LaurieAnnie's photos

Spinario Bronze Antonello Gagini (Sicilian, Palermo, 1478-1536) Italian, 1500 Accession # 32.121 This statue is a copy of the Hellenistic bronze boy extracting a thorn from his foot in the Museo Capitolino, Rome, universally known as the Spinario. Gagini's version once served as a fountain figure at the top of a staircase in Palazzo Alcontres, Messina. Inscribed near the foot were his signature and the date 1500. Text from the Metropolitan Museum of Art label.

Patio from the Castle of Vélez Blanco, 1506–15 Spanish Bequest of George Blumenthal, 1941 (41.190.482) The castle of Don Pedro Fajardo y Chacôn (ca. 1478–1546) stands above the town of Vélez Blanco, near the southeastern coast of Spain. Fajardo, raised in the culture of humanism, was governor of Murcia during the reign of Ferdinand and Isabella and assisted in suppressing Moorish rebellions in their lands. By royal act, he was given the town Vélez Blanco, and between 1506 and 1515 he erected a castle with a central courtyard embellished with Italian Renaissance ornament in local Macael marble carved by craftsmen from Lombardy. Ornament in this style was known in Spain as a lo Romano, reflecting its origins in the monuments of Roman antiquity. Designs composed of tiered candelabra and imaginary hybrid creatures such as those surrounding the doors and windows of the patio were disseminated throughout Europe in the prints of Italian artists, themselves inspired by the ancient monuments rediscovered in Rome in the early Renaissance. The patio carvings are among the earliest of this style in Spain and antedate any of the published designs. The coats of arms carved between the arches of the arcade are those of Don Pedro and his second wife, Doña Mercía de la Cueva Mendoza de la Vega y Toledo, a member of the powerful and cultivated Mendoza family, influential advocates of the culture of Renaissance humanism. The patio's marble fittings were sold by the castle's owner in 1904. George Blumenthal acquired them in Paris in 1913 and had them incorporated in his New York townhouse. In 1945, after his death and the demolition of his residence, the approximately 2,000 marble blocks were brought to the Museum, where they were reassembled, as faithfully as possible, in 1964. Text from: www.metmuseum.org/toah/ho/08/eusi/hod_41.190.482.htm

Patio from the Castle of Vélez Blanco, 1506–15 Spanish Bequest of George Blumenthal, 1941 (41.190.482) The castle of Don Pedro Fajardo y Chacôn (ca. 1478–1546) stands above the town of Vélez Blanco, near the southeastern coast of Spain. Fajardo, raised in the culture of humanism, was governor of Murcia during the reign of Ferdinand and Isabella and assisted in suppressing Moorish rebellions in their lands. By royal act, he was given the town Vélez Blanco, and between 1506 and 1515 he erected a castle with a central courtyard embellished with Italian Renaissance ornament in local Macael marble carved by craftsmen from Lombardy. Ornament in this style was known in Spain as a lo Romano, reflecting its origins in the monuments of Roman antiquity. Designs composed of tiered candelabra and imaginary hybrid creatures such as those surrounding the doors and windows of the patio were disseminated throughout Europe in the prints of Italian artists, themselves inspired by the ancient monuments rediscovered in Rome in the early Renaissance. The patio carvings are among the earliest of this style in Spain and antedate any of the published designs. The coats of arms carved between the arches of the arcade are those of Don Pedro and his second wife, Doña Mercía de la Cueva Mendoza de la Vega y Toledo, a member of the powerful and cultivated Mendoza family, influential advocates of the culture of Renaissance humanism. The patio's marble fittings were sold by the castle's owner in 1904. George Blumenthal acquired them in Paris in 1913 and had them incorporated in his New York townhouse. In 1945, after his death and the demolition of his residence, the approximately 2,000 marble blocks were brought to the Museum, where they were reassembled, as faithfully as possible, in 1964. Text from: www.metmuseum.org/toah/ho/08/eusi/hod_41.190.482.htm

