{ "info": { "total": 3783, "parameters": { "skip": 0, "limit": 1000, "currently_on_view": "1", "has_image": "1", "select": "accession_number,accession_number_sortable,cover_accession_number,department,department,collection,gallery,classification_type" } }, "data": [ { "id": 94979, "accession_number": "1915.534", "share_license_status": "CC0", "tombstone": "Nathaniel Hurd, c. 1765. John Singleton Copley (American, 1738–1815). Oil on canvas; framed: 90.5 x 78 x 6.5 cm (35 5/8 x 30 11/16 x 2 9/16 in.); unframed: 76.2 x 64.8 cm (30 x 25 1/2 in.). The Cleveland Museum of Art, Gift of the John Huntington Art and Polytechnic Trust 1915.534", "current_location": "204 Colonial American", "title": "Nathaniel Hurd", "creation_date": "c. 1765", "creation_date_earliest": 1760, "creation_date_latest": 1770, "artists_tags": [ "male" ], "culture": [ "America, 18th century" ], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [ "350.1915" ], "did_you_know": "The artist Copley’s in-laws were consignees for the cargo dumped during the Boston Tea Party.", "description": "Hurd was a prominent silversmith and engraver in Boston, and the warm gaze and unforced smile in his portrait by Copley suggest the friendship between the two artists. Hurd's open-collared shirt, as well as the rakishly tilted turban that covers his shaved head in place of a ceremonial powdered wig, create an air of informality that is unusual for a portrait of this time.", "citations": [], "url": "https://clevelandart.org/art/1915.534", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1915.534/1915.534_web.jpg", "width": "748", "height": "893", "filesize": "402404", "filename": "1915.534_web.jpg" } }, "alternate_images": [], "creditline": "Gift of the John Huntington Art and Polytechnic Trust", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 94979, "creators": [ { "id": 2409, "description": "John Singleton Copley (American, 1738–1815)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1738", "death_year": "1815" } ], "legal_status": "accessioned", "accession_date": "1916-01-10T00:00:00", "sortable_date": 1760, "date_text": "c. 1765", "is_highlight": false, "updated_at": "2024-02-09 18:02:26.189000", "legacy": [] }, { "id": 102578, "accession_number": "1921.1239", "share_license_status": "CC0", "tombstone": "Portrait of Dora Wheeler, 1882–83. William Merritt Chase (American, 1849–1916). Oil on canvas; framed: 180.6 x 188.6 x 11 cm (71 1/8 x 74 1/4 x 4 5/16 in.); unframed: 159.8 x 166.4 cm (62 15/16 x 65 1/2 in.). The Cleveland Museum of Art, Gift of Mrs. Boudinot Keith in memory of Mr. and Mrs. J. H. Wade 1921.1239", "current_location": "208 American Gilded Age and Realism", "title": "Portrait of Dora Wheeler", "creation_date": "1882–83", "creation_date_earliest": 1882, "creation_date_latest": 1883, "artists_tags": [ "male" ], "culture": [ "America, 19th century" ], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Chase and Wheeler worked together to raise money for constructing the Statue of Liberty's pedestal.", "description": "Dora Wheeler became Chase's first student when he returned from overseas study in Munich and set up a teaching studio in New York. At the time, few American artists accepted women as private pupils. After her course of study, Wheeler joined her mother in launching a successful decorating firm, one of the first businesses in the country to be operated entirely by women. For the firm, she designed luxurious textiles, and the embroidered silk tapestry that fills the background in her portrait references her occupational interest. Chase's portrait was awarded a gold medal at an international exhibition of contemporary art in Munich in 1883, and later that year was also shown in Paris. At some later point, the painting was acquired by the sitter, who subsequently donated it to the museum.", "citations": [], "url": "https://clevelandart.org/art/1921.1239", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1921.1239/1921.1239_web.jpg", "width": "939", "height": "893", "filesize": "175673", "filename": "1921.1239_web.jpg" } }, "alternate_images": [], "creditline": "Gift of Mrs. Boudinot Keith in memory of Mr. and Mrs. J. H. Wade", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Cleveland Foundation Gallery", "athena_id": 102578, "creators": [ { "id": 3071, "description": "William Merritt Chase (American, 1849–1916)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1849", "death_year": "1916" } ], "legal_status": "accessioned", "accession_date": "1921-11-17T00:00:00", "sortable_date": 1882, "date_text": "1882–83", "is_highlight": true, "updated_at": "2024-02-09 18:03:02.507000", "legacy": [] }, { "id": 92937, "accession_number": "1922.1133", "share_license_status": "CC0", "tombstone": "Stag at Sharkey's, 1909. George Bellows (American, 1882–1925). Oil on canvas; framed: 110 x 140.5 x 8.5 cm (43 5/16 x 55 5/16 x 3 3/8 in.); unframed: 92 x 122.6 cm (36 1/4 x 48 1/4 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection 1922.1133", "current_location": "208 American Gilded Age and Realism", "title": "Stag at Sharkey's", "creation_date": "1909", "creation_date_earliest": 1909, "creation_date_latest": 1909, "artists_tags": [ "male" ], "culture": [ "America, 20th century" ], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [ { "id": 103801, "description": "A Stag at Sharkey's, 1916. George Bellows (American, 1882–1925). Lithograph; image: 26.7 x 20 cm (10 1/2 x 7 7/8 in.). The Cleveland Museum of Art, Gift of Charles T. Brooks 1921.909", "relationship": null } ], "former_accession_numbers": [ "1059.1922", "1133.1922" ], "did_you_know": "George Bellows was raised in Columbus, Ohio, and attended Ohio State University where he played baseball and basketball.", "description": "Bellows was no stranger to Sharkey’s Athletic Club, a raucous saloon with a backroom boxing ring, located near his studio. Founded by Tom “Sailor” Sharkey, an ex-fighter who had also served in the US Navy, the club attracted men seeking to watch or participate in matches. Because public boxing was illegal in New York at the time, a private event had to be arranged in order for a bout to take place. Participation was usually limited to members of a particular club, but whenever an outsider competed, he was given temporary membership and known as a “stag.” Although boxing had its share of detractors who considered it uncouth at best or barbaric at worst, its proponents—among them President Theodore Roosevelt—regarded it a healthy manifestation of manliness. Around the time Bellows painted Stag at Sharkey’s, boxing was moving from a predominantly working-class enterprise to one with greater genteel appeal. For some contemporaries, boxing was a powerful analogy for the notion that only the strongest and fittest would flourish in modern society.", "citations": [], "url": "https://clevelandart.org/art/1922.1133", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1922.1133/1922.1133_web.jpg", "width": "1194", "height": "893", "filesize": "152341", "filename": "1922.1133_web.jpg" } }, "alternate_images": [], "creditline": "Hinman B. Hurlbut Collection", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 92937, "creators": [ { "id": 3005, "description": "George Bellows (American, 1882–1925)", "extent": null, "qualifier": null, "role": "artist", "biography": "An accomplished athlete, George Bellows (1882–1925) was an especially appropriate artist to address the subject of sports. Born and raised in Columbus, Ohio, he played baseball and basketball as a youth, developing sufficient ability to letter in both at Ohio State University. According to some accounts, scouts for the Cincinnati Reds took notice of his shortstop talents. However, Bellows’s first love, art, ultimately intervened, and after his junior year he relocated to New York to study painting. In a remarkably short period he became the leading artist of his generation, a reputation fueled through boxing subjects such as Stag at Sharkey’s. In his later years he developed recreational passions for tennis and billiards, which he routinely played with friends. Bellows’s life was cut short at the age of 42, due to complications after his appendix ruptured.", "name_in_original_language": null, "birth_year": "1882", "death_year": "1925" } ], "legal_status": "accessioned", "accession_date": "1922-06-09T00:00:00", "sortable_date": 1909, "date_text": "1909", "is_highlight": true, "updated_at": "2024-02-09 18:02:20.339000", "legacy": [] }, { "id": 151904, "accession_number": "1927.1984", "share_license_status": "CC0", "tombstone": "The Biglin Brothers Turning the Stake, 1873. Thomas Eakins (American, 1844–1916). Oil on canvas; framed: 117 x 167 x 6.5 cm (46 1/16 x 65 3/4 x 2 9/16 in.); unframed: 101.3 x 151.4 cm (39 7/8 x 59 5/8 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection 1927.1984", "current_location": "207 American Realism", "title": "The Biglin Brothers Turning the Stake", "creation_date": "1873", "creation_date_earliest": 1873, "creation_date_latest": 1873, "artists_tags": [ "male" ], "culture": [ "America, 19th century" ], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [ { "id": 121189, "description": "The Biglin Brothers Turning the Stake, 1873. Thomas Eakins (American, 1844–1916). Graphite and brush and brown wash; sheet: 35.5 x 43.1 cm (14 x 16 15/16 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund 1942.1066", "relationship": null } ], "former_accession_numbers": [ "1955.27", "1984.1927" ], "did_you_know": "Rowing was among the most popular spectator sports in the U.S. during the 1870s.", "description": "Eakins's painting celebrates athletic teamwork while commemorating an actual event, a famous rowing race that took place on the Schuylkill River in Philadelphia during May 1872. Throngs of spectators line the riverbank and watch as Barney and John Biglin negotiate the tricky turn around a stake marking the halfway point in the contest. Their competitors, seen in the middle distance at the right, lag behind. The Biglin brothers won the race, cementing their status as the most celebrated oarsmen of the era. Trained in the United States and France, Eakins spent almost his entire artistic career in his hometown of Philadelphia. He is renowned for the unsentimental realism in his paintings, whose compositions he developed through painstakingly prepared figure and perspective drawings.", "citations": [], "url": "https://clevelandart.org/art/1927.1984", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1927.1984/1927.1984_web.jpg", "width": "1263", "height": "835", "filesize": "780656", "filename": "1927.1984_web.jpg" } }, "alternate_images": [], "creditline": "Hinman B. Hurlbut Collection", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 151904, "creators": [ { "id": 4037, "description": "Thomas Eakins (American, 1844–1916)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1844", "death_year": "1916" } ], "legal_status": "accessioned", "accession_date": "1927-12-20T00:00:00", "sortable_date": 1873, "date_text": "1873", "is_highlight": true, "updated_at": "2024-02-09 18:06:32.024000", "legacy": [] }, { "id": 141639, "accession_number": "1965.233", "share_license_status": "CC0", "tombstone": "Twilight in the Wilderness, 1860. Frederic Edwin Church (American, 1826–1900). Oil on canvas; framed: 124 x 185 x 13 cm (48 13/16 x 72 13/16 x 5 1/8 in.); unframed: 101.6 x 162.6 cm (40 x 64 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund 1965.233", "current_location": "206 American Landscape", "title": "Twilight in the Wilderness", "creation_date": "1860", "creation_date_earliest": 1860, "creation_date_latest": 1860, "artists_tags": [ "male" ], "culture": [ "America, 19th century" ], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "An image of this painting has a cameo in the Harrison Ford film Clear and Present Danger.", "description": "In his New York studio, Church painted this spectacular view of a blazing sunset over wilderness near Mount Katahdin in Maine, which he had sketched during a visit nearly two years earlier. Although Church often extolled the grandeur of American landscape in his work, this painting appears to have additional overtones. Created on the eve of the Civil War, the painting's subject can be interpreted as symbolically evoking the coming conflagration. Church's considerable technical skills and clever showmanship contributed to his fame as the premier artist of his generation. Rather than debut this painting in an annual exhibition with works by other artists as was the custom, Church instead exhibited it by itself at a prestigious art gallery. Coaxed by advance publicity and highly favorable press reviews, several hundred spectators flocked to admire it during its seven-week run.", "citations": [], "url": "https://clevelandart.org/art/1965.233", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1965.233/1965.233_web.jpg", "width": "900", "height": "561", "filesize": "128410", "filename": "1965.233_web.jpg" } }, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Baker & Hostetler LLP Gallery", "athena_id": 141639, "creators": [ { "id": 2697, "description": "Frederic Edwin Church (American, 1826–1900)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1826", "death_year": "1900" } ], "legal_status": "accessioned", "accession_date": "1965-09-11T00:00:00", "sortable_date": 1860, "date_text": "1860", "is_highlight": true, "updated_at": "2024-02-09 18:05:46.865000", "legacy": [] }, { "id": 110180, "accession_number": "1928.8", "share_license_status": "CC0", "tombstone": "The Race Track (Death on a Pale Horse), c. 1896–1908. Albert Pinkham Ryder (American, 1847–1917). Oil on canvas; framed: 84.5 x 102 x 6.5 cm (33 1/4 x 40 3/16 x 2 9/16 in.); unframed: 70.5 x 90 cm (27 3/4 x 35 7/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1928.8", "current_location": "207 American Realism", "title": "The Race Track (Death on a Pale Horse)", "creation_date": "c. 1896–1908", "creation_date_earliest": 1896, "creation_date_latest": 1908, "artists_tags": [ "male" ], "culture": [ "America, 19th century" ], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [ "1931.27" ], "did_you_know": "Counterclockwise horse racing in the United States was not standardized until the 1920s.", "description": "Ryder’s subject was inspired by a horse race that took place in New York during 1888. One of the artist’s friends wagered $500 on the race and then died by suicide after the horse lost. Medieval symbolism infuses the composition: death appears as a skeleton on horseback holding a scythe with which he cuts down the living, while a snake—a sign of temptation and evil—slithers in the foreground. An intense man, Ryder worked on the painting for several years and was deeply reluctant to part with it.", "citations": [], "url": "https://clevelandart.org/art/1928.8", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1928.8/1928.8_web.jpg", "width": "900", "height": "711", "filesize": "190928", "filename": "1928.8_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 110180, "creators": [ { "id": 3267, "description": "Albert Pinkham Ryder (American, 1847–1917)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1847", "death_year": "1917" } ], "legal_status": "accessioned", "accession_date": "1928-01-06T00:00:00", "sortable_date": 1896, "date_text": "c. 1896–1908", "is_highlight": true, "updated_at": "2024-02-09 18:03:36.618000", "legacy": [] }, { "id": 149112, "accession_number": "1977.43", "share_license_status": "CC0", "tombstone": "Church Street El, 1920. Charles Sheeler (American, 1883–1965). Oil on canvas; framed: 60 x 67.5 x 6 cm (23 5/8 x 26 9/16 x 2 3/8 in.); unframed: 41 x 48.5 cm (16 1/8 x 19 1/8 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund 1977.43", "current_location": "226A American Modern", "title": "Church Street El", "creation_date": "1920", "creation_date_earliest": 1920, "creation_date_latest": 1920, "artists_tags": [ "male" ], "culture": [ "America, 20th century" ], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Sheeler and his good friend, the poet William Carlos Williams, patronized speakeasies together during Prohibition.", "description": "Capturing the soaring heights of New York City, this painting is a dramatic bird's-eye view of Broadway and Wall Street, showing a conglomeration of buildings at left and center, and the Church Street elevated train at right. Sheeler based his composition on an image from the short movie Manhatta (1920-21), which he made with the photographer Paul Strand. One of the first avant-garde American films, Manhatta celebrates the dynamic metropolis through a series of carefully composed shots of Lower Manhattan. As typical with Sheeler's work, the artist simplified forms and eliminated textures in Church Street El to concentrate on rhythmic interplay of shapes and color, and patterns of light and shadow.", "citations": [], "url": "https://clevelandart.org/art/1977.43", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1977.43/1977.43_web.jpg", "width": "1069", "height": "893", "filesize": "602527", "filename": "1977.43_web.jpg" } }, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Dr. Robert B. Benyo Trust Gallery", "athena_id": 149112, "creators": [ { "id": 889, "description": "Charles Sheeler (American, 1883–1965)", "extent": null, "qualifier": null, "role": "artist", "biography": "Charles Sheeler American, 1883-1965\r\n\r\nPhiladelphia-born Charles Sheeler was a well-known precisionist painter and photographer. After studying at the School of Industrial Art in Philadelphia (1900-3), he spent the next three years as a student of painter William Merritt Chase at the Pennsylvania Academy of Fine Arts. Around 1910 he took up photography as a way to support himself.\r\n\tSheeler began as an architectural photographer, documenting buildings for Philadelphia architects, but was soon taking pictures of paintings and other works of art. He continued to paint (in 1913 a group of his works were exhibited in the famous Armory Show in New York) and to photograph, often using his photographs as the basis for paintings. In 1917 his photographs were included in a three-person show along with Paul Strand and Morton Schamberg at Marius de Zayas's Modern Gallery in New York.\r\n\tTwo years later Sheeler moved to New York and in 1920 collaborated with Paul Strand on the avant-garde film Manhatta (originally titled New York the Magnificent). In 1923 he began working as a staff photographer for Condé Nast publications. Four years later he received his most important commercial commission when Ford Motor Company hired him to photograph its River Rouge plant. A powerful series of images celebrating American industry resulted and were widely published. They also served as an inspiration for a number of his paintings.\r\n\tIn 1939 a small group of Sheeler's photographs were included in a retrospective of his work organized by the Museum of Modern Art, New York. Over the next decade he worked as staff photographer for the Metropolitan Museum of Art and focused primarily on painting in his own work, especially during the late 1940s and 1950s. In 1959, after suffering a stroke, Sheeler stopped painting and photographing; he died six years later from a second stroke. M.M.", "name_in_original_language": null, "birth_year": "1883", "death_year": "1965" } ], "legal_status": "accessioned", "accession_date": "1977-05-10T00:00:00", "sortable_date": 1920, "date_text": "1920", "is_highlight": true, "updated_at": "2024-02-09 18:06:17.712000", "legacy": [] }, { "id": 93014, "accession_number": "1917.1335", "share_license_status": "CC0", "tombstone": "View of Schroon Mountain, Essex County, New York, After a Storm, 1838. Thomas Cole (American, 1801–1848). Oil on canvas; framed: 132.5 x 193.5 x 13 cm (52 3/16 x 76 3/16 x 5 1/8 in.); unframed: 99.8 x 160.6 cm (39 5/16 x 63 1/4 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection 1917.1335", "current_location": "206 American Landscape", "title": "View of Schroon Mountain, Essex County, New York, After a Storm", "creation_date": "1838", "creation_date_earliest": 1838, "creation_date_latest": 1838, "artists_tags": [ "male" ], "culture": [ "America, 19th century" ], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [ "1335.1917" ], "did_you_know": "Nicknamed \"Schroon Mountain\" by the artist, the peak's official name is Hoffman Mountain.", "description": "Championing the American wilderness, Cole declared, \"We are still in Eden,\" in his Essay on American Scenery, published two years before he painted this view of the Adirondacks. The artist sketched the scene in early summer, but when he created the painting in his studio, he rendered it in a dramatic blaze of fall colors. Such a choice likely had nationalistic overtones; he once proclaimed that autumn was \"one season where the American forest surpasses all the world in gorgeousness.\"

Cole included two Indigenous men in the painting’s right foreground foliage. At this time, the Adirondacks remained home to many Native Americans long after most had been forcibly removed from land east of the Mississippi River. While continuing to live, hunt, and fish in the area, these Algonquian and Iroquoian peoples were compelled to significantly adapt their existence amid increasing White settlement and its attendant lumber, mining, and tourist industries.", "citations": [], "url": "https://clevelandart.org/art/1917.1335", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1917.1335/1917.1335_web.jpg", "width": "1263", "height": "775", "filesize": "716717", "filename": "1917.1335_web.jpg" } }, "alternate_images": [], "creditline": "Hinman B. Hurlbut Collection", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Baker & Hostetler LLP Gallery", "athena_id": 93014, "creators": [ { "id": 2659, "description": "Thomas Cole (American, 1801–1848)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1801", "death_year": "1848" } ], "legal_status": "accessioned", "accession_date": "1917-02-14T00:00:00", "sortable_date": 1838, "date_text": "1838", "is_highlight": false, "updated_at": "2024-02-09 18:02:20.396000", "legacy": [] }, { "id": 140408, "accession_number": "1964.351", "share_license_status": "CC0", "tombstone": "Peregrine Falcons (Duck Hawks), c. 1827. John James Audubon (American, 1785–1851). Oil on canvas; framed: 74.9 x 101 x 10.2 cm (29 1/2 x 39 3/4 x 4 in.); unframed: 64.5 x 91.5 cm (25 3/8 x 36 in.). The Cleveland Museum of Art, Gift of the American Foundation for the Maud E. and Warren H. Corning Botanical Collection 1964.351", "current_location": "205 Federal American", "title": "Peregrine Falcons (Duck Hawks)", "creation_date": "c. 1827", "creation_date_earliest": 1822, "creation_date_latest": 1832, "artists_tags": [ "male" ], "culture": [ "America, 19th century" ], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Clocked at speeds more than 240 mph, peregrine falcons are the world's fastest animals.", "description": "A vigorous portrayal of two peregrine falcons with their fresh duck prey, John James Audubon's painting relates to his groundbreaking Birds of America publication that sought to depict every species of native North American bird posed in action with elements of their habitats. Based on his artistic and scientific successes, Audubon became the premier naturalist in the United States. After his death, he continued to be associated with bird and nature conservation, and several organizations devoted to such causes were named in his honor. However, in recent years, as Audubon's slaveholding and looting of Indigenous graves has become more widely acknowledged, an increasing number of these groups are changing their names.", "citations": [], "url": "https://clevelandart.org/art/1964.351", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1964.351/1964.351_web.jpg", "width": "1263", "height": "892", "filesize": "892020", "filename": "1964.351_web.jpg" } }, "alternate_images": [], "creditline": "Gift of the American Foundation for the Maud E. and Warren H. Corning Botanical Collection", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 140408, "creators": [ { "id": 2694, "description": "John James Audubon (American, 1785–1851)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1785", "death_year": "1851" } ], "legal_status": "accessioned", "accession_date": "1964-10-31T00:00:00", "sortable_date": 1822, "date_text": "c. 1827", "is_highlight": false, "updated_at": "2024-02-09 18:05:40.510000", "legacy": [] }, { "id": 155783, "accession_number": "1991.110", "share_license_status": "CC0", "tombstone": "The Power of Music, 1847. William Sidney Mount (American, 1807–1868). Oil on canvas; framed: 67 x 78 x 7.5 cm (26 3/8 x 30 11/16 x 2 15/16 in.); unframed: 43.4 x 53.5 cm (17 1/16 x 21 1/16 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 1991.110", "current_location": "207 American Realism", "title": "The Power of Music", "creation_date": "1847", "creation_date_earliest": 1847, "creation_date_latest": 1847, "artists_tags": [ "male" ], "culture": [ "America, 19th century" ], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Mount was an accomplished fiddle player and even patented a new design for the instrument.", "description": "Set in rural Long Island before the Civil War, Mount's complex painting presents an African American laborer listening intently to a fiddle tune enjoyed by white men. While a love of music unites the figures in a bond of shared humanity, the two races occupy different spaces--one inside, one outside, both separated by a barn door--effectively symbolizing the pronounced divisions in America at the time.", "citations": [], "url": "https://clevelandart.org/art/1991.110", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1991.110/1991.110_web.jpg", "width": "1106", "height": "893", "filesize": "207550", "filename": "1991.110_web.jpg" } }, "alternate_images": [], "creditline": "Leonard C. Hanna, Jr. Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 155783, "creators": [ { "id": 2876, "description": "William Sidney Mount (American, 1807–1868)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1807", "death_year": "1868" } ], "legal_status": "accessioned", "accession_date": "1991-09-23T00:00:00", "sortable_date": 1847, "date_text": "1847", "is_highlight": true, "updated_at": "2024-02-09 18:06:50.175000", "legacy": [] }, { "id": 109245, "accession_number": "1927.393", "share_license_status": "CC0", "tombstone": "Elizabeth Shewell West and Her Son, Raphael, c. 1770. Benjamin West (American, 1738–1820). Oil on canvas; framed: 88 x 87.5 x 9 cm (34 5/8 x 34 7/16 x 3 9/16 in.); unframed: 66.5 x 66.3 cm (26 3/16 x 26 1/8 in.). The Cleveland Museum of Art, The Charles W. Harkness Gift 1927.393", "current_location": "204 Colonial American", "title": "Elizabeth Shewell West and Her Son, Raphael", "creation_date": "c. 1770", "creation_date_earliest": 1765, "creation_date_latest": 1775, "artists_tags": [ "male" ], "culture": [ "America, 18th century" ], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Born in colonial America, West eventually became a court painter to George III of England.", "description": "West was the first American artist to study in Italy, where he spent three years before permanently settling in London. He so admired the artistic ideals of the Italian Renaissance master Raphael that he named his eldest son after him, and he imitated Raphael’s celebrated Madonna of the Chair when composing this tender double portrait of his wife and child.", "citations": [], "url": "https://clevelandart.org/art/1927.393", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1927.393/1927.393_web.jpg", "width": "890", "height": "893", "filesize": "515554", "filename": "1927.393_web.jpg" } }, "alternate_images": [], "creditline": "The Charles W. Harkness Gift", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 109245, "creators": [ { "id": 2553, "description": "Benjamin West (American, 1738–1820)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1738", "death_year": "1820" } ], "legal_status": "accessioned", "accession_date": "1927-12-20T00:00:00", "sortable_date": 1765, "date_text": "c. 1770", "is_highlight": true, "updated_at": "2024-02-09 18:03:34.189000", "legacy": [] }, { "id": 98268, "accession_number": "1917.946", "share_license_status": "CC0", "tombstone": "George Washington at Princeton, c. 1779. Charles Willson Peale (American, 1741–1827), and Workshop. Oil on canvas; framed: 153 x 144 x 7 cm (60 1/4 x 56 11/16 x 2 3/4 in.); unframed: 131 x 121.6 cm (51 9/16 x 47 7/8 in.). The Cleveland Museum of Art, Membership Income Fund 1917.946", "current_location": "204 Colonial American", "title": "George Washington at Princeton", "creation_date": "c. 1779", "creation_date_earliest": 1774, "creation_date_latest": 1784, "artists_tags": [ "male", "gender unknown" ], "culture": [ "America, 18th century" ], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Artist and scientist Peale directed the first dig of a mastodon skeleton in the US.", "description": "Because Peale served under General Washington and befriended him during the Revolutionary War, he was an ideal candidate to commemorate Washington's important early victory at Princeton, NJ. Here, in the quiet aftermath of battle, the general is accompanied by his horse and a groomsman, identified by some scholars as William Lee, a mixed-race enslaved man Washington forced to work as his personal assistant. Also present is a line of captured British redcoat soldiers that animates the background at left.

