), Curator; Dietrich von Bothmer (DvB), Distinguished Research Curator; Elizabeth J. Milleker (EJM), Associate Curator.

Islamic Art Islam: DanielWalker (DW), Curator in Charge; Marie Lukens Swietochowski (MLS), Associate Curator. Medieval ArtandThe Cloisters Medieval Europe: TimothyB. Husband (TBH),Curator; Charles T. Little(CTL), Curator; Barbara DrakeBoehm(BDB), Associate Curator; DanielKletke(DK), Curatorial Assistant. MusicalInstruments Renaissance andBaroque Europe: Laurence Libin(LL),Frederick P. RoseCurator in Charge. Europe I700-I900: Laurence Libin (LL). Afi2ca} Oceania} andtheAmericas: J. Kenneth MooreaKM),Associate Curator. Photographs Europe I700-I900: Maria Morris Hambourg (MMH),Curator; Malcolm Daniel(MD), Assistant Curator. Twentieth Century: Maria Morris Hambourg (MMH);JeffL. Rosenheim aLR), Research Assistant. TwentiethCentury Art Twentieth Century: WilliamS. Lieberman (WSL), Jacques andNatasha Gelman Chairman; SabineRewald (SR),Associate Curator; Lowery S. Sims(LSS), Associate Curator; LisaM. Messinger (LMM), Assistant Curator; J. Stewart JohnsonaSJ), Consultant forDesignandArchitecture; JaneAdlinaA), Research Associate.

Director's

Note

One wishesthatevery decision madeat the Metropolitan wereas easyas the selection of a coversubject forthisfall'sBulletin devoted to recent acquisitions. If there wasanyhesitation at all,it centered only on how to cropourobviouschoiceto fit thevertical format. The workof artin question is of courseWheat Fieldwith Cypresses) vanGogh'ssignalmasterpiece fromI889, a summation on one grand and vibrant canvas of a themethatpreoccupied the artist during his stayat Saint-Remy. The painting is alsothe latestof Walter Annenberg's remarkable actsof generosity toward thisinstitution. In fact,two other marvelous pictures entered the collection last yearbearing theAnnenberg name:another vanGogh,Shoes) of I888, a painting as richin pathos as it is simplein conception, andAt theLapin Agile) Picasso's great I905 composition of barely concealed drama, a partial giftwithLeonore Annenberg. I shouldnotealsothatWalter Annenberg established someyears agoan acquisitions fundat the Museum thatmadepossible this yearthe purchase of one of the finest extantCambodian bronzes, a tenth-century seated Avalokiteshvara of the Khmer style of Banteay Srei. This Bulletins organization according to broadart-historical periods rather thanby curatorial departments, an arrangement begunlastfall,showsclearly how generally wellbalanced areouracquisitions andhow richlyrepresented, onceagain,is the ancient world.In the Greek andRomanarea, especially, worksof large scalehavebeensought, not onlybecause theiracquisition hasbeen neglected in the recent pastbut because they will be needed whenthe department is completelyreinstalled in comingyears andthe vastspacenow occupied by the publiccafeteriawill be givenoverto Romanart. One of ourmostprincely recent acquisitionswascertainly thatof a fabulous sixteenth-

century sword, ayatagan, oneof onlyfour of itskindfrom thisperiod in theworld, andthework of theatelier of thecourt jeweler fortheOttoman sultan Suleyman theMagnificent; it is anobject of stunning beauty andopulence andof a level of craftsmanship thatleaves onebreathless. I would alsoliketo draw particular attentionto anexceptionally finework of theJain tradition of India, a highly polished white marble sculpture of a seated Tirthankara) from theeleventh century, that willsoontake itS place near theelaborately carved sixteenthcentury Jain temple nowbeing installed in thenewFlorence andHerbert Irving Galleries fortheArts of South andSoutheast Asia, scheduled to openin thespring of I994. Every acquisition, whether it is a major or minor work, enriches thecollection in its ownindividual way; anda fewmore are worthyof mention here fortheespecially pronounced impact theymake on ourholdings. Thefirst in date is anearly tenth-century north Italian ivory thatrepresents thescene of theThree Marys attheHolySepulcher withuncommon nobility andnarrative power. Rembrandt's Portrait ofa Man) painted in I632, iS asfinea work from the artist's early years asit is ourprivilege to see, anditsstate of preservation iswellnighperfect.Lucian Freud's large canvas, Naked Man)BackView) is a particularly powerful andarresting image bythiscontemporary master, arguably thegreatest representational artist working today. Many ofouracquisitions have come either asgifts orbequests, orwere purchased with funds expressly given forthis purpose byfriends oftheMuseum. Onbehalf of allof us and I speak aswellforthemillions whowillenjoy these works ofartattheMetropolitanI express ourdeepest gratitude.

Philippe deMontebello Director

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Vase in the Shapeof a Monkey withIts Young Eg)/ptian (Dynasty 6)> reign ofPepiIn ca.2289-2255 B. C. Alabaster (calcite) H. 53/8 in. (I3.7 cm) Purchase, JosephPulitzerBequest, Fletcher Fund,and LilaAchesonWallace, RussellandJudyCarson,WilliamKelly Simpson,andVaughnFoundation Gifts, in honorof HenryGeorgeFischer, I992
I992.338

Vase in the Shapeof a Monkey withIts Young Eg)/ptian (Dynasty 6)n reign ofMerenren ca.2255-2246B.C. Alabaster (calcite) H. 7l/4in. (I8.5 cm) TheodoreM. DavisCollection,Bequest of TheodoreM. Davis,I9IS
30. 8.I34

On the shipsthatbrought goodsbackto ancientEgyptfromcountries farther south alongthe Nile or the RedSea,captive baboons andmonkeys climbedin the rigging,delighting sailors with theirnaughty pranks. Once arrived at homeport,the apes became highlyprizedby members of noble households. Eventually, theirexoticorigin andentertaining nature madeimages of theseanimals seemfittingdecorations for luxury containers of cosmetics andperfumes. The newlyacquired alabaster vaserepresents a particular typeamongmonkey-shaped vesselsthatwasespecially popular duringthe lateOld Kingdom: a femalemonkey with its

30. d. I34

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babyholdingtightlyto the mother's abdomen. Bracelets andanklets wornby the pairs characterize themas domestic pets.In thesegroupings, the mother-baby relationshipis endowed with an intimacy not found in representations of humanfamilygroups of thesameperiod. The vase,although hollowed out to serve asa utilitarian object,is a sculptural masterpiece.Itsoverall shapeis ovoid.Seenin profile,theoutline savefora humpat the center of the back followscloselythe oval curve. The hovering of the adult's headover the babyexpresses aptlythe careful protectiveness feltby a motherforheryoung.Seen fromthe front,the babymonkeymerges completely with the mother's body,andthe mother's armsagainfollowthe ovaloutline. However, the mother's hindlegsand whiskers pointoutward in a markedly tense manner. This tension,knownfrommanyof the bestfull-scale sculptures of the Old Kingdom, lendsa dynamic vitalitytO the narmonlous composltlon. Visitors to the Museum's Old Kingdom galleries canappreciate the newmonkey vase astheparticular achievement of an individual artist, because the Museum ownsanother monkey vase,in whichan identical sculptural configuration hasbeentreated in an entirely different manner. Thisvase(acc.no. 30.8.I34), whichcameto the Museumin I930 as part of the Daviscollection, presents the mother andbabyin the shapeof an upright cylinder; its outlineis straight, not rounded as in the newpiece,andallof thedetails areabstract andangular, not soft andnatural. The artist of the Davisvaseclearly stroveforstatuary dignitymorethanfor a sensitive rendering of the mother-baby relationship. Egyptian art,especially thatof the Old Kingdom, is usually not thoughtto permit determination of individual artists, as they areconsidered to havebeenboundby the conventions of the timeandconsequently allowed littleroomforpersonal expression.The twovases,seensideby side,thus opena fresh approach to ancient Egyptian art. The newvaseis inscribed on the upper armsof the motherandon the rightarmof thebaby.The inscriptions provide informationaboutthe ownerof thevessel,a woman by the nameof Ny-khasut-Merira, andthe occasion on whichshe received the precious flask as a royalgift:the firstjubileefestival of KingPepiI (ca.2259 B.C.). DOA
. . . .

Cylinder Sealwith GriJ7in Attacking a Stagand Humansand Lions "International style) 99 withNearEastern and Aegean elements) I4thcentury B. C. Hematite H. 7/8 in. (2.3 cm) RogersFund,I992
I992. 288

Thissealis associated bybothstyle and iconography with"International-style" cylinders, which integrate Near Eastern and Aegean motifs andsyntax. Itwasprobably carved in theeastern Mediterranean, possiblyon Cyprus, around thetimeof thefall of Knossos (ca.I375-I360 B.C.), when Minoan craftsmen may have resettled abroad. A fineexample of thistypereportedlycomes from theLevant; another was found among imported Cypriot seals in the Mycenaean palace atThebes. Cylinder seals withAegean andNear Eastern features, either placed sidebysideor integrated intothenew"International style," bear witness to theclose interaction

among thecultures in theeastern Mediterranean. Inmaterial, theme, andplacement of figures, thisexample hasparallels in Syrian andCypriot glyptic. However, individual motifs, suchasthegriffin attacking a stag, theadorant lionbehind a lively male figure witha tasseled loincloth, andthe "master of animals," derive from theAegean stamp-seal tradition. Furthermore, thedistinctive figural style of supple, curved bodies,spindly animal limbs marked withsmall drillings, anddynamic postures relates it to stamp seals found on Rhodes andtheGreek mainland dating to thelast phase ofAegean sealcarving. JA

witha Nude Decorated Fragment Vessel Figure Female B.C. Istmillennium Iran)early Allegedly earthenware Painted in. (I3 cm) H. 51/8
I992 Fund, Fletcher I992.52.2

Handle withRwm-shaped Vessel B. C. Ist millennium Iran)evrly Allegedly evrthenware Painted in. (I9 cm) H. 71/2 Fund,I992 Fletcher
I992.52. I

of times sincethe earliest ceramics Iranian andtechnihighartistic havedemonstrated by acquired The vesselrecently calquality. ceramic the luxury represents the Museum latestageof developat a relatively industry molded,andmodeled, ment.Wheel-thrown, hornis madeof fine,evenly thisdrinking flutedcup clay.The horizontally grained at the lip andturnsup at the base flares the hindlegsof the figureof a leapbetween The ram's as a handle. ing ram,whichserves

on the rest andforelegs made head separately with alternate of fluting redbands rim.Dark thevessel. of theslipcovering thebuffcolor of bronze, containers horn-shaped Fluted, heads withanimal andgold,decorated silver, inthepre-Achaemenid were made bodies, and andthefine, East, Near Achaemenid and on anddetail of themodeling quality sharp thatthecraftsman vessel suggests theceramic of Ceramics example. a metal wasimitating atearly been found have material similar in bothwestB.C. sites first-millennium andnorthern Ziwiyeh) (notably Iran central Asa luxury Khatuniyeh). (Khirbet Iraq from dating probably thevessel, product, the B.C., illustrates century seventh theearly of a in thehands of thismedium versatility POH artist. gifted

decorated vessel drinking Thefragmentary is female of a nude figure withthepartial material, in vessel ram-handled to the similar Redpaint technique. andmodeling coloring, the face andbelow on thefigure's appears on the remains pigment brown dark hands; of thefigDetails andnecklace. headdress neckelaborate eyes, staring ure-the wide, gesture andthedistinctive laceandbracelets, sepaandfingers withthumbs of thehands close thefullbreasts have to support rated second (late Elamite Middle among parallels in found figurines B.C.) clay millennium have figurines These atSusa. notably Iran, the butnever arrangements hair elaborate bytheMuseum's capworn typeof pointed forthisheadparallel Theclosest example. of Neoheadgear is thedistinctive dress arecarved images whose rulers, Elamite in reliefs B.C. rock on first-millennium Iran. southern of thevessel, anddecoration Theform female image, thefull-breasted particularly in probably in Iran, thatit wasmade suggest POH B.C. century orseventh theeighth

Aryballos B. C. Greek,late 6th-earlysth century rasence H. 2 1/8in. (5.4 cm) Classical Purchase Fund, I992 I992.II.59
rn @

This beautifullypreservedfaience aryballos ranksamong the most accomplished, exotic, and ambitious examplesknown of its kind. The body of the vase combines four heads juxtaposedin pairs back to back, a remarkable integrationof different foreign elements that representsone of the hallmarksof ArchaicGreek art. We first notice two heads a frontalyouthful woman with long tressesand earringsand a daunting grotesque, surelya demon, shown open-mouthed and shrieking(right). Between them appeartwo smallerheads, a roaringlion and an enigmatic Negroid youth with terrifyingfanglike teeth. Style, typology, and iconography clearlydistinguish this vessel from the bulk of Archaicfaience perfume flaskstraditionally attributedto workshops on the Nile Delta

The styleof ourvesselis East or on Rhodes. rather thanan with a NearEastern Greek, evident thatis mostreadily flavor Egyptian the in the headof thewoman,whichrecalls an depicting ivories of Phoenician series at thewinimageknownas the "woman mostArchaic dow."In termsof typology, a singlefigure; vessels feature faience Greek at the back, conjoined examples, janiform of fourheads The combination arerarer. of the iconography unique.Finally, remains tO eludeus, eventhough ourvesselcontinues the objecthaslong beenknown.One could conthatsomenarrative argue conceivably nectionexistsamongthe fourheads.It has however, thatthe beensuggested, recently mayinvolvean element iconography unusual to andbearsomerelation of metamorphosis of thevase.The arybalcontents the original as an ordinary los maynot haveserved fora medicbut as a receptacle flask perfume properties. with mind-altering inalsubstance a hauntBe thatas it may,thevesselremains ing imagein the richworldof theArchaic CAP arts. decorative
9

Pefume Container in theForm of a Fat Boy Greekca.540-530 B. C. Terracotta H. 71/8in. (I8 cm) Purchase, Mr. and Mrs.JamesM. Vaughn, Jr. GiE, I993
I993 II 4

Duringthe secondhalfof the sixthcentury one of the mostpopular varieties of unguentcontainer took the formof a stocky nudeyouth,whoseabdomen, moreoften thannot, is covered with stacked foldsof fat. Probably created in the eastern Aegean or Ionia,the typerepresents a Hellenization of the Egyptian deityBesandexpressed bounty or abundance in a physical sense.Examples havecometO lightthroughout the Greek world.Ourrecentacquisition is exceptionally well executed andpreserved, evento the remains of blackandredpigment. A counterpart, probably fromthe samemold, is in the Staatliche Kunstsammlungen, Kassel. It is interesting to note thatamong the regional differences withinArchaic art thereis a predisposition in the Eastformale figures who arefat,if not obese;thosesculpted in marble tendto be draped. Regional aesthetic andfunctional considerations, therefore, clearly engendered exceptions to the athletic ideal. JRM
B.C.,

IncenseBurner
Etruscvn,late6th-evrlysthrenturys.c.

Bronze H. IO 5/8 in.

(27

cm)

Gift fromthe familyof Howard J. Barnet, in his memory,I992

I992.262

Thisexceptionally finebronze incenseburner is composed of a female figurestanding on a tripodsupport embellished with feline pawsandseated panthers. The womanwears a chitonthatshegrasps with herlefthand,a

himation, a veil overherhairthatis gathered at the top of herheadin the characteristically Etruscan stylecalled a tutulus, andpointed shoes.Eachof thesegarments bears meticulousornament. The calyx-shaped receptacle on herheadwasprobably surmounted by a shaft.Utensils incorporating humanfigures as supports or handles wereaspopular in Etruria as in Greece. The incense burner is exceptional not onlyforthe rendering of thewoman, who is bothstatuesque anddecorative, but alsoforthe composition of every partso asto emphasize herthree-dimensionality. JRM

Headof a Man
Greeknlate6th-earlysthcenturys.c.

Marble
H.s3/4in.fI4.7cm)

Classical Purchase Fund,I992

I992.II. 60

appears to be Late Archaic in style, thishead probably a from a small statue in theround, While the votive dedicated in a sanctuary. the modeling of theface is softandrounded, eyelids bears rendering of thehair andlower approach. witness to a sharp, calligraphic These features, aswellasthecoarse-grained moststrongly marble, associate thework Aegean island withsculptures from northern workshops. inwavy strands Thelonghair radiates ending in a from thecrown of thehead,

thatframe the triple rowof flatspiral curls thehair forehead andtemples. Attheback over a fillet. Two is looped upandbrought over the longtresses probably descended shoulders atfront. A rowof attachment attest to holes toward thefront of thehead element in bronze, anadditional decorative of a presumably a wreath. Thecombination wreath aswellas looped hairstyle andmetal thata male theabsence of earrings suggests probably a rather than a female is portrayed, CAP youthful Apollo.

II

HermHeadof a Bearded DeiC Greek (Attic)ca.450 B. C. Marble H. 61/2 in. (I6.4 cm) Purchase, LilaAchesonWallaceGift, I992
I992. II. 6I

The angular transition between the sidesandthe backof the neckshowsthatthe headcomesfrom a hermrather thanfroma statue.Represented is a mature manwith a full beard, slightly parted lips,thicklyrimmed eyes,andan elaborate hairstyleconsisting of two long, braided plaitsthat arecoiledaround the headandheldin placeby a flatband.The headband is fastened at the back in a Herakles knot,an unusual feature. Unusual, too, arethe marked asymmetries of the face. Herms,the quadrangular pillars surmounted by the bearded headof Hermes,arefirstattested duringthe lastquarter of the sixthcentury B.C. Theywereusedprimarily as boundary stones andguardians of thoroughfares andentrances. In the Classical period,however, otherdivinities, suchas Zeus,werealsorepresented in herm form,andthe monuments themselves served a widervariety of functions. If the deityrepresented herecannotbe identified with certainty, the styleandchronology of the sculpture areeasier to determine. The general schemeof the coiffure, the heavily liddedeyes,aswell as the dignityand composure of the portrayal pointto the end of the earlyClassical period.The sculpture maybe assigned to anAtticworkshop activeaboutthe middleof the fifthcentury B.C., justbefore the construction of the Parthenon. CAP

FourAttachments in theFormof Heads Greek) late4th-early 3rdcentury B.C. Silver withgilding H. I5/8-I 3/4 in. (4-4.3 cm) Purchase, The Judy& MichaelSteinhardt Foundation Gift, I992
I992. II. 62-65

Theseheadsweredecorative adjuncts to a utensil,perhaps a vaseor conceivably evena pieceof armor. Theywerecast,rather than hammered, andembellished with goldleaf. Two of the headsrepresent Athena, identifiableby herhelmet.The emphasis in the characterization, however, is on herfemininebeauty, indicated by the flowinghair, promlnent earrlngs, ana serene expresslon. The two otherheadsshowa youthfulindividualwith a wreath amongluxuriant locks of hair,pronounced horizontal folds,called
. . . .

