LaurieAnnie's photos with the keyword: hat

Title: Tricorne Date: mid-18th century Culture: Italian Medium: wool Credit Line: Rogers Fund, 1926 Object Number: 26.56.88 Curatorial Department: The Costume Institute Text from: www.metmuseum.org/art/collection/search/84047

Title: Tricorne Date: mid-18th century Culture: Italian Medium: wool Credit Line: Rogers Fund, 1926 Object Number: 26.56.88 Curatorial Department: The Costume Institute Text from: www.metmuseum.org/art/collection/search/84047

Four-Cornered Hat,A.D. 500–900 Object Details Date: A.D. 500–900 Geography: Bolivia or Peru Culture: Tiwanaku or Wari Medium: Camelid fiber Dimensions: H. 7 in. × Diam. 7 1/4 in. × Circum. 22 3/4 in. (17.8 × 18.4 × 57.8 cm) Classification: Textiles-Costumes Credit Line: Bequest of Arthur M. Bullowa, 1993 Accession Number: 1994.35.158 Tiwanaku or Wari In the ancient Andes, royal crowns could be made of cloth. This example is patterned with alternating bird images arranged in two registers. It was knotted without pile from the top down, including the four peaks, as a single tour de force of construction. Although the technique follows the Tiwanaku craft tradition, the checkerboard pattern and bird motif suggest Wari influence, leaving the origin of this hat unresolved. Text from: www.metmuseum.org/art/collection/search/316978

Four-Cornered Hat,A.D. 500–900 Object Details Date: A.D. 500–900 Geography: Bolivia or Peru Culture: Tiwanaku or Wari Medium: Camelid fiber Dimensions: H. 7 in. × Diam. 7 1/4 in. × Circum. 22 3/4 in. (17.8 × 18.4 × 57.8 cm) Classification: Textiles-Costumes Credit Line: Bequest of Arthur M. Bullowa, 1993 Accession Number: 1994.35.158 Tiwanaku or Wari In the ancient Andes, royal crowns could be made of cloth. This example is patterned with alternating bird images arranged in two registers. It was knotted without pile from the top down, including the four peaks, as a single tour de force of construction. Although the technique follows the Tiwanaku craft tradition, the checkerboard pattern and bird motif suggest Wari influence, leaving the origin of this hat unresolved. Text from: www.metmuseum.org/art/collection/search/316978

Two Girls Pierre-Auguste Renoir, French, 1841 - 1919 Geography: Made in France, Europe Date: c. 1892 Medium: Oil on canvas Dimensions: 32 1/4 x 25 13/16 inches (81.9 x 65.6 cm) Curatorial Department: European Painting before 1900, Johnson Collection Object Location: Gallery 161, European Art 1850-1900, first floor (Resnick Rotunda) Accession Number: 1963-116-15 Credit Line: The Mr. and Mrs. Carroll S. Tyson, Jr., Collection, 1963 Text from: www.philamuseum.org/collections/permanent/59198.html?mulR=842683797|24

Two Girls Pierre-Auguste Renoir, French, 1841 - 1919 Geography: Made in France, Europe Date: c. 1892 Medium: Oil on canvas Dimensions: 32 1/4 x 25 13/16 inches (81.9 x 65.6 cm) Curatorial Department: European Painting before 1900, Johnson Collection Object Location: Gallery 161, European Art 1850-1900, first floor (Resnick Rotunda) Accession Number: 1963-116-15 Credit Line: The Mr. and Mrs. Carroll S. Tyson, Jr., Collection, 1963 Text from: www.philamuseum.org/collections/permanent/59198.html?mulR=842683797|24

Two Girls Pierre-Auguste Renoir, French, 1841 - 1919 Geography: Made in France, Europe Date: c. 1892 Medium: Oil on canvas Dimensions: 32 1/4 x 25 13/16 inches (81.9 x 65.6 cm) Curatorial Department: European Painting before 1900, Johnson Collection Object Location: Gallery 161, European Art 1850-1900, first floor (Resnick Rotunda) Accession Number: 1963-116-15 Credit Line: The Mr. and Mrs. Carroll S. Tyson, Jr., Collection, 1963 Text from: www.philamuseum.org/collections/permanent/59198.html?mulR=842683797|24