Peale produced several versions of this composition amid a rally of enthusiasm for the American cause. Whereas some were commissioned by American colonists—as in the case here—others were ordered by Washington's admirers in France, Spain, Holland, Cuba, and even England.", "citations": [], "url": "https://clevelandart.org/art/1917.946", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1917.946/1917.946_web.jpg", "width": "823", "height": "893", "filesize": "463886", "filename": "1917.946_web.jpg" } }, "alternate_images": [], "creditline": "Membership Income Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Leigh and Mary Carter Gallery", "athena_id": 98268, "creators": [ { "id": 2523, "description": "Charles Willson Peale (American, 1741–1827)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1741", "death_year": "1827" }, { "id": 34768, "description": "Workshop", "extent": null, "qualifier": "and", "role": "artist", "biography": null, "name_in_original_language": null } ], "legal_status": "accessioned", "accession_date": "1917-12-21T00:00:00", "sortable_date": 1774, "date_text": "c. 1779", "is_highlight": false, "updated_at": "2024-02-09 18:02:41.228000", "legacy": [] }, { "id": 171296, "accession_number": "2014.12", "share_license_status": "CC0", "tombstone": "Vale of Kashmir, 1867. Robert S. Duncanson (American, 1821–1872). Oil on canvas; framed: 94.9 x 154.6 x 12.1 cm (37 3/8 x 60 7/8 x 4 3/4 in.); unframed: 73 x 132.4 cm (28 3/4 x 52 1/8 in.). The Cleveland Museum of Art, Sundry Purchase Fund 2014.12", "current_location": "206 American Landscape", "title": "Vale of Kashmir", "creation_date": "1867", "creation_date_earliest": 1867, "creation_date_latest": 1867, "artists_tags": [ "male", "Black American Artists" ], "culture": [ "America, 19th century" ], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "During the Civil War, Duncanson relocated to Montreal, where he inspired several Canadian landscape painters.", "description": "Cincinnati-based Duncanson was the first African American artist to achieve recognition both nationally and abroad. This panoramic painting, one of his grandest, was inspired by an episode in Thomas Moore’s then-popular epic poem, Lalla-Rookh (1817), which describes a Persian princess’s journey to the Indian subcontinent to be married. In Duncanson’s conception, members of a courtly entourage depart a quasi-Islamic palace, arriving by boat onto a scrim of land where they ascend a monumental staircase to a plaza with a fountain spraying an impressive plume of water. Despite these substantial storytelling details, the human elements remain subordinate to the overwhelming splendor of the natural landscape in and of itself.", "citations": [], "url": "https://clevelandart.org/art/2014.12", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/2014.12/2014.12_web.jpg", "width": "900", "height": "492", "filesize": "128201", "filename": "2014.12_web.jpg" } }, "alternate_images": [], "creditline": "Sundry Purchase Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Baker & Hostetler LLP Gallery", "athena_id": 171296, "creators": [ { "id": 2605, "description": "Robert S. Duncanson (American, 1821–1872)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1821", "death_year": "1872" } ], "legal_status": "accessioned", "accession_date": "2014-06-02T00:00:00", "sortable_date": 1867, "date_text": "1867", "is_highlight": false, "updated_at": "2024-02-10 12:01:27.435000", "legacy": [] }, { "id": 136911, "accession_number": "1961.39", "share_license_status": "CC0", "tombstone": "View of Florence, 1837. Thomas Cole (American, 1801–1848). Oil on canvas; framed: 125.4 x 186.7 x 9.2 cm (49 3/8 x 73 1/2 x 3 5/8 in.); unframed: 99.5 x 160.4 cm (39 3/16 x 63 1/8 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund 1961.39", "current_location": "206 American Landscape", "title": "View of Florence", "creation_date": "1837", "creation_date_earliest": 1837, "creation_date_latest": 1837, "artists_tags": [ "male" ], "culture": [ "America, 19th century" ], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Novelist Henry James grew up with this painting and described its foreground monk as his “constant friend.”", "description": "Cole visited Italy in 1831 and made a small pencil sketch of this vista of Florence shortly before sunset. In his New York studio six years later, he transformed the drawing into this large oil painting, adding picturesque humans and goats to the foreground. Exhibiting View of Florence alongside a painting of the Catskill Mountains in New York in 1837, Cole set out to prove that he had mastered the very different landscapes of the Old and New Worlds.", "citations": [], "url": "https://clevelandart.org/art/1961.39", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1961.39/1961.39_web.jpg", "width": "900", "height": "554", "filesize": "126109", "filename": "1961.39_web.jpg" } }, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 136911, "creators": [ { "id": 2659, "description": "Thomas Cole (American, 1801–1848)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1801", "death_year": "1848" } ], "legal_status": "accessioned", "accession_date": "1961-02-20T00:00:00", "sortable_date": 1837, "date_text": "1837", "is_highlight": false, "updated_at": "2024-02-09 18:05:20.659000", "legacy": [] }, { "id": 103366, "accession_number": "1921.428", "share_license_status": "CC0", "tombstone": "Elizabeth Beltzhoover Mason, c. 1803–5. Gilbert Stuart (American, 1755–1828). Oil on canvas; framed: 90 x 78 x 8 cm (35 7/16 x 30 11/16 x 3 1/8 in.); unframed: 73.8 x 61 cm (29 1/16 x 24 in.). The Cleveland Museum of Art, Gift from J. H. Wade 1921.428", "current_location": "204 Colonial American", "title": "Elizabeth Beltzhoover Mason", "creation_date": "c. 1803–5", "creation_date_earliest": 1798, "creation_date_latest": 1810, "artists_tags": [ "male" ], "culture": [ "America, 19th century" ], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Stuart also painted a portrait of George Washington, now immortalized on the dollar bill.", "description": "Stuart introduced into American art a painting technique based on spontaneous, yet strategically placed brushstrokes and layers of subtle, translucent paint that presents sitters as if bathed in mist. Commissioned five years after her marriage, this painting of Elizabeth Beltzhoover Mason (1781–1836) declares her stylishness by associating her with Stuart's fashionable manner. The portrait adapts to a small format the accessories of column and drapery traditionally associated with larger paintings, creating an effect of both intimacy and grandeur.", "citations": [], "url": "https://clevelandart.org/art/1921.428", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1921.428/1921.428_web.jpg", "width": "743", "height": "900", "filesize": "217302", "filename": "1921.428_web.jpg" } }, "alternate_images": [], "creditline": "Gift from J. H. Wade", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Leigh and Mary Carter Gallery", "athena_id": 103366, "creators": [ { "id": 2556, "description": "Gilbert Stuart (American, 1755–1828)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1755", "death_year": "1828" } ], "legal_status": "accessioned", "accession_date": "1921-06-21T00:00:00", "sortable_date": 1798, "date_text": "c. 1803–5", "is_highlight": false, "updated_at": "2024-02-09 18:03:06.617000", "legacy": [] }, { "id": 134072, "accession_number": "1956.578", "share_license_status": "CC0", "tombstone": "Sunny Autumn Day, 1892. George Inness (American, 1825–1894). Oil on canvas; framed: 111.4 x 137.5 x 12.1 cm (43 7/8 x 54 1/8 x 4 3/4 in.); unframed: 81 x 106 cm (31 7/8 x 41 3/4 in.); former: 101 x 127 x 7.6 cm (39 3/4 x 50 x 3 in.). The Cleveland Museum of Art, Anonymous Gift 1956.578", "current_location": "208 American Gilded Age and Realism", "title": "Sunny Autumn Day", "creation_date": "1892", "creation_date_earliest": 1892, "creation_date_latest": 1892, "artists_tags": [ "male" ], "culture": [ "America, 19th century" ], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Inness died while viewing a sunset, proclaiming, \"Oh, how beautiful!” and falling to the ground.", "description": "Highly prolific, Inness created more than 1,000 works during a career lasting 50 years. Dated just two years before his death, Sunny Autumn Day epitomizes his late style in which the physical landscape is transformed into something akin to a spiritual apparition. Featuring blurred forms and atmospheric effects from translucent colors, this scene reflects Inness’s mystical view of the natural world.", "citations": [], "url": "https://clevelandart.org/art/1956.578", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1956.578/1956.578_web.jpg", "width": "1179", "height": "893", "filesize": "817166", "filename": "1956.578_web.jpg" } }, "alternate_images": [], "creditline": "Anonymous Gift", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Cleveland Foundation Gallery", "athena_id": 134072, "creators": [ { "id": 2493, "description": "George Inness (American, 1825–1894)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1825", "death_year": "1894" } ], "legal_status": "accessioned", "accession_date": "1956-10-24T00:00:00", "sortable_date": 1892, "date_text": "1892", "is_highlight": false, "updated_at": "2024-02-09 18:05:09.149000", "legacy": [] }, { "id": 169187, "accession_number": "2011.110", "share_license_status": "CC0", "tombstone": "Indian Combat, 1868. Edmonia Lewis (American, c. 1844–1907). Marble; overall: 76.2 x 48.3 x 36.5 cm (30 x 19 x 14 3/8 in.). The Cleveland Museum of Art, American Painting and Sculpture Sundry Purchase Fund and Purchase from the J. H. Wade Fund 2011.110", "current_location": "207 American Realism", "title": "Indian Combat", "creation_date": "1868", "creation_date_earliest": 1868, "creation_date_latest": 1868, "artists_tags": [ "female", "African-American Artists" ], "culture": [ "America, 19th century" ], "technique": "marble", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Sculpture", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Growing up in her Ojibwe community, Lewis went by a name that translates as \"Wildfire.\"", "description": "Of Native American (Ojibwe) and African American ancestry, Lewis studied at Oberlin College and apprenticed with a sculptor in Boston before relocating to Rome in 1866. Her most popular works were Native American subjects, readily purchased by patrons on both sides of the Atlantic. Indian Combat, a spiraling composition with three intertwined figures, ranks as her most dynamic and complex creation. Although Lewis’s Native American subjects typically exist in multiple versions, this example appears to be unique.", "citations": [], "url": "https://clevelandart.org/art/2011.110", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/2011.110/2011.110_web.jpg", "width": "740", "height": "893", "filesize": "247827", "filename": "2011.110_web.jpg" } }, "alternate_images": [], "creditline": "American Painting and Sculpture Sundry Purchase Fund and Purchase from the J. H. Wade Fund", "sketchfab_id": "7723feae34eb441fa9f74dd330b7b7d5", "sketchfab_url": "https://sketchfab.com/models/7723feae34eb441fa9f74dd330b7b7d5", "gallery_donor_text": null, "athena_id": 169187, "creators": [ { "id": 61503, "description": "Edmonia Lewis (American, c. 1844–1907)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "c. 1844", "death_year": "1907" } ], "legal_status": "accessioned", "accession_date": "2011-09-06T00:00:00", "sortable_date": 1868, "date_text": "1868", "is_highlight": true, "updated_at": "2024-02-09 18:08:12.180000", "legacy": [] }, { "id": 172815, "accession_number": "1922.684", "share_license_status": "CC0", "tombstone": "Mount Starr King, Yosemite, 1866. Albert Bierstadt (American, 1830–1902). Oil on canvas on panel-back stretcher; framed: 135.3 x 181 x 15.6 cm (53 1/4 x 71 1/4 x 6 1/8 in.); unframed: 97 x 142.3 cm (38 3/16 x 56 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection 1922.684", "current_location": "206 American Landscape", "title": "Mount Starr King, Yosemite", "creation_date": "1866", "creation_date_earliest": 1866, "creation_date_latest": 1866, "artists_tags": [ "male" ], "culture": [ "America, 19th century" ], "technique": "oil on canvas on panel-back stretcher", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [ "50.1922", "916.16", "221.1922" ], "did_you_know": "Highly successful, Bierstadt built a mansion and named it Malkasten, a German word meaning “paintbox.”", "description": "During the summer of 1863, Bierstadt visited Yosemite Valley in California and made numerous sketches. Back in his New York studio, he used them to produce many majestic paintings, including this view of the distant granite peak Mount Starr King. Such scenes thrilled East Coast audiences and helped encourage early movements to safeguard natural wonders. In 1864, President Lincoln signed a bill preserving Yosemite as public property; it became a national park in 1890.

Bierstadt included two Native Americans with a packhorse in his composition, and their presence references the fact that Indigenous peoples had inhabited or seasonally visited the region for millennia. Over time, various government and military agencies dispossessed them of these ancestral lands. Although no longer residents in the national park, descendants of the seven Indigenous nations with ties to Yosemite persevered to live in neighboring areas.", "citations": [], "url": "https://clevelandart.org/art/1922.684", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1922.684/1922.684_web.jpg", "width": "1263", "height": "855", "filesize": "719317", "filename": "1922.684_web.jpg" } }, "alternate_images": [], "creditline": "Hinman B. Hurlbut Collection", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 172815, "creators": [ { "id": 3011, "description": "Albert Bierstadt (American, 1830–1902)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1830", "death_year": "1902" } ], "legal_status": "accessioned", "accession_date": "1922-01-31T00:00:00", "sortable_date": 1866, "date_text": "1866", "is_highlight": false, "updated_at": "2024-02-09 18:08:33.922000", "legacy": [] }, { "id": 129300, "accession_number": "1952.17", "share_license_status": "CC0", "tombstone": "George III, 1783. Benjamin West (American, 1738–1820). Oil on canvas; framed: 152 x 127 x 9.5 cm (59 13/16 x 50 x 3 3/4 in.); unframed: 126.5 x 101 cm (49 13/16 x 39 3/4 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. Lawrence S. Robbins 1952.17", "current_location": "204 Colonial American", "title": "George III", "creation_date": "1783", "creation_date_earliest": 1783, "creation_date_latest": 1783, "artists_tags": [ "male" ], "culture": [ "America, 18th century" ], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Over the king's shoulder is a cape trimmed with ermine, a fur associated with royalty.", "description": "King George III commissioned more than 80 paintings from West, including this portrait that celebrates his military leadership by presenting him in a suit of armor. Such an image likely was intended to bolster George III's reputation, which had been tarnished the previous year when he was forced to formally recognize American independence.", "citations": [], "url": "https://clevelandart.org/art/1952.17", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1952.17/1952.17_web.jpg", "width": "710", "height": "893", "filesize": "445000", "filename": "1952.17_web.jpg" } }, "alternate_images": [], "creditline": "Gift of Mr. and Mrs. Lawrence S. Robbins", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 129300, "creators": [ { "id": 2553, "description": "Benjamin West (American, 1738–1820)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1738", "death_year": "1820" } ], "legal_status": "accessioned", "accession_date": "1952-01-18T00:00:00", "sortable_date": 1783, "date_text": "1783", "is_highlight": false, "updated_at": "2024-02-09 18:04:50.058000", "legacy": [] }, { "id": 99445, "accession_number": "1919.1018", "share_license_status": "CC0", "tombstone": "British Manufactory; A Sketch, 1791. Benjamin West (American, 1738–1820). Oil on paper mounted on wood; framed: 67.4 x 80 x 5.2 cm (26 9/16 x 31 1/2 x 2 1/16 in.); unframed: 51 x 65 cm (20 1/16 x 25 9/16 in.). The Cleveland Museum of Art, Gift of the John Huntington Art and Polytechnic Trust 1919.1018", "current_location": "203B British Painting and Decorative Arts", "title": "British Manufactory; A Sketch", "creation_date": "1791", "creation_date_earliest": 1791, "creation_date_latest": 1791, "artists_tags": [ "male" ], "culture": [ "America, 18th century" ], "technique": "oil on paper mounted on wood", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Benjamin West was the first American artist to attain international fame.", "description": "As part of his work for the British court, Benjamin West produced several compositions celebrating the strength of the nation's economy. In this example, women in classical costumes paint vases, spin, and weave—a comparison of British manufacturing with the accomplishments of antiquity. One of a series of nine related sketches, this design was copied as a large mural decorating the Queen's Lodge at Windsor Castle, a room eliminated by remodeling in 1823.", "citations": [], "url": "https://clevelandart.org/art/1919.1018", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1919.1018/1919.1018_web.jpg", "width": "900", "height": "711", "filesize": "397256", "filename": "1919.1018_web.jpg" } }, "alternate_images": [], "creditline": "Gift of the John Huntington Art and Polytechnic Trust", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 99445, "creators": [ { "id": 2553, "description": "Benjamin West (American, 1738–1820)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1738", "death_year": "1820" } ], "legal_status": "accessioned", "accession_date": "1919-06-30T00:00:00", "sortable_date": 1791, "date_text": "1791", "is_highlight": false, "updated_at": "2024-02-09 18:02:46.698000", "legacy": [] }, { "id": 137259, "accession_number": "1962.2", "share_license_status": "CC0", "tombstone": "Mme L... (Laure Borreau), 1863. Gustave Courbet (French, 1819–1877). Oil on fabric; framed: 112.4 x 93 x 12.1 cm (44 1/4 x 36 5/8 x 4 3/4 in.); unframed: 81 x 61.2 cm (31 7/8 x 24 1/8 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 1962.2", "current_location": "220 19th Century European", "title": "Mme L... (Laure Borreau)", "creation_date": "1863", "creation_date_earliest": 1863, "creation_date_latest": 1863, "artists_tags": [ "male" ], "culture": [ "France, 19th century" ], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Courbet once wrote of Laure Borreau, the sitter in this portrait, \"I am in love with a splendid lady, the driving force behind my triumph.\"", "description": "Painted during Courbet's stay in the Saintonge region of western France, this portrait depicts Laure Borreau, owner of a fabric store and ladies confectionery. As the leader of the Realist movement in France, Courbet aimed to convey his democratic and socialist ideals by portraying ordinary people in a truthful, unidealized manner. While considering himself a radical innovator, Courbet nonetheless exhibited this portrait under the title Mme L... at the Paris Salon of 1863.", "citations": [], "url": "https://clevelandart.org/art/1962.2", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1962.2/1962.2_web.jpg", "width": "684", "height": "893", "filesize": "345987", "filename": "1962.2_web.jpg" } }, "alternate_images": [], "creditline": "Leonard C. Hanna, Jr. Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Victoire and Alfred Rankin Jr. Gallery", "athena_id": 137259, "creators": [ { "id": 1600, "description": "Gustave Courbet (French, 1819–1877)", "extent": null, "qualifier": null, "role": "artist", "biography": "Born into a wealthy farmer's family, Courbet began his training in 1831 at the Petit Séminaire in Ornans where, beginning in 1833, he studied under \"le père Baud,\" who had been a pupil of Gros (q.v.). He was befriended by poet Max Buchon, who would later write the first article on Courbet, claiming that he was the artist for the people. In 1837, hoping that Gustave would become a lawyer, his father sent him to the Collège Royal in Besançon. Despite his father's ambitions, Courbet began to study art at the academy there with Charles-Antoine Flageoulot (1774-1840), a former student of David (q.v.). By 1839 Courbet had moved to Paris to pursue a career in art. He refrained from entering the École des Beaux-Arts, studying instead briefly with Charles de Steuben (1788-1856) and preferring to learn how to paint by copying the works of the Old Masters in the museums. Courbet also wanted to work after life models and enrolled at the Académie Suisse. He began to submit paintings to the Salon, the majority of which were rejected. In 1846-47 Courbet traveled to the Netherlands where he studied the works of Rembrandt and Hals. The following year ten of his paintings were shown at the Salon, and together with his friends Baudelaire, Champfleury, and Buchon he became labeled a \"realist.\" Courbet's paintings shown at the 1851 Salon-Stonebreakers (1849, formerly Dresden Gemäldegalerie, destroyed during World War II), Peasants of Flagey (1850-55, Musée des Beaux-Arts, Besançon), and The Burial at Ornans (1849-50, Musée d'Orsay, Paris)-elicited criticism. Because Courbet represented the peasants as he saw them, without ennobling or idealizing them, his works met with disapproval. Moreover, these representations of peasants appeared at a time when the upper classes felt threatened by social unrest and by the instability of the republic. In 1855 Courbet financed an independent Pavillon du Réalisme near the Universal Exposition, where he showed his Painter's Studio (1854-55, Musée d'Orsay, Paris). He began to travel extensively, including visits to Gent, Brussels, Antwerp, Bruges, Cologne, Mainz, and Strasbourg. He returned to Germany in 1858, and while in Frankfurt, he began to paint the stag hunts he witnessed. The following year he visited the Normandy coast, painting seascapes, some of which became almost abstractions. Courbet turned to still lifes in 1862-63 when visiting the Saintonge area, yet he still continued to create landscapes and portraits. By 1870 he was offered the Legion of Honor but refused it because of his opposition to the imperial government. During the Paris Commune from March to May 1871, Courbet became an active member of the government. As chairman of the Commission for the Protection of the Artistic Monuments of Paris, he suggested the Vendôme Column be dismantled because it was an imperial symbol. The Commune decided instead to topple the column. When the Commune was defeated, Courbet was held responsible for this act of vandalism and was jailed for six months. In 1873 the government decided to rebuild the column at Courbet's expense. Unable to pay and fearful of being arrested, Courbet moved to Switzerland, where he spent the rest of his life in exile.", "name_in_original_language": null, "birth_year": "1819", "death_year": "1877" } ], "legal_status": "accessioned", "accession_date": "1962-02-17T00:00:00", "sortable_date": 1863, "date_text": "1863", "is_highlight": false, "updated_at": "2024-02-09 18:05:21.928000", "legacy": [] }, { "id": 126769, "accession_number": "1949.186", "share_license_status": "CC0", "tombstone": "Fight between a Tiger and a Buffalo, 1908. Henri Rousseau (French, 1844–1910). Oil on fabric; framed: 183 x 203 x 4.5 cm (72 1/16 x 79 15/16 x 1 3/4 in.); unframed: 170 x 189.5 cm (66 15/16 x 74 5/8 in.). The Cleveland Museum of Art, Gift of the Hanna Fund 1949.186", "current_location": "223 20th Century Avant-Garde", "title": "Fight between a Tiger and a Buffalo", "creation_date": "1908", "creation_date_earliest": 1908, "creation_date_latest": 1908, "artists_tags": [ "male" ], "culture": [ "France, late 19th-early 20th Century" ], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Many of Rousseau's paintings depict wild animals and tropical jungles that might lead you to believe he was quite the adventurer. Despite the wild subject matter Rousseau never left France, but instead drew inspiration from visiting botanical gardens and reading travel books. Would you like to visit the fantastical world shown in this painting?", "description": "Having never ventured outside France, Rousseau derived his jungle scenes from reading travel books and visiting the Paris botanical garden. He placed this imaginary scene of a tiger attacking a buffalo within a fantastic jungle environment in which botanical accuracy was of little importance (note the bananas growing upside down). Here, sharply outlined hothouse plants are enlarged to fearsome proportions. Rousseau was working on this painting while imprisoned for fraud in December 1907. Officials granted him an early release to finish it for exhibition at the Salon des Indépendants, where this major composition, one of the artist's largest and most important, appeared in March 1908. A self-taught artist and retired customs inspector, Rousseau was admired by Pablo Picasso and other avant-garde artists for his originality and the naïve purity of his vision.", "citations": [], "url": "https://clevelandart.org/art/1949.186", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1949.186/1949.186_web.jpg", "width": "900", "height": "806", "filesize": "265744", "filename": "1949.186_web.jpg" } }, "alternate_images": [], "creditline": "Gift of the Hanna Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Michael J. Horvitz Family Gallery", "athena_id": 126769, "creators": [ { "id": 1804, "description": "Henri Rousseau (French, 1844–1910)", "extent": null, "qualifier": null, "role": "artist", "biography": "Self-taught artist Henri Rousseau was born in Laval in 1844. He entered the military at the age of eighteen and served as a saxophone player in an infantry band. Most biographers discount his claim of traveling abroad during the Mexican campaign. In 1871 Rousseau left the military to join the customs service, where he spent fourteen years working on the outskirts of Paris as a minor inspector. After retiring with a small pension in 1885, he pursued the career of a painter and sought portrait commissions. From 1886 to 1910, he exhibited on a regular basis at the Salon des Indépendants, and after 1905, at the Salon d'Automne. Through these activities he became friendly with other artists, including Gauguin (q.v.), Pissarro (q.v.), Seurat (q.v), Paul Signac (1863-1935), and Redon (q.v.) who affectionately called him \"le douanier\" (customs officer). Rousseau's paintings were poorly received, and frequently ridiculed in the press, until he attracted a small group of admirers in the early years of this century. This group included Pablo Picasso, Maurice de Vlaminck, Robert Delaunay, Max Weber, and Ardengo Soffici, along with the writers Alfred Jarry, Max Jacob, André Salmon, and Guillaume Apollinaire. In 1908, a famous banquet honoring Rousseau was organized at Picasso's studio. Avant-garde artists admired Rousseau's direct, simple vision and his innate talent at clear, pictorial design. However, he aspired to paint in the academic manner of Gérôme (q.v.) and Bouguereau (q.v.). Rousseau reportedly told Picasso: \"We are the two greatest artists of this era-you in the Egyptian style, I in the modern style.\"1 Despite growing acclaim in his late years, Rousseau struggled for sales and was forced to supplement his meager income by giving private painting and violin lessons. He occasionally sold works through the dealers Ambroise Vollard and Wilhelm Uhde. In 1909 Rousseau was convicted of complicity in a bank fraud, but authorities suspended the sentence because of his age and apparent failure to comprehend his role in the crime. Rousseau died in Paris of pneumonia in 1910. In 1911 Uhde organized a retrospective at the Indépendants and published the first biography of Rousseau.", "name_in_original_language": null, "birth_year": "1844", "death_year": "1910" } ], "legal_status": "accessioned", "accession_date": "1949-06-14T00:00:00", "sortable_date": 1908, "date_text": "1908", "is_highlight": false, "updated_at": "2024-02-09 18:04:37.959000", "legacy": [] }, { "id": 149410, "accession_number": "1978.63", "share_license_status": "CC0", "tombstone": "In the Waves (Dans les Vagues), 1889. Paul Gauguin (French, 1848–1903). Oil on fabric; framed: 123.8 x 106 x 7 cm (48 3/4 x 41 3/4 x 2 3/4 in.); unframed: 92.5 x 72.4 cm (36 7/16 x 28 1/2 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. William Powell Jones 1978.63", "current_location": "222 Impressionism & Post-Impressionism", "title": "In the Waves (Dans les Vagues)", "creation_date": "1889", "creation_date_earliest": 1889, "creation_date_latest": 1889, "artists_tags": [ "male" ], "culture": [ "France, 19th century" ], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [ "610.68", "1110.78" ], "did_you_know": "Gauguin likely painted this work of art during his time in a small coastal village called Pont-Aven where he sought to immerse himself in nature and escape modern civilization.", "description": "Painted at Pont-Aven in northwest France, this depiction of a nude figure throwing herself into the sea suggests a metaphor for a modern European woman forsaking civilization and abandoning herself to her natural, primitive instincts. The simplified lines and exaggerated colors, especially the contrasting green and orange, seem invented rather than observed from life. Exhibiting the painting at the Café Volpini in Paris in 1889, Gauguin established himself as a leader of the Symbolist movement in art.", "citations": [], "url": "https://clevelandart.org/art/1978.63", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1978.63/1978.63_web.jpg", "width": "700", "height": "900", "filesize": "277344", "filename": "1978.63_web.jpg" } }, "alternate_images": [], "creditline": "Gift of Mr. and Mrs. William Powell Jones", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Nancy F. and Joseph P. Keithley Gallery", "athena_id": 149410, "creators": [ { "id": 1776, "description": "Paul Gauguin (French, 1848–1903)", "extent": null, "qualifier": null, "role": "artist", "biography": "Gauguin spent the first seven years of his life with his mother and great uncle in Peru. In 1855 his mother took him back to France where he attended boarding school. He joined the merchant marine when he was seventeen and began traveling around South America. When Gauguin's mother died in 1868, Gustave Arosa, an art collector and photographer, became his legal guardian. Arosa's collection included works by Corot (q.v.), Courbet (q.v.), Delacroix (q.v.), and the Barbizon painters, and it was he who would encourage Gauguin to start painting. In 1872 Arosa found a job for Gauguin at a brokerage firm, giving him financial security. The following year he married a Danish woman, Mette Gad. Gauguin had already started painting and sculpting in his spare time and first exhibited at the Salon in 1876 with a landscape.1 He was asked by Pissarro (q.v.) and Degas (q.v.) to participate in the fourth impressionist exhibition in 1879, where from then on he would exhibit regularly. Durand-Ruel began purchasing his paintings, and in turn Gauguin started to collect the works of his colleagues, such as Manet (q.v.) and Renoir (q.v.) and, in particular, Cézanne (q.v.) and Pissarro. He went to Pontoise in 1882, where he painted with Cézanne and Pissarro, who along with Degas continued to influence him at this period. In 1883 Gauguin decided to become a full-time artist. In 1884 he moved with his wife and children to Rouen and then to Copenhagen, but he failed to earn a comfortable living. He returned to Paris in 1886 and met ceramicist Ernest Chaplet (1835-1909), who introduced him to his métier. Gauguin distanced himself from impressionism and in 1888 worked in Pont-Aven with Émile Bernard (1868-1941), who had been experimenting with creating compositions using flat areas of color and dark outlines (cloissonism). Gauguin also studied Japanese prints and Indonesian art. The impact of these influences is evident in Gauguin's Vision after the Sermon: Jacob Wrestling with the Angel (1888, National Gallery of Scotland, Edinburgh), so far removed from his earlier impressionist style. Succumbing to van Gogh's (q.v.) many requests, Gauguin agreed to travel to Arles and paint with the artist; their characters, however, proved incompatible. Theo van Gogh, who worked for Boussod Valadon & Cie, would in the meantime sell Gauguin's work. For the next two years, Gauguin traveled often around Brittany. In search of a more pure and unspoiled culture, he auctioned off his paintings in 1891 in order to finance a journey to Tahiti. Upon his arrival, he was disappointed to find many expatriates and developed areas, yet he was still able to capture in his works an uncultivated spirit. He not only made paintings but also created bold woodcuts and sculptures and was an avid writer. Gauguin returned to France in 1893, where he was given a solo exhibition by Durand-Ruel that was not particularly successful. He decided to leave Europe again in 1895, moving to Tahiti and later to Hivaoa, a more remote island in the Marquesas. Because he abandoned naturalistic colors and used formal distortions in order to achieve expressive compositions, Gauguin's work became an inspiration for many subsequent artists. 