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With his waist slightly twisted and his right arm raised upwards, this monumental figure appears to be in the process of taking a step forward. The sculpture depicts St. Christopher, who according to legend was a man of great size who dedicated his life to ferrying people over a river. One day, a young boy asked to be taken across on his shoulders, but became heavier as Christopher waded through the water. Upon reaching the other side, the child revealed himself to be Christ, telling Christopher he had carried the weight of the world. The right knee and left foot of Christ are seen at the shoulders of the sculpture.
As a result of this story, Christopher was considered a patron saint of travelers. Viewing his image was also thought to protect against an unexpected death. Works like this were often displayed at the doorways to churches to provide spiritual defense to worshippers as they exited.
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The focus of this painting is the way light plays across different surfaces. Light slides across the church wall in patches of thick paint, and dissolves the glass windows into beautifully mottled tones of gem-like color. Vespers, the Christian early evening prayer service, is depicted here in an Egmond-aan-Hoef, Holland church, where artist Gari Melchers relocated and taught other American painters during the summer.
The parishioners, seen in the bottom third of the painting, are carefully given three-dimensional shape. Though American Impressionists like Melchers were interested in the effects of light, they were never as willing as their French counterparts to allow light to completely dissolve.
This gilded, high-peaked crown is distinguished by extraordinarily fine repouss (metalwork pushed up from the underside) in high relief. The image of a large flaming jewel, flanked by two large, seated dragons, rises to the height of high auspicious clouds from an opened lotus, the blossom itself emerging from an endless sea of waves. Thousands of minute dragon scales are individually hammered and picked out with pin-prick indentations. What seems like a single strand of beads along the bands of grapes and vines is fine hammer work so fluidly produced that the crown appears as if cast from molten metal instead of cold-worked with tools. This elaborate crown was presented by the Chinese Song court as tribute to a Qidan envoy of the Liao dynasty (916-1125). The foreign Qidan were a confederation of powerful northern tribes that threatened the borders of China and were often erstwhile allies of the Chinese, who soothed the temper of the Qidan with gold bullion, rare tea, and sumptuous goods, including fine gilded metalwork such as this crown.
Ferns, flowering vines, and woodland plants inspired the ceramics produced by Tiffany Studios, as seen here. This vase with arrowhead plants and a snake winding through the foliage is one of their most original designs. The neck is daringly pierced to form delicate stems that support a ring of flowers around the rim. Overall, a dark umber matte-textured glaze helps to define the low-relief ornament.
In this atmospheric moonlight scene, Thodore Rousseau depicted a pheasantry, or pheasant farm. Flecks of yellow paint at the bottom right suggest a pheasant in flight. The silhouetted forms of trees offer a flat, surface pattern while depth in the space is created by the detail of a cow drinking from a pond at back left. Rousseau painted this gestural work when he was only 21, demonstrating his early artistic talent. Due to his skill, Rousseau was considered the leading landscape painter of the Barbizon School, an artistic colony southeast of Paris.
Despite the beauty of this container, it was the contents inside that were truly valuable. Luxurious oils and sweet-smelling unguents were coveted and used by both men and women. The ancient Greeks even used olive oil as a soap by spreading it on their skin and scraping it off with a metal tool called a strigil.
This wrapping cloth (fukusa) features three shallow cups embroidered on crimson silk satin. Each is outlined in gold, and its interior decorated with symbols of longevity: three cranes, a tortoise, two elderly figures in a landscape with pine and bamboo, and a scholar-official admiring blossoming prunus with two young attendants. These motifs are embroidered with colored silk threads, while the background is decorated with couched gold thread.
During the Edo period, it was customary to present gifts on special occasions. They were covered or wrapped with a rectangular fukusa, which was later returned to the giver. The cups on this cloth, known as sakazuki, are for drinking Japanese rice wine, or sake. Sakazuki coated with red lacquer and those decorated with sprinkled gold and silver powder (maki-e), were made for feudal lords (daimyō) and the samurai classes.
A lush bouquet of flowers is the focal point of this ornamental tabletop. The floral design is composed of small pieces of wood stained with dyes and fitted together like a jigsaw puzzle. This technique, called marquetry, was a specialty of Parisian craftsman Joseph Cremer, whose signature is engraved among the scrolling stems and leaves.