Venusrings,at the neck,goats'ears,and two hornson the top of the head.A Panis clearly intended, butwhether it is a youth or quiteexceptionally a femalecounterpartremains openfordiscussion. The femininequality of bothfigures aswell as the superb execution suggest thatthe pieces adorned an objectthatserved forshowand pleasure as muchas forsheerfunctionality. The styleandtechnique haveparallels in the metalwork of MagnaGraecia. JRM

I2

Fragmentary Headof a Deity Wearing a Dionysiac Fillet Roman (probably Julio-Claudian period)) A.D. I4-68; copy ofa Greek work of ca.300 B.C. Marble H. II Ys in. (o.3 cm) Purchase, Anonymous Gift, in memory of Professor Charles M. Edwards, I992 I992. II. 66 Although the neckandbackof the head aresheared away,the ovoidfaceandwavy hairarein exceptionally good condition, evenretaining redpigmentin the eyesand on the lipsandthe fillet,aswell as traces of gildingin the hair.The headis froma well-executed Romancopyof a lateClassicalGreek statue.FourotherRomanreplicas areknown,aswell as an extremely fine marble headfoundin I886 on the south slopeof theAthenian Acropolis, andnow in theNationalMuseum, Athens,whichmost scholars haveconsidered to be the original Greek work.Thatheadis rotated andtilted upward to its rightandhasslightly parted lipsandan expression filledwithpathos. Strutlike remains on the rightsideof the Athens marble maybe thefingers of the right handraised to the cheek.Sincethe fillet wornacross the forehead is an attribute of Dionysos, theworkmayrepresent Ariadne, divineconsort of the god, perhaps at the momentof theirmeetingon Naxos,soon after shewasabandoned by Theseus. EJM

I3

Crab Greek, yrd-lstcentury B. C. Bronse v S/2 in. (I4 cm) Purchase, Mr. and Mrs.John Moscahlaislis GiE, I992
I992. [I. 69

Veal Hanullefrom a Hydria Greeks mid-sth censry B.G Bronze H. III/4 in.(28.5 cm); 1E71/2 in. (I8.9 GiRof Christos G. Basiis, I993
I993 I33

cm)

Oneof thehappiest conventions of Greek art,introduced asearly astheGeometric period, wasto decorate bronze vessels andutensils withsculptural adjuncts, of which thishandle is a particularly splendid example. Thebody of thevessel wasraised from a metal disk, butthehandles andfoot were cast andlater attached withsolder. Since water jars were quite heavy when filll, thehandles arerelatively large to ensure a solid grip. Ason many vertical handles of thisclass, theupper part haslateral enctenslons that huga goodportion of themouth: here they terminate in disks decorated with gorgon heads in relief, while in thecenter the head of a lion,itS mouth openandtongue protruding, dominates andgives animpressionslmilar tO themarble orterracotta waterspouts on buildings. Thehandle is attached below bya siren shown frontally withwings spread, itS talons resting on a palmette finial, thevolutes of which connect withthewings. Thecentral ribof thehandle 1S beaded andterminates in thehead oSaserpent, which touches theedge of thelion's mane andserved asa thumb rest when the hydria wastipped fior pouring. DVB
I4

The original fiunction of thisbronze crab remains to be determined, but it certainly served as the support fora utensil. The hole on the top of the carapace anda ringlike area around it provide evidence foran element thatwasevidently heldin placeby a rod,the lowerendof whichfittedinto a depression in the bottomof the piece;the depression is visibleon the underside of the crabas a small,flatprojectiono The entireinterior is hollow.Ournewacquisition hasan extraordinarily similar counterpart in the British Museum, London.Closerto homand on a muchlarger scate- -are the crabs thatsupportedthe obelisk of Thutmosis IIIwhenit wasset up in Alexandria in I2 B.C., during the reignof the Romanemperor Augustus. The obelisk is betterknownas Cleopatra's Needle,whichstandsin Central Park in New York. Two of its crabs, nowin the Eaptian Department, weregiventO the Museum in I88I (acc.nos. 8I.2.I,2). Common tO all of thesepiecesarethevigorous rather thanmeticulous articulation of the formsandthe granular surface of the
primary claws.
JRM

Statueof Pan Roman, Istcentury A.D. Marble H. 265/8 in. (67. 6 cm) Classical Purchase Fund,I992
I992. II. 7I

Pan,the goatgod, is shownherein his usual formas a shaggy-haired, bearded manwith thelegs,horns,andtailof a goat.His headis turned sharply to his right,andhis backis bentundertheweightof a vesselonceheld on his leftshoulder. The statue wasprobably designed as partof a fountain complex, with watergushing fromthe now-missing container; a large hole drilled through the statue frombaseto shoulder musthaveserved fora waterpipe.The strongtorsionof the figure andthe exaggerated facialexpression aretypicalof the high-baroque styledeveloped during the secondcentury B.C., especially in the Hellenistic kingdom of Pergamon. Cavortingwoodland creatures suchas Pan,nymphs, andsatyrs werepopular subjects. The Romans alsoenjoyed theseworksandcommissioned marble copiesaswellas newcreationsin thisflamboyant styletO decorate theirvillagardens. EJM

...

..

S-- = - -S

Reliefwitha NereidRidinga Triton Roman (Trajanic period), cv.A.D. I00-I20 Marble 461/2 X 69 in. (II8 X I75 cm) Classical Purchase Fund,I993
I99. II. 2

Thismassive architectural relief must have been oneof a series of slabs that decorated theentablature of a large public building or perhaps anelaborate funerary monument. Thehorizontal architrave atthebottom projects slightly ateither end,andit originally rested onpilasters positioned directly below. Thecentral composition depicting a Nereid rlulng a 1 rlton 1S carvea wltnln a lunette framed bydecorative moldings. A pair of symmetrically arranged seamonsters with

long,twisting fishtailsandpantherlike heads occupies the spaceabove.The wild-haired Tritoncarries an ornamented shield,andthe semidraped Nereid,an equally ornate scabbard.The iconography ultimately derives froma passage in the Iliadthatdescribes the NereidThetis,motherof the heroAchilles, joiningotherNereidsin carrying newly forgedarmsto herson. The crisparchitecturalornament findscloseaffinities in monumentsdatedto the Trajanic period. CAP

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Couple Lid witha Reclining Sarcophagus period), cv.A.D. 220 (lateSeveran Roman Marble L. 9I in. (2JI cm) LilaAchesonWallaceGift, I993 Purchase,
I993. II. I

of a middle-aged figures Almost-lifesize lid,which on thissarcophagus couple recline with (kline) of a couch in theform is carved adoptTheRomans sides andback. S-shaped their from sculpture of funerary edthisform comwhohadbeen theEtruscans, neighbors figdead withrecumbent their memorating sarcophagi on thelidsof stone ures carved B.C. since thelatefifthcentury andurns were designed examples Roman Mostearly within placed monuments asindependent withlidsof this butsarcophagi thetomb, censecond in theearly tO appear type began commore became tury A.D., asinhumation than a thousand More cremation. monthan cenandthird to thesecond such lids,dated today. turies, areknown is not newacquisition TheMuseum's butalsohas wellpreserved onlyremarkably a ofwearing Instead iconography. unusual witha cloak chested, tunic, themanis bare his andover hisleftarm draped around anda lizardlike a longreed, body. Heholds forelegs powerful withshort, creature to brings byhisside.Thefigure crouches of river images andRoman mindHellenistic amid reclining shown often gods, whowere

pUtti

Thewoman animals. andamphibious in of wheat sheaves and tWO a garland holds thatsheis porsuggesting hand, herright Ather of theearth. goddess asTellus, trayed a thatbears mammal feetliesa furry-tailed andriver Both Tellus Eros on itsback. small as Shown withfertility. were associated gods the andwater, of earth personifications cosmic significance. gains couple deceased of theman's rendering Thestylistic fordating thebestevidence provides beard and hair Hisclose-cropped thismonument. in his irises incised bean-shaped thelarge porof lateSeveran features aretypical eyes is particularof thehair Thetreatment traits. of the on portraits to thatfound ly close The A.D. 2I7-I8). (r. Macrinius emperor Many wasleftunfinished. head woman's sarcophagi prepared workshops sculpture that heads andincomplete figures withstock when they intoportraits beturned could theiconography However, purchased. were thatit andunusual of thislidis so elaborate The commissioned. specially have been may andforsome diedfirst probably husband completed. wasnever head hiswife's reason
EJM

I7

Sportfor n 06lkngWatrBJuwn Rbman, SndsentuefA.z).

Po*

L. y8* in. (Z+8.6 em)

HamsBriOnc Dicls Fund, 1992 s992.Z1.70

Under Roman rulc thcquarlying of red porphyry in thecastcrn descrt of Egypt. at Mons Porphyrites, ncar thcprnt Suet Gnal. wasanimperial monopoly. Porphyry washighly reg;arded asa royal sconc, andits uscinarchitecture andsculpturc underslandably remained quitc limited. l hismassivesculpture, displaying a concave resting surface atthetopb isoncof a pair thatoriginally supported a deep oblong bath orwater

basin; half of itsmate is SCt intoa wall in thcPalazzo Gpponi,Florcnsc. Theother half of thcGpponisupport is lost.Watcr basins withclaboratcly decorated supports of Ihctypcwidely cmployed forRomxn table legswerc produccd primarily in the second century A.D. Thc prnt aampic cicarly conecys thedegree of magnificensc atuinable in themost accomplishcd Roman decorative arts of thisperiod. Each endis

18

head in highrelief, witha lion's carved of iichest" anabbreviated from emerging in an which terminates leaves, acanthus outer Theentire paw. powerful enormous, withan isembellished of thesupport face emergdesign foliate symmetrical elaborate, thatresemlotusmotif a central ingfrom Thedelicate blesthetopof a thymiaterion. and withbuds vines interspersed swirling of degree a remarkable flowers show small

inner Thesuppor{'s grace andsensitivier. a tendrils flanking simple face features bold, heavy panel. The blank square, raised of details articulation forms, thecarefut finish of andthepainstaking throughout, to allattest to perfection, surface, polished over this command exceptional theartist's noble butalsothemost themost material, stones. of allcolored difElcult to work
CAP

with of a Tenctile Fragments Beasts MythologXcal z4tKISth century period)) Indian(Sultanate orearlier Silk X I7.8 cm) II 1/2 X 7 in. (29.3 Largest#vgment Franses, GiE of MichaelandJacqueline
I 993 Igg,.2a-m

what may bethe represent These fragments silkwoven on the compound earliest known fragments are Fifteen Indian subcontinent. upthedonated make known itlall:thirteen in private twosmall bitsremain group, arld illustrated largest pieces) hands. Thethree mounted in a been provislonally here, harre a may permit further analysis single register; Based on the reconstruction. more definitive andweaving of theoriginal selarage existence

it seems of fragmentsX flaws in a Ilumber atleast tworegisters. would have beetl there frames containwithbeaded Therectangles Persian roundels, adapted from itlgatlimals. beasts in alterPwo types of fantastic feature snout andis Onehasa pointed rlation. withanelephant's snarlitlg; theother, showrl mien. Bothtypes hasa more benign trurlk, andhave flaming andcollars wear anklets mythological andmanes. Such wings in Hindi linown leonine creatures, hybridized found in medieval commonly as yali, are andiconography art.Interms of style Itldian areclosely related Ot1 thetextile theanimals ItldiaIl painting found inWestertl to images The bronzes. of Sultanate anda number butrelated Indian hastwolater Museum styletheother Mughal silks) onein a pure DW fashiotl. to Rajput conforming

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their withgoldflowers, bands, cloud secting the in and rubies, setwithturquoise centers ca.I520-30 in Istanbul, active Iranian(.2), of the atthebase Thegoldferrule pommel. Yatagan a against scrolls withfloral is chased grip Ca.I525-30 is blade Thecurved ground. matte recessed rubies, gold, silver, ivory, walrus Steel, thehiltwitha sidenear on each decorated andpearls turquoise, enclosing panel long,palmette-shaped L.23 3/8 in. (59.3 cm) theblackagainst gold in encrusted designs I993 Gift, Wallace LilaAcheson Purchase, gold The high-relief ground. steel ened I993- I4 on thisandtherelated found incrustation in Ottoman to beunique appears yatagans andopulentuseof workmanship Exquisite dragon a scaly each panel Within metalwork. thisswordas a distinguish materials precious a setagainst thecombat a phoenix, attacks to a weapon.It is almostidentical princely Theliveliness scrolls. foliate of dense madein I526-27 by the courtjeweler forest yatagan by is enhanced creatures fantastic of these AhmedTekeluforthe Ottomansultan the undercutting deeply and engraving (r.I520-66). the Magnificent Suleyman asruby details andbysuch parts anatomical Suleyman's between Indeed,the parallels andthe of thedragon, teeth thesilver Istanbul, eyes, sword,now in the TopkapiPalace, A of thephoenix. setintothehead pearl areso strong acquisition andthe Museum's on thespine inscription Persian gold-inlaid to the ascribed thattheycanbe confidently This to bedeciphered. remains of theblade atelier. sameimperial cloud andtheChinese-inspired inscription of the talents the diverse Employing reflect motifs anddragon-and-phoenix andjew- band goldsmith, ivorycarver, bladesmith, which art, of Iranian influence strong the motifs decorative elerandincorporating traditions. Asian central many incorporated Ottomanpainting, foundin contemporary Tekelu Ahmed that suggested arts It hasbeen of the luxury is a microcosm thisyatagan andwasoneof the Iranian been may have court.The ivory at Suleyman's produced from conscripted craftsmen prized highly of intergripis inlaidin goldwith a pattern
of AhmedTekelu Workshop

by theOttomans itsconquest following Tabriz

in ISI4-

knownyatagans, This is one of the earliest thatarecharshortswords Turkish distinctly bladeand by a double-curved acterized werecommonplace hilt. Yatagans a guardless in the eighandthe Balkans in Anatolia as serving centuries, teenthandnineteenth Until sidearmfor theJanissaries. a standard yataganwas Suleyman's however, recently, sixteenth-century the unique thoughtto be yataThreemoregold-encrusted example. gans havesincecometo light:the Museum's Of the collections. andtwo now in private solelywith latter,one hasa bladedecorated thatincludethe nameof inscriptions Arabic The other II (r. I48I-ISI2). SultanBayazid with dragon-andhasa bladedecorated to thoseon identical phoenixmotifsvirtually it is swords; andMetropolitan the Suleyman with the nameof in Arabic alsoinscribed Ahmed(I456-ISI7), VizierHersekzad Grand it from who is thoughtto havereceived yataSultanSelimI in ISI7.The Museum's name,was the owner's gan, thoughlacking by the commissioned alsoundoubtedly to a highforpresentation sultan,probably swP rantng courtler.
. . .

2I

Jali (Pierced Screen)> Oneof a Pair

Jalss,

Indsan (Mgghal, perzod ofAkbar), 2ndhalf of thez6thcentzery Sandstone

H7,yl/4zn.(S86.ssm)

Rogers Fund, I993 I993. 67. 2

orpierced screens, were used extensivelyin Indian architecture aswindows room dividersn andrailings around thrones, platforms, terraces) andbalconies. Those used ln outer walls were ideal forcutting down glare while permlttlng thecirculatlon of alr.In the course of thedaythereflection of their patterns moving across thefloor would double thepleasure of their intricate geometry. Thls palr, assuggested bythearch andsome weatherlng ononeside, wasprobably part of a serles ofwlndows setln anoutside wall

Originally bothbulldlngs andscreens were made of wood, butbytheperiod ofAkbar (I556-I605) redsandstone) gradually giving wayto marble) wasthefavored architectural materials Thegrandeur of theseyalzs, thelr superb designandthequalicy of theworlkmanship lndlcate anlmper1a1 context. They callto mindsome of thestone carving at Fathpur Sikrl) AkbarXs capltal ciW, founded in I57I andoccupied byhimuntllthemldIs80s, after which it began to falllntodecay
MLS

22

Hilt of a Sword(Talwar) Indian, I7thcentury Steel H. 63/4 in. (I7.2 cm)

Purchase, Collection, by exchange,
I992. I38

Bashford

Dean

Memorial donors,

Funds from various

I992

The

talwar, one

of the most distinctive

types of Indian sword, is distinguished by an all-metal pommel hilt with a saucer-shaped hilts talwar

set at right angles to the grip. At Mughal courts

the opulent

enameled in goldandsilver, orsometimes jewels. The andinlaid withvaricolored somber in present hilt,comparatively of a much appearance, is a masterpiece technique: steel rarer andmore difficult aredecorated with chiseling. Thesurfaces leaves worked irises andstylized acanthus are in lowrelief, andthebackgrounds matte punched to create a contrasting arechiseled finish. Thetipsof thequillons andthepommel intomultipetaled roses, Thegrip is is pierced withfloral scrolls. to facilisubtly angled to onesidein order swP tatetheuser's grasp.

were often of watered steel damascened

Flaskin theShapeof a Mango mid-I7th century Indian(Mughalperiod)) withgold) enamel) rubies) and Rock crystal emeralds H 21 in. (6.5cm) Mrs.Charles Wrightsman Gift, Purchase,
I 993 I993- I8

combining theloveof precious Effectively fornatural forms materials andpenchant of theMughal period, this characteristic probably heldperfume forits exquisite flask seductively inlaid with owner. It hasbeen a network of scrolling goldwire thatforms withblossoms of rubies vines embellished setin goldmounts. Therockandemeralds of theflask wasmade in two crystal body in part bythegold halves, heldtogether goldchain connects the wire. A delicate andcollar. A similar bottle enameled stopper of theCecil family at belongs to descendants near Stamford, England; it Burghley House, in I690 in a transfer of personal wasrecorded as"aChristall Indian Bottle like possessions withGold, Emrods and a Beane Garnisht DW Rubies."

23

91 %

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naturalism. Perspective is almostarbitrarily disposed of in orderto enhance the strength of the staging.

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

MiddleAges of the early Fewcarvings a visualforceandsculphaveas compelling the Easter in presenting turalimmediacy awayfroma traditional Breaking miracle. basedprimarily formulation (Carolingian) intermodels,the artist Christian on Early in a newway:thevignette pretsthe subject the linear to the maincharacters, approach of of the treesechoingthe silhouette rhythm composiof the the vitality and thesoldiers, out of the traditionally bursting tion,literally of allpointto the future frame, confining thanits past. artrather medieval to Milan The ivorymaybe attributed ivorystillin ninth-century an early because a similar thereincludes treasury the cathedral scenes. narratlve amongot :ler composltlon The ivorywasmadeno laterthanthe by a as is evidenced century, mid-tenth copyof thisimagethatexistson a reduced of of aboutthatdatein the treasury casket CTL (Saxony). Cathedral Quedlinburg
. . .

