~ Helmet.
Culture: Northern Italy,Southern Germany, Austria
Date: ca. 1350 (helmet) and 15th century (helmet decoration)
Owner: Albert von Prankh
Medium: Helmet: Iron, forged, built from individual parts. Paint residue. Textile: felt. Helmet decoration: leather. Textile: linen. Chalk ground, gold leaf and silver plated. Glaze.
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For a belated #NationalFoxDay 🦊:
Sacred Foxes
Japan, Kiyama Jinja, Okayama Prefecture
Kamakura period - Nanbokucho era, 14th c.
wood w/pigments
exhibited in The Life of Animals in Japanese Art at the National Gallery of Art DC (2019)
“Pairs of fox sculptures, usually made of stone, are seen all over Japan guarding entrances to shrines for the worship of Inari, Shinto deity of farming and rice cultivation. This pair is unique for being carved in wood. Recently discovered at the Kiyama shrine in Okayama, these sculptures are rare survivors from the medieval era. One fox holds in its mouth a treasure ball symbolizing Inari's sacred rice granary (or treasury), while the other holds the key to the granary, expressing worshippers hope to share in Inari's miraculous power.”
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The chapel of Santa Maria del Principio is the oldest and most elaborate of the side chapels in the Basilica of Santa Restituta in Naples. The mosaic in the apse, the Madonna and Child enthroned between San Gennaro and Santa Restituta, is by Lello da Orvieto, c. 1313-1322. It was commissioned by Constantine the Great at the same time as the basilica and the neighboring baptistery. It exhibits signs of the transition from Byzantine iconography (the gold background) to the art of the Italian Renaissance (the design of the throne). The marble altar and railing as well as the frescoes in the dome were added when the basilica was remodeled in the Baroque style of the 17th century.
Photos by Charles Reeza
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Highlights From a Recent Visit to the Museum of Fine Arts, Boston
Jean Baptiste Armand Guillaumin (French, 1841-1927) Bridge in the Mountains • 1887 • oil on canvas
Paul Cézanne (French, 1839-1906) • Madame Cézanne in a Red Armchair • c. 1877 • oil on canvas
Gustave Caillebotte (French, 1848-1894) • Les dahlias, jardin du Petit Gennevilliers • 1893 • oil on canvas
Giuseppe Maria Crespi Italian (Bolognese, 1665-1747) •
Woman Tuning a Lute • c. 1700-05 • Oil on canvas
Joseph Mallord William Turner (English, 1775-1851)
Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On), 1840 • Oil on canvas
At first glance, a dazzling sunset distracts from the confusion and terror in the foreground of this painting. Its lengthy title alludes to an atrocity, probably the 1781 incident of the slave ship Zong. The ship's crew murdered 132 sick and dying enslaved Africans by throwing them overboard to collect insurance money for those "lost at sea." The resulting outcry galvanized abolitionism in Britain.
Paul Signac (French, 1863-1935) • Antibes, The Pink Cloud • 1916 • Oil on canvas
In a 1916 letter to a critic, Signac annotated a sketch of this "portrait of a cloud" to reveal the cloud's "personalities." He referred to the vaporous form at upper left as Loïe Fuller-an American dancer who had taken Paris by storm in the 1890s-and pointed out "some Michelangelesque figures" in the dark underside of the cloud at right. Signac called the German gunboats in the lower right corner "the black squadron."
Paul Signac (French, 1863-1935) • Port of Saint-Cast • 1890 • Oil on canvas
Port of Saint-Cast is one of a series of four seascapes that Signac painted along the coast of Brittany in northwest France.
Eugène Louis Boudin French (1824-1898) Fashionable Figures on the Beach • 1865 • Oil on panel
Carlo Crivelli (Italian [Venetian]), c. 1430/35-c. 1495
Lamentation over the Dead Christ, 1485 • Tempera on panel
With its gilding and elaborate patterning, this painting feels like a precious object. The raised decoration and the dimensionality of the forms heighten the intensity of Jesus's suffering. John the Evangelist's mouth stretches wide in grief, while the Virgin Mary's face bears the agony of losing her son. The perspective encourages the viewer to look up at the dead Christ, just as Mary Magdalen does while supporting his body. The fruits and vegetables hanging above, lush and full of life, have specific meanings, but together they remind the viewer that Christ will soon be resurrected. Crivelli, a master of pairing ornamental splendor with emotive power, has signed and dated the painting along the stone ledge.
Photo credit: ©Pagan Sphinx Photography
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A special #Feathersday for #ChagPesachSameach: The Bird's Head Hagaddah c. 1300, the oldest surviving illuminated Ashkenazi Passover Haggadah, named for its depiction of Jewish human figures with bird heads. In this scene they're baking matzo!
The Birds’ Head Haggadah
South Germany
c. 1300
Scribe: Menahem
Handwritten on parchment; dark brown ink & tempera; square Ashkenazic script
H: 27; W: 18.2 cm
Israel Museum, Jerusalem B46.04.0912
"The name of this early Passover Haggadah derives from its depiction of human figures with pronounced birds’ heads. The enigmatic practice of drawing bird and animal heads in place of human faces is found in other Ashkenazi manuscripts of the 13th and 14th centuries and has been interpreted in various ways.
This is the first illustrated Haggadah known to be produced as an entity separate from the prayer book. It contains depictions with ritual and textual themes: the preparation of matzah and the various blessings over wine and food recited during the Seder; biblical scenes like the gathering of the manna or the giving of the Torah; and messianic images such as the rebuilt Jerusalem."
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entanglements
full-page "L" initial from the "troppauer evangeliar" (the evangeliary made by johannes of troppau), prague, c. 1368
source: Vienna, ÖNB, Cod. 1182, fol. 2r
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