Patio from the Castle of Vélez Blanco, 1506–15 Spanish Bequest of George Blumenthal, 1941 (41.190.482) The castle of Don Pedro Fajardo y Chacôn (ca. 1478–1546) stands above the town of Vélez Blanco, near the southeastern coast of Spain. Fajardo, raised in the culture of humanism, was governor of Murcia during the reign of Ferdinand and Isabella and assisted in suppressing Moorish rebellions in their lands. By royal act, he was given the town Vélez Blanco, and between 1506 and 1515 he erected a castle with a central courtyard embellished with Italian Renaissance ornament in local Macael marble carved by craftsmen from Lombardy. Ornament in this style was known in Spain as a lo Romano, reflecting its origins in the monuments of Roman antiquity. Designs composed of tiered candelabra and imaginary hybrid creatures such as those surrounding the doors and windows of the patio were disseminated throughout Europe in the prints of Italian artists, themselves inspired by the ancient monuments rediscovered in Rome in the early Renaissance. The patio carvings are among the earliest of this style in Spain and antedate any of the published designs. The coats of arms carved between the arches of the arcade are those of Don Pedro and his second wife, Doña Mercía de la Cueva Mendoza de la Vega y Toledo, a member of the powerful and cultivated Mendoza family, influential advocates of the culture of Renaissance humanism. The patio's marble fittings were sold by the castle's owner in 1904. George Blumenthal acquired them in Paris in 1913 and had them incorporated in his New York townhouse. In 1945, after his death and the demolition of his residence, the approximately 2,000 marble blocks were brought to the Museum, where they were reassembled, as faithfully as possible, in 1964. Text from: www.metmuseum.org/toah/ho/08/eusi/hod_41.190.482.htm

Bedroom from the Sagredo Palace, Venice, Period Room, 18th century (ca. 1718) Stuccowork probably by Abbondio Stazio of Massagno (1675–1745); and Carpoforo Mazzetti (ca. 1684–1748); Probably after a model by Gasparo Diziani of Belluno (1689–1767) Made in Venice, Italy Wood, stucco, marble, glass; H. 25 ft. 2 in. (767.1 cm), W. 18 ft. 2 in. (553.7 cm), D. 13 ft. 2 in. (401.3 cm) Rogers Fund, 1906 (06.1335.1a–d) In design and workmanship, this bedroom, consisting of an antechamber with a bed alcove, is one of the finest of its period. The decoration is in stucco and carved wood. In the antechamber, fluted Corinthian pilasters support an entablature out of which fly amorini bearing garlands of flowers. Other amorini bear the gilded frame of a painting by Gasparo Diziani, depicting dawn triumphant over night. Above the entry to the alcove seven amorini frolic, holding a shield with the monogram of Zaccaria Sagredo. A paneled wood dado with a red-and-white marble base runs around the room. The unornamented portions of the walls are covered with seventeenth-century brocatelle. The bed alcove has its original marquetry floor. The stuccowork was probably done by Abondio Statio and Carpoforo Mazetti. The amorini are beautifully modeled and the arabesques of the doors are exquisitely executed. Everything in this bedroom forms a buoyant and joyful ensemble. Text from: www.metmuseum.org/Works_of_Art/viewOne.asp?dep=12&vie...

The Sagredo Bedroom is one of the few places in the Metropolitan Museum of Art that I would label as truly "scary." It's tucked away in a small hallway that receives fairly little foot-traffic, and it's very dark so that when you come across it, it looks like the cherubs are going to swarm and attack. I tried to convey some of sense of forboding, changing it to black and white and adding a few layers of texture in Photoshop. For a more "traditional" view of the room and its historical context: www.flickr.com/photos/elissacorsini/1601780105/in/set-721...

Bust of a Venetian Gentleman Marble Workshop of Alessandro Vittoria (1525-1608) Italian (Venice), ca. 1590-1600 Accession # 56.26 Text from the Metropolitan Museum of Art label.

Sculptured Pagoda Sanctuary Late Northern Qi (550-77)- Sui dynasty (581-618), ca. 570-600 Henan Province Limestone Accession # 1988.303 Text from the Metropolitan Museum of Art label.

Seated Buddha, Tang dynasty (618–906), ca. 650 China Dry lacquer with traces of gilt and polychrome pigments; 38 x 27 in. (96.5 x 68.6 cm) Rogers Fund, 1919 (19.186) Buddhist images executed in dry lacquer were highly valued by the Chinese because of their costly and time-consuming process of production. There are so few surviving examples that this seated Buddha is especially precious. To fashion the body of the image, the craftsman made a rough form of the sculpture in clay and then applied at least three layers of hemp cloth, each secured with a paste made of raw lacquer (the sap from the lac tree, Rhus verniciflua) and a fine powder of bone, horn, shell, ceramic, stone, or carbon. Each layer had to dry thoroughly before the next could be added. The clay core was then removed from the lacquered image. The head and hands were likely modeled separately, using the same technique as that used for the body, and then attached to the sculpture. The surface was finished with several coatings of pure lacquer and then painted. Portrayed as a youthful figure, the Buddha sits in the full lotus position, with his legs tightly interlocked, though the lower part of the sculpture is missing. The position of the damaged arms suggests that the hands performed the gesture of contemplation. The columnar form and lean gracefulness of the figure recall the style of Buddhist sculpture of the late Period of the Northern and Southern Dynasties (386–589), but the attempt to render anatomical differentiation and, in particular, the emotional impact of the Buddha's expression are distinguishing features of early Tang style. The traces of brilliant red and blue, vividly combined to form a stylized floral pattern in the hem of the undergarment crossing the chest, and the remains of shimmering gilt on the surface are evidence of the sumptuous effect of this once colorful figure. Text from: www.metmuseum.org/toah/ho/06/eac/hod_19.186.htm