1. Possibly Wildenstein 1964, no. 12.", "name_in_original_language": null, "birth_year": "1848", "death_year": "1903" } ], "legal_status": "accessioned", "accession_date": "1978-11-20T00:00:00", "sortable_date": 1889, "date_text": "1889", "is_highlight": false, "updated_at": "2024-02-09 18:06:19.292000", "legacy": [] }, { "id": 125249, "accession_number": "1947.209", "share_license_status": "CC0", "tombstone": "The Large Plane Trees (Road Menders at Saint-Rémy), 1889. Vincent van Gogh (Dutch, 1853–1890). Oil on fabric; framed: 104.5 x 124.5 x 7.6 cm (41 1/8 x 49 x 3 in.); unframed: 73.4 x 91.8 cm (28 7/8 x 36 1/8 in.). The Cleveland Museum of Art, Gift of the Hanna Fund 1947.209", "current_location": "222 Impressionism & Post-Impressionism", "title": "The Large Plane Trees (Road Menders at Saint-Rémy)", "creation_date": "1889", "creation_date_earliest": 1889, "creation_date_latest": 1889, "artists_tags": [ "male" ], "culture": [ "Netherlands" ], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Van Gogh sometimes created what he called \"repetitions,\" in which he painted the same subject and composition again. This painting has a repetition, currently in the Phillips Collection in Washington, DC. Conservation research has shown that the Cleveland painting is the first version.", "description": "In 1889, after suffering a severe hallucinatory seizure, Van Gogh committed himself to an asylum near Saint-Rémy. While walking through the town that fall, he was impressed by the sight of men repairing a road beneath immense plane trees. Rushing to capture the yellowing leaves, he painted this composition on an unusual cloth with a pattern of small red diamonds, visible in the picture’s many unpainted areas. “In spite of the cold,” he wrote to his brother, “I have gone on working outside till now, and I think it is doing me good and the work too.” After painting this composition directly from nature, Van Gogh used it to produce a second version in the studio known as The Road Menders at Saint-Rémy. Painted on a traditional canvas covered by a ground layer, the second version is more restrained, the explosive yellows balanced by larger areas of cool color.", "citations": [], "url": "https://clevelandart.org/art/1947.209", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1947.209/1947.209_web.jpg", "width": "900", "height": "718", "filesize": "341961", "filename": "1947.209_web.jpg" } }, "alternate_images": [], "creditline": "Gift of the Hanna Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Nancy F. and Joseph P. Keithley Gallery", "athena_id": 125249, "creators": [ { "id": 1779, "description": "Vincent van Gogh (Dutch, 1853–1890)", "extent": null, "qualifier": null, "role": "artist", "biography": "The son of a clergyman, Vincent van Gogh was sent to The Hague at the age of sixteen to become an apprentice at Goupil & Co., an art dealer with whom his uncle was affiliated. In August 1872 van Gogh began his extensive correspondence with his younger brother Theo, who would join the Brussels branch of the firm the following year. Vincent was transferred to the London offices in 1873 and two years later to the Paris office, but he despised the art trade and was dismissed in 1876. He then taught briefly at a boarding school in Ramsgate and Isleworth, and, back in the Netherlands, worked in a bookshop in Dordrecht before moving to Amsterdam to study theology. In little more than a year he had left the university and entered missionary school, failing again. Still intent on entering the ministry, he moved to the Borinage in Belgium and became a lay evangelist to the miners. Van Gogh finally decided to become an artist in August 1880 and started copying works by Millet (q.v.), the painter of peasant life. With his brother's financial help, he briefly joined the Academy in Brussels. The following year he returned to The Hague, where he received some artistic training from his cousin by marriage, Anton Mauve (1838-1888). There van Gogh met Sien Hoornik, a pregnant prostitute with a five-year-old daughter, with whom he lived briefly. Unable to marry her because of his family's disapproval, he moved in November 1883 from The Hague to the province of Drenthe, a popular place for artists, where he painted and drew laborers and peasants. Feeling terribly lonely, he visited his parents in December 1884 in Nuenen, and it was there that he finally decided to become a painter of peasant life. Van Gogh completed The Potato Eaters (Van Gogh Museum, Amsterdam) in April 1885 and sent it to his brother in Paris. On 25 November he moved to Antwerp, where he reveled in the work of Rubens and first came to know Japanese prints. Van Gogh traveled to Paris in March 1886 and lived with Theo. Under the influence of the impressionists, and works by Monticelli (q.v.), his palette changed to more intense and vibrant colors. He began to associate with Émile Bernard (1868-1941), Henri de Toulouse-Lautrec (1864-1901), Degas (q.v.), Gauguin (q.v.), Pissarro (q.v.), and Seurat (q.v.) and started collecting some of their paintings as well as Japanese prints. He moved to Arles in February 1888. Apart from paintings, he also made some drawings because it was a cheaper medium. Theo encouraged him to submit to the Salon des Indépendants. In May Vincent rented a room in the Yellow House, even though he could hardly afford to do so, and continued to send his work to his brother. In June he became intrigued with the subject of the wheat harvest and painted The Sower (Kröller-Müller Museum, Otterlo). On 23 October 1888, Gauguin arrived in Arles, at a time when van Gogh was having trouble with his eyesight. Gauguin encouraged him to paint from memory, which resulted in Memory of the Garden in Etten (Hermitage, St. Petersburg). The artists, however, had many disagreements, and during a dramatic quarrel on 23 December van Gogh mutilated his ear. He was taken into a hospital in Arles, and Gauguin left for Paris. Van Gogh recovered rapidly and was dismissed on 7 January 1889. In February his neighbors objected to his presence in the Yellow House, and he had to return to the hospital. In April Theo married Johanna Gesina Bonger, who would eventually safeguard most of Vincent's oeuvre. Aware of his mental problems, at the end of April van Gogh checked himself into the asylum of Saint-Paul-de-Mausole in Saint-Rémy, where he was treated by Dr. Peyron. His condition was stable, and he was allowed to work in a makeshift studio. He worked in the garden (Irises, J. Paul Getty Museum, Los Angeles) and painted the fields he could see from his window. Under supervision he painted in the countryside, rendering cypresses and olive trees. Starry Night (Museum of Modern Art, New York) also stems from this period. From July through September he suffered from a severe depression that prevented him from working. He resumed his work from October through December, painting well-known Provençal works and adapting prints after Delacroix (q.v.), Millet, and Rembrandt (1606-1669). In January 1890 he exhibited five works with Les XX in Brussels, selling one of them. After a visit to Arles at the end of February, he became ill again but continued to work. He finally left the asylum, and visited Theo in Paris on his way to Auvers, where he arrived on 20 May. He became close friends with Dr. Gachet and rented a room at the inn of the Ravoux family. He painted the village, portraits, and the surrounding wheat fields. On 27 July 1890, during an episode of depression, van Gogh shot himself in the chest and died two days later.", "name_in_original_language": null, "birth_year": "1853", "death_year": "1890" } ], "legal_status": "accessioned", "accession_date": "1947-07-18T00:00:00", "sortable_date": 1889, "date_text": "1889", "is_highlight": true, "updated_at": "2024-02-09 18:04:31.023000", "legacy": [] }, { "id": 135382, "accession_number": "1958.39", "share_license_status": "CC0", "tombstone": "The Red Kerchief, c. 1868–73. Claude Monet (French, 1840–1926). Oil on fabric; framed: 128.3 x 105.7 x 14.6 cm (50 1/2 x 41 5/8 x 5 3/4 in.); unframed: 99 x 79.8 cm (39 x 31 7/16 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna, Jr. 1958.39", "current_location": "222 Impressionism & Post-Impressionism", "title": "The Red Kerchief", "creation_date": "c. 1868–73", "creation_date_earliest": 1868, "creation_date_latest": 1873, "artists_tags": [ "male" ], "culture": [ "France, 19th century" ], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Madame Monet’s red cape draws the viewer’s attention beyond the glass of the French doors capturing her glance, a brief moment frozen in time. This painting was very special to Monet and he kept it with him for his entire life.", "description": "This painting depicts Monet's first wife, Camille, outside on a snowy day passing by the French doors of their home at Argenteuil. Her face is rendered in a radically bold Impressionist technique of mere daubs of paint quickly applied, just as the snow and trees are defined by broad, broken strokes of pure white and green.", "citations": [], "url": "https://clevelandart.org/art/1958.39", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1958.39/1958.39_web.jpg", "width": "723", "height": "900", "filesize": "242663", "filename": "1958.39_web.jpg" } }, "alternate_images": [], "creditline": "Bequest of Leonard C. Hanna, Jr.", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 135382, "creators": [ { "id": 1844, "description": "Claude Monet (French, 1840–1926)", "extent": null, "qualifier": null, "role": "artist", "biography": "Claude Monet spent his youth in Le Havre in Normandy, where his father worked as a wholesale grocer. By the age of sixteen, he had exhibited some of his caricatures in an art supply store, leading to his acquaintance with Boudin (q.v.). It was Boudin who first encouraged him to paint out of doors. In 1859 Monet traveled to Paris, where he saw Boudin's salon debut and met Constant Troyon (1810-1865). A year later he joined the Académie Suisse, where he was introduced to Pissarro (q.v.), but his studies were interrupted in 1861 when he was drafted for a seven-year stint in the military. His family would pay for his release from military duties only if he gave up painting. Finding this unacceptable, Monet served for one year in Algeria before an early return to France to convalesce after a severe illness. In 1862 he met Jongkind (q.v.), another important influence on the young painter's development. Monet's father then allowed him to pursue his art career in Paris, where he entered the studio of the Swiss painter Charles Gleyre (1806-1874). He studied with Gleyre until 1864 and befriended Frédéric Bazille (1841-1870), Renoir (q.v.), and Sisley (q.v.), with whom he painted in the forest of Fontainebleau (Déjeuner sur l'herbe, 1865, two fragments in Musée d'Orsay, Paris). Monet first exhibited at the Salon of 1865 and would do so again in 1866, 1868, and 1880. In 1868 he shared a studio with Bazille and Renoir but was soon forced to leave Paris to escape his creditors. He took his mistress, Camille Doncieux, and their son, Jean, to Fécamp, then Étretat, and finally Saint-Michel. There Renoir provided hospitality, and the two also painted at the boating and bathing center of La Grenouillère on the Seine. In 1870 Monet married Camille and, to escape the Franco-Prussian War, left for London, where he remained for nine months and met Durand-Ruel, his first dealer. In the summer of 1871 he visited the Netherlands and then settled in Argenteuil, to the west of Paris. He converted a boat into a studio, as Daubigny (q.v.) had done before him, allowing him to explore different viewpoints for his landscapes. He assisted in the organization of the First Impressionist Exhibition in 1874, partly because Durand-Ruel's worsened business situation had prevented the dealer from buying his art. The following year he participated in the Hôtel Drouot sale with Morisot (q.v.), Renoir, and Sisley. In 1878 Monet and his wife moved to Vétheuil with the Hoschedés, who had previously commissioned some works. Camille died the following year, and, while Ernest Hoschedé spent most of his time in Paris trying to settle his precarious financial situation, Monet stayed behind with Ernest's wife, Alice. In 1881 he moved with her and her children to Poissy and within two years was living at Giverny, where he would remain for the rest of his life. He painted some of his famous scenes-the haystack and poplar series, for example- in 1890-91. Ernest Hoschedé died in 1891, and Monet married Alice the following year. At Giverny, Monet explored the themes of his garden and water lilies. He continued to travel, going to Norway in 1895, making three trips to London from 1899 through 1901, and taking Alice to Venice in 1908. The final years of his life were mainly spent working on his Great Decorations, large paintings of a water lily pond designed for two oval rooms at the Paris Orangerie. Monet is generally considered the most typical exponent of impressionism.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1926" } ], "legal_status": "accessioned", "accession_date": "1958-11-29T00:00:00", "sortable_date": 1868, "date_text": "c. 1868–73", "is_highlight": true, "updated_at": "2024-02-09 18:05:14.326000", "legacy": [] }, { "id": 125104, "accession_number": "1946.83", "share_license_status": "CC0", "tombstone": "Frieze of Dancers, c. 1895. Edgar Degas (French, 1834–1917). Oil on fabric; framed: 103 x 233.5 x 7 cm (40 9/16 x 91 15/16 x 2 3/4 in.); unframed: 70 x 200.5 cm (27 9/16 x 78 15/16 in.). The Cleveland Museum of Art, Gift of the Hanna Fund 1946.83", "current_location": "222 Impressionism & Post-Impressionism", "title": "Frieze of Dancers", "creation_date": "c. 1895", "creation_date_earliest": 1890, "creation_date_latest": 1900, "artists_tags": [ "male" ], "culture": [ "France, 19th century" ], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The ballet is a subject Degas returned to again and again over the course of his career. Rather than public performances, he often depicted dancers behind the curtain, practicing, waiting, or, as in this painting, lacing up their shoes.", "description": "This painting may depict a single dancer seen from four different viewpoints. The young woman is placed in an undefined setting, surrounded by mere wisps of color, applied so spontaneously that the paint ran and dripped. Degas even added the circles in the foreground with his thumb. Such audacity, while acceptable in a small sketch, must have shocked the artist's contemporaries when presented on a six-foot canvas. Equally radical is the idea of combining multiple views of a single figure. Degas's unusual presentation may have been inspired by the photographs of Eadweard Muybridge (1830-1904)", "citations": [], "url": "https://clevelandart.org/art/1946.83", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1946.83/1946.83_web.jpg", "width": "900", "height": "314", "filesize": "96599", "filename": "1946.83_web.jpg" } }, "alternate_images": [], "creditline": "Gift of the Hanna Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Nancy F. and Joseph P. Keithley Gallery", "athena_id": 125104, "creators": [ { "id": 1759, "description": "Edgar Degas (French, 1834–1917)", "extent": null, "qualifier": null, "role": "artist", "biography": "Son of a Parisian banker, Edgar Degas enrolled in law school in 1853 following his father's wishes. But he had already shown an interest in art and had also registered to copy at the Louvre. In 1855 he entered the École des Beaux-Arts and became a student of Louis Lamothe (1822-1869), a former pupil of Ingres (q.v.). One year later Degas made the traditional journey to Italy, remaining there for three years. He visited family members in Naples and Florence and attended life classes at the Villa Medici in Rome. A visit to Normandy in 1861 may have introduced him to the racetrack. In Paris he continued to study at the Louvre, where he met Manet (q.v.) in 1862. Apart from his continuous interest in portraiture and history painting, Degas began to pay attention to subjects of modern life. Between 1865 and 1870, he exhibited at the Salon. At the time of the Franco-Prussian War, he enlisted in the artillery, but because of his poor eyesight he served (with Manet) in the infantry. After the war he traveled first to London and, in 1872-73, visited his uncle and brothers who had a cotton business in New Orleans. Degas participated in the first impressionist exhibition of 1874. He continued to exhibit with these artists until 1886 but never completely considered himself a member of the group, preferring to call himself a realist or naturalist. While many of the impressionists painted en plein air, Degas worked with models in his studio and, later in his career, from his imagination. In addition to painting, he experimented often with monotypes, engraving, pastels, sculpture, and photography. He traveled extensively-London, Naples, Spain, Morocco, and Switzerland-but continued to draw his subject matter from modern-day Paris. Other recurring themes would be the female nude and the ballet dancer. After the impressionist exhibition of 1886, Degas no longer participated in group shows. Instead he sold his works to private dealers such as Durand-Ruel and Ambroise Vollard. In the 1890s he began his own art collection, which, besides many works on paper, included paintings by such artists as Ingres, Cézanne (q.v.), Delacroix (q.v.), Gauguin (q.v.), and van Gogh (q.v.). His own art at the time became characterized by broader strokes of paint, charcoal, and pastel and the use of more vibrant colors, partly because of problems with his vision. His failing eyesight and poor health caused him to abandon his pursuit of art during the last years of his life.", "name_in_original_language": null, "birth_year": "1834", "death_year": "1917" } ], "legal_status": "accessioned", "accession_date": "1946-02-07T00:00:00", "sortable_date": 1890, "date_text": "c. 1895", "is_highlight": false, "updated_at": "2024-02-09 18:04:30.191000", "legacy": [] }, { "id": 138464, "accession_number": "1962.37", "share_license_status": "CC0", "tombstone": "Cupid and Psyche, 1817. Jacques-Louis David (French, 1748–1825). Oil on canvas; framed: 221 x 282 x 10 cm (87 x 111 x 3 15/16 in.); unframed: 184.2 x 241.6 cm (72 1/2 x 95 1/8 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 1962.37", "current_location": "201 French Neoclassical Painting & Sculpture", "title": "Cupid and Psyche", "creation_date": "1817", "creation_date_earliest": 1817, "creation_date_latest": 1817, "artists_tags": [ "male" ], "culture": [ "France, 19th century" ], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [ { "id": 162396, "description": "Cupid and Psyche, 1813. Jacques-Louis David (French, 1748-1825). Gray wash and pen and black ink with white paint and traces of black chalk ; sheet: 16.7 x 22.4 cm (6 9/16 x 8 13/16 in.). The Cleveland Museum of Art, Andrew R. and Martha Holden Jennings Fund 2002.91", "relationship": "based on" } ], "former_accession_numbers": [], "did_you_know": "Jacques-Louis David included two butterflies in this painting: one above the slumbering Psyche and the other on the base of the couple's bed frame.", "description": "David used the story of Cupid and Psyche to explore the conflict between idealized love and physical reality. Cupid, lover of the beautiful mortal Psyche, visited her nightly on the condition that she not know his identity. Cupid was usually depicted as an ideal adolescent, but here David presents him as an ungainly teenager smirking at his sexual conquest. David took inspiration from a number of ancient texts, including an obscure, recently published Greek poem by Moschus that describes Cupid as a mean-spirited brat with flashing eyes and curly hair.", "citations": [], "url": "https://clevelandart.org/art/1962.37", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1962.37/1962.37_web.jpg", "width": "1180", "height": "893", "filesize": "695293", "filename": "1962.37_web.jpg" } }, "alternate_images": [], "creditline": "Leonard C. Hanna, Jr. Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 138464, "creators": [ { "id": 1643, "description": "Jacques-Louis David (French, 1748–1825)", "extent": null, "qualifier": null, "role": "artist", "biography": "The founder and leading painter of the neoclassical movement in France, Jacques-Louis David was born in Paris to a prosperous family of artists and archi-tects. In 1766 he entered the Académie Royale as the pupil of Joseph-Marie Vien (1716-1809). After several failed attempts, David won the Prix de Rome in 1774. The following year he left for Italy, where he studied antique art and envisioned replacing the frivolity of the rococo with an art of grandeur, simplicity, and moral virtue. After returning to Paris in 1780, he established his reputa-tion with three spectacular successes at the Salon: The Oath of the Horatii (1785, Musée du Louvre, Paris), The Death of Socrates (1787, Metropolitan Museum of Art, New York), and The Lictors Bring-ing Brutus the Bodies of His Sons (1789, Musée du Louvre, Paris). Widely interpreted as moral parables for contemporary political events, these archetypes of neoclassical aesthetics set the standard for academic painting of the next century. In the 1790s David joined the radical Jacobin Club and played an active role in the French Revolution. He allied himself with Robespierre, served a short term as president of the Convention, and voted for the execution of Louis XVI. He also placed his artistic talents at the service of the Revolution by creating paintings that glorified its martyrs and by organizing public festivals that celebrated the new political order. As the most prominent artist in the revolutionary ranks, he led the attack against the Académie Royale that culminated in its abolish-ment in 1793. When the excesses of the Reign of Terror precipitated the fall of Robespierre in 1794, David was imprison-ed but spared execution. Authorities released him the following year due to ill health. Around 1798 David developed a new alliance with the brilliant young general of the Directory, Napoléon Bonaparte. David's painting The Intervention of the Sabine Women (1799, Musée du Louvre, Paris) coalesced perfectly with Napoleonic propaganda urging national reconciliation. After the coup d'état of 1799, Napoléon was named first consul and began supplying David with important commissions. Upon Napoléon's coronation in 1804, David was appointed first painter to the emperor. David's monumental painting The Coronation of Napoléon, or Le Sacre (1805-7, Musée du Louvre, Paris), introduced a less spartan, more colorful and emotive style. However, as seen in his life-size portrait Napoléon in His Study (1812, National Gallery of Art, Washington, D.C.), David increasingly searched to balance this new heroic-romanticism with an exacting realism. In 1816, following Napoléon's defeat at Waterloo and the restoration of the monarchy, David went into exile in Belgium. He spent the last nine years of his life in Brussels, painting mostly mythological subjects and portraits. David died of a stroke in 1825 and was denied burial in France.", "name_in_original_language": null, "birth_year": "1748", "death_year": "1825" } ], "legal_status": "accessioned", "accession_date": "1962-02-17T00:00:00", "sortable_date": 1817, "date_text": "1817", "is_highlight": true, "updated_at": "2024-02-09 18:05:29.517000", "legacy": [] }, { "id": 135214, "accession_number": "1958.23", "share_license_status": "CC0", "tombstone": "The Troubadour, 1868–73. Honoré Daumier (French, 1808–1879). Oil on fabric; framed: 99.5 x 73 x 8 cm (39 3/16 x 28 3/4 x 3 1/8 in.); unframed: 83.6 x 56.8 cm (32 15/16 x 22 3/8 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna, Jr. 1958.23", "current_location": "220 19th Century European", "title": "The Troubadour", "creation_date": "1868–73", "creation_date_earliest": 1868, "creation_date_latest": 1873, "artists_tags": [ "male" ], "culture": [ "France, 19th century" ], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Daumier was called the “Michelangelo of caricature” and especially renowned for his cartoons and drawings satirizing 19th-century French politics and society.", "description": "The troubadour, a medieval traveling poet and entertainer, was a popular subject in 19th-century French art. Associated with chivalry and courtly love, the theme reflects a broader, romantic fascination with France's medieval past. Although Daumier was particularly inspired by the troubadour paintings of French Rococo artist Jean-Antoine Watteau of the 1700s, he rendered the subject here in a powerful style of simplified, muscular form that appealed to modern artists of his own time.", "citations": [], "url": "https://clevelandart.org/art/1958.23", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1958.23/1958.23_web.jpg", "width": "595", "height": "893", "filesize": "412396", "filename": "1958.23_web.jpg" } }, "alternate_images": [], "creditline": "Bequest of Leonard C. Hanna, Jr.", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 135214, "creators": [ { "id": 1638, "description": "Honoré Daumier (French, 1808–1879)", "extent": null, "qualifier": null, "role": "artist", "biography": "Honoré Daumier was eight years old when his father, a glazier and frame maker who had decided to pursue his poetic talents in Paris, sent for the wife and three sons he lad left behind in Marseilles. In Paris Daumier studied drawing with Alexandre Lenoir (1761-1839) and at the Académie Suisse. Around 1825 he began a five-year apprenticeship with the publisher and lithographer Zépherin Belliard (1798-?). The July revolution of 1830, which established Louis-Philippe as the constitutional monarch in France, coincided with Daumier's creation of satirical lithographs aimed at this new government. That same year he joined La Caricature, a political journal founded by the republican artist-publisher, Charles Philipon (1802-1862). Daumier's antimonarchist and liberal subjects that were printed in this paper eventually cost the journal censorship and the artist six months in jail (31 August 1832 to 14 February 1833) plus a 300-franc fine. His prison sentence did not deter him from producing political statements and, in fact, only fueled his rage. The subjects of his lithographs became much more aggressive. In 1835 he worked for Philipon's second publication, Le Charivari, a humorous political newspaper that published Daumier's satirical caricature until it, too, suffered censorship under the new government. Although Daumier may be best known for his graphic art, he was also a sculptor and a prolific painter. Sculpture became another medium to produce his infamous caricatures. His friend, Honoré de Balzac, French novelist and editor of La Caricature, saw in these works the force of Michelangelo. In 1834 Daumier began experimenting with painting, both in oil and watercolor. Apart from his Salon entries of 1849 and 1850, his paintings, which totaled over three hundred, were painted primarily for his own pleasure and virtually unknown to the public until after his death in 1879.", "name_in_original_language": null, "birth_year": "1808", "death_year": "1879" } ], "legal_status": "accessioned", "accession_date": "1958-11-29T00:00:00", "sortable_date": 1868, "date_text": "1868–73", "is_highlight": false, "updated_at": "2024-02-09 18:05:13.507000", "legacy": [] }, { "id": 122351, "accession_number": "1942.647", "share_license_status": "CC0", "tombstone": "The Burning of the Houses of Lords and Commons, 16 October 1834, 1835. Joseph Mallord William Turner (British, 1775–1851). Oil on canvas; framed: 123.5 x 153.5 x 12 cm (48 5/8 x 60 7/16 x 4 3/4 in.); unframed: 92 x 123.2 cm (36 1/4 x 48 1/2 in.). The Cleveland Museum of Art, Bequest of John L. Severance 1942.647", "current_location": "203B British Painting and Decorative Arts", "title": "The Burning of the Houses of Lords and Commons, 16 October 1834", "creation_date": "1835", "creation_date_earliest": 1835, "creation_date_latest": 1835, "artists_tags": [ "male" ], "culture": [ "England, 19th century" ], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Turner painted two versions of this event. Cleveland's painting views the fire downriver, from the southeast bank of the Thames, while the second version at the Philadelphia Museum of Art views the fire from directly across Westminster Bridge.", "description": "Fire consumed London’s famous Houses of Parliament on the night of October 16, 1834, and people gathered along the banks of the river Thames to gaze in awe at the horrifying spectacle. Initially, a low tide made it difficult to pump water to land and hampered steamers towing firefighting equipment along the river. The blaze burned uncontrollably for hours.

J. M. W. Turner records the struggle as the boats in the lower-right corner head toward the flames. Although Turner based the painting on an actual event, he magnified the height of the flames, using the disaster as the starting point to express man’s helplessness when confronted with the destructive powers of nature. Brilliant swathes of color and variable atmospheric effects border on abstraction.", "citations": [], "url": "https://clevelandart.org/art/1942.647", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1942.647/1942.647_web.jpg", "width": "900", "height": "668", "filesize": "241680", "filename": "1942.647_web.jpg" } }, "alternate_images": [], "creditline": "Bequest of John L. Severance", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Ellen and Bruce Mavec Gallery", "athena_id": 122351, "creators": [ { "id": 1280, "description": "Joseph Mallord William Turner (British, 1775–1851)", "extent": null, "qualifier": null, "role": "artist", "biography": "Joseph Mallord William Turner, the supreme landscape painter of the romantic era, had the exceptional good fortune to be the son of a Covent Garden barber and wigmaker who thoroughly supported his aspirations to paint pictures. As an adolescent, Turner colored engravings for the print sellers and apprenticed with architectural draftsman Thomas Malton (1726-1801). Although he entered the Royal Academy Schools in 1789, Turner's substantive artistic training came from his numerous self-conducted topographical drawing tours of the British Isles in the early 1790s and from his camaraderie with Thomas Girtin (1775-1802), with whom he copied the masterworks of landscape watercolorist John Robert Cozens (1752-1799) in the collection of Dr. Thomas Monro (1759-1833). Turner submitted his first oil painting, a seascape, for exhibition at the Royal Academy in 1796 and was elected an associate member three years later, at the earliest permissible age. Devoted to the academy's lofty mission, as it had been articulated by the recently deceased Sir Joshua Reynolds (1723-1792) in his annual lectures to the students of the academy, Turner would relish his election as a full academician in 1802 and would serve as professor of perspective from 1807 until 1837. His masterpieces of the early decades (and there seems an endless succession of works with title to that distinction) were either homages to past masters of landscape painting or entirely personal interpretations of the most extraordinary range of naturalistic effects and subjects. Whether it was The Fifth Plague of Egypt (1800, Indianapolis Museum of Art) and its amalgam of allusions to Nicolas Poussin (1594-1665) and Richard Wilson (1714-1782), The Dort Packet-Boat from Rotterdam Becalmed (1818, Yale Center for British Art, New Haven), with its overt tribute to Aelbert Cuyp (1620-1691), or The Fall of an Avalanche in the Grisons (1810, Tate Gallery, London), with its unprecedented invention of horrific naturalistic detail that challenged conventional notions of the sublime in art, the net effect of Turner's achievement was to elevate landscape painting to a status within the traditional hierarchy of genres that it had rarely enjoyed since the seventeenth century. Unlike Constable (q.v.), Turner was an indefatigable traveler abroad. His first visit to Switzerland in 1802 resulted in a spectacular series of exhibition watercolors that boldly established watercolor painting as a vital medium of original expression. A tour of Belgium, the Netherlands, and the Rhine in 1817 was followed by his first protracted stay in Italy in 1819. After 1820 summer excursions to France, Germany, Switzerland, Italy, and especially Venice were almost annual occurrences. Gradually, and primarily after the 1819 Italian sojourn, Turner's palette lightened. Traditional notions of chiaroscuro, of alternating bands of light and dark earth colors, yielded to compositions orchestrated in brighter hues, in which the various colors move across the painted surface almost at will, little respecting the forms they describe but in perfect balance.\r\nDuring the 1820s and early 1830s Turner committed vast amounts of his creative capital to the production of literary and travel illustrations. These kept an entire generation of engravers employed for several decades. Despite the tendency of his era to stigmatize reproductive engraving as an inferior instrument of artistic presentation, Turner was preoccupied with its processes and potential, acutely aware that, long after his pigments had faded, his reputation would be secure in the more durable brilliance of the engraver's deftly crafted reproductions. A second trip to Italy in 1828 may partially account for the heightened coloring of Ulysses Deriding Polyphemus (1828, National Gallery, London), which John Ruskin described as a pivotal picture in Turner's career. But there was very little falling off in either technical or thematic invention during the last decades of Turner's life. In major oils like Snow Storm-Steam Boat Off a Harbor's Mouth (1842, Tate Gallery, London) and Rain, Steam and Speed (1844, National Gallery, London) and no less measure in the series of elaborately finished Swiss watercolors executed on commission at the end of his life, natural forms occupy an uncertain place between concrete reality and total dissolution by light into the colors and images of what Monet (q.v.) admiringly called the \"exuberant romanticism of Turner's fancy.\" Perspective can be intentionally distorted and the color schemes can approach the brazenly artificial, yet somehow the fundamental truth of Turner's vision, his faith in the supreme forces of nature and in the artist's preeminence as the mediator of that experience, continues to persuade.", "name_in_original_language": null, "birth_year": "1775", "death_year": "1851" } ], "legal_status": "accessioned", "accession_date": "1942-07-24T00:00:00", "sortable_date": 1835, "date_text": "1835", "is_highlight": true, "updated_at": "2024-02-09 18:04:17.806000", "legacy": [] }, { "id": 147017, "accession_number": "1972.48", "share_license_status": "CC0", "tombstone": "Branch Hill Pond, Hampstead, 1828. John Constable (British, 1776–1837). Oil on canvas; framed: 89 x 105.5 x 11.5 cm (35 1/16 x 41 9/16 x 4 1/2 in.); unframed: 60.6 x 78.1 cm (23 7/8 x 30 3/4 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 1972.48", "current_location": "203A British Painting and Decorative Arts", "title": "Branch Hill Pond, Hampstead", "creation_date": "1828", "creation_date_earliest": 1828, "creation_date_latest": 1828, "artists_tags": [ "male" ], "culture": [ "England, 19th century" ], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In 1820, Constable found a retreat in Hampstead where he completed 100 studies of cloud formations, referring to the process as \"skying.\"", "description": "
An amateur meteorologist, John Constable was most at home painting meticulously observed cloud formations, weather conditions, and natural light effects. He believed an accurate rendering of these constantly shifting elements could convey his vision of the vitality and magnificence of the English countryside. Working from the summerhouse he rented at Hampstead from 1819–26, Constable painted a landscape focusing more on the dark rain clouds than on the laborers in the foreground, keeping the details of their backbreaking work at a picturesque distance.", "citations": [], "url": "https://clevelandart.org/art/1972.48", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1972.48/1972.48_web.jpg", "width": "1155", "height": "893", "filesize": "759286", "filename": "1972.48_web.jpg" } }, "alternate_images": [], "creditline": "Leonard C. Hanna, Jr. Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 147017, "creators": [ { "id": 1536, "description": "John Constable (British, 1776–1837)", "extent": null, "qualifier": null, "role": "artist", "biography": "With Turner (q.v.), his exact contemporary, John Constable defined the parameters of genius for a generation of romantic landscape painters. The son of a prosperous miller and gentleman farmer, he entered into his profession late and was basically self-taught. Between 1796 and 1799 Constable had the advice of several artists and connoisseurs influential in the London art scene, primarily that of Sir George Beaumont (1753-1827), John Thomas Smith (1766-1833), and Joseph Farington (1747-1821). With the grudging consent of his parents, he entered the Royal Academy schools in 1799, the same year Turner was elected an associate member. (Twenty years would elapse before the academy conceded Constable that gesture of recognition.) He emerged publicly as a mature and focused painter of naturalistic landscapes in 1802 with the exhibition of his first oil painting at the Royal Academy.1 Shortly afterward he moved to his family home in East Bergholt with the intention of getting \"a pure and unaffected representation of the scenes that may employ me.\" The tours of 1806 produced an important body of Lake District material, especially studies in watercolor and in graphite, a medium Constable employed with unrivaled ability even at this early date. In 1808 he began a period of intense plein-air oil sketching and by 1814 was painting finished pictures like the magnificent Stour Valley and Dedham Village (Museum of Fine Arts, Boston) or Wivenhoe Park, Essex (National Gallery of Art, Washington D.C.)2 entirely out of doors. The Stour River, Flatford Mill, and Dedham Vale were the subjects to which he returned repeatedly with brilliant success. With his bride, Maria Bicknell, the artist moved permanently to London in 1816. His repertoire of subjects would expand to include Brighton, Salisbury, and Hampstead Heath, and both his practice and his fortunes also evolved in a significant new direction when he began his six-foot pictures of Suffolk landscape painted in the London studio. The scale of such works as The White Horse (1819, Frick Collection, New York)3 undoubtedly contributed to his successful bid for associate membership in the Royal Academy that year. With Sir Thomas Lawrence (1769-1830) and Bonington (q.v.), Constable created a sensation at the 1824 Paris Salon, where he exhibited The Hay Wain (National Gallery, London) and View on the Stour near Dedham (Huntington Art Gallery, San Marino),4 although French artists had known and admired his work since 1820. After the death of his wife in 1828 and his election as full academician in 1829, Constable turned toward consolidating his reputation through writing, lecturing, and the medium of printmaking. He published English Landscape (1830-32) in collaboration with the mezzotint engraver David Lucas, but it was commercially unsuccessful. He never ceased to work from nature, but the later masterworks Salisbury Cathedral from the Meadows (1831, National Gallery, London), The Opening of Waterloo Bridge (1832, Tate Gallery, London), and Arundel Mill and Castle (1837, Toledo Museum of Art)5 are pictures in which an expressionistic use of the medium struggles against an ever-increasing imaginative formalization of natural motifs.\r\n1. Probably Edge of the Wood (Art Gallery of Ontario); see Reynolds 1996, no. 2.1.\r\n2. Reynolds 1996, no. 15.1; Reynolds 1984, no. 17.4.\r\n3. Reynolds 1984, no. 2:19.1.\r\n4. Reynolds 1984, no. 21.1; Reynolds 1984, 22.1.\r\n5. Reynolds 1984, no. 31.1; Reynolds 1984, no. 32.1; Reynolds 1984, no. 37.1.", "name_in_original_language": null, "birth_year": "1776", "death_year": "1837" } ], "legal_status": "accessioned", "accession_date": "1972-06-12T00:00:00", "sortable_date": 1828, "date_text": "1828", "is_highlight": false, "updated_at": "2024-02-09 18:06:08.081000", "legacy": [] }, { "id": 136510, "accession_number": "1960.81", "share_license_status": "CC0", "tombstone": "Water Lilies (Agapanthus), c. 1915–26. Claude Monet (French, 1840–1926). Oil on canvas; framed: 204.9 x 430.3 x 6 cm (80 11/16 x 169 7/16 x 2 3/8 in.); unframed: 201.3 x 425.6 cm (79 1/4 x 167 9/16 in.). The Cleveland Museum of Art, John L. Severance Fund and an anonymous gift 1960.81", "current_location": "222 Impressionism & Post-Impressionism", "title": "Water Lilies (Agapanthus)", "creation_date": "c. 1915–26", "creation_date_earliest": 1915, "creation_date_latest": 1926, "artists_tags": [ "male" ], "culture": [ "France, late 19th century-early 20th century" ], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Water lilies were a recurring theme in Monet's work: he painted around 250 water lily compositions.", "description": "Monet spent the last thirty years of his life painting the lily pond at his home in Giverny, a small town on the river Seine, just north of Paris. While his initial exploration of the water lily theme (1902-8) produced smaller works more descriptive of a garden setting, the later paintings focus on the water's shimmering surface, indicating the surrounding trees and lush bank only through reflections. Here reflection and reality merge in strokes of blue, violet, and green. Fronds of water plants sway underwater and passing clouds are reflected above. By 1915 Monet had conceived a plan, called his Grande Décoration, for arranging a series of monumental water lily paintings in an oval room, thus creating a continuous panorama that would surround and enclose the viewer in an environment of pure color.
The CMA painting was originally the left panel of a triptych titled Agapanthus (Nymphéas in French) that featured agapanthus growing in the foreground. At the end of World War I, Monet proposed a plan of installing the triptych together with several others in a building constructed on the grounds of the current Musée Rodin in Paris. However, the French government did not have the funds to finance such a project in the postwar era. A new idea was subsequently proposed of installing a series of these panoramic paintings in an existing building, the Orangerie near the Louvre. As the building was being prepared, Monet continued painting more works for the project and at some point repainted the Agapanthus triptych, during which the agapanthus were eliminated, leaving mostly water lilies floating in the water. Hence, the former Agapanthus triptych has become known as the Water Lilies (Agapanthus) triptych.