Silver-stainedRoundel with a Judgenentor Allegorical Scene ca. I520 SouthLowlands(Brussels.2)) paint glass)silverstain) and vitreous Colorless Diam. 91/4 in. (23.5 cm)

Collection,I992 The Cloisters

I992. 4I2

hasso fardefied of thisroundel The subject young dressed The elegantly identification. to be appears manin the rightforeground scalewith coinsdrawn tippinga balance manbehindthe The bearded fromhis purse. holdsa similar in the background parapet figureholdsthe scales The seated coinpurse. whileone of the andthe swordof judgment, the spectoward gestures witnesses several the the subject, taclebeforethem.Whatever one, as to havebeena popular sceneappears

on thesame based of roundels a number Theworkshop have survived. composition apparently roundels these thatproduced its in developing books model employed figbytheforeground asevidenced designs, in a from theback ureattheleft(seen is reproduced which view), three-quarter completely in several identically almost is roundel Thisparticular scenes. different linesand finetrace in unusually painted TBH tones. matte subtle

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patterns oven room. fashioned The of deeply unusual tO recessed heat plasticity and decorate (and sooty) This a public back, type
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26

Chair Northwest European (possibly Normandy or England)} ca.s4soZ500 Oak H. 68X in. (73cm)

Giftof Dr.andMrs.PaulEcker in memoxy of V*lstoria Blunka,I 992

I992- 237

Thischair is made of sturdy frame-and-panel construction. Itstwolateral armrests and highupright back arecrowned byhandsomely carved finials of foliate design. A Gothic tracery panel witha heretofore unidentified coatof arms likely to bea late addition decorates theback. Although the seathasbeenreplaced, evidence of theoriginalsnipe hinges remainse Theplain, slightly convex panels on thefront adda rustic quality to ourboxed-in chair. Removal of a dark brown glossy finish applied during anearlier restoration facilitates detailed observation of theconstruction andmaterials andbrings theobject closer to itspristine appearance. AnX-ray radiograph indicates thattheback stiles were originally longer andthatthe finials have beenlowered, implying that carved opentracery initially crowned the back. Theexisting flamboyant panel compares stylistically to a French chest of about I480 in Romsey Abbey, England. Gothic furniture thathassurvived unaltered is extremely rare. Secular furniture wasclosely related to contemporary church fixtures, andwoodworkers on bothsides of theChannel copied native architectural styles in creating objects suchasourchair. These factors maAce it difficultto determine where suchpieces were manufactured. Theplain construction of this example suggests a provincial place of origin.
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Peruzzi Baldassare
I48I-I536 Italian, Atlas chalk black inkover Penandbrown 81/8 X 51/4 in. (20. 6X I3.4 cm)

V Charles Emperor Portraitof theHolyRoman NorthItalian,ca IS30 Ensravzns O O 81/4 X 61/4 in. (2I X If.9 cm) Sheet The ElishaWhittelseyCollection,The ElishaWhittelseyFund,I993
I993. IOOI

Fund,I992 HarryG. Sperling

I992.04

aswell as a andan architect A sculptor wasa native Peruzzi anddraftsman, painter in of Sienabut spentmuchof his career by influenced Rome,wherehe wasgreatly whichrepredesign, Raphael.This elegant theworlduponhis sentsAtlassupporting maybe datedon the basisof style shoulders, was beforethe artist shortly to the period the sackof forcedto fleeto Sienafollowing scholar to Peruzzi Romein I527. According the drawing Frommel, Luitpold Christoph mayhavebeenmadeas a studyfora sculpWMkG tureor foruseby a goldsmith.

is identiV (I500-I558) of the houseof Habsburg of Charles This portrait Emperor Roman Holy as him whichdesignates fiedby the inscription, dukeof Burof Austria, wasalsoarchduke andkingof Spain.Charles allof rulerof virtually century, gundy,and,by the middleof the sixteenth in territories aswell as of the Spanish exceptFrance, Europe, western eagle,shownat the andthe New World.The double-headed NorthAfrica wasa collar, ornamental elaborate top rightandin the centerof Charles's emblem. Habsburg madeaboutI530, to judgefromCharles's wasprobably The engraving dated.The thatcanbe moresecurely ageandotherportraits apparent to be idenremains of handling, delicacy a rare who commanded engraver, of thisprintis known,andthe imagehas tified.Onlyone otherexample of prints.Until the catalogues in anyof the standard neverbeenrecorded of the wasin the collection thisengraving century middleof the twentieth printsoncein thousand several andit now rejoins of Liechtenstein, princes SB aboutI950. thatwereboughtby the Metropolitan thatcollection

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29

Horseman sAJc Italian) ca.I532 Steel) gold, andwood L. (overall) So 3/4 in. (78.I cm) Purchase, Ronald S. Lauder andThe Sulzberger Foundation Gifts, I993
I993- 6I

Thiselegantly proportioned anddelicately ornamented axpresumably served more asa symbol of authority than asa weapon for mounted warfare. Thesurfaces areetched andgiltwithacanthus foliage on anobliquelyhatched ground, in themanner of early sixteenth-century Italian ornamental prints. Thedecoration includes twoheraldic shields, oneemblazoned withtheMedici coatof

MasterI FV Active ca.I540-50 Apelles Painting Alexander and Campaspe After Francesco Primaticcio Italian, I504-I570; active in France, I540-70 Etching Sheet I7Ysx I2 1/8 in. (45.3 X 30.7 cm) Purchase, A. HyattMayorPurchase Fund, Marjorie PhelpsStarrBequest,Thomas Rassieur Gift, andMr. andMrs.Robert J. Massar Gift, I993
I993. I029

At the Chateau of Fontainebleau, whichthe French kingFrancis I developed duringthe Is30S andIs40S froma smallhuntinglodge into an extensive palace decorated in up-todateItalian style,Greekrather thanRoman heroes werepreferred, sincethe Holy Roman Empire, headed by Charles V, wasthe prime threat to France in the struggle forpowerin western Europe. According to Plinythe Elder, Apelles, courtartistto Alexander the Great, paintedthe ruler andhis mistress and, in so doing,fell in lovewith Campaspe. Alexander promptly offered Campaspe to

Apelles in appreciation of hiswork. TheMaster IFV anidiosyncratic, charming etcher whose identity is still a mystery wasoneof four principal etchers working atFontainebleau during a burst of printmaking activity in theIs40S. ThedrawingbyPrimaticcio from which thisprint was made is in thecollection of thedukes of Devonshire, Chatsworth, andthepainted version stillexists atFontainebleau, in the Stairway of theKing. A print byLeon Davent of thesame composition lacks the elaborate frame. SB

3o

armsandthe otherwith the depiction of an inflatable soccerlike ballthatwasusedas a personal badge. Aroundthe edgesareLatin inscriptions thatreadin translation: "Hewho confers a benefithasreceived one if he has givenit to a worthyman"and"Trust is not againto be placedeasilyin thosewho have oncedeceived." Although the "inflatableball" devicewasusedas a badgeby a number of theMedici,hereit mostlikelyrefers to Cardinal Ippolitode'Medici(ISII-I535), who in I532 commanded an expedition against the Turksin Hungary. Described in an inventory of I695, ourax,together with the restof the celebrated Mediciarmory, wasdisplayed untilthe lateeighteenth century in the Uffizi galleries in Florence. swP

CoulyII Nouailher French, active I539, diedafter Alexander the Great French (Limoges), ca.I54I Enamel, painted andpartly gilt, on copper Diam.9 in. (22.9 cm) Purchase, JohnH. and SusanGutfreund Gift, I993 I993. 65. I Alexander is one of the Nine Heroescelebrated in French literary tradition who were popularized byJacques de Longuyon in his early fourteenth-century romance LesVoeux duPaon.Longuyon's poemwasgreatly admired at the courtsof France and Burgundy, andits subject inspired poetsand artists throughout western Europe. Jande Clerks's poemLeken Spieghel introduced the Nine Heroesto the Netherlands shortly afterLonguyon's workappeared, andthe subject wasstillcurrent in the latefifteenth andearly sixteenth centuries, whenseveral Flemish andDutchprintmakers illustrated the Heroesasmounted warriors wearing flamboyant headgear. A woodcutbyJacob Cornelisz. vanOostsanen (before I470-I533) provided the modelfor ourenamel,but the painter transformed the imagein a stylethat is unmistakably his own. He wasthe second member of a familyof enamelpainters at Limoges to use the sobriquets Coulyand Colin,shortfor Nicolas.Morethanthirty medallions belonging tO several Heroesseries areknowntO havebeenpaintedeitherby CoulyII or members of his workshop. One of the medallions, now in the Museedes Beaux-Arts, Dijon, is signedwith the painter'sinitials,C.N. Another, in the Museedes Beaux-Arts, Angers, is datedI54I. CV

g1$
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to sixteenth-century endemic Theviolence style is in Mannerist andimplicit Europe showengraving explicit in thislarge fiercely when thecenthatensued ingthebattle half half human, who were creatures taurs I550 of Pirithous to thewedding horse invited Penni Luca After offthebride. tried to carry andHippodamia in France active I500-I557; Italian, of thevictory symbolized often on twosheets Thistheme printed on twoplates, Engraving here although barbarism, over civilization I7h8 x 281/2 in. (sheets) Overall hand. theupper seems to have thelatter (45. X 72-4 cm) wentto Fontainebleau anItalian, Penni, DeraldH. andJanetRuttenberg Purchase, of therest in France in theI530S andstayed Gift, I993 as a heis documented hislife.Although I99. IOOS
calledBos WillemClaussone, Cornelis ca.ISIo-I556 Netherlandish, at and Lapiths TheBattleof the Centaurs of Hippodamia the Wedding

to the king),fewof du Roi(painter peintre but more havebeenidentified, his paintings in his elecompositions thanone hundred styleareknownthrough gantclassicizing andprints.Bos,one of the earliest drawings in northern printmakers professional fromhis native wasbanished Europe, viewsand in I544 forhis religious Antwerp andGroningen. livedin Haarlem thereafter a design This is his onlyprintreproducing BosvisitedFontaineby Penni;it is possible he wouldhave bleau,andif so, presumably SB to the designthere. hadaccess

32

Mola PierFrancesco Italian,I6I2-I666 TheReston theFlightintoEg)vpt Oil on copper 9 X II in. (22.9 X 27.9 cm) Fund,I993 Wrightsman
I99.20

Goltzius Hendrick I558-I6I7 Dutch, ofPhaeton The FaU 2, I) Metamorphosis (Ovid, wash, heightened ink,brown Penandbrown transfer incisedfor with white; 61/2 X IO in. (I6.5 X 25. cm) Fund, I992 Rogers
I992.76

Molawasbornin the villageof Coldrerio, in the cantonof Ticino,justsouthof His familymovedto Romewhen Lugano. he is rememhe wasfour,and,although of the Romanschool, beredas an exponent yearsof by several he wasdeeplyinfluenced influenandan equally at Bologna training cabinet tialstayat Venice.This charming foremphasizing his penchant piecedisplays of oil paint.With fluid qualities the physical up a bucolic he conjures brushstrokes, nearthe resting visionof the Holy Family draftsbanksof the Nile. Mola,a dazzling colin the Museum's manwell represented wasone of the principal lectionof drawings, as an landscape artists to establish Italian EF genre. independent

Mannerist I588 and I590 theHaarlem Between of twenfortwoseries produced designs Goltzius which Metamorphosis, to Ovid's ty illustrations after I6IS headded anonymously; were engraved in the setis preserved more. A complete twelve andPrints. of Drawings Department forthis studies survive fewpreparatory Very imperit allthemore project, making celebrated acquire the Museum ative thattheMetropolitan fortheFallofPhaeton study newly discovered aucAmsterdam atChristie's when it appeared of Phaeton's I992. Thedrama tionin November panorama in a cataclysmic unfolds tragic demise master of Goltzius asthesupreme thatreveals artifice. It is a full-scale andelegant invention forthesecond in reverse, of theprint modello, known in I590. Theonlyother series, published for series, withthesecond study connected is in thePrentenkabinet, Jupiter andPhoebus, HBM of Leiden. University

33

Rembrandt van Rijn

Dutchs606-s669 Portrait ofa Man _ s632 Oilonwood 293/4 X 20J/2 in. (7y.6x 52.I sm) Signed anddated (eenter right): RHL vanRiCn [RHLin monogramg/Z6S2. Inseribed (renter lefi): 7:40.
Gift of Mrs. LincolnEllsworth, in memoryof LincolnEllsworth,I964

64.I26

Inthewinter of I63I-32 Rembrandt lefthis native Leiden forAmsterdam. Hewasimmediately pressed withcommissions forformal portraits of prominent citizens; thePortrait ofNicolaes Ruts (late I63I) in theFrick Collection andtheAnatomy Lesson ofDr. Tulp (I632) in theMauritshuis, TheHague, are among theearliest of some fiftyportraits painted byRembrandt during hisfirst four years inAmsterdam. InLeiden Rembrandt hadproduced small biblical pictures, several self-portraits, anda fewpaintings of his mother andother models in historical guise. Thelarge scale andcomparatively conservativequalities of formal portraiture were entirely newto Rembrandt in I632 andI633, butin those twoyears heproduced remarkably fresh andmemorable examples in almost every format, ranging from group portraits andseveral pairs of large pendants to smaller half-length images on rectangular oroval supports. Rembrandt portraits of theearly I630S are exceedingly wellrepresented in theMetropolitan Museum. Thelarge pendants from thevanBeresteyn family (acc. nos.29.I00.3, 4), each signed anddated RHLvanRijn/I632, were given withtheHavemeyer Collection in I929. Other Rembrandt portraits in the Museum have been separated from their companions in thepast: forexample, the large andlively Portrait ofa Ladywitha Fan (I633; acc. no.43.I25) hasaneven more animated counterpart in theTaftMuseum, Cincinnati. TheovalPortrait ofa Woman (I633; acc. no.I4.40.625) in theAltman Collection, however, haswrongly been assumed bysome to bethepossible pendant of thepainting here, forwhich nocompanionpiece hasever been convincingly proposed. Although probably nota portrait, theMuseum's celebrated Man in Oriental Costume (TheNobleSlav)(I632; acc.no. 20.I55.2) should alsobementioned, asit wascertainly based on a model known to theartist. There arealsoninelater Rembrandt portraits in theMuseum, including Herman Doomer (I640; acc.no. 29.IOO.I) andTheStandard Bearer (I654; acc.no.49.7.35). ThePortrvit ofa Manis equal in quality to anyof theworks cited above andsurpasses theother portraits from theI630S in its
exceptional stateof preservation. A recent cleaning by Hubert von Sonnenburg, Sherman Fairchild Chairman of Paintings

Conservation, hasrevealed for the firsttir e in decades the remarkable subtleties of lig rht andtexture thatarefoundin the rugged f face andwispyhair,in the parchmentlike laye of the ruff,andevenin the blackcostume The rendering of physical detaillendscor victionto Rembrandt's suggestion of the Sltter'scharacter, whichis conveyed especial lly by the slightly skeptical slantof one eyebr row andby the corresponding pullof muscles at one sideof the mouth. American collectors begancollecting paintings by Rembrandt duringthe Gilde d Age,the periodbetween the I880S andthz e FirstWorldWar.Theystrongly favored twhe portraits, as muchfortheirsympathetic ix ndividuality as for theirunassuming reserve. The Ellsworth gift thuscontinues a tradit zion thathasenriched the Metropolitan with Rembrandt portraits fromgreat American collections of the pastone hundred years. WL

JanLievens Dutch,I607-I674 Bustof an Oriental Man Ca.I63I Etching, second stateoffour Plate61/2 X 5 7/8 in. (I6.3 X I4.7 cm) The ElishaWhittelseyCollection,The ElishaWhittelseyFund,I993
I993.I048

Thisintrospective portrait of an old manin exoticcostume is an early workby Lievens froma series of lightlyetchedimaginary headsof aboutI630-32. The printwasmade at a timewhenLievens worked in closecollaboration with Rembrandt in Leiden and whenthe tW0 youngartists mutually influencedeachother's work.Lievens wasinspired by Rembrandt's contemporary etchedportraits of menin oriental dress whenhe created thisbustof an agedmanwearing an unusual furcapboundby a stripof cloth.Rembrandt in turnetchedcopiesof thisprintandtwo others fromthe series in I635. NM0

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TheImmaculate Conception Italian(Rome)> I635-45 Probably after a model by GianLorenzo Bernini Italian I598-I680 Bronze partlygiltandpolychromed andsilver H. 30 1/2 in. (77.5 cm) Wrightsman Fund,I992
I992.56

According to a Christian doctrine of long standing, theVirginMarywasfreefrom * * 1 * r1 * 1 orlglnal sln. olnce no alrect scrlptural text existsto helpartists visualize Mary's Immaculate Conception, its representation wasofteninspired by a passage from Revelation thatdescribes a woman"clothed with the sun andthe moon underherfeet, anduponherheada crownof twelvestars" (I2:I). In the sixteenth andseventeenth centuriesthisimagewasoftenaccompanied by the depiction of Satanas a serpent crushed underherfeet,an allusion to a passage from Genesis(3:I5). In thisstatuette MaryImmaculate and Maryas the newEvearefused.Standing abovethe moon andserpent andsupported by the earth,whichemerges fromthe abyss, sheliftshergazein adoration, herexpression enhanced by the spiraling of hermantle. The designof the draperies, Mary's eloquentpose,andthe conceitof the serpent holdingthe applein its mouthreveal an originality of invention typical of Bernini's works. The differentiation between stippled, matte,andburnished goldsurfaces andthe chased silver recalls his interest in polychrome effects.Comparisons with Bernini worksof the I630S andI640S suggest thatthisVirgin wasprobably castaftera sketchor model fromthatperiodby the master. OR

Joachim Tielke German, I64I-I7I5 Violin German (Hamburg), ca.I685 Wood L. (body) I4 in. (35.6 cm) Purchase, ClaraMertensBequest,in memoryof AndreMertens,I992
I992-333

In lateseventeenth-century Hamburg, north Germany's commercial capital, a thriving operacompany andlong-standing oratorio tradltlon attracted manytorelgn muslclans, who boostedthe demand forexceptionally fineinstruments. Tielke,Baroque Hamburg's mostfamousluthier, mayhavestudiedhis craftin Italyduringthe I660S. Manyof his nearly one hundred extantinstruments, both
s. . r r . . .

plucked andbowed types, arelavishly ornamented anddoubtless were intended foraristocratic amateurs orelitemusical institutions.
36

Giuseppe Passeri Italian, I654-I7I4

TheEcstasy of theBlessed Hyacintha Marescotti

Penandbrown ink,brown andred wash, over red chalk, heightened withwhite I2 1/4 X 9 in. (32.2 X 22.7 cm) Harry G. Sperling Fund, I992
I992. I95

Thissuperb drawing is a compositional study foranaltarpiece that wasexecuted by Passeri shortly before I695 fortheChurch of theCollegiata atVignanello, near Viterbo. Thedrawing represents theecstasy of Hyacintha (born Clarice) Marescotti, a seventeenth-century Franciscan, whowas

beatified in I726 andcanonized during thefirst decade of thenineteenth century. Further compositional studies forthealtarpiece arein theAcole desBeaux-Arts, Paris, andtheAlbertina, Vienna, anda number of sketches in redchalk forindividual figures arein theKunstmuseum, Dusseldorf; of these preparatory drawings, thepresent sheet is closest to thefinished work. A pupil of theRoman Baroque artist Carlo Maratti (I625-I7I3), Passeri is better known forhisdrawings than forhispaintings, andtheextensive useof brown andred wash andwhite heightening thatcharacterizesthissheet is typical of hiswork asa draftsman. WMG