Woman in a White Hat Pierre Bonnard, French, 1867 - 1947 Geography: Made in France, Europe Date: c. 1908 Medium: Oil on paper on panel Dimensions: 27 15/16 x 21 13/16 inches (71 x 55.4 cm) Copyright: © Artists Rights Society (ARS), New York / ADAGP, Paris Curatorial Department: Modern Art Object Location: Gallery 163, European Art 1850-1900, first floor (Annenberg Galleries) Accession Number: 1978-1-1 Credit Line: Bequest of Charlotte Dorrance Wright, 1978 Provenance: Collection of the artist, until d. 1947; Bonnard estate (Bonnard-Terrasse family), 1947 to c. 1963 [1]; sold to Wildenstein & Co., New York, c. 1963; sold to Charlotte Dorrance Wright (Mrs. William Coxe Wright) (1911-1977), St. Davids, PA, 1971 [2]; bequest to PMA, 1978. 1. See Dauberville catalogue raisonné, v. 4, 1968, no. 01984, and curatorial file. The disposition of the paintings in Bonnard's estate was not settled between the Terrasse-Bonnard and Bowers families (the heirs of Pierre Bonnard and of Marthe Bonnard, respectively) until the early 1960's; as part of the settlement Wildenstein & Co. received a portion of the paintings (see the exhibition catalog "Pierre Bonnard," Acquavella Galleries, New York, Nov. 9-Dec. 11, 1965, Introduction; and Daniel Wildenstein, Marchands d'art, Paris, 1999, p. 139-147). 2. Information provided by Ay-Whang Hsia, Wildenstein & Co., letter dated May 28, 2003 (in curatorial file) and communication of July 10, 2003. Text from: www.philamuseum.org/collections/permanent/72073.html?mulR=17315851|2

Portrait of Madame Renoir Pierre-Auguste Renoir, French, 1841 - 1919 Geography: Made in France, Europe Date: c. 1885 Medium: Oil on canvas Dimensions: 25 3/4 x 21 1/4 inches (65.4 x 54 cm) Curatorial Department: European Painting before 1900, Johnson Collection Object Location: Gallery 162, European Art 1850-1900, first floor (Vogt Gallery) Accession Number: W1957-1-1 Credit Line: Purchased with the W. P. Wilstach Fund, 1957 Label: Renoir first met Aline Charigot in late 1879. She soon became a favorite model and, in 1890, the artist's wife. Charigot probably posed for this portrait in 1885, soon after the birth of their first son, Pierre, while the family was in the countryside of eastern France. Renoir kept this intimate portrait all his life. Additional information: Publication- Masterpieces from the Philadelphia Museum of Art: Impressionism and Modern Art Aline Charigot was working as a seamstress in the Montmartre section of Paris when she met Renoir about 1879 and began modeling for him. She appears in several of his paintings from the 1880s, including Luncheon of the Bathing Party (Phillips Collection, Washington, D.C.), and she became his mistress around the same time (they married in 1890). This is the first portrait Renoir painted of Aline, probably following the birth of their son Pierre in March 1885. It was most likely painted that summer, when they visited her home village of Essoyes in southern Champagne; the fresh light of the painting and Aline's jaunty straw hat, decorated with flowers, suggest a country setting, as does the simple cut of her jacket. The crisp use of line and contour is typical of Renoir's work of the mid-1880s, when in a crisis of confidence he felt the need to improve his painting and drawing technique. The hatched or close, parallel brushstrokes of the background may owe something to Cézanne, but the lively sense of color and the vivid flush of Aline's cheeks are undeniably Renoir's. They make this a deeply affectionate and personal portrait that he understandably kept all his life. Jennifer A. Thompson, from Masterpieces from the Philadelphia Museum of Art: Impressionism and Modern Art (2007), p. 82. Text from: www.philamuseum.org/collections/permanent/104474.html?mulR=1158929606|2

Portrait of Madame Renoir Pierre-Auguste Renoir, French, 1841 - 1919 Geography: Made in France, Europe Date: c. 1885 Medium: Oil on canvas Dimensions: 25 3/4 x 21 1/4 inches (65.4 x 54 cm) Curatorial Department: European Painting before 1900, Johnson Collection Object Location: Gallery 162, European Art 1850-1900, first floor (Vogt Gallery) Accession Number: W1957-1-1 Credit Line: Purchased with the W. P. Wilstach Fund, 1957 Label: Renoir first met Aline Charigot in late 1879. She soon became a favorite model and, in 1890, the artist's wife. Charigot probably posed for this portrait in 1885, soon after the birth of their first son, Pierre, while the family was in the countryside of eastern France. Renoir kept this intimate portrait all his life. Additional information: Publication- Masterpieces from the Philadelphia Museum of Art: Impressionism and Modern Art Aline Charigot was working as a seamstress in the Montmartre section of Paris when she met Renoir about 1879 and began modeling for him. She appears in several of his paintings from the 1880s, including Luncheon of the Bathing Party (Phillips Collection, Washington, D.C.), and she became his mistress around the same time (they married in 1890). This is the first portrait Renoir painted of Aline, probably following the birth of their son Pierre in March 1885. It was most likely painted that summer, when they visited her home village of Essoyes in southern Champagne; the fresh light of the painting and Aline's jaunty straw hat, decorated with flowers, suggest a country setting, as does the simple cut of her jacket. The crisp use of line and contour is typical of Renoir's work of the mid-1880s, when in a crisis of confidence he felt the need to improve his painting and drawing technique. The hatched or close, parallel brushstrokes of the background may owe something to Cézanne, but the lively sense of color and the vivid flush of Aline's cheeks are undeniably Renoir's. They make this a deeply affectionate and personal portrait that he understandably kept all his life. Jennifer A. Thompson, from Masterpieces from the Philadelphia Museum of Art: Impressionism and Modern Art (2007), p. 82. Text from: www.philamuseum.org/collections/permanent/104474.html?mulR=1158929606|2