When Monet died in 1926 none of his works had yet been installed in the Orangerie. A selection was placed there the following year, but it did not include Water Lilies (Agapanthus) triptych, which remained in the artist's studio under the care of his family until the 1950s, when the three panels were sold separately to American museums. The companion paintings are currently in the collections of the St. Louis Art Museum and the Nelson-Atkins Museum in Kansas City, Missouri.", "citations": [], "url": "https://clevelandart.org/art/1960.81", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1960.81/1960.81_web.jpg", "width": "900", "height": "419", "filesize": "134866", "filename": "1960.81_web.jpg" } }, "alternate_images": [], "creditline": "John L. Severance Fund and an anonymous gift", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Nancy F. and Joseph P. Keithley Gallery", "athena_id": 136510, "creators": [ { "id": 1844, "description": "Claude Monet (French, 1840–1926)", "extent": null, "qualifier": null, "role": "artist", "biography": "Claude Monet spent his youth in Le Havre in Normandy, where his father worked as a wholesale grocer. By the age of sixteen, he had exhibited some of his caricatures in an art supply store, leading to his acquaintance with Boudin (q.v.). It was Boudin who first encouraged him to paint out of doors. In 1859 Monet traveled to Paris, where he saw Boudin's salon debut and met Constant Troyon (1810-1865). A year later he joined the Académie Suisse, where he was introduced to Pissarro (q.v.), but his studies were interrupted in 1861 when he was drafted for a seven-year stint in the military. His family would pay for his release from military duties only if he gave up painting. Finding this unacceptable, Monet served for one year in Algeria before an early return to France to convalesce after a severe illness. In 1862 he met Jongkind (q.v.), another important influence on the young painter's development. Monet's father then allowed him to pursue his art career in Paris, where he entered the studio of the Swiss painter Charles Gleyre (1806-1874). He studied with Gleyre until 1864 and befriended Frédéric Bazille (1841-1870), Renoir (q.v.), and Sisley (q.v.), with whom he painted in the forest of Fontainebleau (Déjeuner sur l'herbe, 1865, two fragments in Musée d'Orsay, Paris). Monet first exhibited at the Salon of 1865 and would do so again in 1866, 1868, and 1880. In 1868 he shared a studio with Bazille and Renoir but was soon forced to leave Paris to escape his creditors. He took his mistress, Camille Doncieux, and their son, Jean, to Fécamp, then Étretat, and finally Saint-Michel. There Renoir provided hospitality, and the two also painted at the boating and bathing center of La Grenouillère on the Seine. In 1870 Monet married Camille and, to escape the Franco-Prussian War, left for London, where he remained for nine months and met Durand-Ruel, his first dealer. In the summer of 1871 he visited the Netherlands and then settled in Argenteuil, to the west of Paris. He converted a boat into a studio, as Daubigny (q.v.) had done before him, allowing him to explore different viewpoints for his landscapes. He assisted in the organization of the First Impressionist Exhibition in 1874, partly because Durand-Ruel's worsened business situation had prevented the dealer from buying his art. The following year he participated in the Hôtel Drouot sale with Morisot (q.v.), Renoir, and Sisley. In 1878 Monet and his wife moved to Vétheuil with the Hoschedés, who had previously commissioned some works. Camille died the following year, and, while Ernest Hoschedé spent most of his time in Paris trying to settle his precarious financial situation, Monet stayed behind with Ernest's wife, Alice. In 1881 he moved with her and her children to Poissy and within two years was living at Giverny, where he would remain for the rest of his life. He painted some of his famous scenes-the haystack and poplar series, for example- in 1890-91. Ernest Hoschedé died in 1891, and Monet married Alice the following year. At Giverny, Monet explored the themes of his garden and water lilies. He continued to travel, going to Norway in 1895, making three trips to London from 1899 through 1901, and taking Alice to Venice in 1908. The final years of his life were mainly spent working on his Great Decorations, large paintings of a water lily pond designed for two oval rooms at the Paris Orangerie. Monet is generally considered the most typical exponent of impressionism.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1926" } ], "legal_status": "accessioned", "accession_date": "1960-04-25T00:00:00", "sortable_date": 1915, "date_text": "c. 1915–26", "is_highlight": true, "updated_at": "2024-02-09 18:05:18.964000", "legacy": [] }, { "id": 128392, "accession_number": "1951.356", "share_license_status": "CC0", "tombstone": "Edge of the Woods Near L'Hermitage, Pontoise, 1879. Camille Pissarro (French, 1830–1903). Oil on fabric; framed: 166 x 204 x 16.5 cm (65 3/8 x 80 5/16 x 6 1/2 in.); unframed: 125 x 163 cm (49 3/16 x 64 3/16 in.). The Cleveland Museum of Art, Gift of the Hanna Fund 1951.356", "current_location": "222 Impressionism & Post-Impressionism", "title": "Edge of the Woods Near L'Hermitage, Pontoise", "creation_date": "1879", "creation_date_earliest": 1879, "creation_date_latest": 1879, "artists_tags": [ "Jewish artists", "male" ], "culture": [ "France, 19th century" ], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "A goat seen from the back standing next to the figure in blue laying in the grass invites the viewer to step inside this serene and beautiful setting.", "description": "Born to a French-Jewish family on St. Thomas island in the Caribbean, Pissarro painted this monumental landscape when he was desperately poor and struggling to sell his paintings. It depicts a man slumbering in the sun-dappled backwoods of the Hermitage, a rural village near Pontoise, where the artist had been living since 1872. Restricting his palette to pure hues, Pissarro applied brushstrokes in systematic diagonal patterns, producing an effect that he likened to knitting. This canvas was included in the fourth Impressionist exhibition of 1879.", "citations": [], "url": "https://clevelandart.org/art/1951.356", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1951.356/1951.356_web.jpg", "width": "900", "height": "690", "filesize": "388399", "filename": "1951.356_web.jpg" } }, "alternate_images": [], "creditline": "Gift of the Hanna Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 128392, "creators": [ { "id": 1836, "description": "Camille Pissarro (French, 1830–1903)", "extent": null, "qualifier": null, "role": "artist", "biography": "Camille Pissarro's parents ran a general merchandise business on St. Thomas. After attending boarding school in Paris, Pissarro returned to the West Indies to work for his father from 1847 until 1852. As an artist he was largely self-taught, receiving some instruction from Fritz Melbye (1826-1896), a Danish artist with whom he traveled to Venezuela in 1852. When Pissarro returned to Paris in 1855, he shared a studio with Anton Melbye (1818-1875), Fritz's brother, and with David Jacobsen (1821-1871). He took classes at the École des Beaux-Arts in 1856 and three years later attended the Académie Suisse, where he befriended artists such as Cézanne (q.v.), Monet (q.v.), and Guillaumin (q.v.). Corot (q.v.) encouraged him to paint landscapes around Paris, and he was listed as Corot's pupil in the catalogues of the Salons of 1864 and 1865. He had met Julie Vellay in 1860, with whom he would have eight children; they married in 1871. Pissarro exhibited regularly at the Salons from 1859 to 1870, although his work received little attention and he sold hardly anything. In 1866 he settled in Pontoise, often returning to Paris where he kept a studio. He frequented Émile Zola's \"Thursdays\" (weekly literary gatherings) and associated with Manet's (q.v.) artistic circle that gathered in the Café Guerbois. During the Franco-Prussian War (1870-71) Pissarro fled with his family, first to Montfoucault and then to London, where he worked with Monet and Daubigny (q.v.) and was introduced to the dealer Durand-Ruel. In 1872 he returned to Pontoise, where he painted with Cézanne. Around 1869 Pissarro began painting in a purely impressionist style, and in 1874 he helped organize the first impressionist exhibition. He moved to Éragny-sur-Epte in 1884, where he came into contact with Seurat (q.v.) and Paul Signac (1863-1935) and subsequently began to work in a pointillist style. He eventually found this technique too limiting, and returned to an impressionist mode, often working in series. By the end of his career his landscapes and depictions of city life sold well, and in 1892 he was given a retrospective exhibition at Durand-Ruel. By now, the artist had developed strongly anarchist convictions. Pissarro not only painted and made drawings, he also experimented with etching and lithography.", "name_in_original_language": null, "birth_year": "1830", "death_year": "1903" } ], "legal_status": "accessioned", "accession_date": "1951-08-19T00:00:00", "sortable_date": 1879, "date_text": "1879", "is_highlight": false, "updated_at": "2024-02-09 18:04:45.580000", "legacy": [] }, { "id": 140078, "accession_number": "1963.91", "share_license_status": "CC0", "tombstone": "La Cervara, the Roman Campagna, c. 1830–31. Jean Baptiste Camille Corot (French, 1796–1875). Oil on fabric; framed: 130 x 167.5 x 9.5 cm (51 3/16 x 65 15/16 x 3 3/4 in.); unframed: 97.6 x 135.8 cm (38 7/16 x 53 7/16 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 1963.91", "current_location": "219 19th Century European", "title": "La Cervara, the Roman Campagna", "creation_date": "c. 1830–31", "creation_date_earliest": 1830, "creation_date_latest": 1831, "artists_tags": [ "male" ], "culture": [ "France, 19th century" ], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In 1845, the French poet Charles Baudelaire proclaimed Corot the leading painter of the modern landscape.", "description": "Corot based his large oil painting on drawings and oil sketches made outdoors. Attracted to the beauty of the Italian countryside, he often sketched around Rome, where he lived from 1825 to 1828. This painting's highly structured composition, based on forms moving into the distance along a series of diagonals, is characteristic of Corot's early style and recalls the classical landscapes of 17th-century painter Nicholas Poussin.", "citations": [], "url": "https://clevelandart.org/art/1963.91", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1963.91/1963.91_web.jpg", "width": "1245", "height": "893", "filesize": "777639", "filename": "1963.91_web.jpg" } }, "alternate_images": [], "creditline": "Leonard C. Hanna, Jr. Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 140078, "creators": [ { "id": 1588, "description": "Jean Baptiste Camille Corot (French, 1796–1875)", "extent": null, "qualifier": null, "role": "artist", "biography": "Camille Corot's earlier biographers presented him as a naive artist separated from commercial concerns who painted whatever pleased him in the French countryside and from his own emotions. For these writers his importance lay in his loosely painted, atmospheric landscapes, for which later modernists called him the precursor to impressionism. This conception of the artist has undergone significant revision with recent scholarship. Corot never seemed to accept the impressionists' more radical work, especially their enthusiasm for contemporary urban and suburban themes. He represented timeless, rural views disconnected from the industrialization and modernization of nineteenth-century France.\r\nFollowing his father in the clothing trade, Corot worked for eight years before the death of his younger sister in 1821 provided him with the additional income (her annual allowance) to enable him to devote himself to painting. In 1822 he began to study with the landscape painter Achille-Etna Michallon (1796-1822), winner of the first Grand Prix de Rome in historicized landscape, and after Michallon's early death that year, with Bertin (q.v.). Both Michallon and Bertin had trained with Pierre-Henri de Valenciennes (1750-1819), whose later eighteenth-century treatise on landscape painting practice urged artists to study nature closely. In addition, Michallon frequented the village of Barbizon and the forest of Fontainebleau, which would become important subjects for Corot and the group of painters known as the Barbizon school.\r\nIn 1825 Corot made his first trip to Italy, following in the tradition of the French academy but also the independent precedent of the seventeenth-century French painter Claude Lorrain. There Corot joined an international circle of artists, including Léopold Robert (1794-1835) and Aligny (q.v.), who struggled to resolve the contradictory phases of empirical study out of doors and synthetic recreation in the studio. From Rome, he sent his first submissions to the Paris Salon in 1827, among them The View at Narni (National Gallery of Canada, Ottowa). These early Italian views generally feature a bright, warm light with few areas in shadow.\r\nCorot gradually shifted from this early style to one in the 1840s that frequently included larger figures in the middle ground, more complex light effects, and a duller, earthy palette of greens and browns. He continued to use his outdoor works as models for finished canvases but freely adapted the compositions, forms, lighting, and color. The question of finish did not only pertain to the relationship between plein-air studies and studio compositions, which he called paysage composé (invented landscape). Corot sometimes added figures to landscapes that he had painted years earlier and even asked fellow painters such as Diaz de la Peña (q.v.) to paint them. His titles often referred to the geographical location that inspired the image, and some included the word souvenir (broad-ly translated as memory), which suggests recreating or revisiting some experience. \r\nThe critical reception of Corot's work fluctuated. His first Salon submissions passed the jury, but during the 1830s he was first overlooked and then attacked by the critics. By the 1840s his fortunes had improved, and he even sold one Salon picture to the French state. In more radical circles, the critic-poet Charles Baudelaire held Corot up as a leader in contemporary landscape painting. Corot received the Legion of Honor in 1846 as well as a municipal commission to decorate the baptismal fonts in the church of St. Nicolas du Chardonnet in Paris. \r\nIn the early 1850s Corot transformed his style again. He developed silvery tones and diffuse lighting effects applied in a few thin layers, over which he added small touches of brighter color for highlights. The soft glimmer and evocative atmosphere of these later works earned him commercial and critical success. During the last decade, Corot turned toward the single figure as subject. The meditative poses and expressions of these figures reminded some contemporary critics of seventeenth-century painting, especially the realism of Spanish and Dutch pictures. But Corot's landscapes remained his most admired work, and during his lifetime imitations or fakes were sold under his name.", "name_in_original_language": null, "birth_year": "1796", "death_year": "1875" } ], "legal_status": "accessioned", "accession_date": "1963-02-09T00:00:00", "sortable_date": 1830, "date_text": "c. 1830–31", "is_highlight": true, "updated_at": "2024-02-09 18:05:38.724000", "legacy": [] }, { "id": 149665, "accession_number": "1979.57", "share_license_status": "CC0", "tombstone": "Ruin by the Sea, 1881. Arnold Böcklin (Swiss, 1827–1901). Oil on fabric; framed: 132.1 x 102.9 x 8.3 cm (52 x 40 1/2 x 3 1/4 in.); unframed: 111 x 82 cm (43 11/16 x 32 5/16 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund 1979.57", "current_location": "219 19th Century European", "title": "Ruin by the Sea", "creation_date": "1881", "creation_date_earliest": 1881, "creation_date_latest": 1881, "artists_tags": [ "male" ], "culture": [ "Switzerland" ], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Who used to live in this crumbling villa on a lonely shore? Böcklin's eerie painting seems to beg the question of the building's history and the circumstances of its ruin. Haunted by the past, this scene also contains premonitions of future peril.", "description": "The dark, ruined villa in this painting is made especially mysterious by the strange cypress trees tossed by the wind. A nervous green light flickers through the scene. Influenced by German Romantic art of the early 1800s, Böcklin was preoccupied with dreamlike images suggestive of death.", "citations": [], "url": "https://clevelandart.org/art/1979.57", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1979.57/1979.57_web.jpg", "width": "656", "height": "893", "filesize": "369514", "filename": "1979.57_web.jpg" } }, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 149665, "creators": [ { "id": 2775, "description": "Arnold Böcklin (Swiss, 1827–1901)", "extent": null, "qualifier": null, "role": "artist", "biography": "In 1845 Arnold Böcklin enrolled for two years at the Düsseldorf academy in the landscape class of Johann Wilhelm Schirmer (1807-1863). Böcklin traveled to Brussels and Antwerp, where he admired Flemish paintings, and then continued his studies with the landscape painter Alexandre Calame (1810-1864) in Geneva. In Paris during the tumultuous February and June Revolutions of 1848, Böcklin copied Old Master paintings at the Louvre. Couture's (q.v.) Romans of the Decadence (1847, Musée d'Orsay, Paris) made a strong impression on him, as did Corot's (q.v.) atmospheric treat-ment of landscapes. After a short stay in Basel, Böcklin moved to Rome in 1850 and married Angela Pascucci three years later. In 1857 he returned via Basel to Hannover, where he decorated the dining room in the Wedekind mansion (1858). He hoped this commission would relieve his financial burdens, but Wedekind was far from pleased with the result. Böcklin's first major success occurred when he exhibited Pan in the Reeds (Bayerische Staatsgemäldesammlungen, Munich) in 1859 in Munich. King Ludwig I bought the work, and soon after Böcklin started teaching in Weimar (1860-62). In Munich he met Baron von Schack, who became one of his most important supporters. From 1862 through 1866 he lived in Rome and while there was in touch with Anselm Feuerbach (1829-1880) and Hans von Marées (1837-1887). The trio formed the nucleus of the late-nineteenth-century \"Deutschrömer\" (German Romans) who continued a tradition of German artists working in Italy using a classical vocabulary. Böcklin moved repeatedly, living in Basel (1866-71), Munich (1871-74), Florence (1874-85), and Zurich (1885-92) until he finally settled in Florence in 1892. In Basel he painted the murals for the Museum an der Augustinergasse (1868-70); Jacob Burckhardt's criticism of these works ended their close friendship. At the end of his career he had built a solid reputation and was praised as a distinctively German artist. His seven-tieth birthday was celebrated with exhibitions in Basel and Berlin. With other movements such as impressionism and modernism taking over, however, the esteem for his art soon diminished after his death in 1901. Except for the attention of artists like Giorgio de Chirico (1888-1978) and other surrealists, recognition of Böcklin's work did not reappear until the second half of the twentieth century. (For a self-portrait of Böcklin, see Blanche, fig. 11a.)", "name_in_original_language": null, "birth_year": "1827", "death_year": "1901" } ], "legal_status": "accessioned", "accession_date": "1979-08-17T00:00:00", "sortable_date": 1881, "date_text": "1881", "is_highlight": false, "updated_at": "2024-02-09 18:06:20.822000", "legacy": [] }, { "id": 98627, "accession_number": "1918.328", "share_license_status": "CC0", "tombstone": "The Age of Bronze, 1875–76. Auguste Rodin (French, 1840–1917). Bronze; with base: 182.2 x 66.4 x 47 cm (71 3/4 x 26 1/8 x 18 1/2 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. Ralph King 1918.328", "current_location": "218 European Sculpture", "title": "The Age of Bronze", "creation_date": "1875–76", "creation_date_earliest": 1875, "creation_date_latest": 1876, "artists_tags": [ "male" ], "culture": [ "France, 19th century" ], "technique": "bronze", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Sculpture 1800-1960", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The sculpture suggests the heroism and suffering of his countrymen during the Franco-Prussian War of 1870–71. This life-sized male figure was modeled after a Belgium soldier named August Neyt.", "description": "Rodin’s earliest surviving life-size sculpture, The Age of Bronze is an enigmatic and provocative image of a man awakening to new consciousness. The figure originally held a spear in one hand; by removing the weapon, Rodin stripped the sculpture of narrative symbols and focused on the sensuality and psychological power of the male nude. Contemporaries found the figure so realistic they falsely accused Rodin of making a cast from a living person. Museum trustee Ralph King commissioned this cast from the artist in 1916 with the intention of donating it to the museum. Rodin personally supervised the exceptionally fine casting and finished it with his favorite patina, a deep reddish tone he called “crushed grape.”", "citations": [], "url": "https://clevelandart.org/art/1918.328", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1918.328/1918.328_web.jpg", "width": "507", "height": "893", "filesize": "189298", "filename": "1918.328_web.jpg" } }, "alternate_images": [], "creditline": "Gift of Mr. and Mrs. Ralph King", "sketchfab_id": "88c184078caa45da98c21cfe5f1d6845", "sketchfab_url": "https://sketchfab.com/models/88c184078caa45da98c21cfe5f1d6845", "gallery_donor_text": null, "athena_id": 98627, "creators": [ { "id": 5925, "description": "Auguste Rodin (French, 1840–1917)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1840", "death_year": "1917" } ], "legal_status": "accessioned", "accession_date": "1918-06-24T00:00:00", "sortable_date": 1875, "date_text": "1875–76", "is_highlight": true, "updated_at": "2024-02-09 18:02:43.372000", "legacy": [] }, { "id": 142792, "accession_number": "1966.49", "share_license_status": "CC0", "tombstone": "Wrestlers in a Circus, 1909. Ernst Ludwig Kirchner (German, 1880–1938). Oil on canvas; framed: 107.5 x 121 x 7 cm (42 5/16 x 47 5/8 x 2 3/4 in.); unframed: 80.5 x 94 cm (31 11/16 x 37 in.). The Cleveland Museum of Art, Contemporary Collection of The Cleveland Museum of Art and Bequest of William R. Valentiner 1966.49", "current_location": "225 German Expressionism & Surrealism", "title": "Wrestlers in a Circus", "creation_date": "1909", "creation_date_earliest": 1909, "creation_date_latest": 1909, "artists_tags": [ "male" ], "culture": [ "Germany, 20th century" ], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "During the 1930s, 639 works by Kirchner were removed from German museums and either destroyed or sold to foreign collectors and museums. The year after the Nazis organized the Degenerate Art exhibition in Munich, Kirchner committed suicide.", "description": "Locked in a dangerous embrace, beefy wrestlers writhe on a brightly colored mat. Famous for his scenes of urban life, Kirchner uses loose brushstrokes to capture the blur of bodies in motion. Imagine watching this intense match, surrounded by screaming spectators.", "citations": [], "url": "https://clevelandart.org/art/1966.49", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1966.49/1966.49_web.jpg", "width": "1046", "height": "893", "filesize": "800337", "filename": "1966.49_web.jpg" } }, "alternate_images": [], "creditline": "Contemporary Collection of The Cleveland Museum of Art and Bequest of William R. Valentiner", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142792, "creators": [ { "id": 3155, "description": "Ernst Ludwig Kirchner (German, 1880–1938)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1880", "death_year": "1938" } ], "legal_status": "accessioned", "accession_date": "1966-05-25T00:00:00", "sortable_date": 1909, "date_text": "1909", "is_highlight": true, "updated_at": "2024-02-09 18:05:51.221000", "legacy": [] }, { "id": 155860, "accession_number": "1991.163", "share_license_status": "CC0", "tombstone": "The Young Eastern Woman, 1838. Friedrich Amerling (Austrian, 1803–1887). Oil on fabric; framed: 106.5 x 90.5 x 9 cm (41 15/16 x 35 5/8 x 3 9/16 in.); unframed: 88.5 x 71.5 cm (34 13/16 x 28 1/8 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund 1991.163", "current_location": "219 19th Century European", "title": "The Young Eastern Woman", "creation_date": "1838", "creation_date_earliest": 1838, "creation_date_latest": 1838, "artists_tags": [ "male" ], "culture": [ "Austria, 19th century" ], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "One can see in Amerling's sensitive and beautiful portrayal why he was well known and admired for his portraits.", "description": "Although the artist provocatively titled this painting Young Eastern Woman, it is obvious that the model is not Asian, but merely wears a Turkish costume. The rich fabrics and glowing light create an exotic atmosphere, revealing a Western fascination with \"Oriental\" images and themes.", "citations": [], "url": "https://clevelandart.org/art/1991.163", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1991.163/1991.163_web.jpg", "width": "719", "height": "893", "filesize": "382243", "filename": "1991.163_web.jpg" } }, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 155860, "creators": [ { "id": 2879, "description": "Friedrich Amerling (Austrian, 1803–1887)", "extent": null, "qualifier": null, "role": "artist", "biography": "Friedrich Amerling grew up in a poor working-class milieu and started his career illuminating maps and prints before attending the Vienna academy from 1815 until 1824. The following two years he studied at the academy in Prague, until his sojourn in London from 1827 through 1828. Amerling went to London primarily to meet the portraitist Thomas Lawrence (1769-1830), whose fame had spread throughout Europe and whose work, together with that of Joshua Reynolds (1723-1792), would form an important influence on Amerling's art. After a brief stay in Paris, during which Amerling met Vernet (q.v.), he went on to Rome. Back in Vienna he painted the life-size portrait of Emperor Franz I (1832/33, Kunsthistorisches Museum, Vienna), which, despite its mixed reviews, estab-lished his reputation as the foremost portrait painter in Vienna. From then on he received many portrait commissions from the Viennese aristocracy and bourgeoisie (see Waldmüller, Countess Széchenyi, fig. 223b). In 1833 Amerling traveled to the Netherlands and, upon his return, visited the artistic centers of Munich and Düsseldorf, where he met the influential academy director Friedrich Wilhelm von Schadow (1788-1862). Amerling's career reached its height from the 1830s through the 1850s. In the early 1840s he traveled to Rome where he worked with Leopold Pollak (1806-1880) and August Riedel (1799-1883), who influenced his work with their depictions of Italian beauties. Besides painting formal portraits, Amerling developed a painting category that remained close to portraiture but crossed over to a slightly sentimental type of genre or character painting, mostly depicting single women in coquettish poses. Although Amerling retained a certain popularity throughout his long career-he was knighted in 1879-he failed to adapt to changing artistic developments and was eventually overshadowed by artists such as Hans Makart (1840-1884).", "name_in_original_language": null, "birth_year": "1803", "death_year": "1887" } ], "legal_status": "accessioned", "accession_date": "1991-12-16T00:00:00", "sortable_date": 1838, "date_text": "1838", "is_highlight": false, "updated_at": "2024-02-09 18:06:50.639000", "legacy": [] }, { "id": 115405, "accession_number": "1936.19", "share_license_status": "CC0", "tombstone": "The Pigeon Tower at Bellevue, 1890. Paul Cezanne (French, 1839–1906). Oil on fabric; framed: 95.5 x 113 x 7 cm (37 5/8 x 44 1/2 x 2 3/4 in.); unframed: 65.6 x 81.5 cm (25 13/16 x 32 1/16 in.). The Cleveland Museum of Art, The James W. Corrigan Memorial 1936.19", "current_location": "222 Impressionism & Post-Impressionism", "title": "The Pigeon Tower at Bellevue", "creation_date": "1890", "creation_date_earliest": 1890, "creation_date_latest": 1890, "artists_tags": [ "male" ], "culture": [ "France, 19th century" ], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [ "517.26", "1971.23", "2654.31" ], "did_you_know": "Cézanne’s method of compressing space and simplifying forms into flattened, geometric shapes provided the foundation for both Fauvism and Cubism.", "description": "Cézanne was among the first artists to break with Impressionism and replace its interest in atmospheric effects with a new emphasis on geometric structure. Between 1888 and 1892, he painted two views of the pigeon tower at his brother-in-law's house in Bellevue, a small town in southern France. To make the tower the focal point of the composition, Cézanne exaggerated its cylindrical shape, extending it upward and to the left.", "citations": [], "url": "https://clevelandart.org/art/1936.19", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1936.19/1936.19_web.jpg", "width": "900", "height": "723", "filesize": "263547", "filename": "1936.19_web.jpg" } }, "alternate_images": [], "creditline": "The James W. Corrigan Memorial", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Nancy F. and Joseph P. Keithley Gallery", "athena_id": 115405, "creators": [ { "id": 1754, "description": "Paul Cezanne (French, 1839–1906)", "extent": null, "qualifier": null, "role": "artist", "biography": "The son of a wealthy banker, Cézanne began his studies in Aix-en-Provence at the École Saint-Joseph in 1849, then attended the Collège Bourbon from 1852 until 1858. Émile Zola, the future author, was to become one of his closest friends. Cézanne enrolled at the École Gratuite de Dessin in 1857, entering the studio of Joseph Gibert (1806-1884). Two years later, complying with his father's wishes, he began studying law at the Université d'Aix while still at the École Gratuite de Dessin. In 1861 Cézanne finally left law school and followed Zola to Paris where he met Pissarro (q.v.) at the Académie Suisse. Probably after his failure to enter the École des Beaux-Arts, he returned to Aix and began working at his father's bank. In 1862, however, Cézanne returned to Paris, where he studied at the Académie Suisse and copied the works of the Old Masters in the Louvre. The works he produced during this period reflect the influence of Spanish painters such as Ribera (1591-1562) and Zurbarán (1598-1664), and other predecessors such as Delacroix (q.v.). His submissions to the Salons of 1865 through 1870 (and even through 1881) did not receive the jury's approval; the reinstatement of the Salon des Refusés was repeatedly but unsuccessfully demanded. Cézanne traveled often between Aix and Paris until 1870. To escape the Franco-Prussian War (1870-71) he stayed in the south in L'Estaque, along with his mistress, Hortense Fiquet, whom he had met in 1869. Cézanne moved back north to Pontoise with Hortense and his son, Paul, in 1872 and worked with Pissarro and met Dr. Paul Gachet. The following year he moved again to nearby Auvers-sur-Oise with his family, continuing his work with Pissarro. In 1874 and 1877 Cézanne participated in the first and third impressionist exhibitions, but the severe criticism of his works led him to abstain from using this venue again. In 1878 his father learned of the existence of Hortense and Paul, who at that point were living in Marseille, and threatened to discontinue his allowance. While in the Midi, Cézanne often worked with Monticelli (q.v.). His art increasingly matured, and he began concentrating on the order and internal structure within his compositions, limiting his palette. During these years he also met Gauguin (q.v.) and Renoir (q.v.), and always trav-eled, chiefly between Aix and L'Estaque. In 1886 Cézanne married Hortense, his father died, and the inheritance provided him with the financial means to live without constraints. He bought a house in Marlotte near Fontainebleau in 1892. In 1895 he had his first solo show at the gallery of Ambroise Vollard, who two years later bought all the artist's works from his studio near Corbeil. The dealer Paul Durand-Ruel became another important client. Cézanne participated in the Salon des Indépendants in 1899, 1901, and 1902 and exhibited at La Libre Esthétique in Brussels in 1901 and 1904, the Secession in Vienna in 1903, and the Salon d'Automne in 1904-6. He continued to study the underlying structure of nature, at times approaching abstraction by denying traditional perspective and using multiple viewpoints. He also began leaving portions of the canvas bare, giving some works an unfinished appearance. Cézanne's work had a tremendous influence on the artists of his time as well as those of subsequent generations, and he is considered one of the most influential figures in the development of modern art.", "name_in_original_language": null, "birth_year": "1839", "death_year": "1906" } ], "legal_status": "accessioned", "accession_date": "1936-01-03T00:00:00", "sortable_date": 1890, "date_text": "1890", "is_highlight": false, "updated_at": "2024-02-09 18:03:52.003000", "legacy": [] }, { "id": 135310, "accession_number": "1958.32", "share_license_status": "CC0", "tombstone": "Two Poplars in the Alpilles near Saint-Rémy, 1889. Vincent van Gogh (Dutch, 1853–1890). Oil on fabric; framed: 81 x 66.7 x 7.3 cm (31 7/8 x 26 1/4 x 2 7/8 in.); unframed: 61.6 x 45.7 cm (24 1/4 x 18 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna, Jr. 1958.32", "current_location": "222 Impressionism & Post-Impressionism", "title": "Two Poplars in the Alpilles near Saint-Rémy", "creation_date": "1889", "creation_date_earliest": 1889, "creation_date_latest": 1889, "artists_tags": [ "male" ], "culture": [ "Netherlands" ], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [ "427.46" ], "did_you_know": "During his Saint-Rémy period, Van Gogh painted 150 canvases and some 100 drawings. He painted nature as he saw it without enhancement and felt that painting would help cure him of his illness.", "description": "Van Gogh painted this autumnal landscape while interned at an asylum near Saint-Rémy in southern France. Although initially restricted to painting in his room, he soon resumed working outdoors. This painting reveals the full power of his mature style. Trees twist and lean against a darkening sky, while the intense colors applied with charged brushstrokes convey his emotional reaction to the subject.", "citations": [], "url": "https://clevelandart.org/art/1958.32", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1958.32/1958.32_web.jpg", "width": "673", "height": "900", "filesize": "338119", "filename": "1958.32_web.jpg" } }, "alternate_images": [], "creditline": "Bequest of Leonard C. Hanna, Jr.", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Nancy F. and Joseph P. Keithley Gallery", "athena_id": 135310, "creators": [ { "id": 1779, "description": "Vincent van Gogh (Dutch, 1853–1890)", "extent": null, "qualifier": null, "role": "artist", "biography": "The son of a clergyman, Vincent van Gogh was sent to The Hague at the age of sixteen to become an apprentice at Goupil & Co., an art dealer with whom his uncle was affiliated. In August 1872 van Gogh began his extensive correspondence with his younger brother Theo, who would join the Brussels branch of the firm the following year. Vincent was