Seated Buddha, Tang dynasty (618–906), ca. 650 China Dry lacquer with traces of gilt and polychrome pigments; 38 x 27 in. (96.5 x 68.6 cm) Rogers Fund, 1919 (19.186) Buddhist images executed in dry lacquer were highly valued by the Chinese because of their costly and time-consuming process of production. There are so few surviving examples that this seated Buddha is especially precious. To fashion the body of the image, the craftsman made a rough form of the sculpture in clay and then applied at least three layers of hemp cloth, each secured with a paste made of raw lacquer (the sap from the lac tree, Rhus verniciflua) and a fine powder of bone, horn, shell, ceramic, stone, or carbon. Each layer had to dry thoroughly before the next could be added. The clay core was then removed from the lacquered image. The head and hands were likely modeled separately, using the same technique as that used for the body, and then attached to the sculpture. The surface was finished with several coatings of pure lacquer and then painted. Portrayed as a youthful figure, the Buddha sits in the full lotus position, with his legs tightly interlocked, though the lower part of the sculpture is missing. The position of the damaged arms suggests that the hands performed the gesture of contemplation. The columnar form and lean gracefulness of the figure recall the style of Buddhist sculpture of the late Period of the Northern and Southern Dynasties (386–589), but the attempt to render anatomical differentiation and, in particular, the emotional impact of the Buddha's expression are distinguishing features of early Tang style. The traces of brilliant red and blue, vividly combined to form a stylized floral pattern in the hem of the undergarment crossing the chest, and the remains of shimmering gilt on the surface are evidence of the sumptuous effect of this once colorful figure. Text from: www.metmuseum.org/toah/ho/06/eac/hod_19.186.htm

Celestial dancer (Devata) mid-11th century Object Details Period: Chandela period Date: mid-11th century Culture: Central India, Madhya Pradesh Medium: Sandstone Dimensions: H. 34 3/4 in. (88.3 cm); W. 20 in.(50.8 cm); D. 12 1/2 in. (31.8 cm); Wt. (with block) 170 lb (77.1 kg) Classification: Sculpture Credit Line: Gift of Florence and Herbert Irving, 2015 Accession Number: 2015.500.4.14 The Hindu temple is conceived as a heavenly abode for the presiding deity. The building's stepped, indented, and towering exterior evokes the mountains of Indra's heavens, home to the assembly of gods as well as celestial beauties, dancers, and musicians. This life-size sandstone sculpture is an extraordinary rending of a heavenly celebrant performing in honor of the gods. The dancer's face and body are treated according to prescribed canons of beauty. Her body is contorted in an improbably pose, her legs projecting to her right while her upper torso and head turn sharply left. The extreme flexion reflects dance positions (karunas and sthanas) described in the Natyasastra, an ancient dramatic arts treatise. It is understood in Indian aesthetics that such positions enhance the appreciation of beauty. Text from: www.metmuseum.org/art/collection/search/38153

Celestial dancer (Devata) mid-11th century Object Details Period: Chandela period Date: mid-11th century Culture: Central India, Madhya Pradesh Medium: Sandstone Dimensions: H. 34 3/4 in. (88.3 cm); W. 20 in.(50.8 cm); D. 12 1/2 in. (31.8 cm); Wt. (with block) 170 lb (77.1 kg) Classification: Sculpture Credit Line: Gift of Florence and Herbert Irving, 2015 Accession Number: 2015.500.4.14 The Hindu temple is conceived as a heavenly abode for the presiding deity. The building's stepped, indented, and towering exterior evokes the mountains of Indra's heavens, home to the assembly of gods as well as celestial beauties, dancers, and musicians. This life-size sandstone sculpture is an extraordinary rending of a heavenly celebrant performing in honor of the gods. The dancer's face and body are treated according to prescribed canons of beauty. Her body is contorted in an improbably pose, her legs projecting to her right while her upper torso and head turn sharply left. The extreme flexion reflects dance positions (karunas and sthanas) described in the Natyasastra, an ancient dramatic arts treatise. It is understood in Indian aesthetics that such positions enhance the appreciation of beauty. Text from: www.metmuseum.org/art/collection/search/38153