MEDIEVAL FESTIVAL AT FORT TRYON PARK Rub the rust off thy armor, iron thy chain mail and polish up on ye chivalry because the 2007 MEDIEVAL FESTIVAL AT FORT TRYON PARK will be held on SUNDAY, SEPTEMBER 30, from 11:30AM - 6:00PM! The annual event is sponsored by the City of New York Parks and Recreation and the Washington Heights and Inwood Development Corporation (a not-for-profit organization). This is the festival's 23nd year! Admission is free. Expected Attendance: 50,000 The festival is a unique chance to experience the medieval period in the most authentic setting this side of the Atlantic. The area around the Cloisters Museum in Fort Tryon Park is transformed into a medieval market village where knights in armor, jugglers, jesters, magicians, musicians, storytellers, and puppeteers will perform. A blacksmith, manuscript illuminator, pottery decorator, wood carver and other artisans will demonstrate their crafts. Performers and fairgoers dress in historical costumes. Medieval food is available and craft items will be sold. The afternoon culminates with a jousting event between knights on horseback! Medieval Festival Highlights o The Grand Tilts and a Royal Joust between knights in armor on horseback! Yes, they do knock each other of their horses!* o Acclaimed ensembles and individuals presenting a variety of medieval music, dance and song. o A living chess match featuring medieval mayhem o Magicians worthy of Merlin will cast spells on youngsters of all ages. o Demonstrations on medieval life and fashions as well as one-on-one and group combat. o Medieval Craft Demonstrations and Sales o Medieval style food and drink. Text from: www.renaissancefestival.com/viewEvent.asp?eventID=315

Artist: James Tissot (French, 1836–1902) Title: Tea Date: 1872 Medium: Oil on wood Dimensions: 26 x 18 7/8 in. (66 x 47.9 cm) Classification: Paintings Credit Line: Gift of Mrs. Charles Wrightsman, 1998 Accession Number: 1998.170 Gallery Label: When Tissot moved to London in 1871, he immersed himself in the local scene, with work for "Vanity Fair" and genre paintings with the river Thames as backdrop. "Tea" is a repetition of the left-hand portion of one of his most famous London scenes, "Bad News" (National Museum of Wales, Cardiff), which shows a captain and his girlfriend absorbing the news of his imminent departure while a companion prepares tea. "Bad News" shows the Pool of London through the tavern windows, while "Tea" displays the dense London cityscape beyond that stretch of the river. Tissot's friend Edgar Degas owned a pencil study for this picture. Text from: www.metmuseum.org/Works_of_Art/collection_database/europe...

Artist: Jean-Léon Gérôme (French, 1824–1904) Title: Bashi-Bazouk Date: 1868–69 Medium: Oil on canvas Dimensions: 31 3/4 x 26 in. (80.6 x 66 cm) Classification: Paintings Credit Line: Gift of Mrs. Charles Wrightsman, 2008 Accession Number: 2008.547.1 Text from: www.metmuseum.org/Works_of_Art/collection_database/europe...

Artist: Jean-Léon Gérôme (French, 1824–1904) Title: Bashi-Bazouk Date: 1868–69 Medium: Oil on canvas Dimensions: 31 3/4 x 26 in. (80.6 x 66 cm) Classification: Paintings Credit Line: Gift of Mrs. Charles Wrightsman, 2008 Accession Number: 2008.547.1 Text from: www.metmuseum.org/Works_of_Art/collection_database/europe...

Benedikt von Hertenstein (born about 1495, died 1522) 1517 Object Details Title: Benedikt von Hertenstein (born about 1495, died 1522) Artist: Hans Holbein the Younger (German, Augsburg 1497/98–1543 London) Date: 1517 Medium: Oil and gold on paper, laid down on wood Dimensions: Overall 20 1/2 x 15 in. (52.4 x 38.1 cm); painted surface 20 3/8 x 14 5/8 in. (51.4 x 37.1 cm) Classification: Paintings Credit Line: Rogers Fund, aided by subscribers, 1906 Accession Number: 06.1038 In 1517 Holbein decorated the house of the Lucerne magistrate Jacob von Hertenstein. Concurrently, he made this portrait of the magistrate's eldest son, Benedikt, who engages the viewer both with his direct glance and the inscription, which reads as if he is speaking: "When I looked like this I was twenty-two years old." Following these words is the declaration that "H.H." painted the work. The artist’s use of paper mounted on wood is unusual but not unique. He initiated the portrait as a drawing on paper and then continued working it up in oil colors to its completion. Text from: www.metmuseum.org/art/collection/search/436657

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