transferred to the London offices in 1873 and two years later to the Paris office, but he despised the art trade and was dismissed in 1876. He then taught briefly at a boarding school in Ramsgate and Isleworth, and, back in the Netherlands, worked in a bookshop in Dordrecht before moving to Amsterdam to study theology. In little more than a year he had left the university and entered missionary school, failing again. Still intent on entering the ministry, he moved to the Borinage in Belgium and became a lay evangelist to the miners. Van Gogh finally decided to become an artist in August 1880 and started copying works by Millet (q.v.), the painter of peasant life. With his brother's financial help, he briefly joined the Academy in Brussels. The following year he returned to The Hague, where he received some artistic training from his cousin by marriage, Anton Mauve (1838-1888). There van Gogh met Sien Hoornik, a pregnant prostitute with a five-year-old daughter, with whom he lived briefly. Unable to marry her because of his family's disapproval, he moved in November 1883 from The Hague to the province of Drenthe, a popular place for artists, where he painted and drew laborers and peasants. Feeling terribly lonely, he visited his parents in December 1884 in Nuenen, and it was there that he finally decided to become a painter of peasant life. Van Gogh completed The Potato Eaters (Van Gogh Museum, Amsterdam) in April 1885 and sent it to his brother in Paris. On 25 November he moved to Antwerp, where he reveled in the work of Rubens and first came to know Japanese prints. Van Gogh traveled to Paris in March 1886 and lived with Theo. Under the influence of the impressionists, and works by Monticelli (q.v.), his palette changed to more intense and vibrant colors. He began to associate with Émile Bernard (1868-1941), Henri de Toulouse-Lautrec (1864-1901), Degas (q.v.), Gauguin (q.v.), Pissarro (q.v.), and Seurat (q.v.) and started collecting some of their paintings as well as Japanese prints. He moved to Arles in February 1888. Apart from paintings, he also made some drawings because it was a cheaper medium. Theo encouraged him to submit to the Salon des Indépendants. In May Vincent rented a room in the Yellow House, even though he could hardly afford to do so, and continued to send his work to his brother. In June he became intrigued with the subject of the wheat harvest and painted The Sower (Kröller-Müller Museum, Otterlo). On 23 October 1888, Gauguin arrived in Arles, at a time when van Gogh was having trouble with his eyesight. Gauguin encouraged him to paint from memory, which resulted in Memory of the Garden in Etten (Hermitage, St. Petersburg). The artists, however, had many disagreements, and during a dramatic quarrel on 23 December van Gogh mutilated his ear. He was taken into a hospital in Arles, and Gauguin left for Paris. Van Gogh recovered rapidly and was dismissed on 7 January 1889. In February his neighbors objected to his presence in the Yellow House, and he had to return to the hospital. In April Theo married Johanna Gesina Bonger, who would eventually safeguard most of Vincent's oeuvre. Aware of his mental problems, at the end of April van Gogh checked himself into the asylum of Saint-Paul-de-Mausole in Saint-Rémy, where he was treated by Dr. Peyron. His condition was stable, and he was allowed to work in a makeshift studio. He worked in the garden (Irises, J. Paul Getty Museum, Los Angeles) and painted the fields he could see from his window. Under supervision he painted in the countryside, rendering cypresses and olive trees. Starry Night (Museum of Modern Art, New York) also stems from this period. From July through September he suffered from a severe depression that prevented him from working. He resumed his work from October through December, painting well-known Provençal works and adapting prints after Delacroix (q.v.), Millet, and Rembrandt (1606-1669). In January 1890 he exhibited five works with Les XX in Brussels, selling one of them. After a visit to Arles at the end of February, he became ill again but continued to work. He finally left the asylum, and visited Theo in Paris on his way to Auvers, where he arrived on 20 May. He became close friends with Dr. Gachet and rented a room at the inn of the Ravoux family. He painted the village, portraits, and the surrounding wheat fields. On 27 July 1890, during an episode of depression, van Gogh shot himself in the chest and died two days later.", "name_in_original_language": null, "birth_year": "1853", "death_year": "1890" } ], "legal_status": "accessioned", "accession_date": "1958-11-29T00:00:00", "sortable_date": 1889, "date_text": "1889", "is_highlight": false, "updated_at": "2024-02-09 18:05:13.967000", "legacy": [] }, { "id": 135185, "accession_number": "1958.21", "share_license_status": "CC0", "tombstone": "Mount Sainte-Victoire, c. 1904. Paul Cezanne (French, 1839–1906). Oil on fabric; framed: 87.5 x 106.5 x 7 cm (34 7/16 x 41 15/16 x 2 3/4 in.); unframed: 72.2 x 92.4 cm (28 7/16 x 36 3/8 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna, Jr. 1958.21", "current_location": "222 Impressionism & Post-Impressionism", "title": "Mount Sainte-Victoire", "creation_date": "c. 1904", "creation_date_earliest": 1899, "creation_date_latest": 1909, "artists_tags": [ "male" ], "culture": [ "France, late 19th-early 20th Century" ], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [ "1637.43" ], "did_you_know": "Cezanne created 36 paintings and 45 watercolors of Mount Sainte-Victoire. He was obsessed with this subject and painted this mountain over and over until his death.", "description": "During the last twenty years of his life, Cézanne repeatedly painted the towering mountain of Sainte-Victoire near his home in Aix-en-Provence. Aiming to reform Impressionism by bringing order and structure to the study of nature, he created tightly integrated compositions of merging, intersecting planes. Here, a rising tree branch echoes the distant mountain slope, thereby relating foreground to background. Sensations of space are created through rhythmic patterns of warm and cool color.", "citations": [], "url": "https://clevelandart.org/art/1958.21", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1958.21/1958.21_web.jpg", "width": "900", "height": "717", "filesize": "258218", "filename": "1958.21_web.jpg" } }, "alternate_images": [], "creditline": "Bequest of Leonard C. Hanna, Jr.", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Nancy F. and Joseph P. Keithley Gallery", "athena_id": 135185, "creators": [ { "id": 1754, "description": "Paul Cezanne (French, 1839–1906)", "extent": null, "qualifier": null, "role": "artist", "biography": "The son of a wealthy banker, Cézanne began his studies in Aix-en-Provence at the École Saint-Joseph in 1849, then attended the Collège Bourbon from 1852 until 1858. Émile Zola, the future author, was to become one of his closest friends. Cézanne enrolled at the École Gratuite de Dessin in 1857, entering the studio of Joseph Gibert (1806-1884). Two years later, complying with his father's wishes, he began studying law at the Université d'Aix while still at the École Gratuite de Dessin. In 1861 Cézanne finally left law school and followed Zola to Paris where he met Pissarro (q.v.) at the Académie Suisse. Probably after his failure to enter the École des Beaux-Arts, he returned to Aix and began working at his father's bank. In 1862, however, Cézanne returned to Paris, where he studied at the Académie Suisse and copied the works of the Old Masters in the Louvre. The works he produced during this period reflect the influence of Spanish painters such as Ribera (1591-1562) and Zurbarán (1598-1664), and other predecessors such as Delacroix (q.v.). His submissions to the Salons of 1865 through 1870 (and even through 1881) did not receive the jury's approval; the reinstatement of the Salon des Refusés was repeatedly but unsuccessfully demanded. Cézanne traveled often between Aix and Paris until 1870. To escape the Franco-Prussian War (1870-71) he stayed in the south in L'Estaque, along with his mistress, Hortense Fiquet, whom he had met in 1869. Cézanne moved back north to Pontoise with Hortense and his son, Paul, in 1872 and worked with Pissarro and met Dr. Paul Gachet. The following year he moved again to nearby Auvers-sur-Oise with his family, continuing his work with Pissarro. In 1874 and 1877 Cézanne participated in the first and third impressionist exhibitions, but the severe criticism of his works led him to abstain from using this venue again. In 1878 his father learned of the existence of Hortense and Paul, who at that point were living in Marseille, and threatened to discontinue his allowance. While in the Midi, Cézanne often worked with Monticelli (q.v.). His art increasingly matured, and he began concentrating on the order and internal structure within his compositions, limiting his palette. During these years he also met Gauguin (q.v.) and Renoir (q.v.), and always trav-eled, chiefly between Aix and L'Estaque. In 1886 Cézanne married Hortense, his father died, and the inheritance provided him with the financial means to live without constraints. He bought a house in Marlotte near Fontainebleau in 1892. In 1895 he had his first solo show at the gallery of Ambroise Vollard, who two years later bought all the artist's works from his studio near Corbeil. The dealer Paul Durand-Ruel became another important client. Cézanne participated in the Salon des Indépendants in 1899, 1901, and 1902 and exhibited at La Libre Esthétique in Brussels in 1901 and 1904, the Secession in Vienna in 1903, and the Salon d'Automne in 1904-6. He continued to study the underlying structure of nature, at times approaching abstraction by denying traditional perspective and using multiple viewpoints. He also began leaving portions of the canvas bare, giving some works an unfinished appearance. Cézanne's work had a tremendous influence on the artists of his time as well as those of subsequent generations, and he is considered one of the most influential figures in the development of modern art.", "name_in_original_language": null, "birth_year": "1839", "death_year": "1906" } ], "legal_status": "accessioned", "accession_date": "1958-11-29T00:00:00", "sortable_date": 1899, "date_text": "c. 1904", "is_highlight": true, "updated_at": "2024-02-09 18:05:13.435000", "legacy": [] }, { "id": 128391, "accession_number": "1951.355", "share_license_status": "CC0", "tombstone": "Portrait of a Family Playing Music, 1663. Pieter de Hooch (Dutch, 1629–1684). Oil on canvas; framed: 124.5 x 142.5 x 7 cm (49 x 56 1/8 x 2 3/4 in.); unframed: 98.7 x 116.7 cm (38 7/8 x 45 15/16 in.). The Cleveland Museum of Art, Gift of the Hanna Fund 1951.355", "current_location": "215 French, German, and Dutch", "title": "Portrait of a Family Playing Music", "creation_date": "1663", "creation_date_earliest": 1663, "creation_date_latest": 1663, "artists_tags": [ "male" ], "culture": [ "Netherlands" ], "technique": "oil on canvas", "support_materials": [], "department": "European Painting and Sculpture", "collection": "P - Netherlandish-Dutch", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "During this period, the Dutch Republic was the richest, most urbanized nation.", "description": "The identity of the sitters remains unknown, although the marble floor and mantelpiece, the Transylvanian prayer rug on the table, and the silk clothes all point to the family’s considerable wealth. Furthermore, the richly carved chest at the right supports Chinese vases and Japanese lacquered boxes, a reference to the flourishing Dutch trade with Asia. Music making often took place at home, and its appearance here also signifies the harmoniousness of the family.", "citations": [], "url": "https://clevelandart.org/art/1951.355", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1951.355/1951.355_web.jpg", "width": "900", "height": "759", "filesize": "188537", "filename": "1951.355_web.jpg" } }, "alternate_images": [], "creditline": "Gift of the Hanna Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 128391, "creators": [ { "id": 2633, "description": "Pieter de Hooch (Dutch, 1629–1684)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1629", "death_year": "1684" } ], "legal_status": "accessioned", "accession_date": "1951-08-09T00:00:00", "sortable_date": 1663, "date_text": "1663", "is_highlight": false, "updated_at": "2024-02-09 18:04:45.570000", "legacy": [] }, { "id": 122349, "accession_number": "1942.645", "share_license_status": "CC0", "tombstone": "Portrait of the Ladies Amabel and Mary Jemima Yorke, c. 1761. Joshua Reynolds (British, 1723–1792). Oil on canvas; framed: 224.5 x 201.3 x 11.4 cm (88 3/8 x 79 1/4 x 4 1/2 in.); unframed: 196 x 170 cm (77 3/16 x 66 15/16 in.); former: 223.5 x 198 x 9 cm (88 x 77 15/16 x 3 9/16 in.). The Cleveland Museum of Art, Bequest of John L. Severance 1942.645", "current_location": "203A British Painting and Decorative Arts", "title": "Portrait of the Ladies Amabel and Mary Jemima Yorke", "creation_date": "c. 1761", "creation_date_earliest": 1756, "creation_date_latest": 1766, "artists_tags": [ "male" ], "culture": [ "England, 18th century" ], "technique": "oil on canvas", "support_materials": [], "department": "European Painting and Sculpture", "collection": "P - British before 1800", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [ { "id": 154630, "description": "The Ladies Amabel and Mary Jemima Yorke, c. 1761. Edward Fisher (British, 1722–1785), after Joshua Reynolds (British, 1723–1792). Mezzotint; image: 41.7 x 36.3 cm (16 7/16 x 14 5/16 in.). The Cleveland Museum of Art, Bequest of Mrs. Severance A. Millikin 1989.236", "relationship": null } ], "former_accession_numbers": [], "did_you_know": "Her family affectionately referred to Mary Jemima (at right) as \"Mouse.\"", "description": "Sisters Amabel (left) and Mary Jemima are shown playing on the grounds of their family’s country estate outside London. They wear loose, flowing garments invented specifically for the portrait rather than their usual outdoor dresses. Their father commissioned the painting to hang in the family’s city home in London’s St. James Square and it highlights their status as landowners. Joshua Reynolds painted this portrait after his return from Italy, where his studies inspired him to incorporate classical references. The famous ancient Roman Statue of a Girl with a Dove is echoed in Mary Jemima’s pose as she shields a dove from the family dog.", "citations": [], "url": "https://clevelandart.org/art/1942.645", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1942.645/1942.645_web.jpg", "width": "777", "height": "893", "filesize": "480021", "filename": "1942.645_web.jpg" } }, "alternate_images": [], "creditline": "Bequest of John L. Severance", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 122349, "creators": [ { "id": 2541, "description": "Joshua Reynolds (British, 1723–1792)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1723", "death_year": "1792" } ], "legal_status": "accessioned", "accession_date": "1942-07-24T00:00:00", "sortable_date": 1756, "date_text": "c. 1761", "is_highlight": false, "updated_at": "2024-02-09 18:04:17.789000", "legacy": [] }, { "id": 127571, "accession_number": "1950.250", "share_license_status": "CC0", "tombstone": "Portrait of a Man, possibly Girolamo Rosati, 1533–34. Lorenzo Lotto (Italian, 1480–1556). Oil on canvas; framed: 135.9 x 128 x 8.6 cm (53 1/2 x 50 3/8 x 3 3/8 in.); unframed: 108.2 x 100.5 cm (42 5/8 x 39 9/16 in.). The Cleveland Museum of Art, Gift of the Hanna Fund 1950.250", "current_location": "118 Italian Renaissance", "title": "Portrait of a Man, possibly Girolamo Rosati", "creation_date": "1533–34", "creation_date_earliest": 1533, "creation_date_latest": 1534, "artists_tags": [ "male" ], "culture": [ "Italy, 16th century" ], "technique": "oil on canvas", "support_materials": [], "department": "European Painting and Sculpture", "collection": "P - Italian 16th & 17th Century", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This fashionable man broadcasts his wealth by wearing a fur-lined velvet and satin outfit with expensive gold jewelry.", "description": "The gesture of the elegantly dressed man is a mystery. Is he rising from his chair to address someone or is he pointing to something outside the frame? His right hand rests on a piece of paper (a letter?), while on the table are clover—a symbol of abundance, good fortune, and happy marriage—and jasmine, associated with purity and love, further emphasized by the roses on the trellis. There may have been a companion portrait of the sitter’s bride, to whom he acknowledges his devotion. Another recent interpretation identifies the sitter as Girolamo Rosati, a high official in Fermo, on Italy’s east coast. The paper may be a design for one of his important architectural projects, to which he may be pointing in the distance. The interrupted moment is a naturalistic touch characteristic of Lotto, quite distinct from the formality of the other Italian Renaissance portraits in the museum's collection. Though this portrait clearly articulates the man’s status, Lotto emphasizes his individuality and interiority as much as a socially constructed identity.", "citations": [], "url": "https://clevelandart.org/art/1950.250", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1950.250/1950.250_web.jpg", "width": "824", "height": "893", "filesize": "534682", "filename": "1950.250_web.jpg" } }, "alternate_images": [], "creditline": "Gift of the Hanna Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 127571, "creators": [ { "id": 2209, "description": "Lorenzo Lotto (Italian, 1480–1556)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1480", "death_year": "1556" } ], "legal_status": "accessioned", "accession_date": "1950-06-29T00:00:00", "sortable_date": 1533, "date_text": "1533–34", "is_highlight": true, "updated_at": "2024-02-09 18:04:41.673000", "legacy": [] }, { "id": 135428, "accession_number": "1958.425", "share_license_status": "CC0", "tombstone": "Hunting near Hartenfels Castle, 1540. Lucas Cranach (German, 1472–1553). Oil, originally on wood, transferred to masonite; framed: 133 x 185.5 x 7.3 cm (52 3/8 x 73 1/16 x 2 7/8 in.); unframed: 116.8 x 170.2 cm (46 x 67 in.). The Cleveland Museum of Art, John L. Severance Fund 1958.425", "current_location": "114 Late Northern Renaissance", "title": "Hunting near Hartenfels Castle", "creation_date": "1540", "creation_date_earliest": 1540, "creation_date_latest": 1540, "artists_tags": [ "male" ], "culture": [ "Germany, 16th century" ], "technique": "oil, originally on wood, transferred to masonite", "support_materials": [], "department": "European Painting and Sculpture", "collection": "P - German before 1800", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Humans, dogs, and deer make up most of the creatures in this busy scene—but not all of them! Look closely at the background to spot a bear and three boars.", "description": "The Protestant rulers of Saxony commissioned this animated hunt scene, set near their residence seen in the background, Hartenfels Castle (in eastern Germany). John Frederick the Magnanimous, in the bottom left corner, wears dark green hunting attire; he spans his crossbow and waits for his courtiers and dogs to chase a stag across the river. His wife, the Electress Sibylle, stands at right, poised to take the first ceremonial shot. The prince electors of Saxony were passionate practitioners of hunting with dogs—elaborate, highly rehearsed occasions, coordinated by the use of signals from hunting horns. Cranach dated this work and his signature is the winged snake at lower right. 1577 in the right corner is an inventory number.", "citations": [], "url": "https://clevelandart.org/art/1958.425", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1958.425/1958.425_web.jpg", "width": "1263", "height": "866", "filesize": "1094651", "filename": "1958.425_web.jpg" } }, "alternate_images": [], "creditline": "John L. Severance Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 135428, "creators": [ { "id": 2647, "description": "Lucas Cranach (German, 1472–1553)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1472", "death_year": "1553" } ], "legal_status": "accessioned", "accession_date": "1958-11-29T00:00:00", "sortable_date": 1540, "date_text": "1540", "is_highlight": true, "updated_at": "2024-02-09 18:05:14.644000", "legacy": [] }, { "id": 150389, "accession_number": "1981.18", "share_license_status": "CC0", "tombstone": "The Holy Family on the Steps, 1648. Nicolas Poussin (French, 1594–1665). Oil on canvas; framed: 103.5 x 135.3 x 13.3 cm (40 3/4 x 53 1/4 x 5 1/4 in.); unframed: 73.3 x 105.8 cm (28 7/8 x 41 5/8 in.); former: 72.3 x 104 cm (28 7/16 x 40 15/16 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 1981.18", "current_location": "212 Baroque Painting and Sculpture", "title": "The Holy Family on the Steps", "creation_date": "1648", "creation_date_earliest": 1648, "creation_date_latest": 1648, "artists_tags": [ "male" ], "culture": [ "France, 17th century" ], "technique": "oil on canvas", "support_materials": [], "department": "European Painting and Sculpture", "collection": "P - French 17th Century", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Poussin placed small wax models in a box pierced with holes to study lighting effects.", "description": "This deceptively simple composition represents a complex meditation on the Holy Family’s role in the redemption of humanity. At the center, Mary presents the Christ child to the world. At the left, Saint Elizabeth leans forward to foretell his eventual death, while her son, Saint John the Baptist, offers Jesus an apple, signifying humanity’s fall from grace in the Garden of Eden. At the right, Saint Joseph holds a compass, a sign of his occupation as a carpenter and also symbolic of God the Father. Poussin developed his composition meticulously and deliberately, using clear primary colors, simple forms, and a geometric organization to express the central importance of the Holy Family in Christian belief.", "citations": [], "url": "https://clevelandart.org/art/1981.18", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1981.18/1981.18_web.jpg", "width": "1263", "height": "867", "filesize": "690276", "filename": "1981.18_web.jpg" } }, "alternate_images": [], "creditline": "Leonard C. Hanna, Jr. Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150389, "creators": [ { "id": 1946, "description": "Nicolas Poussin (French, 1594–1665)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1594", "death_year": "1665" } ], "legal_status": "accessioned", "accession_date": "1981-05-11T00:00:00", "sortable_date": 1648, "date_text": "1648", "is_highlight": true, "updated_at": "2024-02-09 18:06:25.074000", "legacy": [] }, { "id": 138359, "accession_number": "1962.292", "share_license_status": "CC0", "tombstone": "Wineglass and a Bowl of Fruit, 1663. Willem Kalf (Dutch, 1619–1693). Oil on canvas; framed: 81 x 70.5 x 7.5 cm (31 7/8 x 27 3/4 x 2 15/16 in.); unframed: 60.3 x 50.2 cm (23 3/4 x 19 3/4 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 1962.292", "current_location": "215 French, German, and Dutch", "title": "Wineglass and a Bowl of Fruit", "creation_date": "1663", "creation_date_earliest": 1663, "creation_date_latest": 1663, "artists_tags": [ "male" ], "culture": [ "Netherlands" ], "technique": "oil on canvas", "support_materials": [], "department": "European Painting and Sculpture", "collection": "P - Netherlandish-Dutch", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Willem Kalf was the most accomplished proponent of the pronkstilleven, a Dutch term meaning \"ostentatious still life.\"", "description": "Priceless objects crowd the corner of a stone table in Kalf's composition. Pieces like the silver platter, delicate glasswares, thick rumpled carpet, and a Chinese porcelain bowl with peaches and an orange not only represented the great wealth and global reach of the Dutch trading empire, but were also a way for the artist to demonstrate his skill in recreating various surface textures. Kalf used different kinds of highlights to render reflections—quick dots, lines, and dabs of paint—creating sparkling, twinkling light effects that subtly distinguish objects from the surrounding shadows.
In 1797, the German poet Johann van Goethe wrote that Kalf's paintings lead to understanding \"in what sense art is superior to nature and what the spirit of man imparts to objects when it views them with creative eyes. . . . if I had to choose between the golden vessels or the picture . . . I would choose the picture.\"", "citations": [], "url": "https://clevelandart.org/art/1962.292", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1962.292/1962.292_web.jpg", "width": "747", "height": "893", "filesize": "376484", "filename": "1962.292_web.jpg" } }, "alternate_images": [], "creditline": "Leonard C. Hanna, Jr. Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 138359, "creators": [ { "id": 2673, "description": "Willem Kalf (Dutch, 1619–1693)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1619", "death_year": "1693" } ], "legal_status": "accessioned", "accession_date": "1962-11-17T00:00:00", "sortable_date": 1663, "date_text": "1663", "is_highlight": false, "updated_at": "2024-02-09 18:05:29.027000", "legacy": [] }, { "id": 131819, "accession_number": "1954.392", "share_license_status": "CC0", "tombstone": "A Genoese Lady with Her Child, c. 1623–25. Anthony van Dyck (Flemish, 1599–1641). Oil on canvas; framed: 266.5 x 184 x 12 cm (104 15/16 x 72 7/16 x 4 3/4 in.); unframed: 217.8 x 146 cm (85 3/4 x 57 1/2 in.). The Cleveland Museum of Art, Gift of the Hanna Fund 1954.392", "current_location": "212 Baroque Painting and Sculpture", "title": "A Genoese Lady with Her Child", "creation_date": "c. 1623–25", "creation_date_earliest": 1623, "creation_date_latest": 1625, "artists_tags": [ "male" ], "culture": [ "Flanders" ], "technique": "oil on canvas", "support_materials": [], "department": "European Painting and Sculpture", "collection": "P - Netherlandish-Flemish", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This portrait was a departure from the painting style popular at this time, focusing less on a demonstrative display of wealth and status and more on capturing the essence of the sitter. Although the clothing denotes affluence, this intimate interaction between mother and child transcends class boundaries.", "description": "Prior to the 1600s, large, full-length portraits of wealthy clients usually emphasized the trappings of status above any other qualities. The accuracy of the likeness and vivacity of the person remained subordinate to an easily readable sense of the sitter’s power and position in society. Artists such as Van Dyck transformed this tradition, which sent shockwaves through Genoa, instantly changing the direction of elite portraiture in the city. While the elaborate garb of this unidentified sitter and the scale of the image certainly mark her status, the warmth Van Dyck imparted to her face, the drama of the background, and the touching detail of the child spontaneously reaching upward add life, energy, and theatricality to the work.", "citations": [], "url": "https://clevelandart.org/art/1954.392", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1954.392/1954.392_web.jpg", "width": "595", "height": "893", "filesize": "365511", "filename": "1954.392_web.jpg" } }, "alternate_images": [], "creditline": "Gift of the Hanna Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Reinberger Gallery", "athena_id": 131819, "creators": [ { "id": 2443, "description": "Anthony van Dyck (Flemish, 1599–1641)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1599", "death_year": "1641" } ], "legal_status": "accessioned", "accession_date": "1954-06-04T00:00:00", "sortable_date": 1623, "date_text": "c. 1623–25", "is_highlight": false, "updated_at": "2024-02-09 18:05:01.628000", "legacy": [] }, { "id": 148758, "accession_number": "1976.2", "share_license_status": "CC0", "tombstone": "The Crucifixion of Saint Andrew, 1606–7. Caravaggio (Italian, 1571–1610). Oil on canvas; framed: 233.5 x 184 x 12 cm (91 15/16 x 72 7/16 x 4 3/4 in.); unframed: 202.5 x 152.7 cm (79 3/4 x 60 1/8 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 1976.2", "current_location": "217 Italian Baroque", "title": "The Crucifixion of Saint Andrew", "creation_date": "1606–7", "creation_date_earliest": 1606, "creation_date_latest": 1607, "artists_tags": [ "male" ], "culture": [ "Italy, Naples" ], "technique": "oil on canvas", "support_materials": [], "department": "European Painting and Sculpture", "collection": "P - Italian 16th & 17th Century", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Although Saint Andrew is typically associated with an X-shaped cross, here he is depicted on a standard vertical cross.", "description": "Saint Andrew’s efforts to introduce Christianity to Greece in the first century CE were met with hostility from local authorities. He was sentenced to die on the cross because he refused to acknowledge pagan gods. For two days, Andrew preached from his martyr’s station to an increasingly sympathetic crowd. Bowing to public demand, Andrew’s would-be executioners attempted to untie him, but their hands were mysteriously paralyzed. Andrew’s desire for martyrdom was thus fulfilled and he died enveloped in divine light. Caravaggio’s innovative interpretation involves the viewer more closely in the event by presenting the crucifixion as intimate and private, rather than as a gruesome public spectacle. Bold contrasts of light and dark suggest the presence of God. A masterpiece of Baroque painting, Caravaggio’s Crucifixion of Saint Andrew is the only altarpiece by the artist in America.", "citations": [], "url": "https://clevelandart.org/art/1976.2", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1976.2/1976.2_web.jpg", "width": "678", "height": "900", "filesize": "223048", "filename": "1976.2_web.jpg" } }, "alternate_images": [], "creditline": "Leonard C. Hanna, Jr. Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Donna and James Reid Gallery", "athena_id": 148758, "creators": [ { "id": 2065, "description": "Caravaggio (Italian, 1571–1610)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1571", "death_year": "1610" } ], "legal_status": "accessioned", "accession_date": "1976-02-24T00:00:00", "sortable_date": 1606, "date_text": "1606–7", "is_highlight": true, "updated_at": "2024-02-13 19:48:43.312000", "legacy": [] }, { "id": 124089, "accession_number": "1944.90", "share_license_status": "CC0", "tombstone": "Portrait of a Woman, 1635 or earlier. Rembrandt van Rijn (Dutch, 1606–1669), and Studio. Oil on wood; framed: 97.8 x 83.8 x 6.4 cm (38 1/2 x 33 x 2 1/2 in.); unframed: 77.5 x 64.8 cm (30 1/2 x 25 1/2 in.). The Cleveland Museum of Art, The Elisabeth Severance Prentiss Collection 1944.90", "current_location": "213 Dutch Painting", "title": "Portrait of a Woman", "creation_date": "1635 or earlier", "creation_date_earliest": 1630, "creation_date_latest": 1635, "artists_tags": [ "gender unknown", "male" ], "culture": [ "Netherlands" ], "technique": "oil on wood", "support_materials": [], "department": "European Painting and Sculpture", "collection": "P - Netherlandish-Dutch", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This painting is probably a pendant to a portrait of a man that is now at the Kawamura Memorial Museum of Art in Japan. Both were cut down from their original rectangular shape.", "description": "At the age of 25, Rembrandt moved from his hometown of Leiden to the bustling city of Amsterdam. Within a few years he had become one of the city’s most successful portrait painters, creating remarkably vivid likenesses that seemed to express the personality and soul of the sitter. Here, Rembrandt used smooth, fluid brushstrokes to recreate the soft texture of the woman’s skin. In contrast, thicker, more textured strokes draw attention to the lavish display of her lace collar and gold jewelry—details sure to please a wealthy client. The extraordinary demand at that time for a portrait by Rembrandt meant that in many cases (including, probably, this painting) he called upon assistants to help complete the work.", "citations": [], "url": "https://clevelandart.org/art/1944.90", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1944.90/1944.90_web.jpg", "width": "738", "height": "900", "filesize": "146308", "filename": "1944.90_web.jpg" } }, "alternate_images": [], "creditline": "The Elisabeth Severance Prentiss Collection", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 124089, "creators": [ { "id": 2520, "description": "Rembrandt van Rijn (Dutch, 1606–1669)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1606", "death_year": "1669" }, { "id": 61762, "description": "Studio", "extent": null, "qualifier": "and", "role": "artist", "biography": null, "name_in_original_language": null } ], "legal_status": "accessioned", "accession_date": "1944-03-17T00:00:00", "sortable_date": 1630, "date_text": "1635 or earlier", "is_highlight": false, "updated_at": "2024-02-09 18:04:25.598000", "legacy": [] }, { "id": 136217, "accession_number": "1960.117", "share_license_status": "CC0", "tombstone": "Christ and the Virgin in the House at Nazareth, c. 1640. Francisco de Zurbarán (Spanish, 1598–1664). Oil on canvas; framed: 201 x 256 x 10 cm (79 1/8 x 100 13/16 x 3 15/16 in.); unframed: 165 x 218.2 cm (64 15/16 x 85 7/8 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 1960.117", "current_location": "212 Baroque Painting and Sculpture", "title": "Christ and the Virgin in the House at Nazareth", "creation_date": "c. 1640", "creation_date_earliest": 1635, "creation_date_latest": 1645, "artists_tags": [ "male" ], "culture": [ "Spain, 17th century" ], "technique": "oil on canvas", "support_materials": [], "department": "European Painting and Sculpture", "collection": "P - Spanish before 1800", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Zurbarán, also a still-life painter, tilts the tabletop to emphasize the symbolic books and fruit.", "description": "Stories of Christ’s childhood and adolescence became increasingly popular during the Counter-Reformation because they were easily understood by a broad public. Rather than taking a story from the Bible, Zurbarán appears to have invented this subject, in which Jesus pricks himself on a crown of thorns he is weaving, foretelling his later torment at the Crucifixion. Despite the grand scale and monumental figures, the work has remarkable intimacy and quietness, emphasizing such details as the Virgin’s tears.", "citations": [], "url": "https://clevelandart.org/art/1960.117", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1960.117/1960.117_web.jpg", "width": "900", "height": "668", "filesize": "177911", "filename": "1960.117_web.jpg" } }, "alternate_images": [], "creditline": "Leonard C. Hanna, Jr. Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 136217, "creators": [ { "id": 5148, "description": "Francisco de Zurbarán (Spanish, 1598–1664)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1598", "death_year": "1664" } ], "legal_status": "accessioned", "accession_date": "1960-06-18T00:00:00", "sortable_date": 1635, "date_text": "c. 1640", "is_highlight": true, "updated_at": "2024-02-09 18:05:17.345000", "legacy": [] }, { "id": 147938, "accession_number": "1974.39", "share_license_status": "CC0", "tombstone": "Interior of the Pantheon, Rome, 1747. Giovanni Paolo Panini (Italian, 1691–1765). Oil on canvas; framed: 147.5 x 120 x 5 cm (58 1/16 x 47 1/4 x 1 15/16 in.); unframed: 127 x 97.8 cm (50 x 38 1/2 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1974.39", "current_location": "217 Italian Baroque", "title": "Interior of the Pantheon, Rome", "creation_date": "1747", "creation_date_earliest": 1747, "creation_date_latest": 1747, "artists_tags": [ "male" ], "culture": [ "Italy, 18th century" ], "technique": "oil on canvas", "support_materials": [], "department": "European Painting and Sculpture", "collection": "P - Italian 18th Century", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Panini's depictions of contemporary and ancient Rome were popular with foreigners who visited the city on their Grand Tours.", "description": "Created as a temple under the Roman emperor Hadrian around the year AD 125, the Pantheon became a Christian church in 609. Significant restoration took place in the early 1700s, a period of renewed attention to early Christian monuments. The site was a major monument of antiquity, an active church, and its portico, visible through the door, held the most important art fair in the city. Panini shows the complexity of this public space by representing foreign tourists, local churchgoers, Roman nobles, and artists mingling under the dome.", "citations": [], "url": "https://clevelandart.org/art/1974.39", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1974.39/1974.39_web.jpg", "width": "704", "height": "900", "filesize": "241279", "filename": "1974.39_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Donna and James Reid Gallery", "athena_id": 147938, "creators": [ { "id": 2249, "description": "Giovanni Paolo Panini (Italian, 1691–1765)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1691", "death_year": "1765" } ], "legal_status": "accessioned", "accession_date": "1974-05-21T00:00:00", "sortable_date": 1747, "date_text": "1747", "is_highlight": false, "updated_at": "2024-02-09 18:06:12.068000", "legacy": [] }, { "id": 97155, "accession_number": "1916.793", "share_license_status": "CC0", "tombstone": "Portrait of a Couple, c. 1580–88. Northern Italy, late 16th century. Oil on canvas; framed: 132 x 173 x 10.5 cm (51 15/16 x 68 1/8 x 4 1/8 in.); unframed: 99.8 x 140.5 cm (39 5/16 x 55 5/16 in.). The Cleveland Museum of Art, Holden Collection 1916.793", "current_location": "118 Italian Renaissance", "title": "Portrait of a Couple", "creation_date": "c. 1580–88", "creation_date_earliest": 1580, "creation_date_latest": 1588, "artists_tags": [], "culture": [ "Northern Italy, late 16th century" ], "technique": "oil on canvas", "support_materials": [], "department": "European Painting and Sculpture", "collection": "P - Italian 16th & 17th Century", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The bejeweled martin (weasel) was a coveted fashion accessory in Renaissance Europe.", "description": "While the attribution remains hotly debated, this work exemplifies how Italian portraiture of the 1500s could articulate family alliances through marriage. The inscription gives the sitters’ ages as 35 and 28, and their elaborate jewelry, weapons, and garments, made of expensive materials, convey their elite status. The marten skin attached to the woman’s waist-its head decorated with gems-symbolized propriety. These expressions of wealth convey achievements and position rather than accurate personalities, and the figures, though lifelike, stand in awkward relationship to each other, their interaction one of alliance not love.", "citations": [], "url": "https://clevelandart.org/art/1916.793", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1916.793/1916.793_web.jpg", "width": "1257", "height": "893", "filesize": "749771", "filename": "1916.793_web.jpg" } }, "alternate_images": [], "creditline": "Holden Collection", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 97155, "creators": [], "legal_status": "accessioned", "accession_date": "1916-06-22T00:00:00", "sortable_date": 1580, "date_text": "c. 1580–88", "is_highlight": false, "updated_at": "2024-02-09 18:02:37.363000", "legacy": [] }, { "id": 128842, "accession_number": "1951.454", "share_license_status": "CC0", "tombstone": "Saint Peter Repentant, 1645. Georges de La Tour (French, 1593–1652). Oil on canvas; framed: 140.3 x 119.1 x 7 cm (55 1/4 x 46 7/8 x 2 3/4 in.); unframed: 114 x 95 cm (44 7/8 x 37 3/8 in.). The Cleveland Museum of Art, Gift of the Hanna Fund 1951.454", "current_location": "217 Italian Baroque", "title": "Saint Peter Repentant", "creation_date": "1645", "creation_date_earliest": 1645, "creation_date_latest": 1645, "artists_tags": [ "male" ], "culture": [ "France, 17th century" ], "technique": "oil on canvas", "support_materials": [], "department": "European Painting and Sculpture", "collection": "P - French 17th Century", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The rooster next to Peter is a reference to Jesus's prediction that Peter will betray him, stating: \"Before the rooster crows, you will disown me three times.\"", "description": "During Jesus’s arrest on the night of the Last Supper, the apostle Peter denied knowing him. Although Christ forgave his betrayal, Peter was consumed by guilt. La Tour represents Peter as an old man, reflecting on his past actions in a state of perpetual repentance. The apostle’s red-rimmed eyes and the uncertain light of the lantern suggest anxious sleepless nights; muted colors and simple forms give visual expression to Peter’s somber emotions. Unlike other artists inspired by Caravaggio, La Tour worked in relative isolation in northeastern France, and his connection to his Italian counterpart remains unclear.", "citations": [], "url": "https://clevelandart.org/art/1951.454", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1951.454/1951.454_web.jpg", "width": "727", "height": "893", "filesize": "404648", "filename": "1951.454_web.jpg" } }, "alternate_images": [], "creditline": "Gift of the Hanna Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 128842, "creators": [ { "id": 1910, "description": "Georges de La Tour (French, 1593–1652)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1593", "death_year": "1652" } ], "legal_status": "accessioned", "accession_date": "1951-11-15T00:00:00", "sortable_date": 1645, "date_text": "1645", "is_highlight": true, "updated_at": "2024-02-09 18:04:48.048000", "legacy": [] }, { "id": 153603, "accession_number": "1987.136", "share_license_status": "CC0", "tombstone": "Portrait of Machtelt Suijs, c. 1540–45. Maerten van Heemskerck (Dutch, 1498–1574). Oil on wood; framed: 107 x 97 x 8 cm (42 1/8 x 38 3/16 x 3 1/8 in.); unframed: 85 x 74 cm (33 7/16 x 29 1/8 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 1987.136", "current_location": "118 Italian Renaissance", "title": "Portrait of Machtelt Suijs", "creation_date": "c. 1540–45", "creation_date_earliest": 1540, "creation_date_latest": 1545, "artists_tags": [ "male" ], "culture": [ "Flanders" ], "technique": "oil on wood", "support_materials": [], "department": "European Painting and Sculpture", "collection": "P - Netherlandish-Flemish", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The coat of arms depicts golden pile drivers, indicating the family construction business.", "description": "Maerten van Heemskerck lived in Rome for four years (1532–36) and was deeply affected by the city's art and antiquities. Here, the half-length, seated figure, the tense yet elegant hands, and even the grotesque classical mask reflect the impact of that experience, while the love of meticulously represented textures is traditionally associated with northern European art. Machtelt Suijs married Dirick van Teijlingen in 1535 and lived in Alkmaar (the Netherlands), where Heemskerck must have painted her. The coat-of-arms that hangs from the mask combines family emblems, indicating that her portrait must have been accompanied by one (now lost) of her husband.", "citations": [], "url": "https://clevelandart.org/art/1987.136", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1987.136/1987.136_web.jpg", "width": "779", "height": "900", "filesize": "211838", "filename": "1987.136_web.jpg" } }, "alternate_images": [], "creditline": "Leonard C. Hanna, Jr. Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 153603, "creators": [ { "id": 2858, "description": "Maerten van Heemskerck (Dutch, 1498–1574)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1498", "death_year": "1574" } ], "legal_status": "accessioned", "accession_date": "1987-09-21T00:00:00", "sortable_date": 1540, "date_text": "c. 1540–45", "is_highlight": false, "updated_at": "2024-02-09 18:06:39.809000", "legacy": [] }, { "id": 145450, "accession_number": "1971.1", "share_license_status": "CC0", "tombstone": "Interior of a Church, c. 1680. Emanuel de Witte (Dutch, c. 1617–1692). Oil on canvas; framed: 89.5 x 80.5 x 6.5 cm (35 1/4 x 31 11/16 x 2 9/16 in.); unframed: 62 x 54 cm (24 7/16 x 21 1/4 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund 1971.1", "current_location": "213 Dutch Painting", "title": "Interior of a Church", "creation_date": "c. 1680", "creation_date_earliest": 1675, "creation_date_latest": 1685, "artists_tags": [ "male" ], "culture": [ "Netherlands" ], "technique": "oil on canvas", "support_materials": [], "department": "European Painting and Sculpture", "collection": "P - Netherlandish-Dutch", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In the 1600s, Dutch churches functioned as public gathering places—even dogs were allowed!", "description": "Although this spacious church interior is largely imaginary, Emanuel de Witte’s precise description of architectural forms convinces us that he depicted an actual place. To create a sense of familiarity, he included some specific architectural features from the Oude Kerk (Old Church) in Amsterdam. In the late 1500s, militant Protestant sects occupied Catholic churches in the Netherlands and stripped them of rich decorations and “idolatrous” images. The resulting spare, whitewashed interiors became a favorite subject of Dutch artists, who were intrigued by the interplay of light and shadow over the unadorned walls, and by the challenge of depicting perspectival space.", "citations": [], "url": "https://clevelandart.org/art/1971.1", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1971.1/1971.1_web.jpg", "width": "772", "height": "893", "filesize": "438361", "filename": "1971.1_web.jpg" } }, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 145450, "creators": [ { "id": 2832, "description": "Emanuel de Witte (Dutch, c. 1617–1692)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "ca. 1617", "death_year": "1692" } ], "legal_status": "accessioned", "accession_date": "1971-02-23T00:00:00", "sortable_date": 1675, "date_text": "c. 1680", "is_highlight": false, "updated_at": "2024-02-09 18:06:02.229000", "legacy": [] }, { "id": 146148, "accession_number": "1971.47", "share_license_status": "CC0", "tombstone": "Basket of Plums, 1769. Anne Vallayer-Coster (French, 1744–1818). Oil on canvas; unframed: 38 x 46.2 cm (14 15/16 x 18 3/16 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund 1971.47", "current_location": "216B French and German", "title": "Basket of Plums", "creation_date": "1769", "creation_date_earliest": 1769, "creation_date_latest": 1769, "artists_tags": [ "female" ], "culture": [ "France, 18th century" ], "technique": "oil on canvas", "support_materials": [], "department": "European Painting and Sculpture", "collection": "P - French 18th Century", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The artist painted a companion to this work—a plate of peaches and branch of cherries.", "description": "During the later part of the 1700s, fruit still lifes were extremely popular, and a basket of plums was a common motif. In Vallayer's painting the details, especially the plums and the basket, emerge from deep shadows. The colors are vivid reds and violets and a sense of immediacy is invoked by the growing moss, the cakes in their crisp papers, and the glass of water with its sparkling highlights and reflections.", "citations": [], "url": "https://clevelandart.org/art/1971.47", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1971.47/1971.47_web.jpg", "width": "1076", "height": "893", "filesize": "613361", "filename": "1971.47_web.jpg" } }, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 146148, "creators": [ { "id": 1978, "description": "Anne Vallayer-Coster (French, 1744–1818)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1744", "death_year": "1818" } ], "legal_status": "accessioned", "accession_date": "1971-05-13T00:00:00", "sortable_date": 1769, "date_text": "1769", "is_highlight": false, "updated_at": "2024-02-09 18:06:04.420000", "legacy": [] }, { "id": 145463, "accession_number": "1971.101", "share_license_status": "CC0", "tombstone": "Danaë, c. 1623. Orazio Gentileschi (Italian, 1563–1639). Oil on canvas; framed: 202.5 x 270 x 9 cm (79 3/4 x 106 5/16 x 3 9/16 in.); unframed: 162 x 228.5 cm (63 3/4 x 89 15/16 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 1971.101", "current_location": "217 Italian Baroque", "title": "Danaë", "creation_date": "c. 1623", "creation_date_earliest": 1618, "creation_date_latest": 1628, "artists_tags": [ "male" ], "culture": [ "Italy, 17th century" ], "technique": "oil on canvas", "support_materials": [], "department": "European Painting and Sculpture", "collection": "P - Italian 16th & 17th Century", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The gauzy scarf draped over Danaë was a studio prop present in many of Orazio's paintings.", "description": "Danaë’s father feared a prophecy that his grandson would kill him, so he imprisoned his daughter to protect her from suitors. Yet Jupiter, king of the gods, fell in love with Danaë, and he came to her in the form of gold streaming from the sky. Gentileschi adopted Caravaggio’s method of painting directly from models, pulled to the front of the picture plane, which gives the painting a startling, tangible quality. However, the graceful way he handled paint and human gestures lends the work a poetic quality unique to the artist.", "citations": [], "url": "https://clevelandart.org/art/1971.101", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1971.101/1971.101_web.jpg", "width": "900", "height": "645", "filesize": "261215", "filename": "1971.101_web.jpg" } }, "alternate_images": [], "creditline": "Leonard C. Hanna, Jr. Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Donna and James Reid Gallery", "athena_id": 145463, "creators": [ { "id": 2175, "description": "Orazio Gentileschi (Italian, 1563–1639)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1563", "death_year": "1639" } ], "legal_status": "accessioned", "accession_date": "1971-09-08T00:00:00", "sortable_date": 1618, "date_text": "c. 1623", "is_highlight": true, "updated_at": "2024-02-09 18:06:02.255000", "legacy": [] }, { "id": 144743, "accession_number": "1969.53", "share_license_status": "CC0", "tombstone": "A Hare and a Leg of Lamb, 1742. Jean-Baptiste Oudry (French, 1686–1755). Oil on canvas; framed: 118 x 92.5 x 6 cm (46 7/16 x 36 7/16 x 2 3/8 in.); unframed: 98.2 x 73.5 cm (38 11/16 x 28 15/16 in.). The Cleveland Museum of Art, John L. Severance Fund 1969.53", "current_location": "216B French and German", "title": "A Hare and a Leg of Lamb", "creation_date": "1742", "creation_date_earliest": 1742, "creation_date_latest": 1742, "artists_tags": [ "male" ], "culture": [ "France, 18th century" ], "technique": "oil on canvas", "support_materials": [], "department": "European Painting and Sculpture", "collection": "P - French 18th Century", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This lavish display of game was painted one year after a devastating famine gripped France.", "description": "Oudry used a starkly simple composition and sterile background to emphasize his virtuosity in depicting textures, a highly desirable skill of still-life painters at this time. These artists were aiming for the highest level of accuracy—an effect of the Enlightenment, the contemporary intellectual movement that emphasized scientific reasoning in all pursuits. These paintings were generally displayed in hunting lodges or dining rooms, as a glorification of the hunt and the bounty it brings.", "citations": [], "url": "https://clevelandart.org/art/1969.53", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1969.53/1969.53_web.jpg", "width": "672", "height": "893", "filesize": "333936", "filename": "1969.53_web.jpg" } }, "alternate_images": [], "creditline": "John L. Severance Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 144743, "creators": [ { "id": 1949, "description": "Jean-Baptiste Oudry (French, 1686–1755)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1686", "death_year": "1755" } ], "legal_status": "accessioned", "accession_date": "1969-05-10T00:00:00", "sortable_date": 1742, "date_text": "1742", "is_highlight": false, "updated_at": "2024-02-09 18:05:59.075000", "legacy": [] }, { "id": 143602, "accession_number": "1967.63", "share_license_status": "CC0", "tombstone": "Low Waterfall in a Wooded Landscape with a Dead Beech Tree, c. 1660–70. Jacob van Ruisdael (Dutch, 1628/29–1682). Oil on canvas; framed: 123 x 157 x 9.5 cm (48 7/16 x 61 13/16 x 3 3/4 in.); unframed: 99.2 x 131 cm (39 1/16 x 51 9/16 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund 1967.63", "current_location": "213 Dutch Painting", "title": "Low Waterfall in a Wooded Landscape with a Dead Beech Tree", "creation_date": "c. 1660–70", "creation_date_earliest": 1660, "creation_date_latest": 1670, "artists_tags": [ "male" ], "culture": [ "Netherlands" ], "technique": "oil on canvas", "support_materials": [], "department": "European Painting and Sculpture", "collection": "P - Netherlandish-Dutch", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Jutting from a dune in the foreground, the massive silvery trunk of a dead tree leads the eye across a waterfall and toward a distant sunlit field where travelers and a dog traverse a sandy path. Partly masked by trees, a ruined building is turned gold by the sun. In Jacob van Ruisdael’s landscapes, dead trees, waterfalls, and ruined buildings were visual expressions of the passage of time. Ruisdael devoted equal attention to the cloud-filled skies looming above the land, creating dramatic patterns of light and shadow and revealing the unseen movements of the wind.", "citations": [], "url": "https://clevelandart.org/art/1967.63", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1967.63/1967.63_web.jpg", "width": "1184", "height": "893", "filesize": "705550", "filename": "1967.63_web.jpg" } }, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 143602, "creators": [ { "id": 2676, "description": "Jacob van Ruisdael (Dutch, 1628/29–1682)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1628/29", "death_year": "1682" } ], "legal_status": "accessioned", "accession_date": "1967-04-26T00:00:00", "sortable_date": 1660, "date_text": "c. 1660–70", "is_highlight": false, "updated_at": "2024-02-09 18:05:53.883000", "legacy": [] }, { "id": 170235, "accession_number": "2012.41", "share_license_status": "CC0", "tombstone": "The Artist's Studio, 1740s-1750s. Johann Georg Platzer (Austrian, 1704–1761). Oil on copper; framed: 55.6 x 73.3 cm (21 7/8 x 28 7/8 in.); unframed: 41.9 x 60 cm (16 1/2 x 23 5/8 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund by exchange 2012.41", "current_location": "215 French, German, and Dutch", "title": "The Artist's Studio", "creation_date": "1740s-1750s", "creation_date_earliest": 1740, "creation_date_latest": 1759, "artists_tags": [ "male" ], "culture": [ "Austria, 18th century" ], "technique": "oil on copper", "support_materials": [], "department": "European Painting and Sculpture", "collection": "Paintings", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Look closely—there are 12 paintings within this painting!", "description": "Johann Georg Platzer specialized in small, highly detailed paintings scaled for a connoisseur’s cabinet. At the center of this composition is an idealized portrait of the artist himself, clad in a fur-lined robe and holding a painting for the inspection of a visiting connoisseur. This work makes a statement about painting as a noble and intellectual pursuit, and the importance of rigorous training and practice: the artist at the easel is surrounded by a studio teeming with live models, pupils, assistants, and inspiring examples of art from earlier eras. The paintings on the wall, easel, and floor not only reference great artists of the past, but together present an allegory of the five senses.", "citations": [], "url": "https://clevelandart.org/art/2012.41", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/2012.41/2012.41_web.jpg", "width": "1263", "height": "887", "filesize": "238893", "filename": "2012.41_web.jpg" } }, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund by exchange", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 170235, "creators": [ { "id": 62091, "description": "Johann Georg Platzer (Austrian, 1704–1761)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1704", "death_year": "1761" } ], "legal_status": "accessioned", "accession_date": "2012-06-04T00:00:00", "sortable_date": 1740, "date_text": "1740s-1750s", "is_highlight": false, "updated_at": "2024-02-09 18:08:18.724000", "legacy": [] }, { "id": 149768, "accession_number": "1979.80", "share_license_status": "CC0", "tombstone": "Saint John the Baptist in a Landscape, c. 1445. Attributed to Petrus Christus (Netherlandish, c. 1410–1475/76). Oil on panel; unframed: 40.2 x 12.5 cm (15 13/16 x 4 15/16 in.); painted surface: 39.6 x 11.5 cm (15 9/16 x 4 1/2 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 1979.80", "current_location": "112 Northern Renaissance", "title": "Saint John the Baptist in a Landscape", "creation_date": "c. 1445", "creation_date_earliest": 1440, "creation_date_latest": 1450, "artists_tags": [ "male" ], "culture": [ "Flanders, Bruges" ], "technique": "oil on panel", "support_materials": [], "department": "Medieval Art", "collection": "MED - Medieval Art", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In the background is the Blacksmith's Gate, originally built in 1297, which still stands in the city Bruges, although it has been rebuilt multiple times over the centuries.", "description": "The overall style of this painting suggests that it was painted by an artist closely associated with the Netherlandish painter Jan van Eyck. The facial structure of the saint as well as the artist’s treatment of his cloak are typical of van Eyck’s follower, Petrus Christus. Christus was active in the city of Bruges and was a probable pupil and successor to Jan van Eyck, with whom his paintings have often been confused. Here, Christus depicts John the Baptist as an isolated, monumental figure without his typical hairshirt or other references to his life. This approach is derived from Claus Sluter’s monumental image of Saint John from the portal at Champmol and from manuscript illuminators working for Philip the Bold and his brother Jean de Berry. Here, John holds the Lamb of God, a symbol of Christ’s sacrifice and a reference to John’s proclamation of Christ’s redemption of humankind. Upon his death, Christus was succeeded by Hans Memling as the next great painter in Bruges.", "citations": [], "url": "https://clevelandart.org/art/1979.80", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1979.80/1979.80_web.jpg", "width": "287", "height": "893", "filesize": "62046", "filename": "1979.80_web.jpg" } }, "alternate_images": [], "creditline": "Leonard C. Hanna, Jr. Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 149768, "creators": [ { "id": 61584, "description": "Petrus Christus (Netherlandish, c. 1410–1475/76)", "extent": null, "qualifier": "attributed to", "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "c. 1410", "death_year": "1475/76" } ], "legal_status": "accessioned", "accession_date": "1979-11-14T00:00:00", "sortable_date": 1440, "date_text": "c. 1445", "is_highlight": false, "updated_at": "2024-02-09 18:06:21.728000", "legacy": [] }, { "id": 135539, "accession_number": "1958.67", "share_license_status": "CC0", "tombstone": "Mourner from the Tomb of Philip the Bold, Duke of Burgundy (1364–1404), 1404–10. Claus de Werve (Netherlandish, 1380–1439). Vizille alabaster; overall: 41.1 x 17.6 x 11 cm (16 3/16 x 6 15/16 x 4 5/16 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna, Jr. 1958.67", "current_location": "109 Gothic Painting and Sculpture", "title": "Mourner from the Tomb of Philip the Bold, Duke of Burgundy (1364–1404)", "creation_date": "1404–10", "creation_date_earliest": 1404, "creation_date_latest": 1410, "artists_tags": [ "male" ], "culture": [ "Netherlands, active Dijon, 15th century" ], "technique": "vizille alabaster", "support_materials": [], "department": "Medieval Art", "collection": "MED - Gothic", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [ { "id": 119132, "description": "Mourner from the Tomb of Philip the Bold, Duke of Burgundy (1364–1404), 1404–1410. Claus de Werve (Netherlandish, 1380–1439). Vizille alabaster; overall: 41.7 x 16.6 x 11.7 cm (16 7/16 x 6 9/16 x 4 5/8 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1940.128", "relationship": "related series" }, { "id": 135538, "description": "Mourner from the Tomb of Philip the Bold, Duke of Burgundy (1364-1404), 1404–10. Claus de Werve (Netherlandish, 1380-1439). Vizille alabaster; overall: 41 x 12.7 x 15 cm (16 1/8 x 5 x 5 7/8 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna, Jr. 1958.66", "relationship": "related series" }, { "id": 119143, "description": "Mourner from the Tomb of John the Fearless and Margaret of Bavaria, 1443–45. Jean de la Huerta (Spanish, active Burgundy, 1431–62). Salins alabaster; overall: 41 x 20.3 x 12.4 cm (16 1/8 x 8 x 4 7/8 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1940.129", "relationship": null } ], "former_accession_numbers": [ "3876.42" ], "did_you_know": "The use of alabaster in the late Middle Ages began in the 1300s with court art in the circles of French kings, especially in the field of funerary sculpture.", "description": "This figure comes from the tomb of Duke Philip the Bold from the church of Champmol near Dijon (Burgundy, France). Philip, who founded the monastery and designated it as his burial place, hired the best artists, many of whom came from the Netherlands. While the commission was given in 1381, the work was not completed until 1410, six years after the duke’s death.

This mourner is unusual for the time because it is not carved as a static low relief on the pedestal of the tomb but interact with the viewers and their fellow procession members. The lifelike quality of the figure is due in large part to the alabaster. Its softness allowed artists to carve details into the material, and the transparent, milky white stone could also be polished to a high gloss.", "citations": [], "url": "https://clevelandart.org/art/1958.67", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1958.67/1958.67_web.jpg", "width": "688", "height": "900", "filesize": "150561", "filename": "1958.67_web.jpg" } }, "alternate_images": [], "creditline": "Bequest of Leonard C. Hanna, Jr.", "sketchfab_id": "d81c143f00a140269047c0a4619e6263", "sketchfab_url": "https://sketchfab.com/models/d81c143f00a140269047c0a4619e6263", "gallery_donor_text": null, "athena_id": 135539, "creators": [ { "id": 9759, "description": "Claus de Werve (Netherlandish, 1380–1439)", "extent": null, "qualifier": null, "role": "artist", "biography": "active in Burgundy (mostly Dijon) from 1396 until his death.", "name_in_original_language": null, "birth_year": "1380", "death_year": "1439" } ], "legal_status": "accessioned", "accession_date": "1958-11-29T00:00:00", "sortable_date": 1404, "date_text": "1404–10", "is_highlight": false, "updated_at": "2024-02-09 18:05:15.160000", "legacy": [] }, { "id": 106841, "accession_number": "1924.859", "share_license_status": "CC0", "tombstone": "Table Fountain, c. 1320–40. France, Paris. Gilt-silver and translucent enamels; overall: 33.8 x 25.4 x 26 cm (13 5/16 x 10 x 10 1/4 in.). The Cleveland Museum of Art, Gift of J. H. Wade 1924.859", "current_location": "109 Gothic Painting and Sculpture", "title": "Table Fountain", "creation_date": "c. 1320–40", "creation_date_earliest": 1320, "creation_date_latest": 1340, "artists_tags": [], "culture": [ "France, Paris" ], "technique": "gilt-silver and translucent enamels", "support_materials": [], "department": "Medieval Art", "collection": "MED - Gothic", "type": "Metalwork", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This fountain with its minute architectural details and finely made enamel plaques displayed the wealth and refinement of the owner as it entertained his guests. Imagine hearing the ringing of the tiny bells when this fountain was in use.", "description": "Conceptually and stylistically, this object is beyond all else a piece of Gothic architecture in miniature with vaults, pinnacles, columns, and traceried arches. Though the artist who created it is unknown, he was unquestionably inspired by the great Gothic buildings of his time.
The table fountain is a three-tiered assembly combining cast elements with bent sheets of gilt-silver. To these have been attached a series of enamel plaques representing grotesque figures, some of which play musical instruments. Water wheels and bells were added to capture motion and sound.
The rich detail, precious materials, and involved ornamentation of this deluxe object suggest it would have been expensive to produce and highly treasured by its original owner, someone of high status, and would have been deployed as an object of spectacle. This is the most complete example of its type known to survive from the Middle Ages. Medieval inventories reveal that small fountains like this, often taking various forms, and generally made from precious metals, once existed in large numbers, thus making the Cleveland table fountain an extremely rare object.", "citations": [], "url": "https://clevelandart.org/art/1924.859", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1924.859/1924.859_web.jpg", "width": "772", "height": "900", "filesize": "248785", "filename": "1924.859_web.jpg" } }, "alternate_images": [], "creditline": "Gift of J. H. Wade", "sketchfab_id": "c03c9b6836aa42328803baeef085be40", "sketchfab_url": "https://sketchfab.com/models/c03c9b6836aa42328803baeef085be40", "gallery_donor_text": null, "athena_id": 106841, "creators": [], "legal_status": "accessioned", "accession_date": "1924-10-17T00:00:00", "sortable_date": 1320, "date_text": "c. 1320–40", "is_highlight": true, "updated_at": "2024-02-09 18:03:24.260000", "legacy": [] }, { "id": 135920, "accession_number": "1959.42", "share_license_status": "CC0", "tombstone": "Saint Lawrence, 1502–8. Tilman Riemenschneider (German, active Würzburg, c. 1460–1531). Lindenwood with polychromy and gilding; overall: 93.8 x 38.5 x 21.8 cm (36 15/16 x 15 3/16 x 8 9/16 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 1959.42", "current_location": "111 German and Austrian Gothic", "title": "Saint Lawrence", "creation_date": "1502–8", "creation_date_earliest": 1502, "creation_date_latest": 1508, "artists_tags": [ "male" ], "culture": [ "Germany, Würzburg, 16th century" ], "technique": "lindenwood with polychromy and gilding", "support_materials": [], "department": "Medieval Art", "collection": "MED - Gothic", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [ { "id": 135931, "description": "Saint Stephen, 1502–8. Tilman Riemenschneider (German, active Würzburg, c. 1460–1531). Lindenwood with polychromy and gilding; overall: 93.5 x 35 x 23.5 cm (36 13/16 x 13 3/4 x 9 1/4 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 1959.43", "relationship": null } ], "former_accession_numbers": [], "did_you_know": "Before Riemenschneider finally settled in Würzburg, Germany, in 1484, he traveled to Strasbourg and Colmar, where he became acquainted with the works of the engraver Martin Schongauer.", "description": "This sculpture, along with that of Saint Stephen (1959.43), and two female saints preserved in Frankfurt (Historisches Museum), are believed to be the remaining fragments of a large altarpiece carved by Riemenschneider for the Dominican convent in Rothenburg in Franconia (demolished in 1813). Saints Stephen and Lawrence both wear the dalmatic to indicate their status as deacons in the early church. Each holds a symbol of his martyrdom; here, Saint Lawrence holds a grill to indicate his death by burning. Late Gothic Style Art in Germany through the early 1500s remained firmly anchored in the late Gothic style with its associated interests in realism. Riemenschneider was one of the most prolific and versatile sculptors of this style, a recognized master in both stone and wood. His flourishing workshop employed as many as 40 apprentices in sculpting, woodcarving, and painting. His sculptures are noted for the dreamy, melancholy, and introspective quality in their expressions, as well as their remarkable attention to detail.", "citations": [], "url": "https://clevelandart.org/art/1959.42", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1959.42/1959.42_web.jpg", "width": "629", "height": "893", "filesize": "57577", "filename": "1959.42_web.jpg" } }, "alternate_images": [], "creditline": "Leonard C. Hanna, Jr. Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 135920, "creators": [ { "id": 9821, "description": "Tilman Riemenschneider (German, active Würzburg, c. 1460–1531)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "death_year": "1531" } ], "legal_status": "accessioned", "accession_date": "1959-02-21T00:00:00", "sortable_date": 1502, "date_text": "1502–8", "is_highlight": false, "updated_at": "2024-02-09 18:05:16.876000", "legacy": [] }, { "id": 135538, "accession_number": "1958.66", "share_license_status": "CC0", "tombstone": "Mourner from the Tomb of Philip the Bold, Duke of Burgundy (1364-1404), 1404–10. Claus de Werve (Netherlandish, 1380–1439). Vizille alabaster; overall: 41 x 12.7 x 15 cm (16 1/8 x 5 x 5 7/8 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna, Jr. 1958.66", "current_location": "109 Gothic Painting and Sculpture", "title": "Mourner from the Tomb of Philip the Bold, Duke of Burgundy (1364-1404)", "creation_date": "1404–10", "creation_date_earliest": 1404, "creation_date_latest": 1410, "artists_tags": [ "male" ], "culture": [ "Netherlands, active Dijon, 15th century" ], "technique": "vizille alabaster", "support_materials": [], "department": "Medieval Art", "collection": "MED - Gothic", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [ { "id": 119132, "description": "Mourner from the Tomb of Philip the Bold, Duke of Burgundy (1364–1404), 1404–1410. Claus de Werve (Netherlandish, 1380–1439). Vizille alabaster; overall: 41.7 x 16.6 x 11.7 cm (16 7/16 x 6 9/16 x 4 5/8 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1940.128", "relationship": "related series" }, { "id": 135539, "description": "Mourner from the Tomb of Philip the Bold, Duke of Burgundy (1364–1404), 1404–10. Claus de Werve (Netherlandish, 1380–1439). Vizille alabaster; overall: 41.1 x 17.6 x 11 cm (16 3/16 x 6 15/16 x 4 5/16 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna, Jr. 1958.67", "relationship": "related series" }, { "id": 119143, "description": "Mourner from the Tomb of John the Fearless and Margaret of Bavaria, 1443–45. Jean de la Huerta (Spanish, active Burgundy, 1431–62). Salins alabaster; overall: 41 x 20.3 x 12.4 cm (16 1/8 x 8 x 4 7/8 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1940.129", "relationship": null } ], "former_accession_numbers": [ "3877.42" ], "did_you_know": "A plaster cast of this mourner decorates the empty niche in the Tomb of Philip the Bold in Dijon, France.", "description": "This figure comes from the tomb of Duke Philip the Bold from the church of Champmol near Dijon (Burgundy, France). Philip, who founded the monastery and designated it as his burial place, hired the best artists, many of whom came from the Netherlands. While the commission was given in 1381, the work was not completed until 1410, six years after the duke’s death.