Ourcollection already holdsimportant work of Tielke's, including a cittern, guitar, and violada gamba; the addition of thismarvelously preserved violinfromthe private collection of the distinguished London luthiers WilliamE. Hill & Sonsgivesus a previously unrepresented instrument, made aboutthe timeof Bach's birth.Obviously influenced by Cremonese models,thisviolin'srefined proportions andgraceful outline aredecidedly feminine. Rather thanbeing replaced, aswasusual,its original shortneck wasresetat a greater angle,probably in the lateeighteenth or nineteenth century, to accommodate performance in newermusical styles. A carved femalefigurehead, instead of the customary scroll,anda floral openwork pegbox, bestviewedfromthe back,are delightful features of thisviolin,madeprimarily of medium-grained spruce andhandsomebird's-eye maple. LL

37

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Casaquin andPetticoat Italian (probably Venice), ca I725-40 Linen embroidered with polychrome wool thread Casaquin: L. (center back) 323/4 in. (83.2 cm); petticoat: L. (center back) 371/2 in.
urchase,IreneLewisohnBequest,lgg3

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r ts highly original ornamenco bineschinoisericimagery lfi uresoftheF urConticentury woman's dress. Theexecutlon of the andexotic flowers arefamlllar elements of thechinoiseriestyle of thelateseventeenth andearly

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Giardorli Francesco s692z757 I lsn (Rome), the ChildTrixmphing and Virgin Thc oacrEvil Ca.z73s 4 and wood gilt coppers SilvcrX 4 cm) H. 2 3/8 in. (S9 Fund,I992 Wrightsman 1992.339 aristocentury the eighteenth Throughout commisand foreignprinces craticpatrons silverfromthe liturgical sionedsumptuous This rare Rome. in court papal the artisbof

the LateBaroque reliefreflects devotional epitomized overtones stylewith classicistic by the CorsiniChapelin SanGiovanni Rome. Laterano, IPSA CONTERET CAPVT inscription The thy head[seeGenesis TUUM (shewill crush at the top in thecartouche engraved 3:15]), an subject, to the relief's refers of the frameX and the Church's of Redemption allegory TriumphoverHeresy. of the silver handling The exquisite with contrasted surfaces itS matte medallion, is set off to highlights, burnished brilliantly designof the frame. by thevibrant advantage

with a largevertical The convexentablature precebackto architectural harks cartouche (xS99Borromini dentsset by Francesco justas the maskat the bottomis remiI667), famous Bernini's niscentof GianLorenzo Sout The successful bustof a Blessed marble moHigh Baroque of different synthesis beaded-andthe by tifs,heldtogether medallion, of the central border guilloche who is typicalof the bestworkof Giardoni, fromI731 to I754held the postof OilCiM and Apostolica of the Camera silversmith workmaybe most to whomthe present OR attributed. convincingly
39

Gaspero Bruschi(probable modeler) Italian,ca.I70I-I780 Massimiliano SoldaniBenzi(sculptor) Italian, I656-I740 Corpus f oma CruciMix Italian(Doccia), ca.I745-50 Hard-paste porcelain H. 263/8 in. (67 cm) Purchase, LilaAchesonWallaceGift, I992
I992- I34

This quietlyemotivefigurederives from a modelby the Florentine sculptor Massimiliano Soldani Benzi.Soldani's wax modelhassurvived, havingbeenbought afterhis death,together with othersin his studio,by CarloGinori(I720-I7s7)for use by the porcelain factory he hadestablished at Doccia,nearFlorence. Ginori's aim,as we interpret it today,wasto demonstrate thatsculpture is as aesthetically persuasive in porcelain as it is in bronze or terracotta, and fromaboutI743 untilhis deathhe oversaw the production of a daring andoriginal

repertoire basedon a largecollection of modelsof classical andmodern sculptures. Muchof the production at Docciawas on a largescalethatstretched porcelain craftsmanship beyonditS usuallimits.In thisversion someof the drapery of the wax modelhasbeensimplified or eliminated for technical reasons, probably by Bruschi, headof Doccia'ssculpture studio,but the tactilehandling of the material andglaze, with its unexpected passages of brushwork, andthe fineness of detailinvestthe figure with compelling authority. CLC

4o

asstamping such processes industrial saving tradialongside used were andsheet-rolling asraissuch techniques handcrafting tional The andchasing. engraving, ing,casting, wine a typeof classical from is derived form on ancient depicted often jug(oenochoe) buttheslight altars, andfamily stele funerary Jug Hot-warter in the pattern, theclassical from deviations I770S (Birmingham), English neck, faceted elongated highloophandle, Silver theproportions reveal profile, andsuave I9 in. (48.3 cm) tripod) H. (with of Thedesigns of the I770S. characteristic of Museum TheMetropolitan Purchase, of his others Wyatt and architect theyoung Gift,I993 Anniversary ArtVolunteer more sparingly lighter, simpler, were time I993- 73 those than delicate andmore ornamented, of thepioneer (I728-I792), Adam of Robert Tripod in thelateI750S. Neoclassicism I966 Teruzzi, Liliana Giftof Madame happily of thisewer Theacquisition 66.I72.sa,b,c spirit giftof thetripod anearlier completes set the en suite, designed was stand that tendencies several jugreflects Thehot-water drawings of Wyatt's in analbum appearing of anddesign manufacture silver in English of the in thecollection (formerly forsilver of Boulton's theI770S. It is theproduct aswellasin Boulton's deNoailles) established vicomte trades forthemetal manufactory JMCN trade catalogue. laborwhere near Birmingham, in Soho, (designer) Wyatt James I746-I8I3 English, andJohnFothergill Boulton Matthew (manufacturers) I782 anddied I728-I809; English,

de Frfas to Joseph Attributed oftheI8th last quarter flourished Spanish, century Guitarr ca.I780 (Seville), Spanish materials andvarious Wood cm) in. (46.5 I81/4 L. (body) in Bequest, Mertens Clara Purchase, I992 Mertens, ofAndre memory
I992. 279

E. Hill ofWilliam in thecollection Formerly to wasattributed guitar thisdelicate & Sons, by auctioned when Sanguino Francesco exhis in I99I. OurI99I-92 special Sotheby a rare allowed Guitar" Spanish "The bition many rlne to compare opportunlty as sidebyside; examples eighteenth-century hasbeenreattribthisinstrument a result, Joseph craftsman, Seville utedto a different exist: byFrias guitars Twoother deFrias. Maria Queen a giftfrom one,reputedly Diego to theguitarist deBorbon Cristina delaFesta, in theMuseo nowresides Ortiz, withsemicovered theother, while Alicante, of the is in thelibrary stones, precious instruments Allthree Madrid. Real, Palacio of workmanship characteristics similar show expensive thatindicate andornamentation withrosewood Ourguitar, commissions. with topinlaid andspruce andsides back wooddecoration, anddark mother-of-pearl thanfive,aswas rather of strings hassixpairs of pattern Frias's guitars. in earlier normal guitar thetopof theAlicante under bracing of ourguiThefragrance is alsoinnovative. pleasure a particular affords cedar neck tar's LL to itsplayer.
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SamuelBrunn(gunmaker)
English,activeI795-I820

MosesBrent(silversmith)
English,activeI763-18I7 Pair of FlintlwskPistols English(London),I800-I80I Steel, wood,silver,and gold L. (overall)I6in. (40.6c7n)

Purchase, HarrisBrisbane Dick FundandGift of George D. Pratt,by exchange, I992

I992.330. I,2

Thesepistols rankas the mostlavishly English firearms embellished Neoclassical and locks are of blued known.The barrels with trophies steelengraved andgold-inlaid The decoration of the of armsandfoliage. engraved sheet-silver inlay stocks,combining silver mounts,was andheavycastandchased French Empire inspired by contemporary of the ornamental motifs firearms. Several the arebasedon ancientRomansources: on the sideplate Nereidridinga sealeopard published in derives froman engraving, foundin Romein I762, of a wallpainting the ovalmedalthe ruinsof Herculaneum;

lion on the trigger guard, representing Hercules with a defeated Amazon, is based on an antique gemknownfromcontemporary engravings andcastsafterthe original. The Medusa headon the buttalsoderives fromclassical art,but herethe idealized modelhasbeentransformed into a grimacof the ing yet almosthumorous caricature legendary gorgon.Thesepistolsepitomize the opulence andsophistication of English decorative artsproduced duringthe reign of the PrinceRegent,laterGeorgeIV (I762-I830), forwhomtheywerereputedly swP made.

42

Sctte Italgan (Sicily), ca.I790-I800 Carued) gXldud, andpainted walnutJ mounted with panels ofrcuase-painted gLass> upholstaud with at andvoided s7th-centu1y mson velact L.78&8 in. (I99.I Ct) GiE ofJohnRichardson, I9 9 2
I992. I73. I

Thissertee is from a large setof seatfiurniture made in Sicily in thelateeighteenth century. It wasformerly thought to have beerl commissioned fortheVilla Palagonia, near Palermo, butthatsuggestion is now doubted because theinterlaced irlitials PPL at thecenter of theback do notcorrespond to those of anyof theprinces of Palagonia. Thereverse-painted glass panels, which imitate agate, lapis, andmarble, area distinctive feature thatalsoappears on related furniture made forLaFavorita, thepavilionbuiltforlCing Ferdinand IVin I799. Thisform of decoration wasoftenused on Neoclassical Sicilian fiarnirure in thelate eighteenth century. Theoriginal configurationof thesetis notknown; in theIg30ss whenit wasowned bytheearl of E)udley at Dudley Hollse, London, it consisted of four settees andtwellty sidechairs. Pieces from thesuiteareslOW in theRingling Museum, Sarasota; theChicago Art Institute; theMuseum ftirKunsthandwerk, Frankfian; andseveral private collections. Thissettee, together witha sidechair from theseepresented bythesame dollorX is an important addition to ourcollection of Italian firniture. wR

Attributed to V. Dijon
French

Farmyard Scene
EarlyI850S Albumensilverprintfrom paper negative I05/8 X II3/4 in. (27 x 29.9 cm)

Purchase, The HoraceW. Goldsmith Foundation Gift, Samuel J. Wagstaff, Jr. Bequest, and PfeifferFund,I993
I9937

This scene,modeled in strongchiaroscuro, is thoughtto be by an amateur photographer who worked in the regionof Vichy.Few photographs by the artist areknown,andno otherprintof thisstriking imageis believed to exist. Although madeby a virtual unknown, the photograph possesses the aesthetic sophistication andtechnical mastery of the mostadvanced worksof the I850S. Unlikehis Parisian counterparts, however, the artist has exploited the largescaleanddramatic lighting commonly reserved forthe depiction of monumental architecture andhistoric statuaryfora rustic, vernacular scene.

Renewed attention toseventeenth-century Dutch genre scenes spurred aninterest among pre-Impressionist painters in themotif of the humble cottage, most often centering onthe structure in thecontext of a landscape orits role asa setting formanual labor, asin the work ofJean-Franc,ois Millet. Inthisphotograph awhirlwind of disorder andpatchwork of intense light andshadow, thehalf-timbered, thatch-roofed barn, andfarmyard implements rakes, baskets, butter churns, buckets- suggest theactivity ofrural life.The innovative pictorial approach, withmultiple andcompeting points of focus, closely parallelsa natural way of seeing theworld. MD

44

JulienValloude Villeneuve French, I795-I866 Untitled

I85I-53

41/2 X 61/8

Saltedpaper printfrom papernegative in. (II.2 X I5.5 cm) Purchase, LilaAchesonWallaceGift, I993
I993- 69a3

Between I85I and I855 Vallou, earlier a lithographer of costume, erotica, andscenes of daily life,made a series of small-scale photographs of female nudes, which hemarketed asmodels forartists; evidence suggests that they were used assuch byGustave Courbet. Despite a longartistic tradition andobviousdelight in thefemale nude, decorum in mid-nineteenth-century France required thatthesubject beremoved from thereality of thepresent bybeing shown in mythologicalguise (Cabanel's Birthof Venus, forexample)orasanexotic creature, distant andthereforenonthreatening. Theneedto provide a

legitimizing contextfor the depiction of the nudewasparticularly compelling in photography, andVallouoftenappointed his modelswith the paraphernalia of the painter's studio- rugs,shawls, spears, beads,anklets, andturbans. His mostsuccessful pictures, however, arethoseleastencumbered by artificialtrappings; revealing moreandborrowing lessfrompainterly tradition, theseare the mostpoetic.Whiletantalizingly realin bothweightandtexture, Vallou's reclining nudeseemsnonetheless to floatin indeterminateanddreamlike space,a crescent moon in a starry sky. MD

4S

RogerFenton I8I9-I869 British, and Stream Spoilsof Wood

I858-59

glassnegative silver printJiSom Albumen cm) I3 XI41/4 in. (32.8X36.2 JoyceandRobertMenschel Purchase, W. and Fund,andMargaret Gift, Pfeiffer MatthewB. WestonGift, I993
I993- 68

in London lawandpainting Afterstudying a perFentonfoundin the camera andParis, fectvehicleforhisvisualintelligence. the establish Between I853, whenhe helped Society,andI860, when RoyalPhotographic large law,Fenton's to practicing he returned and architecture, of landscapes, photographs forthe standard stilllifesset an unequaled Britain. useof the mediumin Victorian stilllifewasrarein French Although in the midphotography andAmerican the statusof century, in Britain nineteenth Dutch andeighteenth-century seventeenthmadeit a trastill-life painting andFlemish In I860 Fenton ditionworthemulating. in a explored the genrephotographically

of compositions studio series of sumptuous game, andtableware. fruit, flowers, of Wood and Spoils Made outdoors, between likely thebridge Stream is very of theI850S andhislater Fenton's riverscapes articulatNo lesselegantly virtuoso stilllifes. thanthe if lessbelabored edthantheformer, eddy to slowly seems latter, thecomposition From of river trout. basket around a bellying arcof the rock to thesuave theglistening log theweathered andfrom trophy salmon, rabbits, furof thependant to thedamp howthetradition Fenton demonstrated bya fresh revitalized could besensuously MMH eye anda goodcatch.

46

CamillePissarro FrenchX I83>I903 Woman at a Well I89I Etching andaquatint on laidpaper, second stateof three Plate 9 l/4x 73/4in. (23.5 x I9.7cm) Signed inpencil:C. Pissarro; inscribed: 2e etatno2 / paysanne aupuits/ (2) The Elisha Whittelsey Collection,The Elisha Whittelsey Fund,I993 I9g.Ioss

Although he wasthe mostconsistently activeprintmaker amongthe Impressionists,Pissarro seldomprinted his platesin greatnumbers, generally because the unconventional techniques he usedwere too delicate to permitlarge editions. He madeonly nineimpressions of the Woman at a Well,of whichthisis a fine,evocatively tonalexample.

Asdevoted ashewasto studying the shapes andilluminations of thelandscape, Pissarro never surrendered hisinterest in the human figure, particularly asit wassculpted bysunlight andshadow in theout-of-doors. Theadmiration hefeltforMillet's idealized portrayals of thepeasantry often emerges in hispictures of country lifeandseems to have been passed along to hispupil Gauguin.
CI

47

Michelangelo Caetani, duke of Sermoneta opener, ortarly wltnltSeclectlc mlxture (possible designer) motifs, Christian, classical, andmedieval Italian, I804-I882 design, probably belongs. Thesymmetrical Castellani Firm (manufacturer) features identical on bothsides of theblade, Italian, I8If-I930 geometroundels andcarefully proportioned LetterOpener of thework riccompartments characteristic Ca.I863 a friend of of theduke of Sermoneta, Gold andenamel similar designs Alessandro's, whoprepared L. I0 1/4 in. (26 cm) oneach side forthefirm in I859. Theangels Gift, of thehandle Purchase, Mrs.Charles Wrightsman ona later recall figures I993 evidently saw medieval jewel that Alessandro I993- 66 heis known in England in I86I-62, ofwhich to have made fivecopies. Thereputation of theCastellanisenronde bosse, Theangels areenameled Fortunato Pio(I794-I865) andhissons sixteenth a technique practiced in theearly Alessandro (I823-I883) and Augusto opener is century; theremainder of theletter (I829-I9I4)-rests principally onClassical formed cloisonne enamel, withthecloisons about Revival jewelry they produced from constructed of goldfiligree wire. Although I863, when Alessandro established a branch aneffect of of nineteen individual sections, Earlier, seamless of thefirm in Naples, until hisdeath. bytheharmony unity is achieved of however, thefirm hadexplored a range of design andcolor andbytheimpeccable styles, andit iS tO thisperiod thattheletter CLC craftsmanship.
* 1 * 1 * * o 1

Deck Joseph-Theodore
French, I823-I89I
Dish

French (Paris), I866 Earthenware 6 cm) Diam.I6 in. (40.

of European Sculpture Purchase, Friends ArtsGifts, I992 andDecorative

I992. 275

to Paris in I85I and Born inAlsace, Deckcame there in I856. Hiswork established a studio of revival styles, buthe incorporated a gamut of sixteenthis best known forhisversions technique anddecoracentury Isnik ceramic cerulean blue, the tion,enlivened bya brilliant after I863. so-called bleuDeckdeveloped been in the Here Deckis seento have He may have been forefront ofjaponisme. motifs byFelix introduced toJapanese theprintmaker Bracquemond (I833-I9I4), ofJapanese prints who andpioneer collector studio fora fewyears worked in Deck's of thisdishDeck around I860. Inthedesign hisusual formal comhasbroken away from in favor of naturalistic positional manner thatsweep in from the flowering branches decorative object: thedish rim.It is a purely forsuspension hastwoholes in thefootring fordisplay. Signed andwasclearly intended THD, anddated I886, withhismonogram, expression thedishappears to betheearliest interpretations of of Deck's vivid andoriginal CLC Japanese style.