Garuda ( Vishnu's Mount) Seated in Royal Ease India (Tamil Nadu), Pandya dynasty, second half of the 8th- early 9th century Granite Accession # 1983.518 Garuda is the great solar bird ridden by the Hindu god Vishnu. In this representation, however, his only birdlike characteristics are are wings, the tips of which have broken off. He sits in the relaxed posture of the maharajalilasana (royal ease) and projects a noble and serene presence. He probably attended a statue of Vishnu similar to the one exhibited in this gallery. Text from the Metropolitan Museum of Art label.

Seated four-armed Vishnu, Pandya dynasty (?–1350), second half of 8th–early 9th century Tamil Nadu, India Granite; H. 9 ft. 9 in. (298.2 cm) Purchase, The Charles Engelhard Foundation Gift, in memory of Charles Engelhard, 1984 (1984.296) Dating to the second half of the eighth century, this colossal seated Vishnu is a rare example of the art of the Pandya dynasty, which ruled from around Madurai in southernmost India. In Hinduism, Vishnu's function is the preservation of the world. The four-armed god sits on a lion throne in the relaxed posture of lalitasana, his right leg resting on top of the throne and his pendant left leg on a small double lotus attached to the projecting step. In his raised left hand the deity originally held a conch; the raised rear right hand would have held the chakra (war discus). The front lowered left hand rests on the left thigh, and the front right hand would have been raised in the fear-allaying gesture (abhayamudra). Part of an ovoid nimbus with stylized flame emanating from its outer perimeters frames the deity's head and high crown. Text from: www.metmuseum.org/toah/ho/06/sss/hod_1984.296.htm

A Pair of Royal Earrings, ca. 1st century B.C. probably Andhra Pradesh, India Gold; Each H. 1 1/2 in. (3.8 cm); W. 3 in. (7.6 cm); L. 1 9/16 in. (4 cm) Gift of The Kronos Collections, 1981 (1981.398.3–.4) The place of these earrings in the history of Indian art is assured, not only for their intrinsic beauty but also because of the light they shed on the superb quality of goldsmithing early in this region. Early Indian statues of both male and female figures were usually portrayed wearing elaborate jewelry that sometimes seemed fanciful, since very little comparable jewelry from that period survives. The discovery of this pair of earrings provided the first tangible evidence that the jewelry depicted by sculptors was in fact based on real models, for a very similar pair is shown on a first century B.C. relief portrait of a "Universal Ruler" (chakravartin), from Jaggayapeta. These earrings, judging from their material worth, excellence of craftsmanship, and use of royal emblems (a winged lion and an elephant) as part of their design, were most probably made as royal commissions. Each earring is composed of two rectangular, budlike forms growing outward from a central, double-stemmed tendril. The elephant and the lion of repoussé gold are consummately detailed, using granules, snippets of wire and sheet, and individually forged and hammered pieces of gold. The two pieces are not exactly identical: on the underside they are both decorated with a classical early Indian design of a vase containing three palmettes, but the patterning of the fronds differentiates them. They are so large and heavy that they must have distended the earlobes and rested on the shoulders of the wearer, like the pair worn by the "Universal Ruler." Text from: www.metmuseum.org/Works_of_Art/viewOne.asp?dep=6&view...

Shiva as Mahesha or Brahma India (Tamil Nadu), Chola period, 10th century Granite Text abridged from the Metropolitan Museum of Art label.

Yashoda with the Infant Krishna early 12th century Object Details Period: Chola period (880–1279) Date: early 12th century Culture: India (Tamil Nadu, Pudukkottai and Tanjavur districts) Medium: Copper alloy Dimensions: H. 17 1/2 in. (44.5 cm); W. 11 13/16 in. (30 cm); D. 10 7/8 in. (27.6 cm) Classification: Sculpture Credit Line: Purchase, Lita Annenberg Hazen Charitable Trust Gift, in honor of Cynthia Hazen and Leon B. Polsky, 1982 Accession Number: 1982.220.8 This tender image of maternal affection depicts the child Krishna being nursed by his foster mother, Yashoda. In infancy Krishna had been hidden from the murderous king Kamsa of Mathura to be raised in safety by foster parents. In the repertoire of South Indian processional bronzes cast during the Chola period, this subject is rarely represented. The sophisticated modeling, casting, and tooling link this work to Chola bronzes of the late eleventh and twelfth centuries. Text from: www.metmuseum.org/art/collection/search/39331