This mourner is unusual for the time because it is not carved as a static low relief on the pedestal of the tomb but interacts with the viewers and their fellow procession members. The lifelike quality of the figure is due in large part to the alabaster. Its softness allowed artists to carve details into the material, and the transparent, milky white stone could also be polished to a high gloss.", "citations": [], "url": "https://clevelandart.org/art/1958.66", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1958.66/1958.66_web.jpg", "width": "689", "height": "900", "filesize": "144378", "filename": "1958.66_web.jpg" } }, "alternate_images": [], "creditline": "Bequest of Leonard C. Hanna, Jr.", "sketchfab_id": "0d89139b17024e378f2882e575531e08", "sketchfab_url": "https://sketchfab.com/models/0d89139b17024e378f2882e575531e08", "gallery_donor_text": null, "athena_id": 135538, "creators": [ { "id": 9759, "description": "Claus de Werve (Netherlandish, 1380–1439)", "extent": null, "qualifier": null, "role": "artist", "biography": "active in Burgundy (mostly Dijon) from 1396 until his death.", "name_in_original_language": null, "birth_year": "1380", "death_year": "1439" } ], "legal_status": "accessioned", "accession_date": "1958-11-29T00:00:00", "sortable_date": 1404, "date_text": "1404–10", "is_highlight": true, "updated_at": "2024-02-09 18:05:15.150000", "legacy": [] }, { "id": 119143, "accession_number": "1940.129", "share_license_status": "CC0", "tombstone": "Mourner from the Tomb of John the Fearless and Margaret of Bavaria, 1443–45. Jean de la Huerta (Spanish, active Burgundy, 1431–62). Salins alabaster; overall: 41 x 20.3 x 12.4 cm (16 1/8 x 8 x 4 7/8 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1940.129", "current_location": "109 Gothic Painting and Sculpture", "title": "Mourner from the Tomb of John the Fearless and Margaret of Bavaria", "creation_date": "1443–45", "creation_date_earliest": 1443, "creation_date_latest": 1445, "artists_tags": [ "male" ], "culture": [ "Spanish, Burgundy, Dijon, 15th century" ], "technique": "salins alabaster", "support_materials": [], "department": "Medieval Art", "collection": "MED - Gothic", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [ { "id": 135539, "description": "Mourner from the Tomb of Philip the Bold, Duke of Burgundy (1364–1404), 1404–10. Claus de Werve (Netherlandish, 1380–1439). Vizille alabaster; overall: 41.1 x 17.6 x 11 cm (16 3/16 x 6 15/16 x 4 5/16 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna, Jr. 1958.67", "relationship": null }, { "id": 135538, "description": "Mourner from the Tomb of Philip the Bold, Duke of Burgundy (1364-1404), 1404–10. Claus de Werve (Netherlandish, 1380–1439). Vizille alabaster; overall: 41 x 12.7 x 15 cm (16 1/8 x 5 x 5 7/8 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna, Jr. 1958.66", "relationship": null }, { "id": 119132, "description": "Mourner from the Tomb of Philip the Bold, Duke of Burgundy (1364–1404), 1404–1410. Claus de Werve (Netherlandish, 1380–1439). Vizille alabaster; overall: 41.7 x 16.6 x 11.7 cm (16 7/16 x 6 9/16 x 4 5/8 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1940.128", "relationship": null } ], "former_accession_numbers": [], "did_you_know": "A plaster cast of this mourner adorns the Tomb of John the Fearless and Margaret of Bavaria in Dijon, France.", "description": "This monk-like figure has a variously textured monochrome surface. Alabaster’s softness made it easy to carve details like the fabric and fur of the mourner’s robe and the codex pages in his hand. This is one of 40 mourners from an elaborate funeral procession beneath an intricately carved alabaster arcade.

This mourner comes from the monastery of Champmol near Dijon, which became a primary burial place for Burgundian dukes. The sculpture was part of the tomb of John the Fearless (1371–1419), commissioned by his son Philip the Good (1396–1467), modeled after the earlier monument for Philip the Bold.", "citations": [], "url": "https://clevelandart.org/art/1940.129", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1940.129/1940.129_web.jpg", "width": "688", "height": "900", "filesize": "156625", "filename": "1940.129_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": "a218ee3563b948278a4d48d4ff31bed7", "sketchfab_url": "https://sketchfab.com/models/a218ee3563b948278a4d48d4ff31bed7", "gallery_donor_text": null, "athena_id": 119143, "creators": [ { "id": 9766, "description": "Jean de la Huerta (Spanish, active Burgundy, 1431–62)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null } ], "legal_status": "accessioned", "accession_date": "1940-06-07T00:00:00", "sortable_date": 1443, "date_text": "1443–45", "is_highlight": true, "updated_at": "2024-02-09 18:04:04.236000", "legacy": [] }, { "id": 138885, "accession_number": "1963.256", "share_license_status": "CC0", "tombstone": "Hours of Queen Isabella the Catholic, Queen of Spain, c. 1500. Master of the First Prayerbook of Maximillian (Flemish, c. 1444–1519), and Associates. Ink, tempera, and gold on vellum; codex: 23.5 x 17.3 x 4.8 cm (9 1/4 x 6 13/16 x 1 7/8 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 1963.256", "current_location": "110B Late Gothic", "title": "Hours of Queen Isabella the Catholic, Queen of Spain", "creation_date": "c. 1500", "creation_date_earliest": 1495, "creation_date_latest": 1505, "artists_tags": [ "male" ], "culture": [ "Flanders, Bruges and Ghent" ], "technique": "ink, tempera, and gold on vellum", "support_materials": [], "department": "Medieval Art", "collection": "MED - Manuscript Illuminations", "type": "Bound Volume", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Isabella’s book of hours may have in its margins one of the first depictions of a daffodil in manuscript painting.", "description": "The original owner of this exquisite book of hours was Queen Isabella of Spain, who sponsored Christopher Columbus's exploratory voyage to the Americas. Eventually this book found its way to the New World and was acquired by the Cleveland Museum of Art in 1963.", "citations": [], "url": "https://clevelandart.org/art/1963.256", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1963.256/1963.256_web.jpg", "width": "1248", "height": "893", "filesize": "357572", "filename": "1963.256_web.jpg" } }, "alternate_images": [], "creditline": "Leonard C. Hanna, Jr. Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 138885, "creators": [ { "id": 7682, "description": "Master of the First Prayerbook of Maximillian (Flemish, c. 1444–1519)", "extent": null, "qualifier": null, "role": "artist", "biography": "Alexander Bening has been presumed to be the same artist formerly know under the sobriquet, \"Master of the Older Prayerbook of Maximilian I\"", "name_in_original_language": null, "birth_year": "c. 1444", "death_year": "1519" }, { "id": 293477, "description": "Associates", "extent": null, "qualifier": "and", "role": "artist", "biography": null, "name_in_original_language": null } ], "legal_status": "accessioned", "accession_date": "1963-04-11T00:00:00", "sortable_date": 1495, "date_text": "c. 1500", "is_highlight": true, "updated_at": "2024-02-09 18:05:31.662000", "legacy": [] }, { "id": 119132, "accession_number": "1940.128", "share_license_status": "CC0", "tombstone": "Mourner from the Tomb of Philip the Bold, Duke of Burgundy (1364–1404), 1404–1410. Claus de Werve (Netherlandish, 1380–1439). Vizille alabaster; overall: 41.7 x 16.6 x 11.7 cm (16 7/16 x 6 9/16 x 4 5/8 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1940.128", "current_location": "109 Gothic Painting and Sculpture", "title": "Mourner from the Tomb of Philip the Bold, Duke of Burgundy (1364–1404)", "creation_date": "1404–1410", "creation_date_earliest": 1404, "creation_date_latest": 1410, "artists_tags": [ "male" ], "culture": [ "Netherlands, active Dijon, 15th century" ], "technique": "vizille alabaster", "support_materials": [], "department": "Medieval Art", "collection": "MED - Gothic", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [ { "id": 135539, "description": "Mourner from the Tomb of Philip the Bold, Duke of Burgundy (1364–1404), 1404–10. Claus de Werve (Netherlandish, 1380–1439). Vizille alabaster; overall: 41.1 x 17.6 x 11 cm (16 3/16 x 6 15/16 x 4 5/16 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna, Jr. 1958.67", "relationship": "related series" }, { "id": 135538, "description": "Mourner from the Tomb of Philip the Bold, Duke of Burgundy (1364-1404), 1404–10. Claus de Werve (Netherlandish, 1380–1439). Vizille alabaster; overall: 41 x 12.7 x 15 cm (16 1/8 x 5 x 5 7/8 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna, Jr. 1958.66", "relationship": "related series" }, { "id": 119143, "description": "Mourner from the Tomb of John the Fearless and Margaret of Bavaria, 1443–45. Jean de la Huerta (Spanish, active Burgundy, 1431–62). Salins alabaster; overall: 41 x 20.3 x 12.4 cm (16 1/8 x 8 x 4 7/8 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1940.129", "relationship": null } ], "former_accession_numbers": [], "did_you_know": "During his life, Duke Philip founded the monastery of Chartreuse de Champmol to serve as a final resting place for himself and his family.", "description": "This figure comes from the tomb of Duke Philip the Bold from the church of Champmol near Dijon (Burgundy, France). Philip, who founded the monastery and designated it as his burial place, hired the best artists, many of whom came from the Netherlands. While the commission was given in 1381, the work was not completed until 1410, six years after the duke’s death.

This mourner is unusual for the time because it is not carved as a static low relief on the pedestal of the tomb but interacts with the viewers and their fellow procession members. The lifelike quality of the figure is due in large part to the alabaster. Its softness allowed artists to carve details into the material, and the transparent, milky white stone could also be polished to a high gloss.", "citations": [], "url": "https://clevelandart.org/art/1940.128", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1940.128/1940.128_web.jpg", "width": "687", "height": "900", "filesize": "151350", "filename": "1940.128_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": "b92f9560e7e44a87abb82401d1bb8578", "sketchfab_url": "https://sketchfab.com/models/b92f9560e7e44a87abb82401d1bb8578", "gallery_donor_text": null, "athena_id": 119132, "creators": [ { "id": 9759, "description": "Claus de Werve (Netherlandish, 1380–1439)", "extent": null, "qualifier": null, "role": "artist", "biography": "active in Burgundy (mostly Dijon) from 1396 until his death.", "name_in_original_language": null, "birth_year": "1380", "death_year": "1439" } ], "legal_status": "accessioned", "accession_date": "1940-06-07T00:00:00", "sortable_date": 1404, "date_text": "1404–1410", "is_highlight": false, "updated_at": "2024-02-09 18:04:04.220000", "legacy": [] }, { "id": 113164, "accession_number": "1932.179", "share_license_status": "CC0", "tombstone": "A Bridal Couple, c. 1470. Southern Germany, 15th century. Oil on panel; framed: 77.5 x 51 x 8.1 cm (30 1/2 x 20 1/16 x 3 3/16 in.); unframed: 62.3 x 36.5 cm (24 1/2 x 14 3/8 in.). The Cleveland Museum of Art, Delia E. Holden and L. E. Holden Funds 1932.179", "current_location": "111 German and Austrian Gothic", "title": "A Bridal Couple", "creation_date": "c. 1470", "creation_date_earliest": 1465, "creation_date_latest": 1475, "artists_tags": [], "culture": [ "Southern Germany, 15th century" ], "technique": "oil on panel", "support_materials": [], "department": "Medieval Art", "collection": "MED - Medieval Art", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This painting inspired internationally renowned Finnish composer Kaija Saariaho to write a piece of music titled \"Orion\" after she visited the museum.", "description": "This painting depicting a recently married aristocratic couple is filled with symbolism. The various floral elements represent love and fertility, while the colors of their clothes suggest not only their relationship but also chastity, love, and modesty. What details might you choose to symbolize a young couple in love?", "citations": [], "url": "https://clevelandart.org/art/1932.179", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1932.179/1932.179_web.jpg", "width": "526", "height": "893", "filesize": "405007", "filename": "1932.179_web.jpg" } }, "alternate_images": [], "creditline": "Delia E. Holden and L. E. Holden Funds", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 113164, "creators": [], "legal_status": "accessioned", "accession_date": "1932-05-24T00:00:00", "sortable_date": 1465, "date_text": "c. 1470", "is_highlight": false, "updated_at": "2024-02-09 18:03:44.817000", "legacy": [] }, { "id": 113202, "accession_number": "1932.227", "share_license_status": "CC0", "tombstone": "The Holy Family with Saint John the Baptist and Saint Margaret, c. 1495. Filippino Lippi (Italian, 1457–1504). Tempera and oil on wood; framed: 184 x 186 x 9.5 cm (72 7/16 x 73 1/4 x 3 3/4 in.); diameter: 153 cm (60 1/4 in.). The Cleveland Museum of Art, The Delia E. Holden Fund and a fund donated as a memorial to Mrs. Holden by her children: Guerden S. Holden, Delia Holden White, Roberta Holden Bole, Emery Holden Greenough, Gertrude Holden McGinley 1932.227", "current_location": "118 Italian Renaissance", "title": "The Holy Family with Saint John the Baptist and Saint Margaret", "creation_date": "c. 1495", "creation_date_earliest": 1490, "creation_date_latest": 1500, "artists_tags": [ "male" ], "culture": [ "Italy, 15th century" ], "technique": "tempera and oil on wood", "support_materials": [], "department": "Medieval Art", "collection": "MED - Renaissance", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This type of painting is known as a tondo, a circular work of art.", "description": "Lippi’s sophisticated composition gracefully overlaps five figures in a round format. Oliviero Caraffa, Cardinal of Naples, commissioned this work, although Lippi probably painted it in Rome while working for the cardinal’s family, an example of the widespread taste across Italy for the art of Florence. Meticulously detailed still-life elements on the parapet, thick with symbolic meaning, reflect Lippi’s interest in northern European painting he would have seen in Florence. Likewise the classical architecture—referring to the pagan world cast off by Christianity—demonstrates his engagement with ancient art and architecture in Rome. Embellished with learned references and made with expensive materials, this painting would have actively inspired religious meditation and demonstrated the patrons’ courtly, civilized taste.", "citations": [], "url": "https://clevelandart.org/art/1932.227", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1932.227/1932.227_web.jpg", "width": "881", "height": "893", "filesize": "483178", "filename": "1932.227_web.jpg" } }, "alternate_images": [], "creditline": "The Delia E. Holden Fund and a fund donated as a memorial to Mrs. Holden by her children: Guerden S. Holden, Delia Holden White, Roberta Holden Bole, Emery Holden Greenough, Gertrude Holden McGinley", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 113202, "creators": [ { "id": 2200, "description": "Filippino Lippi (Italian, 1457–1504)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1457", "death_year": "1504" } ], "legal_status": "accessioned", "accession_date": "1929-06-04T00:00:00", "sortable_date": 1490, "date_text": "c. 1495", "is_highlight": true, "updated_at": "2024-02-09 18:03:44.897000", "legacy": [] }, { "id": 159234, "accession_number": "1995.5", "share_license_status": "CC0", "tombstone": "Crucifix with Scenes of the Passion, c. 1230–40. Italy, Pisa. Tempera with gold on panel; framed: 186.6 x 160.7 x 12.7 cm (73 7/16 x 63 1/4 x 5 in.); unframed: 185 x 160 x 10.2 cm (72 13/16 x 63 x 4 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 1995.5", "current_location": "100 1916 Lobby", "title": "Crucifix with Scenes of the Passion", "creation_date": "c. 1230–40", "creation_date_earliest": 1225, "creation_date_latest": 1245, "artists_tags": [], "culture": [ "Italy, Pisa" ], "technique": "tempera with gold on panel", "support_materials": [], "department": "Medieval Art", "collection": "MED - Medieval Art", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Although the artist did sign this panel at the bottom, the signature is illegible, his first name perhaps being Michael.", "description": "Large painted crucifixes dating from the 1100s and 1200s are among the earliest surviving Italian panel paintings. Large crosses, like this beautiful example, were typically suspended high above an altar in the main apse of Italian churches. Smaller crosses were placed on or just above altars in small side chapels. Such crosses served as the visual focus for devotion and symbolized the Eucharistic sacrament performed by the priest on the altar below. This crucifix shows Christ alive on the cross as the triumphant savior of mankind. Smaller images on the \"apron\" represent images of Christ's Passion (to the left) and his death and Resurrection (to the right). On the far left terminal appear the mourning Virgin and Saint John the Evangelist, while on the right the viewer is shown Saint James Major and Saint Bona, patroness of the city of Pisa. The concluding event, the Ascension of Christ, once appeared on the upper terminal, just above the Virgin and Apostles. The figure of Christ is painted in a severe and hieratic style suggestive of medieval Pisa's artistic and commercial links with the Byzantine East. The appearance of Saint Bona on this cross may suggest that it was made for the Church of S. Martino in Pisa, where Franciscan nuns tended the holy woman's relics.", "citations": [], "url": "https://clevelandart.org/art/1995.5", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1995.5/1995.5_web.jpg", "width": "668", "height": "893", "filesize": "298133", "filename": "1995.5_web.jpg" } }, "alternate_images": [], "creditline": "Leonard C. Hanna, Jr. Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Plain Dealer Lobby", "athena_id": 159234, "creators": [], "legal_status": "accessioned", "accession_date": "1995-03-06T00:00:00", "sortable_date": 1225, "date_text": "c. 1230–40", "is_highlight": true, "updated_at": "2024-02-09 18:07:10.869000", "legacy": [] }, { "id": 112876, "accession_number": "1931.462", "share_license_status": "CC0", "tombstone": "Portable Altar of Countess Gertrude, c. 1045. Germany, Lower Saxony?, Romanesque period, 11th century. Gold, cloisonné enamel, porphyry, gems, pearls, niello, wood core; overall: 10.5 x 27.5 x 21 cm (4 1/8 x 10 13/16 x 8 1/4 in.). The Cleveland Museum of Art, Gift of the John Huntington Art and Polytechnic Trust 1931.462", "current_location": "106C Medieval Treasury", "title": "Portable Altar of Countess Gertrude", "creation_date": "c. 1045", "creation_date_earliest": 1040, "creation_date_latest": 1050, "artists_tags": [], "culture": [ "Germany, Lower Saxony?, Romanesque period, 11th century" ], "technique": "gold, cloisonné enamel, porphyry, gems, pearls, niello, wood core", "support_materials": [], "department": "Medieval Art", "collection": "MED - Romanesque", "type": "Metalwork", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [ { "id": 112021, "description": "Medallion with the Bust of Christ (\"The Cumberland Medallion\"), from the Guelph Treasure, late 700s. Germany, Weserraum, Migration period, late 8th century. Cloisonné enamel and gold on copper; diameter: 5.1 x 0.2 cm (2 x 1/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1930.504", "relationship": null }, { "id": 112022, "description": "Monstrance with the \"Paten of Saint Bernward\", c. 1180–1190. Saint Oswald Reliquary Workshop (German). Silver, gilded silver, niello, rock crystal; overall: 34.5 x 15.9 x 14 cm (13 9/16 x 6 1/4 x 5 1/2 in.); part 1: 13.5 cm (5 5/16 in.); part 2: 34.3 cm (13 1/2 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund with additional gift from Mrs. R. Henry Norweb 1930.505", "relationship": null }, { "id": 112316, "description": "Arm Reliquary of the Apostles, c. 1190. Germany, Lower Saxony, Hildesheim, Romanesque period, late 12th century. Gilt silver, champlevé enamel, oak; overall: 51 x 14 x 9.2 cm (20 1/16 x 5 1/2 x 3 5/8 in.). The Cleveland Museum of Art, Gift of the John Huntington Art and Polytechnic Trust 1930.739", "relationship": null }, { "id": 112318, "description": "The So-called Horn of Saint Blaise, 1100–1200. South Italy or Sicily, 12th century. Ivory; overall: 12 cm (4 3/4 in.). The Cleveland Museum of Art, Gift of the John Huntington Art and Polytechnic Trust 1930.740", "relationship": null }, { "id": 112958, "description": "Ceremonial Cross of Countess Gertrude, 1038 or shortly after. Germany, Lower Saxony?, 11th century. Gold: worked in repoussé; cloisonné enamel, intaglio gems, pearls, wood core; overall: 24.2 x 21.6 cm (9 1/2 x 8 1/2 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund with the addition of a gift from Mrs. Edward B. Greene 1931.55", "relationship": null }, { "id": 112971, "description": "Monstrance with a Relic of Saint Sebastian, 1484. Germany, Lower Saxony, Brunswick, Gothic period, 15th century. Gilded silver, rock crystal; overall: 47 cm (18 1/2 in.). The Cleveland Museum of Art, Gift of Julius F. Goldschmidt, Z. M. Hackenbroch, and J. Rosenbaum in memory of the Exhibition of the Guelph Treasure held in the Cleveland Museum of Art from 10 January to 1 February 1931 1931.65", "relationship": null }, { "id": 112875, "description": "Ceremonial Cross of Count Liudolf, shortly after 1038. Germany, Lower Saxony?, Romanesque period, 11th century. Gold: worked in repoussé; cloisonné enamel; intaglio gems; pearls; wood core; overall: 24.2 x 21.6 cm (9 1/2 x 8 1/2 in.). The Cleveland Museum of Art, Gift of the John Huntington Art and Polytechnic Trust 1931.461", "relationship": null }, { "id": 112318, "description": "The So-called Horn of Saint Blaise, 1100–1200. South Italy or Sicily, 12th century. Ivory; overall: 12 cm (4 3/4 in.). The Cleveland Museum of Art, Gift of the John Huntington Art and Polytechnic Trust 1930.740", "relationship": null } ], "former_accession_numbers": [], "did_you_know": "On the bottom of this altar is a trap door that opened to reveal small relics of saints wrapped in silk.", "description": "Commissioned by Countess Gertrude of Brunswick, this portable altar is one of the Guelph Treasure’s earliest and most sumptuous objects. The choice of white-speckled porphyry as the altar stone signals Gertrude’s worldly aspirations; an imperial color since classical antiquity, porphyry was only used by the imperial family. Historical figures of royal and imperial rank are depicted with Christ, the Virgin, apostles, and archangels along the altar’s sides, stressing the countess’s political ambitions and claim of imperial lineage for her own dynasty. The Latin inscription surrounding the altar stone reads, \"Gertrude offers to Christ, to live joyfully in him, this stone that glistens with gems and gold.\"", "citations": [], "url": "https://clevelandart.org/art/1931.462", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1931.462/1931.462_web.jpg", "width": "1263", "height": "806", "filesize": "731147", "filename": "1931.462_web.jpg" } }, "alternate_images": [], "creditline": "Gift of the John Huntington Art and Polytechnic Trust", "sketchfab_id": "84c7d3dc1dcb493081ee8e177dcc9107", "sketchfab_url": "https://sketchfab.com/models/84c7d3dc1dcb493081ee8e177dcc9107", "gallery_donor_text": null, "athena_id": 112876, "creators": [], "legal_status": "accessioned", "accession_date": "1931-01-15T00:00:00", "sortable_date": 1040, "date_text": "c. 1045", "is_highlight": false, "updated_at": "2024-02-09 18:03:43.667000", "legacy": [] }, { "id": 141644, "accession_number": "1965.238", "share_license_status": "CC0", "tombstone": "Jonah Cast Up, 280–90 CE. Anatolia, late Roman-early Christian. Marble; overall: 41.5 x 36 x 18.5 cm (16 5/16 x 14 3/16 x 7 5/16 in.). The Cleveland Museum of Art, John L. Severance Fund 1965.238", "current_location": "104 Late Antiquity", "title": "Jonah Cast Up", "creation_date": "280–90 CE", "creation_date_earliest": 280, "creation_date_latest": 290, "artists_tags": [], "culture": [ "Anatolia, late Roman-early Christian" ], "technique": "marble", "support_materials": [], "department": "Medieval Art", "collection": "MED - Early Christian", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [ { "id": 141651, "description": "The Good Shepherd, 280–90 CE. Anatolia, Late Roman-early Christian. Marble; overall: 49.5 x 26 x 16.2 cm (19 1/2 x 10 1/4 x 6 3/8 in.). The Cleveland Museum of Art, John L. Severance Fund 1965.241", "relationship": null }, { "id": 141650, "description": "Jonah Praying, 280–90 CE. Anatolia, late Roman-early Christian. Marble; overall: 47.5 x 14.8 x 20.3 cm (18 11/16 x 5 13/16 x 8 in.). The Cleveland Museum of Art, John L. Severance Fund 1965.240", "relationship": null }, { "id": 141645, "description": "Jonah Under the Gourd Vine, 280–90 CE. Anatolia, late Roman-early Christian. Marble; overall: 32.3 x 46.3 x 18 cm (12 11/16 x 18 1/4 x 7 1/16 in.). The Cleveland Museum of Art, John L. Severance Fund 1965.239", "relationship": null }, { "id": 141643, "description": "Jonah Swallowed, 280–90 CE. Anatolia, late Roman-early Christian. Marble; overall: 50.4 x 15.5 x 26.9 cm (19 13/16 x 6 1/8 x 10 9/16 in.). The Cleveland Museum of Art, John L. Severance Fund 1965.237", "relationship": null } ], "former_accession_numbers": [], "did_you_know": "The fearsome creature spitting Jonah out of its mouth is a creation of the artist's imagination derived from the ancient Greek cetos, a sea monster. Like other mythical beasts, such as the griffin and the sphinx, this monster combines elements of several different animals. Which ones do you see when looking at this fantastical creature?", "description": "After disobeying the Lord’s command to proclaim judgment on the city of Nineveh, the Old Testament prophet Jonah was cast into the sea and swallowed by a sea monster. He spent three days praying inside the beast before being cast ashore. Here, the beast spits Jonah out of its mouth.", "citations": [], "url": "https://clevelandart.org/art/1965.238", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1965.238/1965.238_web.jpg", "width": "690", "height": "893", "filesize": "262341", "filename": "1965.238_web.jpg" } }, "alternate_images": [], "creditline": "John L. Severance Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 141644, "creators": [], "legal_status": "accessioned", "accession_date": "1965-09-11T00:00:00", "sortable_date": 280, "date_text": "280–90 CE", "is_highlight": false, "updated_at": "2024-02-09 18:05:46.902000", "legacy": [] }, { "id": 129216, "accession_number": "1952.109", "share_license_status": "CC0", "tombstone": "Front Cover for a Gospel Book of French Cardinal Jean La Balou (1421-1491), c. 1467–68. Italy, Florence, 15th century. Nielloed silver plaques within gilt-silver borders; overall: 41.6 x 29.6 x 1.6 cm (16 3/8 x 11 5/8 x 5/8 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1952.109", "current_location": "117A Italian Renaissance", "title": "Front Cover for a Gospel Book of French Cardinal Jean La Balou (1421-1491)", "creation_date": "c. 1467–68", "creation_date_earliest": 1462, "creation_date_latest": 1473, "artists_tags": [], "culture": [ "Italy, Florence, 15th century" ], "technique": "nielloed silver plaques within gilt-silver borders", "support_materials": [], "department": "Medieval Art", "collection": "MED - Renaissance", "type": "Metalwork", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Scenes from Christ’s infancy decorate this cover that once adorned the front of a gospel book. It is made up of a series of silver plaques held together by gilt-silver borders. The plaques are engraved, and the resulting fine lines or depressions have been filled with a silver sulfide alloy, lustrous black in color, in a technique called niello. It is one of the finest examples of this decorative technique for which Florence was renowned in the 15th century. This cover and its manuscript once belonged to the French cardinal, Jean La Balou, who was jailed in 1469. He presented his gospel book to Pope Paul II as a gift, perhaps in the hope of receiving his freedom. The gospel book, of which its two covers have survived (the back cover is in the Minneapolis Institute of Arts), remained in the papal apartments until the end of the 18th century, perhaps leaving when Napoleon’s troops held the Vatican.", "citations": [], "url": "https://clevelandart.org/art/1952.109", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1952.109/1952.109_web.jpg", "width": "666", "height": "893", "filesize": "561504", "filename": "1952.109_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 129216, "creators": [], "legal_status": "accessioned", "accession_date": "1952-03-27T00:00:00", "sortable_date": 1462, "date_text": "c. 1467–68", "is_highlight": false, "updated_at": "2024-02-09 18:04:49.763000", "legacy": [] }, { "id": 168322, "accession_number": "2010.154", "share_license_status": "CC0", "tombstone": "Icon of the Mother of God and Infant Christ (Virgin Eleousa), c. 1425–50. Attributed to Angelos Akotantos (Greek, d. 1450). Tempera and gold on wood panel; unframed: 96 x 70 cm (37 13/16 x 27 9/16 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 2010.154", "current_location": "105 Byzantine", "title": "Icon of the Mother of God and Infant Christ (Virgin Eleousa)", "creation_date": "c. 1425–50", "creation_date_earliest": 1420, "creation_date_latest": 1455, "artists_tags": [ "male" ], "culture": [ "Crete, Byzantium Empire" ], "technique": "tempera and gold on wood panel", "support_materials": [], "department": "Medieval Art", "collection": "MED - Byzantine", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This is the only known work by Angelos Akotantos in the United States.", "description": "This type of icon is known as the Virgin Eleousa (Virgin of Tenderness) characterized by the touching cheeks of mother and child in a loving moment. The icon signifies Christ’s incarnation, suffering, and death for the sake of humankind. Three ornamental stars on the Virgin’s cloak are traditional symbols of her chastity; a blue cap covers her hair and protects her modesty. The child wears a pale green tunic and deep orange cloak, both highlighted in gold. The Christ child holds a scroll tied with a ribbon, a symbol of the Gospels. The icon was painted by the Cretan icon painter Akotantos, the preeminent artistic personality on Crete during the 1400s. This icon is from his period of greatest activity and pre-dates the collapse of Constantinople in 1453. The treatment of the faces and draperies is handled with fluency and skill and reveals Akotantos to be a painter of great talent. Given its large scale, the icon was intended for use within an orthodox church, possibly a monastery, and not for a private home.", "citations": [], "url": "https://clevelandart.org/art/2010.154", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/2010.154/2010.154_web.jpg", "width": "668", "height": "893", "filesize": "129434", "filename": "2010.154_web.jpg" } }, "alternate_images": [], "creditline": "Leonard C. Hanna, Jr. Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Robert P. Bergman Memorial Gallery", "athena_id": 168322, "creators": [ { "id": 59748, "description": "Angelos Akotantos (Greek, d. 1450)", "extent": null, "qualifier": "attributed to", "role": "artist", "biography": null, "name_in_original_language": null, "death_year": "c. 1450" } ], "legal_status": "accessioned", "accession_date": "2010-06-07T00:00:00", "sortable_date": 1420, "date_text": "c. 1425–50", "is_highlight": true, "updated_at": "2024-02-13 19:50:38.642000", "legacy": [] }, { "id": 114684, "accession_number": "1934.29", "share_license_status": "CC0", "tombstone": "Virgin and Child, c. 1470–80. Workshop of Hans Memling (Netherlandish, 1494). Oil on wood; framed: 41.3 x 31.4 x 4.1 cm (16 1/4 x 12 3/8 x 1 5/8 in.); unframed: 31.5 x 22 cm (12 3/8 x 8 11/16 in.). The Cleveland Museum of Art, Delia E. Holden and L. E. Holden Funds 1934.29", "current_location": "112 Northern Renaissance", "title": "Virgin and Child", "creation_date": "c. 1470–80", "creation_date_earliest": 1470, "creation_date_latest": 1480, "artists_tags": [ "male" ], "culture": [ "Flanders, Bruges" ], "technique": "oil on wood", "support_materials": [], "department": "Medieval Art", "collection": "MED - Medieval Art", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "This small panel was once part of a devotional portrait diptych (a hinged two-panel painting). The Christ child’s attention seems drawn to something outside the picture and lifts his hand in recognition. The opposing panel, once hinged on the right, would have featured a portrait of its original owner in prayer, now unfortunately lost. Such devotional portrait diptychs were popular after 1400 and remained so until their production ceased around the 1530s. Used in private chapels or within the curtain folds of four-poster beds, they could easily be closed when not in use. Hans Memling was born near Frankfurt, Germany. He settled in Bruges around 1465 where he developed a reputation for his painting skills, and provided works to the Burgundian court, which likely cultivated the taste for small portrait diptychs. This example seems to have been painted by a member of Memling’s workshop, perhaps for a wealthy merchant or clergyman.", "citations": [], "url": "https://clevelandart.org/art/1934.29", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1934.29/1934.29_web.jpg", "width": "625", "height": "893", "filesize": "511888", "filename": "1934.29_web.jpg" } }, "alternate_images": [], "creditline": "Delia E. Holden and L. E. Holden Funds", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 114684, "creators": [ { "id": 2984, "description": "Hans Memling (Netherlandish, 1494)", "extent": null, "qualifier": "workshop of", "role": "artist", "biography": null, "name_in_original_language": null, "death_year": "1494" } ], "legal_status": "accessioned", "accession_date": "1934-01-16T00:00:00", "sortable_date": 1470, "date_text": "c. 1470–80", "is_highlight": false, "updated_at": "2024-02-09 18:03:49.677000", "legacy": [] }, { "id": 137319, "accession_number": "1962.247", "share_license_status": "CC0", "tombstone": "Daniel in the Lion's Den, c. 1125–50. France, Saint-Aignan-sur-Cher, 12th century. Limestone; overall: 72.4 x 68.6 x 36.2 cm (28 1/2 x 27 x 14 1/4 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1962.247", "current_location": "106B Romanesque & Gothic Sculpture", "title": "Daniel in the Lion's Den", "creation_date": "c. 1125–50", "creation_date_earliest": 1125, "creation_date_latest": 1150, "artists_tags": [], "culture": [ "France, Saint-Aignan-sur-Cher, 12th century" ], "technique": "limestone", "support_materials": [], "department": "Medieval Art", "collection": "MED - Romanesque", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "During the 12th century, churches used images to teach the faithful who were illiterate. While Daniel lived before Jesus, he is depicted holding a bible, alluding to the continuity between the Old and New Testaments.", "description": "According to the Old Testament, Daniel was cast into a lion’s den as punishment for his belief in a single god, but he was miraculously delivered from harm on account of his faith. This story is related here, with Daniel flanked by lions and the angel sent by God to save him. Together with other decorated capitals, this imposing work of Romanesque sculpture once decorated the interior of the church of Saint-Aignan-sur-Cher, a city in central France.", "citations": [], "url": "https://clevelandart.org/art/1962.247", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1962.247/1962.247_web.jpg", "width": "763", "height": "893", "filesize": "483117", "filename": "1962.247_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 137319, "creators": [], "legal_status": "accessioned", "accession_date": "1962-09-22T00:00:00", "sortable_date": 1125, "date_text": "c. 1125–50", "is_highlight": false, "updated_at": "2024-02-09 18:05:22.208000", "legacy": [] }, { "id": 125103, "accession_number": "1946.82", "share_license_status": "CC0", "tombstone": "Saint Jerome and the Lion (From the former Church of St. Peter in Erfurt), c. 1495. Tilman Riemenschneider (German, active Würzburg, c. 1460–1531). Alabaster, traces of polychromy; overall: 37.8 x 28.1 x 15.9 cm (14 7/8 x 11 1/16 x 6 1/4 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1946.82", "current_location": "111 German and Austrian Gothic", "title": "Saint Jerome and the Lion (From the former Church of St. Peter in Erfurt)", "creation_date": "c. 1495", "creation_date_earliest": 1490, "creation_date_latest": 1500, "artists_tags": [ "male" ], "culture": [ "Germany, Würzburg, late 15th Century" ], "technique": "alabaster, traces of polychromy", "support_materials": [], "department": "Medieval Art", "collection": "MED - Gothic", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In the story Saint Jerome encounters a fearsome lion, here depicted as diminutive, gentle, and submissive.", "description": "According to legend, Saint Jerome (347–420 bce) lived in the desert, where he removed a thorn from an injured lion. Jerome is venerated in the Catholic Church as a Church Father, an important early author of Christianity. Here, he wears cardinal’s clothing from around 1500.