48

SirAlfredGilbert English, I854-I934 Thede Vesci Seal

I89I-96

Patinated silver, gold,enamel, heliotrope, glass, andturquoise H. 71/2in. (I9.I cm) Purchase, Friends of European Sculpture and Decorative ArtsGifts,I992
I992.302

Thisimpressive bibelotwascommissioned on New Year's Day I89I by the fourthviscountde Vesci,who presented it to his wife, bornLadyEvelyn Charteris, as a silverwedding-anniversary gift in I896. Theirarms

areenameled on thegoldshields steadied by theknight andare engraved in theheliotrope seal underneath. Gilbert, greatest ofVictorian sculptors, wasbyhabit a procrastinator and tinkerer withpatinations, which partly explains thefive-year gapbetween theseal's commission andcompletion. Another reason fortheobject's lengthy genesis wasthat Gilbert wasimmersed in working outthe details of histwomostspectacular creations, theEros Fountain in Piccadilly Circus, London (I886-93), andtheTomb of the Duke of Clarence in theAlbert Memorial Chapel, Windsor Castle (I892-I928). The swelling organic ornament of those monuments 1S nere relterated ln mlnlature. JDD
* 1 * 1 * * -

49

I Vincentvan Gogh Dutch,I853-I890 Shoes August I888 Oil on canvas I73/8 X 20 Y8 in. (44.I X 53cm) Purchase, The Annenberg Foundation Gift, I992
I992-3/4

Wheat Fieldwith Cypresses JuneI889 Oil on canvas 283/4 X 363/4 in. (73 X 93.4 cm) Purchase, The Annenberg Foundation Gift, I993
I993. I32

"In myyellow room there wasa small still life:thisoneinviolet. Twoenormous shoes, worn, misshapen. Theshoes ofVincent. Those that, when new,heputon onenice morning to embark on a journey byfoot from Holland to Belgium." SoPaul Gauguin reminisced in anarticle of I894. Although he misremembered thecolor of theterracotta tilesin thebackground-he thought they were violet, thecomplementary ofyellow hisrecollection of thework informs usthat vanGogh himself valued thisstilllifeso highly thatheplaced it in theroom in his house inArles thatGauguin occupied in late I888. Thepainting wasprobably executed in August I888. While some scholars have speculated thattheshoes arethose of Patience Escalier orsome other friend of theartist (indeed it is noteven evident thattheyarea pair), Gauguin sawin them thedistinctive mark of Vincent's personality andassociated them withvanGogh's experience asanitinerant preacher to coalminers. VanGogh made fivepaintings of boots while hewasin Paris in I887, butthisis the onlystilllifeof shoes hemade inArles. It is among thebest-known and-loved pictures

bytheartist. Owing to thestrength of the image andtherich potential of thesubject, it hasprovoked numerous studies exploring its meaning andsignificance in theartist's work.

Thisexceptionally beautiful landscape, WheatField with Cypresses, is oneof themost important works executed during vanGogh's year-long internment attheasylum of SaintRemy (May I88g-May I890). Thethickly impastoed andvigorously brushed canvas is among themostsuccessful of hiscompositions and,in terms of subject matter, it is one of themostevocative. Asscholar Ronald Pickvance putit, "Van Gogh's discovery of thecypress wasthecardinal event ofJune I889." Theartist himself wasastonished "that they have notyetbeen doneasI seethem." Thetrees were atonceanemblem of death, which haunted himduring hisbreakdowns in thewinter of I888-89, andoneof salvation,forit wasonlyafter hewaswellenough to take walks outside theasylum grounds thatheperceived thecypresses' beauty.

so

series anambitious launched VanGogh he which devoted to cypresses, of paintings rival hisstilllifesof sunflowers. would hoped compositions, withtwovertical Hebegan Cypresses is theMetropolitan's oneofwhich to the belongs theother no.49.30); (acc. the in Otterlo, Kroller-Muller Rijksmuseum on to a horiHethenmoved Netherlands. three executing ultimately format, zontal This composition. of thepresent versions trees, sky,ragged withitsturbulent canvas, is in thewind, fieldundulating andwheat it in Hementioned thefirst. unquestionably of a canvas July: "Ihave of early a letter some ofwheat, ears withsome cypresses

reproduced vanGogh inwhich Amsterdam) of Scotch a blueskylikea piece poppies, SllS palNtlNg. ot t. :lecomposltlon impas- t. witha thick painted plaid; theformer the of thiswork, Withtheacquisition fieldin andthewheat to liketheMonticellis, cypress nowhastwoof theinitial Museum heat, theextreme represents thesun,which and strength fortheir unrivaled picturesit conveys Theimmediacy too." very thick, paintings anda totalof four immediacywhich version, thesecond from setsit apart in worked theartist when theperiod from in size,nowin theNational is identical with contrasts Thecomposition Saint-Remy. canvas andthesmaller London, Gallery, Cypresses thevertical nowin a pri- andcomplements andsister, made forhismother theformer, unlike in thecollection; aremore already paintings Both later vate collection. trees, this study of a is essentially which in themore whether andrefined, controlled by landscape majestic first is theMuseum's orthe in theclouds patterns regularized enormously onethatenhances vanGogh, of the arabesques art-nouveau alternating, in group of hispaintings thegreatest drawing is aswella reed-pen trees. There GT America. North vanGogh, Vincent (Rijksmuseum
. . P . . .

SI

deToulouse-Lautrec Henri
I864-I90I French, Natanson(Misia MadameThadete at the Theater I872-I950) Godebska, I895 24 1/2 X 29 on cardboard, Gouache X 74.9 cm) 1/2

in.

(62.2

I964,

Rodgers, Giftof Mr.andMrs.Richard of a lifeinterest termination

64. I53

of forthecover is a study Thisfinework album of a quarterly Originale, L'Estampe by young engravings and original lithographs in printmaking: interested French artists Maurin, Denis, Ibels, Bonnard, Anquetin, and,of Vuillard, Vallotin, Ronson, Roussel, of wasa goodfriend Lautrec course, Lautrec. Marty, Andre of thejournal, thepublisher thecover Lautrec to contribute whoasked issue, in I893, aswellasthelast, forthefirst in I895. Lautrec fittingly cover, Forthefinal down on a being rung depicted thecurtain ankles canbeseenas Dancers' performance. attheright falls attheleft,while thecurtain

Inthe theropes. operating weseestagehands used in previously elephant, a plaster middle, The play, for a Hindustani anillustration guard atopa carstands Chariot, Terracotta at Seated of contents. forthetable touche theglamorous Natanson, leftis Misia in fin-deandwriters of artists patroness Paris. siecle and intotwopieces wassliced Thiswork only so astO reveal framed years formany the in herloge.However, MmeNatanson skillfully nowbeen sides have leftandright Marjorie byconservator together pieced so thatit maybeseenin itsoriginal Shelley GT format.

s2

Edgar Degas
French} I834-I9I7 Studyof a Young Woman's Legs Black chalk I63/8XII3/8 in. (4I.6X28.8 cm)

Giftfrom thefamily of Howard J. Barnet, m nlsmemory, I992

* s s

I992.60

This superb drawing belongsto a groupof history studiesDegasmadeforan unrealized andtheAngel, painting,Saint JohntheBaptist whilehe wasin ItalyfromI856 to I859. The of the figure's stanceandthe faintindication closelyto other bentrightarmcorrespond shownclassketches forthe angel,frequently A sically draped andblowinga trumpet. black-chalk studyforthe upperhalfof the Museumof nudemodelis in the Cleveland to the Art.This is an important addition of DegasdrawMetropolitan's richcorpus HBM ings,especially his early work.

53

Alfred Sisley
Britishn I839-I899 A Roadin Moretin Winter
I89I

I83/8 X 221/4

Oil on canvas in. (46.7

X 56.5

cm)

Bequest of Ralph Friedman, I992

I992.366

he organized near In I867, at an exhibition fair,Courbet displayed a the Paris world's paysages de number of worksunderthe rubric in snow.Monet,Renoir, neige-landscapes who laterwouldbe andSisley,youngartists wereveryexcited calledthe Impressionists, of landscapes executed in by the possibilities whiteor graywithjusta fewtouchesof brightcolor.Withina shorttimeall three executed snowyscenes,but MonetandSisley continued to do so forthe restof theirlives.

nuanced Thisfinework, withitssubtly brushstrokes, is palette andexpertly rendered in thewinter oneof several thatSisley made therue of I89I in Moret-sur-Loing. It depicts is bordered by Eugene Moussoir, which here thewallof thevillage hospital. made Withthisgift,added to those H. recently byDouglas Dillon andJanice finally repreLevin, theMuseum's collection thedistinctive sents in several excellent works GT achievement of Sisley.

54

Edgar Degas Frenchn I834-I9I7 Two Men Ca.I865-69 Oilonwood I0 5/8 X 81/8 in. (27 X 20.6 cm) GiftofYvonne Lamon, I992
I992.380

Oneof themost significant traits of Degas's portraiture washishabit of capturing individuals offguard in their ownenvironments, which enabled himto discover characteristic gestures orposes thatsubtly reveal their personalities, if nottheir identities. Yetwhile Degas's portraits arealmost always telling in thismanner, a surprising number of thesubjects have come to usshorn of their names bythevagaries of history. Themenin this intriguing work were among them. However, on thebasis of a photograph, P.A. Lemo isne , themid-twentiethcentury cataloguer of Degas's work, identified theman on theright asEmile Levy (I826-I890), a painter whostudied attheFrench Academy in Rome when Degas resided there in the lateI850S. Gustave Moreau introduced Levy to Degas, whofound him"worthy and charming." Theyremained friends after returning to Paris, through theI860S, but in theI870S Degas saw lessof Levy, who became increasingly conventional in hisartas Degas became a leader in "the newpainting." Thesetting of thisinformal scene may wellbeanartist's studio. No name hasbeen proposed forthemanon theleft. GT

ss

Thomas Tucker (decorator)

American, I8I2-I890

Tucker Porcelain Factory (manufacturer)

American (Phikilphia, Pennrylvania),
I82638

Pair of Vases
I828-38

Porcelain H. z41/4 in. (36.2 cm)

Friends of theAmerican W*mg Fund, I992

I992.362.I,2

Theporcelain factory founded in Philadelphia byXllliamEllis Tucker wasthefirst in America to becommercially successful. These vases areamong thelargest andmost ambitious forms that Tucker produced. In their dassic urnshape withgilded wingedcaryatidlike handles, theyarereminiscent of early nineteenth-century European porcelains. Thefinely painted landscape scenes are

I ohnLocke From a desk andbookcase American (Phikilphia, Pennsylvania), I76S-7S Mahogany H.Io%in.(26.7sm) Gift of Bernard andS. Dean Levy,Inc., New YorkCity,in honorof Bernard Iwvy,I992 | I992.I8I.I

Thisbust is oneof themasterpieces of American figural sculpture from theperiod jUSt before theAmerican Revolution. The unidentified carver hasinfused hisrendition of thephilosopher John Locke (based upon anoft-copied portrait bySirGodErey

Kneller) withremarkably expressive qualities. Thisexample is oneof a number of diminutivebusts of Locke and John Milton conceived asfinials to beplaced within the broken pediments of Philadelphia-made desks andbookcases. Theuseof such images of renowned literary figures sprang from a tradition of library busts placed on bookcases thathaditsroots in antiquity. Inthehouses of Colonial Philadelphia, where there were noseparate rooms forbooks, thedesk-andbookcase-with-bust served asa movable library formembers of thecity's cognoscenti. TheMuseum's bust wasgiven together with itS original bookcase (acc. no.I992.I8I.2), butwithout thedesk unitupon which the latter originally stood. MHH

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

decorative Tucker's of Thomas indicative they viewss style.Mostlikelyromanticized copiedfromimported wereundoubtedly thatwereavailprints landscape European possession. in Tucker's ablein portfolios andsubtly colored delicately Suchscenesw of the moreprestigious aretypical shaded, On by thefactory. produced commissions with a lyre of aregildedmorifs thereverse garby a floral surrounded trumpets crossed This wreath. in a laurel landandenclosed pitchers. of Tucker motifis moretypical pair,yet a marched arenearly Thevases development a technical onlyone features of thewinged-caryatid in thetrearment on wingsof thecaryatids Typically, handles. in thisformaresupvases of Tucker handles thevaseon However? bysmallstruts. ported andthehandles therightlacksthisbracing, thebodyof thevase a bit toward slumped
, . . fW .

ls

dUrlNg

ItS tIrlllg.

ACF

Brown HenryKirke r8S4-1s86 AmericanX TheFikttrice /850 Brozzze H.20in.(so.8rm) GiRssn memory Purchase, and of JamesR. Graham, K.JesupFund,I993 Morris
I99J. 4

to attain artist Americarl wasthefirst Brown domestically casting sand success consistent garbed l hisclassically inEurope. than rather has efforts, pleasing most oneof his spinner, American theearliest of being thedistinction colin theMetropolitan's sculpture bronze a distaS holds figure Thedemure lection. her through yarn winds and andspindle belowe bobbin ontothedangling fingers on based wasapparently thissubject While bythe spinner marble seated a well-known (I786Schadow Rudolf sculptor Germarl andform of surface treatment 1822), Brown's of his characteristic isespecially in thiscast lifelike to Attention approach. naturalistic in thewire evident is particularly detail in imitation thebobbin around wrapped differences texturat subtle ofwoolandehe andpeplos. TT skin thespinner's between
S7

JuliusGrudchos and Selmar Eggers American, active ca.I856-60 Percussion TargetRifle American (NewBedford, Massachusetts), ca.I856-60 Walnut, steel, silver, gold,ebony, andivoC L. 49l/4in. (I25 I cm) Purchase, Bashford Dean Memorial Collection,Fundsfromvarious donors,by exchange, I992
I992*375

Target shooting with the crossbow wasa well-organized sportin Germanic countries

bythelateMiddle Ages. Shooters formed clubs that were modeled after contemporary craic guilds andserved many of thesame social andcivic functions. During thelate fifteenth century firearms gradually replaced bows asthecustomary weapon fortarget snootlng m mostareas. 1hlS actlvlty belng a long-established part of their society, berman lmmlgrants ln thenlneteenth centuryquickly founded shooting clubs (Schutzenvereine) in theUnited States. Such clubs remained a popular fixture of GermanArrlerican culture intotheearly tsventieth century.
s . . .. . . . . _ . . . .

Mostschutzen rifles were relatively plain, unlike thisfinely made, unusually decorative example. It is distinguished bydelicate floral ornament engraved on thesteel andsilver mounts, goldinlay highlighting thebrowned barrel andlock,andexuberant floral designs carved in thestock. Grudchos andEggers, whose names appear on thelockandbarrel, were wellknown fortheir innovative whalingguns. Alltheelements of thetarget rifle arestamped withthenumber I, suggesting thatit wasthefirst of thefewfirearms of this specialized typethatGrudchos andEggers made during their brief partnership. DJL

58

JakobHunzinger George I835-I898 American,

Seee s876-8S (NewYork Americotn nd cotton-corered cherry Ebonized seel woven L.67-Sin. (I7I I X])
Ci)J C4.

ornamedieval andother Viking, Celtic, patterns of thecarved much mentinforms aswell of thechair designs andembroidered Ameritnn,s848-rg33;vnd I832-I920 Inher room. the throughout detailing asthe Armehair Colman credits Havemeyer Louisine memoirs Americnn(New YorkCity), ca. I89I she which of thefurniture. withthedesign Oak tzndsilk usluet Viking byNorwegian wasinfluenced said and W. Havemeyer Harry Purchase, also Mrs.Havemeyer prototypes. andCeltic GiSs, in Foundation The Frelinghuysen wherebv process, thefinishing described memoryof H. O. HavemeyerI992 and applied were of varnish coats many I992 . I 25 to akin aneffect tO create laboriouslv buffed upholoriginal The lacquerwork. Japanese dethatTiffanyandColman The interiors andolise of silkvelvet in deepamber sterv slgnedbetweenI889 and I892 forthe Fifth in design in a Celtic andembroidered collectors green of the preeminent residence Avenue bythe hasbeenreplicated silkthreads and HenryOsborneHavemeyer Louisine of theupholsheen Thelustrous and important lMuseum. wereamongthe mostmagical ofJapanese ceiling elaborate the echoed stery of theirera.Eachroomwithinthe eclectic byColman. wasalsodesigned which silks, unstvof its own;each househada thematic
LouisComfortTiffanyand Samuel Colman(designers)
tO the harelementcontributed decorative is from monyof the whole.This armchair or Rembrandt s library, Mr. Havemeyer Room,as it wasaIsocalled,a roomrhatepitomizedthatconcept. ACF

Wing FundsI992 of the American Friends

I992.269

estabHunzinger In I866 the German-born New Yorkfirmthatmanlisheda successful of his own furniture patented ufactured settee,one of his most This rare invention. the protoillustrates piecesa ambitious best of Hunzinger's character modern contemporary Likehis British designs. attempted Hunzinger Dresser, Christopher freefromhisrorto forgea designvocabulary the setteevaguely Although icalreferences. in vogue furniture, faux-bamboo recalls of to the tradition aroundI880, andalludes is to the reference its strongest joineryx of latheconstructed Skillfullv machine. comthe setteeis hierarchically turnedpartsa and contiguousw posedof interlocking, thatconvey elements repeated rhythmically One of only and implymovement. energy knownin thisform objects nvo Hunzinger in black,the setandamongthe few finished pieceswith tee belongsto a groupof related wovenmetalseats.The blue-and-gold tightly stretched steelbands} cotton-covered akernawereHunzinger's the frame, across The bands,an tiveto caneandupholstery. on AprilI8, I876, arein patented invention The patentdate, condition. extraordinary leg)establishes on the backof a rear stamped settee;on the rhe for date possible theearliest tO ir is unlikely however) basisof its sWle, havebeenmadeafterthe mid-l880s. CHV

S9

I
ono;ff-whzte and green papers gouache, inpencil (lower left): Del.Co./964 Inscribed Sheila andRichard J. Schwartz P rchase, of Stephen D. F ndandGiftsin memory Rubin, I992
I992-373

Mary Cassatt American> I844-I926 in a Portrait ofAdaline Havemeyer V0hite Hat Begun inI898 Pastel onwove paper 25 X 2I 1/4 in. (63.5 X 54 cm) Signed (upper right): Mary Cassatt

School artists, while theminute Hudson River of thepencil work sugprecision andfactualism withtheaesthetic standards of gests sympathy Pre-Raphaelite movement, thenat theAmerican Theoverall impression is itspeak of influence. journal of observations butof notof aninformal album of picturesque vignettes. KJA a souvenir

X kE9ffi_'45i'S
vivacious expression and vivaciou i :

60

William Lightfoot Price (designer)

Setof Four Leaded-glass Window, f omgz Americvn (Philvdelphiv> Pennsylvaniv)>

i; Americvn> I86I-I9I6

c C4. I905

v ;

40 x 24 in

(IOI.6X

6I.6

cm)

Giftand Purchase, Jane D. Kaufman . Sansbury-Mills Fund, I993

,7

I993

architect Price became a noted Philadelphia American Arts of theturn-of-the-century dndCrafts movement andin I903 cofounded of artisans in Rose Valley, a utopian colony windows feaPennsylvania. These unusual through a ture medievalized motifs, created lead silhouette effect achieved byarticulated glass. lines surrounding panes of colorless and Small jeweled highlights in red,amber, The olive green glass provide theonlycolor. from medieval hunting scene wascarried bythecontinuwindow to window, unified is rooted in ouslines of leading. Thedesign movement, and theEnglish Arts andCrafts atthesame timeresembles turn-of-theillustrations. century woodblock storybook of thearchitecThewindows were part fora house tural scheme conceived byPrice in Indianhedesigned forFrank VanCamp wasinspired by apolis in I905. Thisstructure that theGothic house near Philadelphia earlier for Price designed some fiveyears decorative John Gilmore. TheGilmore winscheme featured similar leaded-glass Museum of dows (now in thePhiladelphia theinspiration Art), which were no doubt windows area forthese. TheMetropolitan's American stained departure from thetypical More glass manufactured during theperiod. colored and common wastheuseof mottled bythe opalescent glass, materials promoted Tiffany and glass studios of Louis Comfort ACF John LaFarge.