A New York cabinetmaker imported the marquetry panel and incorporated it into this painted and gilded table made for an unknown American client. This extravagant object was intended for use in a formal interior to display ceramics, small bronze sculptures, or other precious artworks.
The seated knight at left has just finished judging a beauty contest. This scene comes from the ancient story of the Judgment of Paris in which the shepherd Paris is selected to referee an Olympian beauty contest. In this painting, Lucas Cranach the Elder depicted a similar later account in which Paris is a knight who goes hunting, tumbles into a bush, and dreams that the god Mercury, here clad in peacock feathers, tells him to judge the most beautiful of three goddesses.
Pierre Bonnard represents a basket of apples and pears within a geometrical framework created by the diagonals, horizontals, and verticals of a table top. Bonnard wrestled with the complexities of white as a color throughout his career; here, the nuanced pale tones of the wall and tablecloth serve as a counterpoint to the brighter color accents of the fruit. Bonnard was a founding member of the Nabis group of painters who emphasized the importance of decorative pattern making in their compositions.
In this ceramic whistle, the figures of a man (left) and a woman (right) join together to make music. These two individuals share a single body, each contributing an arm and a leg, creating a balanced whole. The male and female halves are distinguished by their clothing, which differs according to fit and decoration. Their facial painting, which may designate their ethnic affiliations, is also reminiscent of textile patterns.
The gracefully idealized features represent a mixture of influences from Greece, Rome, Persia, and Central Asia. While the hair and some other features of this head were modeled by hand, the face was shaped in a mold. Examples of such molds have been excavated at Gandharan monasteries, indicating that sculptures were produced at the sites where they were installed. Originally richly polychromed, only traces of red, blue, and black remain.
In this carefully composed still life, Samuel Peploe explores complex color combinations. The reds and pinks of roses complement green leaves while oranges vibrate against a background of blue. The artist would spend long periods positioning his objects, and here the elegant curves of a white ceramic-footed bowl echo those of a tall glass vase. Peploe was a leading figure among a group of early 20th-century painters known as the Scottish Colorists, who explored effects of vibrant color. Peploe often traveled to France and was much influenced by the colors of French avant-garde painters, such as Henri Matisse.
This monumental painting depicts a glowing California sunset. In 1909, Chiura Obata worked in the hops fields of the Sacramento Valley, where he was first introduced to the dramatic natural landscape he later represented in this painting. Most of the composition is devoted to the dusk sky, which is energized by flame-like clouds over a blue-tinged landscape. The slightly domed horizon emphasizes not only the vast distance between the viewer and the sunset but also the immense geographical span of the Sacramento Valley, whose terrain encompasses all or parts of 10 counties.
Here, Justus Suttermans carefully portrayed three servants from the household of the ruling Medici family of Florence. Detailed wisps of hair, observant treatment of wrinkles and skin tones, and garments of varied textures and patterns present them as specific individuals: Domenica delle Cascine (at left), la Cecca di Pratolino (at center), and Pietro Moro (at right). In a time when portraiture signaled the power and status of those depicted, this painting stands out as a rare representation of those who served.
This life-sized sculpture of a bird is an incense burner. A small drawer within its chest opens to hold incense. Once lit, the smoke would emanate from pierced holes in its neck. The incised patterns on the wings are a mixture of realistic feathers and interlocking circles, a combination that stems from an aesthetic appreciation of geometric patterns rather than from a desire to avoid lifelike realism. Before the late 18th century, all Islamic art objects were functional in some way.
An expanse of glassy, unruffled water and silvery evening light evoke a seemingly impenetrable stillness. Though a group of Native Americans push their canoes off a sandy spit of land, they are dwarfed by the massive scale of the outcropping behind them. Their movements carry no sound, and only the birds in the foreground appear capable of breaking the silence.
This landscape depicts Lake Pepin, located along the widest part of the Mississippi River at a point that is now south of Minneapolis, Minnesota. The artist, John Frederick Kensett, made sketches of the site when he accompanied St. Louis businessman Pierre Chouteau Jr. on one of his trading expeditions.
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