6I

4,4

c-,
4,4 4,4

PabloPicasso Spanish, I88I-I973 At theLapinAgile

I905

Oil on canvas 39 X 39 1 in. (99 X I00.3 cm) The WalterH. andLeonore Annenberg Collection,Partial Gift of WalterH. andLeonore Annenberg, I992
I992.39I

The destitute outcasts featured in Picasso's BluePeriod gaveway,in I905, to circus performers andharlequins in morecolorful

settings. At theLapin Agile,a canvas nearly square andbroadly painted, wasoriginally conceived to decorate a barin Montmarte, the interior of whichis depicted here.Since the painting wouldbe seenacross a crowded andsmokyroom,Picasso's composition was of posterlike simplicity. He aligned glasses andfigures hattedandshownfromfullfaceto profile view alongsevere diagonals, endingwith a seatedguitarist, Frede, the cafe'sowner. As identifiable as the musician arethe two diffident patrons at the bar,their colorful, theatrical getupstillaccentuating theiremaciated pallor. The melancholy har-

lequinin the red,green,andocherdiamondpatterned costumeis Picasso himself. The poutingwomandeckedout in an orange dress,boa,choker, andgaudyhat is Germaine Pichot,a notorious femmefatale. In I90I Germaine hadcaused Carlos Casagemus, a closefriendof Picasso's, to commitsuicidebecause of his unrequited loveforher.The melodrama continued to hauntPicasso, who evokedhis deadfriendin several paintings at the time.Germaine subsequently married RamonPichot,another closefriendof Picasso's. SR

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

PabloPicasso I88I-I973 Spanish, Fontdevila) Headof a Peasant(Josep

I9086

Oil on canvas I73/4 X If 7/8 in. (45 X 40.3 cm) GiE, I992 Anonyinous
I992.37

of I906 in Gosol, thesummer spent Picasso There in thePyrenees. village a remote to theninety-year-old tooka fancy Picasso andformer aninnkeeper Fontdevila, Josep InPicassoet sesamis (I933) smuggler. Olivier Fernande companion Picasso's oldman, proud as "a Fontdevila described in a strange beautiful extraordinarily with andcantankerous . .mean wildway. Picasso withPicasso." . .except everybody. withthe rapport a strong such developed to idencome oldmanthathewould tough his shaved similarly tifywithhimandeven

the surrounding head.Moreor lessignoring a largegroup composed Picasso landscape, andthisoil of gouaches, of drawings, a headthatbecame ascetic Fontdevila's region. Pyrenees for the austere metaphor rendered Picasso to Paris, Afterhis return faceevermoreabstract the absentbandit's andusedit at the sametime andmasklike, the face whenhe repainted forinspiration of the Steinin his I906 portrait of Gertrude by the Museum whichwasacquired writer, SR in I946.

63

early in hiscareer, lifein thestreets capture preferring people, photographed rarely Atget aswellasthegardens, themselves, thestreets thatconstituted areas andother courtyards, I92 stage. thecultural print silver Albumen Atget frequently War After theGreat cm) 7X85/8 in. (I7.8X2I.9 andother statues, on mannequins, focused Jr. J. Wagstaff, Samuel Purchase, he where AtVersailles, "actors." substitute and DavidHunterMcAlpin Memorial to seethe I90I, hecame since hadworked Funds,andThe HoraceW. Goldsmith butas ornaments notasfelicitous sculptures PaulF. Walter,andMr. and Foundation, In this play. in an immemorial characters Mrs.JohnWalshGifts,I992 of theDying a replica shows which picture, I992.5I52 painandartishuman contrasts Gaul,Atget manandtheimmortal mortal ticbeauty, in the in Paris drama hestudied Although in onhislongexperience soul.Drawing years, forsome andwasanactor mid-I87os in andvistas andfarobjects near relating itS best found sensibility theatrical Atget's juxtaposed thephotographer gardens, these InI898 he artform. visual in a purely outlet in thebackso thattheApollo thestatues a andwithin oldParis, to photograph began spirit the living rise like to seems ground asanassiduous a name hehadmade decade MMH atdeath. thebody of the escaping of theartandarchitecture documenter to attempt fora brief Except regime. ancien
Atget Eugene I857-I927 French, Versailles

Freud Lucian I922 born British, Man,BackView Naked

I99I-92

Oiloncanvas 1/8 in. (I83.5 X I37.5 cm) 72 1/4 X 54 Gift,I993 Wallace Acheson Lila Purchase,
I99S- 7I

hasconcenFreud halfa century Foralmost and figure thehuman on depicting trated heis bestknown States IntheUnited face. I979. These I945 through from forhisworks in a crafted anddrawings, paintings early are precision, withextreme style meticulous major compositions Freud's in format. small areconsidhowever, years, of thelastdozen areheavily surfaces Their larger. erably are areas certain andin many, worked, impastoed. Freud's among picture, Thisastonishing not quite frankly a subject portrays largest, a broken man, Anenormous handsome. The studio. attic in theartist's is posed giant, and,back heis nude, is shaven, head man's stoolthathas hesitson a covered turned, stand. red-carpeted on a model's placed been thefigure thatsilhouettes backdrop Thegray Attheright room. of thesmall therest hides to bytheartist used of rags a cluster hangs Themodel, andhands. hisbrushes wipeclean personality is a theatrical Bowery, Leigh in London. records Freud truthfulness, Withstark Themanipuappearance. physical Bowery's textures different to describe of paint lation of a landscape andtherendition isvirtuosic, is bytimeandabuse, beaten here of flesh, thisis nota portrait Inessence extraordinary. themembrane a stilllifeof skin, butrather Oneis remindform. thehuman clothes that by depicted figures single edof theterrifying is said, "Flesh once who Kooning, de Willem wasdeveloped." whyoilpainting thereason
WSL

64

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4ful*+E} { #o

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o.'/18
StuartDavis American, I892-I964 Reportfrom Rockport
I940

Oil oncanvas
24x3oin.(6Ix76.2cm)

EdithandMiltonLowenthal Collection, Bequestof EdithAbrahamson Lowenthal,

I99I I992. 24. I

Whenthe Metropolitan Museum's retrospective"Stuart Davis,American Painter" opened in I99I, two of the artist's mostimportant paintings, ReportfRom Rockport (I940) and Arboretum byFlashhulb (I942), wereborrowedfromthe EdithandMiltonLowenthal Collection. Whenthe exhibition closedat the SanFrancisco Museumof Modern Artin I992, bothpaintings andfouradditional works,byArthur B. Dove, Charles Sheeler, andMaxWeber,wereassigned to The Metropolitan Museum of Artby the trustees of Mrs.Lowenthal's estate. Davisoftenreprised earlier compositions in hiswork.ReportfRom Rockport is basedon Town Square of I92S-26(Newark Museum) andshowsthe sameviewof Rockport, Massachusetts, with a garage in the distance, the facades of storeson eachside,anda kiosk, gasoline pump,andtwo treesthatdirectthe

viewer's attention intothespace. InReport fiSom Rockport theyellow road leads theeyeto thegarage situated atthecenter of thecomposition. Thestore facades in thisversion of thescene aregeneric trapezoidal planes-the leftoneblack, theright oneblue- andthe tree is enclosed in itsownslice of space. In thedistance is a bluehillcovered withcross forms, andabove, in a pink sky,are white, black, red,andmaroon clouds. Thesense of deep space is countered, however, byDavis's useof fully saturated color over thepainting's entire surface. Davis alsocovers thecanvas withwords, letters, and straight andcurved lines andshapes thatcreatean"all-over" feeling. Thisscene is oneof vitality, disjunction, andspeed, reflecting Davis's interest in conveying theexperience of modern American lifeatmid-century.
LSS

66

Benton Murdoch Spruance American, I904-I967 American Pattern Barn

Searching forwhat hedescribed asthe"very essence" of anAmerican tradition in art, Spruance responded in anextraordinary manner to theprecisionist style of Charles I940 Sheeler (I883-I96S), whose Lithograph, printed depictions of in tanandblack on American barns andfolkartin paintings, wove paper drawings, andphotographs 73/4 X I4 in. (I9.7 X 35 were cm) exhibited of Modern Artin I939. Purchase, Giftof Reba andDave Williams, attheMuseum Spruance, I 993 along withother American printmakers during thelateI930S, celebrated I993 -I 054 lithography astheartistic medium of the people, andhere heboldly uses themedium to transform rough-hewn planks andsplit shingles intoplanes of tone. Byjuxtaposing lightanddark blocks anddashes, Spruance creates a lively, syncopated surface thatis harmoniously pieced together likethepatches of anAmerican quilt. EBD

67

JaneWilson American, born I924 American Landscape

I959

Acrylic on canvas 60 1/8 X 50 in. (I52.7 X I27 cm) Inscribed (onthereverse): American Landscape/Jane Wilson I959 Gift of Ione UlrichSutton,I992
I992. 2I4

Whenrecently asked aboutthe specific site depicted in American Landscape, Wilson remembered thatthe picture's genesis goes backto an excursion to the Rocky Mountains during herchildhood. When descending the Rockies' Eastern Slope toward the GreatPlains,a panorama of such vastness andluminosity openedup thatit remained etchedin hermind.In I949, after movingto New York, whereshehasexhibited herstilllifesandlandscapes eversince,her

longing forthelandscape of hernative Midwestintensified. Consequently, sheevoked in paint thatdistant panorama, which she called "aseaof grass whose color changes withtheseasons." Inthislarge andbroadly brushed work, autumnal fields in muted greens andyellows stretch toward a distant lowhorizon under a cloudy yetluminous sky. Asin allof herlandscapes, nohuman
1 . .

belIlg

1S in signt.

SR

68

FredWilliams I927-I982 Australian, I withRocks Landscape

I957-58

OilonMasonite in. (II6.2 X 9I.4 cm) FredWilliams right): (lower Signed Giftof LynWatsonWilliams,I992
453/4 X 36 I992.3I2. I

in hisnative iswellknown Williams art hisearly he received where Australia, from in London Hethenstayed training. from hisreturn upon I956, and I95I until of thelandscape chose Williams Europe, AusHisfirst subject. ashismain Australia of theinfluences revealed landscapes tralian of Cezanne. especially thePostimpressionists, on sketches Iis based withRocks Landscape of saplings of stands in front made Williams a region Mountains, in theBlue androcks of southwest miles some onehundred of thissitewas thechoice No doubt, Sydney. atthetime byhispreoccupation determined

of a given structure withtheunderlying

a horizonline,he commotif.Forgoing in the riverbed the spacebetween pressed slopebeyond, andmountain the foreground bandsof muted themin parallel aligning plane.And as tonescloseto the picture do in his forest wouldsometimes Cezanne between set up a dialogue Williams interiors, the bulkyrocksbelowandthe opposites, above. reedysaplings This paintdiedin mid-career. Williams of threeof hisAustralian ing is the earliest givento the Museumby his wife. landscapes
SR

69

Sigmar Polke German, born Untitled

I975

I94I

Gelatin silver print in. cm) Purchase, DavidSchiff,LilaAcheson Wallace,Harriet andNoel Levine,and NancyandEdwinMarksGifts,
I61/8 X 20 3/4 (4I X 52.5 I992 I992-5I54

Oneof themostprovocative artists of postwar Europe, Polke hascreated works critical ofWestern culture since I963, when heand fellow artist Gerhard Richter began using photography asthebasis forpaintings that satirized thelookandmessage of consumer culture. Since thattimePolke hascontinued to usephotography asa breeding ground torlnnovatlon. During theI970S theartist painted little buttraveled widely withhiscamera to Paris, NewYork, Brazil, Afghanistan, and Pakistan. Hissubjects were night life,low life,theunderworld, andtheThird World
r

arenas in whichlife is livedin defiance or ignorance of established Western socialrules. The basisof the imagehereis one of a series of negatives exposed in a barin SaoPaulo, Brazil, showinga groupof men drinking. Polkeconsiders the darkroom a sortof alchemic laboratory in whichhe canexplore infinitemutations of imagery. With the negativein his enlarger, the artist developed this largesheetselectively, pouring on photographic solutions andrepeatedly creasing and foldingthewet paper. The resulting abstract organic formsthusissuefromandre-express the boozy,convivial energy of the scene.
MMH

7o

SusanRothenberg Americvn born I945 Galisteo Creek

I992

Oil on cvnvas in. (284.5 X 375.9 cm) Purchase, LilaAchesonWallaceGiE, I992

II2 X I48
I992-343

Thisis a dramatic scene: a white predator, perhaps a rodent, closes in forthekillon a smaller black-and-ocher fishatthetopcenter of thecomposition, while other fish,unconcerned, swim past. These characters converge atthecrux of a Y-shape formed bythecurve of a fallen branch andthebody of thepredator.Other partially obscured forms canbe seenin theblood-red environment. Incongruously, a small, white human head extrudes from thebranch atthelower right. Rothenberg first showed herpaintings and drawings in themid-Ig70s. Using thehorse

asa single iconographic element forreintroducing content intopainting, sheproduced some of themostcompelling images of the decade. Herwork hasalways beendistinguished byitsforceful, gestural paint surface, which dominates anecdotal detail. Thiscanvas1S contemporary Wlte several palntlngs executed in theearly I990S, in which the viewer is confronted withclose-ups of the hindquarters of horses trampling hapless dogs, which in turn tear rabbits to bits. Galisteo Creek presents a similarly brutal yet compelling image of nature. LSS
. . . . . .

7I

Bartlett Jennifer

born I94I American, FiveP.M.

I99I-92

84 X 84

Oiloncanvas in. (2I3.4

X 2I3.4

cm)

LilaAchesonWallaceGift, I993 Purchase,

I993- 63

withFiveA.M., iS part along Thispainting, executed in cycle of a twenty-four-painting a different represents Each painting I99I-92. lifeata in theartist's of daily events scene at8 A.M.). hour of theday(starting different areseven in theseries Allof thepaintings elements: twogrid andinclude feetsquare andground structure oneof theunderlying patterns, to plaid theother relating color; in A clock likes. theartist particularly which indicates thetime,thus each composition ltStltle. eacn palntlng glvlng in the Thisis a viewintoa fishpond invites matter garden. Thesubject artist's
* 1 * * * . .

and withworksby Matisse comparison domestisimilar themes: Monetthatexplore catedfishlife on the one handandpondflora the lily hasdistributed on the other.Bartlett across rocks,andgoldfish padsandflowers, an overall compoto achieve the composition elements. Here, repeated sitionof seemingly in evidence, gridis particularly the underlying looserand with the artist's andin tandem of the fishandlily handling moretranslucent mediaof Bartlett's pads,thevieweris aware anda organization a modular tion between LSS technlque. palntlng sumptuous
. . . .

72

Bartlett Jennifer FiveA.M.

I99I-92

Oilon canvas in. (2I3.4 X 2I3.4 cm) Purchase JosephH. HazenFoundation Fund,in honorof CynthiaHazenPolsly,
84 X 84 I 992 I992.342

with Five P.M., thissceneis In comparison A cartoonlike andhallucinatory. bizarre by the artist's couple,copiedfroma drawing danceto in a nocturnal embrace daughter, shownat the the barsof a themeby Mozart cultiBartlett's bottomof the composition. vationof the gridmotifis seenin the red at the upperright,aswell as in latticework tilesof the kitchenfloor,the individual and scale.In varyin size which,however, of the floorseems the perspective addition, to the middleof the composition to descend

The mottled andthenswoopup to the rear. tile flooris yet of the ordinary treatment the lively elementthatamplifies another of thispainting. visualquality is one likeSusanRothenberg, Bartlett, the bridges whosecareer artists of several of the I960S andthe sensibility Formalist hasbeen of the I980S. Bartlett new figuration but she Expressionist, calleda Minimalist in the work oncenotedthat,whilebelieving of incapable shewas artists, of Minimalist LSS beingone.

73

sewed completed, _ ontos

the because Caio beige-and-white the Fonseca rhythms

mottledground. of the forms

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thr after Tenth Street, I993 titled I99tt and produ edbetween o seca East Village. Like York City's inNew of isstudio h location ofmany rectangular serles, #5iS composed works lnthls theother an arranged along edges, loosely with cutout curved elements and however, is work intheseries, Each grid structure. underlying and therelationship color, ofcomposltlon, dlfferent interms very ofboth isalively syncopation This painting toground. offorms the that juxtaposes curved forms straight and and small and large amorphous agalnst themore shapes ottherust-colored solldlty ofstill more Darker residues ground. gesturally painted and laythemany are visible beneath painting, deleted during shapes, may beseen dose ofwhimsy paint. Astrong ofthin off-white ers circles tothe lines, and black twists, ofsmall intheadditions lively rhythm. shapes and inthecomposition's ofthelarger edges traveled in studied art and descent, ofUruguayan Fonseca, to I992. Returning I978 and America between and South Europe to tribute this memorable I99Z, heproduced York inMay New LMM Latin beat. adecidedly city with hishome
.... r . . . . . . .

i11 l 1 * t l
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Noel Georges born I924 French,

Lohengrin
I988

and glue oncanvas Oil, sand, in.(209. 6X I65.I cm) NOEL; dated right): Georges Signed (lower I988 88; (upper right): (lower leff): I993 Emmerich, Gift ofAndre
82 1/2X 65 I993. 86

linear symbols, and signs, Since themid-Ig80s, tivelymonochromaticcanvases.Movementthrough

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with the hewas associated when

74

I Barnett Newman American, I905-I970 TheSongof Orpheus

I944-45

Oilpastel onpaper 20 X I4 7/8 in. (50. 8 x 37. 8 cm) Signed (lower center): B B Newman Gift of AnnaleeNewman,I992
I992. I79. I

Untitled
I960

Brush andinkonpaper
I4XIOiS.(35.6X25.4Cm)

Gift of AnnaleeNewman,I992
I992-I79-4

Newmanfirstcameto prominence as a writer andphilosopher withintheAbstract Expressionist circleduringthe periodfrom the lateI930S to the mid-Ig40s. He stated theirbeliefthatmodernabstract artshould conveythe samepoweras primitive artand myth.His ownworkas an artist beganin the earlyI940S with someprivate, exploratory drawings, andby I945 he wascommitted to beinga painter. Newman'sTheSongof Orpheus is amongthe earliest of his extant drawings. Its biomorphic, myth-inspired imagery camedirectly fromhiswritings. Manypodlikeshapes quiver on the surface, likemotileamoebas undera microscope. The generally brown-and-yellow coloring suggests the earth,andthewriggling black, brown,andgreencircles andvertical lines evokeseedlings androotsgrowing underground. The formsfloatfreely with no definitespatial orientation andno specified horizonline.The titleof the pastelrefers to the mythical Greek poetwho wasfamedfor his skillwith a lyre.His musical powers were so extraordinary thathe couldevencharm

wild beasts, trees,androcks.It is thisdivine unionof man,animal, earth,andplantthat Newman's drawing conveys.

By I948 Newmanhaddeveloped his mature "zip" format, whichhe continued to employ untilhis death.In theseworksa minimum of pictorial meansachieves innovative and movingresults, whichin theirapparent simplicityaredifficult to comprehend. As in Newman's untitledI960 brush-and-ink drawing, a largefieldof a singlecoloris articulated by a vertical band(orsometimes bands)of another color.His aimwasnot to painta geometric abstraction, but rather to create a picturein whichspacealone,without the aidof narrative detail,imparted meaning. The zip wasthe fieldthatbrought life to the otherfields.Although Newman's early zipsweregenerally unappreciated by theAbstract Expressionists, theywererecognizedin the lateI950S to earlyI960S as the precursors of color-field painting and MlnlmalStart. LMM
. . .

7S

DorothyDehner American) born I90I Target

I950

Penandinkandwatercolor onpaper I8 1/8 X 22 7/8 in. f46 x 58. I cm) Signed anddated(upper right): Dorothy DeAner 50
Purchase, Mrs. Fernand Leval GiE,
I99. II8 I993

DennisOppenheim

American) born I938 Study for Chain ofPearls

I984

Pencil) coloredpencil) oilwash) oil) andpastel onpaper 77x 99 7/8 in. (I95. 6 x 253. 7 cm)
Van Day TruexFund,I992
Igg2.37ga-d

Oppenheim is considered a pioneer of Conceptual art.During thelateI960S and I970S such artists focused onactivities that tookplace outside thegallery ormuseum, eschewing theobject asa "commodity." Oppenheim's work is often predicated on site-specificity andeffects a proactive and interactive relationship between artandits environment, andbetween artandsociety. Thisdrawing is related to ChainofPearls, a fireworks piece thatOppenheim planned in I98I fortheAceGallery inVancouver, Canada. Theartist hasdescribed these projectsas"an attempt to draw in space," andfor them Oppenheim conceived a fixed pattern forthesequential detonation of fireworks, appropriating themeans of popular entertainment to anartistic end. Aswithmostof such projects, thisdisplay wasrecorded in photographs anddrawings. Oppenheim made twopreparatory sketches forChainof Pearls in I980. Thisdepiction, which has anexuberance that seems to mirror thatof theactual event, wasdoneafter thefactin I984 and amply demonstrates Oppenheim's virtuoso draftsmanship. LSS
76

In I950, the year of this drawing, Dehner left her twenty-three-yearmarriageto metal sculptor David Smith and their home in Bolton Landing, New York. Her work at this point centered on painting and drawing in an abstractidiom, reflecting her earlierstudy of American and European Modernism. Dehner's adoption of sculptureas het primarymedium occurredin I955. This beautiful drawing is an example of the linear, geometric abstractionscreatedbetween I949 and I955 that provided the visual vocabularyfor her subsequent prints and sculpture. Here, Dehner has createda form that resemblesa horizontal arrow.Within its thinly penned bordersare irregularsubdivisions filled with solid washes of black, red, and yellow watercoloror with thin straightlines of black ink. The combination of solid planes and diagonal lines createsthe illusion of shallow depth, as if looking into a room interior. Numerous influences might be cited, most notably the drawingsof Paul Klee, the earlysculpture of Alberto Giacometti, and David Smith's two-dimensional sculptureand his drawings. LMM

JohnWonnacott British, born I940 NightPortrvitwithBlueEasel

I990-9I

Oil onMasonite 84 3/4 X 451/4 in. (2If.3 X II4.9 cm) Purchase, LilaAcheson WallaceGift, I993 I993 9I Looking at Wonnacott's painting of his studio in Essex, England, theviewer is immediatelythrown off-balance by the shifting and colliding spatial planes thatactivate this otherwise staidrealistic rendering. Concerned withdescriptive details(window reflections, wallmoldings, floorandceiling shadows, easel,andpalette stool),aswellas with an accurate self-portrait, Wonnacott created a composition of great visualand intellectual complexity. It is forthe viewer to discover andreconcile the shiftsin perspectivethatexpand the two-dimensional paintlng lnto a three-dlmenslonal envlronment. Forexample, in the curved baywindows behindthe easel,parts of the roomnot withinthe picture planearereflected in the mirrorlike panesof glass.Similarly, in the square mirror propped up on the easel,we cansee the reflection of the seated artist surrounded by the cabinets, tables, andartworksthatfill the restof the studio.Most dramatically, the floorandceilingfallaway precipitously, as if in a distorted photograph. It is onlythhe strongcentral presence of the vertical blueeaselandthe solidbodyand steady gazeof the artist thatanchors all of thepartsof thiscomposition. LMM
. . . .. . . .

77

Gordon Matta-Clark American) I943-I978 Splitting

I974

Three chromogenic prints mounted onboard 30in. (IOI. 6X 76.2 cm) Purchase, TheHorace W. Goldsmith Foundation Gift,I992
40 X I992.5067

Inthedecade between hisreceiving hisB.A. in architecture from Cornell University and hisdeath in I978, Matta-Clark wasa key member of theNewYork avant-garde. His work, likethatof Dennis Oppenheim and Robert Smithson, wasformed outside the parameters of gallery presentation, andas withmany artists whomatured in theI960S, hissubversive activities were rooted in a critique of bourgeois American culture. Compelled to focus attention on the dehumanization of themodern world, Matta-Clark developed a personal idiom that combined Minimalism andSurrealism with urban architecture. Using abandoned buildingsforhismedium andwielding a chainsaw ashisinstrument, he cutintothestructures, creating unexpected apertures andincisions. InI974 Matta-Clark operated on a twostory home in NewJersey slated fordemolition,effectively splitting it down themiddle. Thelightfrom theincision invaded theinterior andunited therooms witha swath of brilliance. Theartist photographed hiswork andcreated a collage of prints, theunconventional disposition ofwhich re-creates the disorienting experience of theunprecedented destruction. Theseamless cutslicing through thespace memorializes thelives of the house's former tenants asdramatically asa stroke of lightning. MMH

78

Jean-Marc Bustamante French) born I952 r s tSumzere

I99I

Silkscreen onvcrylic resin cm) Purchase, HowardGilmanFoundation Gift, I992

43 3/8 X 72 7/8 in. (IIO X I85 I992.5I58

Edward Steichen American, born in Luxembourg Brancusi s Studio Ca. Gelatin silver print in. cm) Gift of GraceM. Mayer,
I879-I973; I920 95/8 X 75/8 (24.4 X I9.4 I992 I992-5I49

Steichen livedin Paris on andoff fromI900 to I924, making paintings andphotographs. A cofounder with Alfred Stieglitz of the Photo-Secession, Steichen offered his former New Yorkstudioto the fledgling organization as an exhibition spacein I90S.Known firstas the LittleGalleries of the Photo-Secession and latersimplyby its address on FifthAvenue,29I, the gallery introduced modern French artto America through theworksof Rodin,Matisse, Cezanne, and, in I9I4, Constantin Brancusi. Steichen andBrancusi met at Rodin's studioand soonbecame lifelongfriends. Thisviewof a corner in Brancusi's studioon the impasse Roncinshowsseveral identifiable works,includingCup(I9I7) andEndless Column (I9I8). The photograph's centerpiece is the elegant polished bronzeGolden Bird(I9I9), which soars abovethe otherforms.DistinctfromBrancusi's studiophotographs subjective meditations on his own creations Steichen's viewis moreorchestrated, geometric, andobjective. Golden Birdis centered, the lightmodulated, andthe constellation of masses carefullybalanced in the spacedefinedby the camera. A respectful acknowledgment of the essential abstraction of the sculpture, the photograph seemsdecidedly modern andpresages the formal studiophotographs Steichen madein the service of Vanity FairandVogue magazlnes beglnnlng ln I923. JLR
. . . . .

Following hisapprenticeship to William Klein, anAmerican photographer living in Paris, Bustamante abandoned painting forsculpture andphotography. InI989 hebegan a series of large images silkscreened on acrylic resin, mounted about two inches from thewallbymetal brackets. Being partially transparent,theLumieres seem to glowbecause theyareilluminated by lightreflected through them from thewallbehind. While each construction hasanaustere andundeniable corporeality, the images floating on them areoddly tenuous. Like filmsuspendedin air, yetsubstantial enough to cast shadows, these works have a presence bordering on absence andresonate in theviewer's mind likememories. Theschoolroom, here rephotographed from ananonymous document, is common to allsystems ofWestern education. If itsutilitarian architecture, serial patterning, darkness, and anonymity arefreighted withovertones of incarceration, no particular regime is implicated. Rather, thewaythedesks glow likeindividual wells of consciousness, their illuminated topsrhyming withthewindows, suggests thedichotomy between inner andouter realities a principal concern of Bustamante's andhints attheability of light andimagination,impalpable transgressors, to commute between these states.
MH

79

Charles SumnerGreeneand Henry MatherGreene(designers)

American, I868-I957; andI87-I9S4

PeterHall Shop (manufacturer)

Pasadena, California Armchair

I907-9

Honduras mahogany, ebony, f uitwoods, silver, copper, andmother-of-pearl

H.42in.(Io6.7cm)

Purchase, I992
I992. I27

Greene andGreene, twobrothers, were prominent WestCoast architects whodevelopeda high-style, regional version of the Arts andCrafts that showed theinfluence of Asian sources. Between I907 and I909 they designed fivegreat houses (theso-called Ultimate Bungalows) forwealthy clients, whogave them virtually unlimited budgets andcomplete artistic control. Thisarmchair is oneof twofrom thedining room of the Robert R.Blacker house (still extant, though altered)-the first, largest, andmostlavish of these commissions. Thechair wasdesigned ensuite withthewoodwork andfurnishings of theroom, which included tensidechairs,

dining andbreakfast tables, a sideboard, a vitrine, anda chandelier. Theform, comprising a tallnarrow back splat, trapezoidal seat, widespread arms, andlowstretchers, recalls a particular sixteenth-century French prototype, here interpreted byGreene and Greene in their ownsignature style. Inspired bycontemporary oriental export furniture withsimilar decorative motifs, suchasthe cloud-shaped crest rail, ebony pegsand splines, andinlaid vines andflorets, thechair is a harmonious composition of solids and voids, craftsmanship andrichmaterials, and delicate details. CHV

80

HansCoper
British, I920-I98I; Pot
I975

bornin Germany

Stoneware H. I81/8 in.(46cm)

GiftofJane Coper, I993

I993-230

InI939, when hewasnineteen, Coper fled hisnative Germany to settle in England. He hadintended to bea sculptor, butin order to sustain himself ashebegan hisnewlifehe found work in thepottery studio of Lucie Rie,a fellow refugee. Theybecame lifelong friends, andunder herinfluence heturned to pottery ashisprincipal means of selfexpression.

Coper's oeuvre is powerful, often monumental, andthispot,oneof hislast, is among hismostimpressive. Thelarge scale, subtle irregularity of shape, andnuanced texture of thesurface combine to make it a keywork. It is thefirst Coper to enter theMuseum's collection of modern ceramics andwillbe featured in thejointexhibition of Coper and Riethatis scheduled forlateI994. JSJ

Archibald Knox (designer of model)

British, I864-I933

W. H. Haseler & Co.(manufacturer)

English (Birmingbam), founded I87o
Decanter

English, I900-I90I Silver andcArysoprase H. SI 7/8 in. (30 cm)

Harris Brisbane DickFund, I992

I992.34 6

Knox's name is inextricably linked withthe firm of Liberty & Co.,forwhich hewasthe principal designer of silver andpewter. Founded in I875 byArthur Lasenby Liberty (I843-I9I7), thecompany developed from its beginnings asanimporter of oriental goods to become a producer of textiles, furniture, andmetalwork of a modernism that was

stylistically poised between theforthrightness ofArts andCrafts andtheseductiveness of ArtNouveau. Liberty hired Knox, whohadcome tO London from hisnative Isleof Man, in I899, thesame year Liberty entered intopartnershipwiththeHaseler firm in Birmingham forthemanufacture of hisnewlineof silver. AsLiberty insisted on theanonymity of his artists, Knox's pieces must beidentified from signed sketches andcharacteristics of style. Typical features thatestablish thisdecanter asKnox's work arethestreamlined elegance of form enlivened bytheCeltic interlace ornament hefavored, thedashing flyaway thumbpiece that, when lowered, rests along thesmooth curve of thehandle, andtheflat
diskbase.
CLC

(manufacturer) StickleyBrothers Rxpids, Michigan) (Grand American Desk

I904

sedary brasss oak2veneer, oakJ Qxrter-sawn glass pewter, andleaded copperX H. 60 in. (I52.4 cm) Wing Fund,I 992 of the American Friends
I992. 90

deskis anunusual fall-front Thislabeled made in furniture andCrafts of Arts example of production a major center Rapids, Grand nventieth andearly in thelatenineteenth who (I863I928), Stickley Albert centuries. in I89I, wasoneof thefirst hisfirm founded inlaid pieces to manufacture inAmerica British, of innovative theinfluence showing such designs, decorative Scottish, especially in metals intaid floral motifs astherectilinear The doors of thisdesk. on thecupboard hinges area charcutout strap heart-shaped producearly Brothers' of Stickley acteristic is rare glass colored Theuseof leaded tion. a fewfirms, irniture: andCrafts inArts

Brothers andLimbert, Stickley lncluding timearound withit fora short experimented most of the Unlike of thecentury. theturn perhaps a onedesk is this firm's production, in doesnotappear object: theform of-a-kind andno catalogues known anyof thefirmws hasyetcometo light.The other example animportant Record, Furnitxre Grand Rwpids in the this desk shows trade publication, made for pieces withother June I904 issue Expositions Purchase display attheLouisiana wona Brothers gnI904. Stickley St.Louis, was which submission, fortheir Grand Prize 38-Office andHouseshown in "Group CHV holdFurniture.'l

Sottsass, Jr.(designer) Ettore

Austrian,bornI9I7; worksin Italy

(manufacturer) Memphis
Italian (Milan) "Fruit Bowl "Murmansk
I982

Silver H. I2 in. (30.5cm)

I992 S. Kane, Giftof Ronald I992.2I6.I

RonArad

inIsrael, I95I British, born Volume 2 " "Big Easy, Drawingfor Armchair
I988

heightened andmetallic crayon, Graphite onsynthetic paper with white, II 1/2 X I61/2 in. (29.2 X 4I.9 cm)
The CynthiaHazenPolskyFund,I993
I993- 29

One hisownstudio/showroom, Arad opened impaof hiscontinuing Off,in I98I because of Modern styles tience withconventional anddesign. architecture andPostmodern acquired Museum TheMetropolitan "Big Easy, armchair, Arad's sheet-metal and hisgraphite Volume 2," in I99I and drawing forit thisyear. metallic crayon hisdesire to sketch reveals Arad's fanciful of anoldcomfort combine theeasy of hardclubchair withsensations fashioned aneffect he andstrength, ness, power, material, in this rugged achieved byusing softly curvsheet metal, to form case welded steel almost excluArad hasused ingshapes. because it is an designs sively in hisfurniture andaffords material easily manipulated of finishes. witha multitude experimentation in mattehave been produced Arad chairs of rust; burnished withareas gray mildsteel surface; and hasa hammered metal, which Thehumorous sleek stainless steel. glittering, in thelittle is apparent aspect of thisdesign drawn to theleftof the figure of a mouse Mouse" mirrors the"Mickey chair, which weld withtheshiny Arad created outline that JA of thechair. seams on thearms

prodesigns bowlis oneof thefirst fruit The"Murmansk" designof Italian thegroup bySottsass forMemphis, duced to the alternatives in I98I to create formed ersandarchitects The War IIera. of thepost-World Modernism prevailing song theBobDylan wastaken from "Memphis" name Again." Memphis Blues withthe Inside of Mobile "Stuck refers to boththecityin Tennessee, thename ForSottsass of contemporary townanda home American asa typically andhis Sottsass capital of Egypt. andto theancient music, of ambiguity used thepurposeful partners founding design ownvaried tO express their asa means "Memphis" objects, andtextiles. their furniture, through philosophies sub(and especially middle-class interests include Sottsass's anda love traditions, andThird World taste, Eastern urban) nature. of unspoiled on six silver sitting bowl of glistening Thisshallow, sleek in the theexotic cityof Murmansk legsevokes stepped andicy of Russia-acityof isolation region northernmost of great is alsoa work bowl, however, Thefruit coldness. andelegance of design.JA desirable foritS usefulness beauty,

83

Sword Nigeria(Edo,Court of Benin), 5th-Igth century Iron L. 283/4 in. (73cm)

Giftof Claire E.Mebel andFrederick R. Mebel, I992

I992-J94

Thepower, wealth, andextent of thekingdom of Benin depended to a great degree on itsmilitary prowess. Warriors bearing utilitarian swords and chiefs bearing ceremonial onesarefrequent subjects in Benin art. Although theMuseum's collectionof Benin works is oneof thefinest in the world, it hasuntilnowlacked anexample of Benin weaponry. Thenarrow, sharply pointed blade of thissword differs from themore commonleafandsickle-shaped blades of Benin ceremonial examples, aswellasfrom thecurved and tapered blades of theutilitarian weapons commonly represented in Benin brass plaques. The hilt,forged in onepiece withtheblade, is also unusual, although itsfinely incised linear decorationis consistent withother Benin weapons, and thedouble spiral forms of itsfinial arereminiscentof those frequently seeninside thelarge loop handles of ceremonial swords. Thelongsinuous snakes, usually identified aspythons, incised on each face of theblade areanaptembellishment foranimplement of aggression. Theyaresymbols of thepowers of boththekingof Benin, sometimes known bythepraise name "Python of the Great Waters," andhisspiritual counterpart, Olokun, thegodof thesea. KE

Bondjo (Side-blown Trumpet) Zaire (Ekonda people), ca.I9If Ivory and polychrome wood L.55in. (I39.7 cm) Purchase, Rogers Fund, Roger L.Stevens Family Fund Gift,Giftof Herbert J. Harris, by exchange, Giftof Brian andAnnTodes, by exchange, Kay T. Krechmer Bequest, in memory of herhusband, Harold H. Krechmer, andfunds from various donors, I992
I992.26

TheEkonda people of equatorial Zaire usehollow^ ungulate horns andelephant tusks to make lczud impressive trumpets called bondjo, whose materialsanddecoration areno lessmeaningful than their sound. Insub-Saharan Africa, similar ivory trumpets, symbols of strength, prestige, androyalty, areoften embellished bycarving orapplying skins ormetalwork. Occasionally, asin ourrare Ekonda bondjo, a carved-and-painted wood extension is attached to theendof theconical tusk, greatly increasing itslength andenhancing itstonal gravity. Such imposing trumpets, produced forvarious nkumu (leaders), whooriginally used them in battle, nowaddprestige to ceremonies suchasinvestiture ormarriage of the nkumu, announcement of thebirth of twins, and propitiation of hunting andplanting spirits. Our bondjo, perhaps made in thevillage of Mpendjwa on Lake Mayi Ndombe andgiven to R.Tonnoir, commissioner of theformer Belgian Congo, hasa faceted tusk witha raised, diamond-shaped mouthpiece on theconcave side. Theflanged woodextension, painted withblack-and-white stripes andchecks, resembles in shape theheadpieces worn byEkonda leaders. Thisform, characteristic of royal motifs attheturn of thecentury, appears alsoin special drums andrhythm-keeping stamplng StlCtS. JKM
. . .

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Pair of FigureVessels I2th-Isthcentury Mixtec), (Colima, Mexico ceramic Polychrome H. 95/8 in. (24.3 cm)
I993 V. BellFund, Louis I993.I6.I,2

in the formof vessels ceramic Sculptural in werecreated humanandothereffigies forritualusein manypartsof largenumbers era. the Precolumbian Mexicothroughout to the prior few centuries the last During vesceremonial however, Conquest, Spanish forms,with a selswereoftengivensimpler

decorasurface on painted emphasis strong figure andfemale of male tion.Thispair of a a burial from come saidto have vessels, Chanal atthesiteof E1 of highrank person comstate of Colima, in thewestMexican the area to traditional form theeffigy bines withthe times pre-Conquest early during of typical elaboration surface iconographic theConquest. before thelastfewcenturies in redslipandhave arecovered vessels Both of their atthebacks openings flared large from project spouts tapering Long necks. backs. on their protuberances humplike of resist withareas arecovered bodies Their red-ongeometric anddetailed decoration with faces Theflat,square designs. white difandbear masklike appear noses hatchet arecrowned theheads while patterns, ferent The headdresses. crescent withidentical and face whose holds a child, figure female has child The decorated. aresimilarly body andlooks herwaist around itslegswrapped HK upather.

8S

Yamantaka-Vafrabhairava early Isthcentury (Mingdynasty), Chinese silk, flatgilt-paper thanka, Embroidered thread onsatin strips, andgilt-paper-wound 571/2 X 30 in. (I46X 76 cm) LilaAchesonWallaceGift, I993 Purchase,
I993- IS

group of fine is oneof a small Thisthanka Buddhist subjects of esoteric embroideries monasteries in China forTibetan produced periods Ming andearly during thelateYuan It is century). to early fifteenth (fourteenth the of thesilkfloss, notable forthefineness andsubtle thebrilliant density of stitches, useof avariety andtheingenious coloration, to achieve techniques of embroidery effects. Theembroiandtextural chiaroscuro blue on a dark dery, in silkandgiltthreads on thesides by is edged satin ground, brosatin andgilt-thread reddish-brown andbelow thepanel Above caded bluesatin. on lightbluetwillbrocades aregilt-thread is a trapezoid At thebottom weave silk. techniques. withthesame embroidered isYamanimage on thethanka Themain asVajrabhaiin thisaspect taka, alsoknown (ofwhich thelargest rava. He hasnineheads and arms, thirty-four is thatof a buffalo), on humans, sixteen legs,andhetramples anddemons that birds, demigods, animals, image Thisfierce form of being. is,onevery thebodhiof Manjusri, is a manifestation appears benign form whose sattva ofwisdom, of theembroidery. leftcorner in theupper pedestal onwhich of theelaborate Infront minor deities: stands arethree Yamantaka sword holding thebroad-bladed Mahakala, khatvanga, anda trident-shaped ofwisdom hands, anda staff, in hisraised oradept's bowl andskull chopper vafra (thunderbolt) of him,in a heholds in front in thehands a Kubera, to Yamantaka's; posesimilar holding a tasseled godin armor, guardian in the anda mongoose staff in onehand a holding orDharmaraja, other; andYama, Above clubanda lasso. skull-headed (wisdom eagle) is agaruda Yamantaka in the kings) by nagarajas (dragon flanked end whose bodies humans form ofyouthful Thecolumns oneither of snakes. in thetails (fabulous makaras support sideof Yamantaka and thatspew flowers seaanimals) composite

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to thatrise tails foliate andhave jewels thenagarajas. meet dynasMing andearly theYuan During of artwere works sumptuous tiesmany andpowerbyrich in China commissioned andbytheChinese monasteries fulTibetan lamas. to important asglfts court Imperlal relbear usually works ln these Thelmages sectfor religious to theparticular evance was Yamantaka made. were they which asits order, to theGeluk important was (I357-I4I9) Tsong-kha-pa founder, * * trl ro . . . 1ne lvlan)usrl. or anlncarnatlon sale to De attheupper appears image whose lama to bea is likely of thethanka corner right Ye-shes Sakya of Tsong-kha-pa, disciple of thelama, A portrait (I345/47-I435). to theonehere, a resemblance bears which in the (ko-ssu) in a silktapestry ispreserved Ye-shes. bySakya founded Monastery, Sera andthat portrait Inboththemonastery's thelama thanka on theMetropolitan's for is unusual hat,which a black wears whonormally sect, of theGeluk lamas JCYW hats. yellow wear
1 r v

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for a Mandala Base Isthcentury early dynasty), (Ming Chinese onbrass Cloisonne'
-

lmng :rd He:rben Plonllce vrchae,

I
l

epresenta-

century. fifteenth to theearly canbedated

Detail oJ the embroideredthanka

87

Shonsui-ware Bottle Chinese (Mingdynasty)) probably Chnung-chen reign(I628-44) Porcelain paintedin underglaze blue H. 81/4 in. (2I cm)
Bequest
I992.332.

of Mildred
I

J. Linburn,

I992

Shonsui wares

were produced

at the Ching-te Province

Chen kiln complexes

in Kiangsi

during the last years of the Ming dynasty

(I368-I644).

These

blue-and-white

porceare in

lains, whose Japanese

shapes and decoration

taste, were made to the special tea masters for use in the shape of

order of Japanese tea ceremony.

The rather eccentric of

this sake bottle is characteristic ware, as are the decorative

Shonsui
such as

elements,

the large birds, diaper patterns, lines of poetry, containing ity of

landscapes,

and small ogival medallions The qual-

a man riding a donkey. compares

Shonsui wares
at Ching-te

favorably with porcelains

that of the finest contemporary produced domestic brilliant would

Chen for both its markets. Indeed, here porcethe

and European

blue color of the painting be exceptional

on any Chinese

lain of the late Ming period.

Shonsui wares

are highly

treasured in

Japan, and few pieces have left Japan to find their way into Western the addition Museum collections. With

of this piece, the Metropolitan of

now has four examples coincidentally, sake bottles.

Shonsui
SGV

ware, all of which, double-sectioned

are

88

KosodewithDesignof Shells and Sea Grasses

Japanese (Edo period /I6If-I8680, early I7th century Plain-weave silkwith warpfloats, embroidery, andimpressedgoldfoil L.551/2 in. (I4I cm)
Gift of Mr. andMrs.PaulT. Nomura,in memoryof Mr. andMrs.S. Morris Nomura,I992
I992. 253

Thebolddesign of thissumptuous robe was inspired bythescenery ofJapan's coast, particularly thebeaches of itssandbar islands, which arestrewn withshells andseagrass. Thefabric, woven in anintricate fret pattern withfloral motifs, is likely to have been imported from China. Itwasresist dyed to achieve theeffect of a wave-washed shore

andthenembroidered withmarine motifs. Thebands of lightblue were further embellished byaccenting thewoven pattern with impressed goldfoil.Thisrobe is among the earliest extant kosode andrepresents thestyle of apparel worn bybothmenandwomen from thelatesixteenth to early seventeenth century. BBF

89

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Anonymous

M7ild Geese Descending to a Sandbank Korean (Early Choson period EYi dynastyO) Isthcentury Hanging scroll) inkonsilk 493/4 X I91/8 in. (I26.4 X 48.6 cm)
Purchase, HarrisBrisbane Dick Fund,JohnM. Crawford, Jr. Bequest,andThe VincentAstor Foundation Gift, I992
I992-,B7

This fifteenth-century masterpiece, amongthe few early Korean landscapes known,represents thatculture's interpretation of China's Northern Sung(960-II27) landscape-painting tradition. Whilerootedin the idiom of earlySunglandscapes andinspired by a Sungpoetic theme,the painting preserves the momentwhenthese conventions beganto be reworked according to a Korean visionof nature. The subject, identified by the painting's title, Wild Geese Descending to a Sandbank, is one of the Eight Viewsof the HsiaoandHsiangRivers, a classic series of scenesthatoriginated with the eleventh-century Chinesepainter SungTi. The style,calledLi-Kuo, is so namedforthe masters Li Ch'eng(9I9-967) andKuo Hsi (ca.I000-I090), whoseworkswereseminal to the development of ink painting in Korea. The mostnoted interpreter of thistradition, preserved as a courtstylein the fifteenth century, wasAn Kyon,who flourished in the latter partof the reignof KingSejong(r. I4Ig-so) underthe patronage of Prince Anp'yong. The artist responsible for thisexample adopted the ink-wash rocks and"crab-claw" treesof Li-Kuostyle,but the open spatial organization, with distinctfore-,middle-,and distantground planes,andthe simplified brushwork givethispainting a distinctive Korean quality. BBF

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ed balanced isISt asymmetric 1 that posed r they by within a , hairstyles; large, . served centu a a * conical a porch votive r |hisflower supported purpose may 1 |w l! (probably be SMK 1 dy speration aor I by turban, were * a narrow B.C. foxtail the 2used 1 Hindu and pillars. for lily). Sgods herspersonal created | is Below g aThe counterDurga Xs S U man _s__-_ as F _ |their is _ _ - _ rchamB -_ __
T. 1 1 . _

@ i| |r

lndian (Pala pergod), I2th centu y H. 53/8 in. (I3.5 cm)

Gift of Diana and Arthur Altschul, I993 I993- 7 T is sculptureportraysa sixteen-armedfigure o the goddess Durga in her most common manifestationas the slayer of a buffalo inhabited by a ferocious demon. This demon t reatenedworld stability and seemed unconquerable.In . . . plon, ancleace presentedher wlth a weapon. So armed, she prevalec over t le monster. ze scene 1S set on a cWoub e lotus on top of a stepped plinth. It is surroundedby a nimbus with stylized flames. As is typical, the demon emerges trom t le cWecapltatec carcassot t le butta o. Here, in tWO particularlyamusing details, Durga holds him by the hair whi e his foot is bitten by the lion that serves as her vehicle. This sculpturemust rank as one of the most superb Indian miniaturesknown. Its astonishing plasticity and subtlety vies with that of the finest large-scalePala-periodsculptures, while its size affordsthe viewer the delights of personaldiscove . The artisthas realizedan icon of extraordinary power and humanity. SMK
. t 1 . . r . r . ,s,^

l lF

11

i '|

i
.s x

I2g4

x Sol/4 in.

(32.4

x 26cm)

This is one of the finest earlyIndian molded-terracotta plaques known from the important site of Chandraketugarh. It beautiful Iy complements another superb example in the Museum's collection (acc. no. I990.Z8I), which shows the goddess Durga with attendantsIn a style characterized by a profusion of miniaturized details. This plaque portraysa secularsub)ect In a more robust style. A royal family, bound together by a subtle medley of caresses, seated on a throne and hls wife stands to his left. Both have large

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the two SitS their child, clad in a heavy draped costume and holding a howling dog by a chain. Two ducks and a monkey (partially
1 hetunctlon orsuch plaques Isunknown. lt has been suggest-

devotion. Asisusual there are two holes intheupper part ofthe plaque, which probably allowed ittobesuspended byacord.

>

9I

SeatedJain Tirthankara Sor RajasthanJ) Solanki Indian(Gujerat period)) ca.Isthalfof theIIthcentury Marble H. 39 in. (99 cm) and HerbertIrving Purchase, Florence Gift, I992
I992. I3I

and traditions of Hinduism Thesculptural in ourIndian are wellrepresented Buddhism wasno butuntil nowthere collections, traditions of the of theearly artistic example religion of India Jainism. third great sculpture reprewhite marble Thissuperb Tirthankaras sents oneof thetwenty-four (Victorious of theFord) orJinas (Crossers of theJain of desire) Ones, i.e.,conquerors physical differThere isvery little religion. of seated representations encebetween art; both or Tirthankaras in Indian Buddhas anddisenlightened beings areconsidered forsuch perappropriate play themarkings there area Inaddition, however, sonages. Buddhas or specific to either fewmarks

srivatsa mark Tirthankaras. Theauspicious of of theurna (tuft on thechest andthelack indicate thatour hair between theeyes) ara. lmage 1S a 1zrttan a ofJain "saints" follow Representations andartistic very conservative iconographic almost nude, tradition. Since theinactive, expression doesnotlend figure witha passive sculptural interpretaitself easily to dramatic on success rests tion,theburden of aesthetic rendition and theskillful andsensitive forms intoa wellmanipulation of simple pleasing sculptural proportioned, visually theartist has unity. Withthissculpture ML of success. attained a highdegree
. . rTY .

92

MaleFigure Bodyof a Kneeling KohKer style), Cambodian (Angkorperiod, ca.92I-45 Stone 461/4 in. (II7.5 cm) H. (withhead) approx.

in honor of Giftof Douglas Latchford, Martin Lerner, I992

I992 .390. I

Head

Giftof Spink & SonLtd.andDouglas of Martin Lerner, Latchford, in honor

I987 I987-4IO

The mostsignificant gift to the Southand in I992 was Southeast Asiancollections undoubtedly a rare pairof largeCambodian kneeling malefigures datingto the firsthalf these of the tenthcentury. Evenheadless forward splendid bodieswouldsignificantly assemblage ourgoalof displaying a synoptic of the Khmer of the artistic achievements gratifying thatthe empire. It is particularly monumental bodiesjoin up with heads already in the collection. stylistically Thesesculptures aredatable to the briefKohKerperiod(ca.92I-45), of whenJayavarman IV, the brother-in-law andset the legitimate Khmer king,revolted

fiftymiles approximately up a newcapital of Angkor at KohKer.This styleis northeast figures with by broad-chested characterized andwide shoulders, full stomachs, powerful by heavyset legs.Thereis a hipssupported treatment toward a diagrammatic tendency are andthe expressions of the facialfeatures, in spiteof andhieratic emotionless abstract smile.The figthe slighthint of a benevolent arequitethick,the upper ures'garments farfromthe hips.ManyKoh hemprojecting intending arelarge, perhaps Kersculptures of the the military confidence to symbolize andthe legitimacy andpermanence regime ML of the newcapital.

93

\-i-

bM

hS

EK

Avalokiteshrara, theBodhisattva of InfiniteCompassion, Seatedin Royal Ease Cambodian (Angkor period) style ofBanteay Srei)) ca.Iast quarter of theIothcentury Bronze withsilver inlay H.223/4in.(s7.7cm) Purchase, The Annenberg Foundation Gift, I992 Igg2.336

From thebeginning of theAngkor period, when theKhmer dynasty wasfounded (A.D. 802), tO theearly twelfth centurya span of three hundred years thatmust be considered thegolden ageof Cambodian art nomore than twodozen large bronze sculptures of highquality areknown tO have survived. Of these, approximately a dozen belong to theeleventh century. Each of these sculptures is of inestimable arthistorical value because of their rarity, obviously, butalsobecause when compared to theinnumerable surviving stone sculptures, theychart parallel butseparate culturalandsocioeconomic developments. Inthegreat collection of Khmer artin theMusee Guimet, Paris, thearthistory of theAngkor period is revealed through an almost synoptic display of stone sculptures. However, ashasbeen claimed byBernard Groslier, theformer curator of ancient monuments atAngkor, thechief sculptural glory of theKhmer empire wasin metal. It seems incontestable thatbronze, a more lux urious medium than stone, reflects thetalentsandaesthetic sensibilities of themost highly regarded artists of their day, particularly in large sculptures likely to beroyal comm1sstons. 1neacquts1tton ortntsun1que sculpture enables theMetropolitan Museum, more than anyother institution in theWest, to draw on a handful of truly great bronzes in itscollection to highlight major changes in thedevelopment of Khmer art. Therecently acquired Avalokiteshvara is datable to thesecond half, andprobably the lastquarter, of thetenth century andis stylistically indebted to some of thesculptures attheexquisite temple of Banteay Srei (completed in 967)in theAngkor region. It is oneof thetwofinest Khmer bronze
* * r * * * r * *

sculptures fromthewholeof the tenthcenturyandmustbe included with theveryfew Cambodian bronzes at the apexof thatcivilization's artistic achievement. No other comparable bronze sculpture is knownto havesurvived. The bodhisattva Avalokiteshvara, the Lordof InfiniteCompassion, identified by the smallseatedBuddha at the baseof his elaborate hairdo, is shownin a variant of rajalilasana-the poseof royalease.His eyebrows,mustache, andchinbeard havebeen hollowed out to accommodate an inlayof somesort,probably glasspaste.

Inmany ways thebrilliance of thissculpture rests in itsaesthetic subtleties. Conceptually, there is nothing overt oraggressive in either itscomposition ormodeling. The iconic andhieratic nature of so much Khmer artprior to thisperiod hasbeenreplaced by therelaxed, secular posture of thisbeautifully modeled seated figure, which hasbeen successfully conceived from every viewing angle. Thecommanding figure establishes andsustains hispowerful presence byradiating a sense of great inner character anddignity, projecting analtogether majestic andsomewhat entgmat1c aura. ML
. . .

9s

Presentation Bowl Vietnamese) Isth-I6thcentury Stoneware withred) green) andyellow overglazeenamels Diam.I4 1 in. (36. 8 cm) Gift of BettyandJohnR. Menke,I992 I992* 723 Phoenix Ewer Vietnamese, I4th-ISth century Stoneware withunderglaze cobalt H. II]/2 in. (29.2 cm) Gift of BettyandJohnR. Menke,I992
I992. 72. I

Mei-p'ing Jar Vietnamese, I4thcentury Stoneware withunderglaze cobalt H. I65/8 in. (42.2 cm) Gift of BettyandJohnR. Menke,I99I
I99I. 456. I2

Southeast Asianpottery andporcelain, whether intended forexport or localmarkets,encompass a variety of vitaltraditions andmustbe countedamongthe mostsignificantandinnovative wares in the history of worldceramic production. The threeceramics illustrated area sampling fromthe recent giftof sixty-six Southeast Asianceramics donated by BettyandJohnR. Menke.The Menkecollection hasparticular depthin Vietnamese wares, a category untilnow almosttotallymissing fromourown collections,andalsoincludes rareexamples of Burmese andThaipotteries. The addition of the Menkecollection, together with the Museum's impressive array of Sawankhalok wares of Thailand andKhmer ceramics from Cambodia, will enableus to exhibita comprehensive range of the ceramic artsof Southeast Asiawhenourpermanent galleries openin I994. ML

96