Tilman Riemenschneider focused on Jerome’s relationship with the lion, creating empathy for the wounded animal. The delicacy of the depiction, which may have been partially painted to add highlights, is typical of alabaster, as is its fine polishing. The cord of the cardinal’s hat, missing today, may have been supplemented from another material.", "citations": [], "url": "https://clevelandart.org/art/1946.82", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1946.82/1946.82_web.jpg", "width": "900", "height": "868", "filesize": "192176", "filename": "1946.82_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": "5b8631c4045348d09e22a99192824e32", "sketchfab_url": "https://sketchfab.com/models/5b8631c4045348d09e22a99192824e32", "gallery_donor_text": null, "athena_id": 125103, "creators": [ { "id": 9821, "description": "Tilman Riemenschneider (German, active Würzburg, c. 1460–1531)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "death_year": "1531" } ], "legal_status": "accessioned", "accession_date": "1946-01-22T00:00:00", "sortable_date": 1490, "date_text": "c. 1495", "is_highlight": true, "updated_at": "2024-02-09 18:04:30.181000", "legacy": [] }, { "id": 283088, "accession_number": "2016.32", "share_license_status": "CC0", "tombstone": "Icon of the New Testament Trinity, c. 1450. Byzantium, Constantinople. Tempera and gold on wood panel (poplar); 35.5 x 62.5 x 2.7 cm (14 x 24 5/8 x 1 1/16 in.). The Cleveland Museum of Art, Severance and Greta Millikin Trust 2016.32", "current_location": "105 Byzantine", "title": "Icon of the New Testament Trinity", "creation_date": "c. 1450", "creation_date_earliest": 1445, "creation_date_latest": 1455, "artists_tags": [], "culture": [ "Byzantium, Constantinople" ], "technique": "Tempera and gold on wood panel (poplar)", "support_materials": [], "department": "Medieval Art", "collection": "MED - Byzantine", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "More than just a breakfast food, eggs are used to make the tempera paint used in this painting.", "description": "This icon depicts an important subject in Orthodox Christian art, the three corresponding figures of the single godhead known as the Holy Trinity. The Trinity is represented here in a composition known as the “New Testament Trinity,” which features Christ and God the Father seated on a bench with a dove representing the Holy Spirit between them. The central field is occupied by a large wooden throne with gold highlights on which Christ (left) and the Ancient of the Days (God the Father as Christ in old age) are seated. The Holy Spirit, in the form of a dove, hovers within an eight-pointed star that signifies the eighth day, the future eon.

On either side of the Trinity are two hymnographers, authors of hymns of praise, both identified by gold letters outlined in red—Saint Kosmas (about 675–752) on the left and Saint Joseph (about 812/818–about 886) on the right. They both suspend scrolls from round-arched windows. The icon likely was part of a church templon, the barrier that separated the nave from the sanctuary in an Orthodox church. It is not signed or dated; however, careful analysis of the painting’s style and technique places it in Constantinople around 1450, just prior to the city’s fall to the Ottomans in 1453. It represents a moment when Byzantine painting reached a brilliant crescendo.", "citations": [], "url": "https://clevelandart.org/art/2016.32", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/2016.32/2016.32_web.jpg", "width": "900", "height": "527", "filesize": "261515", "filename": "2016.32_web.jpg" } }, "alternate_images": [], "creditline": "Severance and Greta Millikin Trust", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 283088, "creators": [], "legal_status": "accessioned", "accession_date": "2016-06-09T00:00:00-04:00", "sortable_date": 1445, "date_text": "c. 1450", "is_highlight": false, "updated_at": "2024-02-09 18:08:35.247000", "legacy": [] }, { "id": 135931, "accession_number": "1959.43", "share_license_status": "CC0", "tombstone": "Saint Stephen, 1502–8. Tilman Riemenschneider (German, active Würzburg, c. 1460–1531). Lindenwood with polychromy and gilding; overall: 93.5 x 35 x 23.5 cm (36 13/16 x 13 3/4 x 9 1/4 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 1959.43", "current_location": "111 German and Austrian Gothic", "title": "Saint Stephen", "creation_date": "1502–8", "creation_date_earliest": 1502, "creation_date_latest": 1508, "artists_tags": [ "male" ], "culture": [ "Germany, Würzburg, 16th century" ], "technique": "lindenwood with polychromy and gilding", "support_materials": [], "department": "Medieval Art", "collection": "MED - Gothic", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [ { "id": 135920, "description": "Saint Lawrence, 1502–8. Tilman Riemenschneider (German, active Würzburg, c. 1460–1531). Lindenwood with polychromy and gilding; overall: 93.8 x 38.5 x 21.8 cm (36 15/16 x 15 3/16 x 8 9/16 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 1959.42", "relationship": null } ], "former_accession_numbers": [], "did_you_know": "Tilman Riemenschneider (c. 1460–1531) is probably the most famous German sculptor of the period around 1500.", "description": "This sculpture, along with that of Saint Lawrence (1959.42) and two others in Germany, are believed to be the remaining fragments of a large altarpiece carved by Riemenschneider for the Dominican convent in Rothenburg in Franconia (demolished in 1813). Saints Stephen and Lawrence both wear the dalmatic to indicate their status as deacons in the early church. Each holds a symbol of his martyrdom; here, Saint Stephen cradles some stones to indicate his death by stoning. Art in Germany through the early 1500s remained firmly anchored in the late Gothic style with its associated interests in realism. Riemenschneider was one of the most prolific and versatile sculptors of this style, a recognized master in both stone and wood. His flourishing workshop employed as many as 40 apprentices in sculpting, woodcarving, and painting. His sculptures are noted for the dreamy, melancholy, and introspective quality in their expressions, as well as their remarkable attention to detail.", "citations": [], "url": "https://clevelandart.org/art/1959.43", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1959.43/1959.43_web.jpg", "width": "589", "height": "893", "filesize": "53570", "filename": "1959.43_web.jpg" } }, "alternate_images": [], "creditline": "Leonard C. Hanna, Jr. Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 135931, "creators": [ { "id": 9821, "description": "Tilman Riemenschneider (German, active Würzburg, c. 1460–1531)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "death_year": "1531" } ], "legal_status": "accessioned", "accession_date": "1959-02-21T00:00:00", "sortable_date": 1502, "date_text": "1502–8", "is_highlight": false, "updated_at": "2024-02-09 18:05:16.884000", "legacy": [] }, { "id": 156112, "accession_number": "1991.45", "share_license_status": "CC0", "tombstone": "Tea Table, c. 1907. Carlo Bugatti (Italian, 1856–1940). Inlaid wood (mahogany?), cast and gilded bronze mounts, inlays of ivory or bone, metal, and mother-of-pearl (marine mussels or pearl oysters); overall: 71.5 x 67.1 x 41.3 cm (28 1/8 x 26 7/16 x 16 1/4 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 1991.45", "current_location": "001A ArtLens Exhibition", "title": "Tea Table", "creation_date": "c. 1907", "creation_date_earliest": 1902, "creation_date_latest": 1912, "artists_tags": [ "male" ], "culture": [ "France, Paris" ], "technique": "inlaid wood (mahogany?), cast and gilded bronze mounts, inlays of ivory or bone, metal, and mother-of-pearl (marine mussels or pearl oysters)", "support_materials": [], "department": "Decorative Art and Design", "collection": "Furniture", "type": "Furniture and woodwork", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [ { "id": 156113, "description": "Salver, c. 1907. Carlo Bugatti (Italian, 1856-1940), Adrien-Aurélien Hebrard (French, 1866-1937). Gilt silver and ivory; overall: 14.6 x 33 cm (5 3/4 x 13 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 1991.46", "relationship": null }, { "id": 150156, "description": "Tea and Coffee Service, c. 1907. Carlo Bugatti (Italian, 1856-1940), Adrien-Aurélien Hebrard (French, 1866-1937). Gilt silver and ivory; The Cleveland Museum of Art, The Thomas L. Fawick Memorial Collection 1980.74", "relationship": null } ], "former_accession_numbers": [], "did_you_know": "Carlo Bugatti's sons achieved illustrious careers of their own. Rembrandt Bugatti (1884-1916) became a celebrated sculptor, and Ettore Bugatti (1881-1947) manufactured luxurious automobiles and racing cars.", "description": "Luxurious materials might catch the eye first, but a closer look reveals the imaginary creatures that adorn the surface of this table. Featuring elaborate arches, a favorite motif that appeared throughout Bugatti's furniture, this fantastical imagery is a window into the designer's expressive imagination.", "citations": [], "url": "https://clevelandart.org/art/1991.45", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1991.45/1991.45_web.jpg", "width": "720", "height": "900", "filesize": "159356", "filename": "1991.45_web.jpg" } }, "alternate_images": [], "creditline": "Leonard C. Hanna, Jr. Fund", "sketchfab_id": "ce91dd0404e54a9caa259e5445858159", "sketchfab_url": "https://sketchfab.com/models/ce91dd0404e54a9caa259e5445858159", "gallery_donor_text": null, "athena_id": 156112, "creators": [ { "id": 15830, "description": "Carlo Bugatti (Italian, 1856–1940)", "extent": null, "qualifier": null, "role": "cabinetmaker", "biography": "active in France after c. 1902.", "name_in_original_language": null, "birth_year": "1856", "death_year": "1940" } ], "legal_status": "accessioned", "accession_date": "1991-04-29T00:00:00", "sortable_date": 1902, "date_text": "c. 1907", "is_highlight": true, "updated_at": "2024-02-09 18:06:52.185000", "legacy": [] }, { "id": 152834, "accession_number": "1985.72", "share_license_status": "CC0", "tombstone": "Sideboard, c. 1855. Attributed to Joseph Alexis Bailly (American, 1825–1883). Walnut; overall: 290.4 x 211.4 x 69.4 cm (114 5/16 x 83 1/4 x 27 5/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1985.72", "current_location": "207 American Realism", "title": "Sideboard", "creation_date": "c. 1855", "creation_date_earliest": 1850, "creation_date_latest": 1860, "artists_tags": [ "male" ], "culture": [ "America, Pennsylvania, Philadelphia?, 19th century" ], "technique": "walnut", "support_materials": [], "department": "Decorative Art and Design", "collection": "Furniture", "type": "Furniture and woodwork", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Luscious fruit, wild animals, and Native American figures are masterfully carved into this walnut sideboard. These decorative adornments were created for a distinctively American taste and would have symbolized abundance and wealth to visitors who encountered it within a grand dining room.", "description": "Newly acquired wealth from railroad production, manufacturing, and an expanded economy produced a new elite class of Americans who looked abroad for sources of decoration to adorn their lives. Grand, baronial furniture, reminiscent of German hunting lodges or French castles, became popular during the mid 1800s among America’s wealthy. Elaborate displays of abundance were reflected in the carvings of flora, fauna, and freshly hunted game. The depictions of Native American hunters on this example, most likely made in Philadelphia, may have meant that this piece was displayed at one of the many international expositions that occurred during this period.", "citations": [], "url": "https://clevelandart.org/art/1985.72", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1985.72/1985.72_web.jpg", "width": "728", "height": "893", "filesize": "437746", "filename": "1985.72_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 152834, "creators": [ { "id": 5816, "description": "Joseph Alexis Bailly (American, 1825–1883)", "extent": null, "qualifier": "attributed to", "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1825", "death_year": "1883" } ], "legal_status": "accessioned", "accession_date": "1985-05-29T00:00:00", "sortable_date": 1850, "date_text": "c. 1855", "is_highlight": true, "updated_at": "2024-02-09 18:06:37.012000", "legacy": [] }, { "id": 149041, "accession_number": "1977.182", "share_license_status": "CC0", "tombstone": "Covered Tureen on Stand (Pot-à-oille), 1735–38. Juste-Aurèle Meissonnier (French, 1695–1750), Pierre-François Bonnestrenne (French), Henry Adnet (French, 1745). Silver; overall: 36.9 x 38.4 x 31.8 cm (14 1/2 x 15 1/8 x 12 1/2 in.); average: 35 x 38.4 x 31.8 cm (13 3/4 x 15 1/8 x 12 1/2 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 1977.182", "current_location": "216A French and German", "title": "Covered Tureen on Stand (Pot-à-oille)", "creation_date": "1735–38", "creation_date_earliest": 1735, "creation_date_latest": 1738, "artists_tags": [ "male" ], "culture": [ "France, Paris" ], "technique": "silver", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Silver", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The langoustine, pigeon, and vegetables were cast using real examples giving the silver copies lifelike detail and appearance.", "description": "Designed by one of Louis XV’s official architects, this tureen exemplifies the French rococo style, an artistic movement celebrating naturalistic forms that developed in Paris during the early 1700s. In contrast to classical, controlled symmetry, rococo forms morph, twist, and spill into the space around them. Meissonnier embellished this tureen in a picturesque arrangement of vegetables and creatures, transforming a utilitarian object into a decadent display of wealth and abundance. This masterpiece comes from a set of two tureens commissioned by the English Duke of Kingston during an extended stay in Paris in the 1730s.", "citations": [], "url": "https://clevelandart.org/art/1977.182", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1977.182/1977.182_web.jpg", "width": "900", "height": "744", "filesize": "189813", "filename": "1977.182_web.jpg" } }, "alternate_images": [], "creditline": "Leonard C. Hanna, Jr. Fund", "sketchfab_id": "a8255220644f492a992d80986b1da8d2", "sketchfab_url": "https://sketchfab.com/models/a8255220644f492a992d80986b1da8d2", "gallery_donor_text": null, "athena_id": 149041, "creators": [ { "id": 13916, "description": "Juste-Aurèle Meissonnier (French, 1695–1750)", "extent": null, "qualifier": null, "role": "designer", "biography": null, "name_in_original_language": null, "birth_year": "1695", "death_year": "1750" }, { "id": 13934, "description": "Pierre-François Bonnestrenne (French)", "extent": null, "qualifier": null, "role": "maker", "biography": "Master 1714", "name_in_original_language": null }, { "id": 13926, "description": "Henry Adnet (French, 1745)", "extent": null, "qualifier": null, "role": "maker", "biography": "Master 1712", "name_in_original_language": null, "death_year": "1745" } ], "legal_status": "accessioned", "accession_date": "1977-12-15T00:00:00", "sortable_date": 1735, "date_text": "1735–38", "is_highlight": true, "updated_at": "2024-02-09 18:06:17.212000", "legacy": [] }, { "id": 142734, "accession_number": "1966.443", "share_license_status": "CC0", "tombstone": "Flower Study of a Lily of the Valley, c. 1885–1915. House of Fabergé (Russian, 1842–1918). Pearls, diamonds, jade, rock crystal, silver, gold; overall: 12.1 x 3.1 cm (4 3/4 x 1 1/4 in.). The Cleveland Museum of Art, The India Early Minshall Collection 1966.443", "current_location": "211 Fabergé", "title": "Flower Study of a Lily of the Valley", "creation_date": "c. 1885–1915", "creation_date_earliest": 1885, "creation_date_latest": 1915, "artists_tags": [ "gender unknown" ], "culture": [ "Russia, St. Petersburg" ], "technique": "pearls, diamonds, jade, rock crystal, silver, gold", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Miscellaneous", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The stems of Fabergé’s flower studies are set into little basins carved from rock crystal to resemble pots of water.", "description": "This flower study resembles a stem of lily-of-the-valley. Fabergé’s inspiration for his flower studies is said to have come from the floral brooches of precious stones that were made in the 1700s for Catherine the Great as well as from the Japanese art of flower arranging, known as ikebana. Small and delicate, Fabergé’s flower studies were given as intimate gifts to friends by the tsarina and others in the court. She also liked to take them around to wherever the imperial family was residing as a reminder of spring during the harsh Russian winters.", "citations": [], "url": "https://clevelandart.org/art/1966.443", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1966.443/1966.443_web.jpg", "width": "680", "height": "900", "filesize": "147610", "filename": "1966.443_web.jpg" } }, "alternate_images": [], "creditline": "The India Early Minshall Collection", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142734, "creators": [ { "id": 55332, "description": "House of Fabergé (Russian, 1842–1918)", "extent": null, "qualifier": null, "role": "maker", "biography": "Peter Carl Faberge (1846-1920) took over the House of Faberge in 1870 from his father Carl Gustav Faberge who had founded the firm in 1842. Until 1881, the firm manufactured primarily jewelry for Saint Petersburg's aristocrats and wealthy elite. In 1885 the firm was awarded the coveted imperial warrant as goldsmith to the tsar and began to produce elaborate presentation Easter eggs as a gift for the tsarina from her husband every year. They also produced luxurious accessories, jewelry, and hardstone sculptures. At one point, Faberge employed over 300 workers including 22 workmasters who oversaw the production of the firm's jewelry and precious objects. A branch of the firm opened in Moscow in 1887, specializing in neo-Russian and pan-Slavic motifs in jewelry, silver, and enamel. Other branches followed in Kiev, London, and Odessa as well as new premises in Saint Petersburg. At the onset of the Russian Revolution, Peter Carl Faberge fled the country to Paris then Switzerland, where he died in 1920. His firm was nationalized by the Bolsheviks in 1918.", "name_in_original_language": null, "birth_year": "1842", "death_year": "1918" } ], "legal_status": "accessioned", "accession_date": "1966-11-05T00:00:00", "sortable_date": 1885, "date_text": "c. 1885–1915", "is_highlight": false, "updated_at": "2024-02-09 18:05:50.803000", "legacy": [] }, { "id": 142738, "accession_number": "1966.447", "share_license_status": "CC0", "tombstone": "Parrot on a Perch , 1896–1903. House of Fabergé (Russian, 1842–1918), Mikhail Evlampievich Perkhin (Russian, 1860–1903). Silver, enamel, jasper, agate, emeralds; overall: 15.3 x 7.4 cm (6 x 2 15/16 in.). The Cleveland Museum of Art, The India Early Minshall Collection 1966.447", "current_location": "211 Fabergé", "title": "Parrot on a Perch ", "creation_date": "1896–1903", "creation_date_earliest": 1896, "creation_date_latest": 1903, "artists_tags": [ "male", "gender unknown" ], "culture": [ "Russia, St. Petersburg" ], "technique": "silver, enamel, jasper, agate, emeralds", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Miscellaneous", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Tsar Nicholas and his cousins in the British royal family kept parrots and parakeets throughout their many palaces.", "description": "In creating luxurious accessories for a desk or tabletop, Fabergé often used native hardstones such as multicolored agate and jasper, green nephrite, pink rhodonite, and rock crystal found in the Ural Mountains of western Russia. By paying careful attention to the unique colors and textures of the stones, Fabergé and his craftsmen brought them to life, turning milky agate into a begging poodle or green and black jasper into this parrot sitting on a perch. The use of native materials also promoted Russian nationalism, which appealed greatly to the tsar and his family.", "citations": [], "url": "https://clevelandart.org/art/1966.447", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1966.447/1966.447_web.jpg", "width": "647", "height": "900", "filesize": "153538", "filename": "1966.447_web.jpg" } }, "alternate_images": [], "creditline": "The India Early Minshall Collection", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142738, "creators": [ { "id": 55332, "description": "House of Fabergé (Russian, 1842–1918)", "extent": null, "qualifier": null, "role": "maker", "biography": "Peter Carl Faberge (1846-1920) took over the House of Faberge in 1870 from his father Carl Gustav Faberge who had founded the firm in 1842. Until 1881, the firm manufactured primarily jewelry for Saint Petersburg's aristocrats and wealthy elite. In 1885 the firm was awarded the coveted imperial warrant as goldsmith to the tsar and began to produce elaborate presentation Easter eggs as a gift for the tsarina from her husband every year. They also produced luxurious accessories, jewelry, and hardstone sculptures. At one point, Faberge employed over 300 workers including 22 workmasters who oversaw the production of the firm's jewelry and precious objects. A branch of the firm opened in Moscow in 1887, specializing in neo-Russian and pan-Slavic motifs in jewelry, silver, and enamel. Other branches followed in Kiev, London, and Odessa as well as new premises in Saint Petersburg. At the onset of the Russian Revolution, Peter Carl Faberge fled the country to Paris then Switzerland, where he died in 1920. His firm was nationalized by the Bolsheviks in 1918.", "name_in_original_language": null, "birth_year": "1842", "death_year": "1918" }, { "id": 8914, "description": "Mikhail Evlampievich Perkhin (Russian, 1860–1903)", "extent": null, "qualifier": null, "role": "workmaster", "biography": null, "name_in_original_language": null, "birth_year": "1860", "death_year": "1903" } ], "legal_status": "accessioned", "accession_date": "1966-11-05T00:00:00", "sortable_date": 1896, "date_text": "1896–1903", "is_highlight": false, "updated_at": "2024-02-09 18:05:50.835000", "legacy": [] }, { "id": 156855, "accession_number": "1992.70", "share_license_status": "CC0", "tombstone": "Tall Clock, c. 1880. Tiffany & Co. (America, New York, est. 1837). Mahogany, teak with dial faces of gilded and patinated metal, glass; overall: 247.3 x 66 x 36.5 cm (97 3/8 x 26 x 14 3/8 in.). The Cleveland Museum of Art, The Severance and Greta Millikin Purchase Fund 1992.70", "current_location": "208 American Gilded Age and Realism", "title": "Tall Clock", "creation_date": "c. 1880", "creation_date_earliest": 1875, "creation_date_latest": 1885, "artists_tags": [ "gender unknown" ], "culture": [ "America, New York" ], "technique": "mahogany, teak with dial faces of gilded and patinated metal, glass", "support_materials": [], "department": "Decorative Art and Design", "collection": "Furniture", "type": "Furniture and woodwork", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Associated Artists assembled this clock using imported carved wood panels from India. For an American owner, the motifs suggested decorative styles from faraway places.", "description": "In 1879, Louis Comfort Tiffany joined several other artisans to create an interior decoration firm called Associated Artists. The firm was very influential in advocating a rejection of historical styles in favor of the new fashion from more eclectic sources of inspiration, including the Islamic world and Japan. One of Tiffany's partners, Lockwood De Forest, traveled extensively in India to find carved wood and other decorative accessories that could be used in their designs. This clock's design was one result of this collaboration. The heavily carved panels on the clock were likely purchased in India during this time and assembled with a clock mechanism from Tiffany's father's shop, Tiffany and Co., whose name appears on the clock face.", "citations": [], "url": "https://clevelandart.org/art/1992.70", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1992.70/1992.70_web.jpg", "width": "474", "height": "893", "filesize": "231096", "filename": "1992.70_web.jpg" } }, "alternate_images": [], "creditline": "The Severance and Greta Millikin Purchase Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Cleveland Foundation Gallery", "athena_id": 156855, "creators": [ { "id": 7431, "description": "Tiffany & Co. (America, New York, est. 1837)", "extent": "manufactured by", "qualifier": null, "role": "manufacturer", "biography": null, "name_in_original_language": null, "birth_year": "1837" } ], "legal_status": "accessioned", "accession_date": "1992-05-18T00:00:00", "sortable_date": 1875, "date_text": "c. 1880", "is_highlight": false, "updated_at": "2024-02-09 18:06:56.488000", "legacy": [] }, { "id": 119326, "accession_number": "1940.228", "share_license_status": "CC0", "tombstone": "Teapot, c. 1755–60. Nathaniel Hurd (American, 1730–1778). Silver; with handle: 14.5 x 24.4 cm (5 11/16 x 9 5/8 in.). The Cleveland Museum of Art, Gift of Hollis French 1940.228", "current_location": "204 Colonial American", "title": "Teapot", "creation_date": "c. 1755–60", "creation_date_earliest": 1750, "creation_date_latest": 1765, "artists_tags": [ "male" ], "culture": [ "America, 18th century" ], "technique": "silver", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Silver", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The master silversmith Nathaniel Hurd, whose portrait hangs nearby, made this teapot engraved with the crest of the family that commissioned it. Tea was a precious commodity in Colonial America and this silver piece would have held a place of honor at the owner's tea table.", "description": "This teapot not only demonstrates Hurd's mastery of the art of forging silver, but of engraving it as well. The design for the coat of arms of the Gibbs family incised on this teapot was probably taken from Guillim's Display of Heraldry, published in 1724. In Hurd's portrait by Copley the words \"Display of Heraldry/J. Guillim\" are visible on the spine of the large book shown at the sitter's elbow.", "citations": [], "url": "https://clevelandart.org/art/1940.228", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1940.228/1940.228_web.jpg", "width": "1156", "height": "893", "filesize": "447608", "filename": "1940.228_web.jpg" } }, "alternate_images": [], "creditline": "Gift of Hollis French", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 119326, "creators": [ { "id": 33346, "description": "Nathaniel Hurd (American, 1730–1778)", "extent": null, "qualifier": null, "role": "maker", "biography": null, "name_in_original_language": null, "birth_year": "1730", "death_year": "1778" } ], "legal_status": "accessioned", "accession_date": "1940-06-07T00:00:00", "sortable_date": 1750, "date_text": "c. 1755–60", "is_highlight": false, "updated_at": "2024-02-09 18:04:04.616000", "legacy": [] }, { "id": 142716, "accession_number": "1966.432", "share_license_status": "CC0", "tombstone": "Hinds House Window, c. 1900. Tiffany Glass & Decorating Company (America, New York, 1892–1902). Leaded glass; unframed: 227.3 x 114.3 cm (89 1/2 x 45 in.). The Cleveland Museum of Art, Gift of Mrs. Robert M. Fallon 1966.432", "current_location": "209 Tiffany", "title": "Hinds House Window", "creation_date": "c. 1900", "creation_date_earliest": 1895, "creation_date_latest": 1905, "artists_tags": [ "gender unknown" ], "culture": [ "America, New York" ], "technique": "leaded glass", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Glass", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This window incorporates layered pieces of glass, producing shadows and creating a multidimensional quality.", "description": "In this window commissioned for the Howell Hinds house around 1900, thousands of richly colored glass pieces have been arranged and layered to paint an idyllic three-dimensional scene that would have warmly glowed in the afternoon sunlight. Located at 2200 Overlook Road in Cleveland, Ohio, the house was demolished in 1930 in a similar fate as other nearby estates. Photographs show the placement of the window in the drawing room next to the fireplace as well as the opulent interiors Louis Comfort Tiffany designed for the library and dining room.", "citations": [], "url": "https://clevelandart.org/art/1966.432", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1966.432/1966.432_web.jpg", "width": "455", "height": "900", "filesize": "233286", "filename": "1966.432_web.jpg" } }, "alternate_images": [], "creditline": "Gift of Mrs. Robert M. Fallon", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142716, "creators": [ { "id": 55726, "description": "Tiffany Glass & Decorating Company (America, New York, 1892–1902)", "extent": "made by", "qualifier": null, "role": "maker", "biography": null, "name_in_original_language": null } ], "legal_status": "accessioned", "accession_date": "1966-11-05T00:00:00", "sortable_date": 1895, "date_text": "c. 1900", "is_highlight": true, "updated_at": "2024-02-09 18:05:50.687000", "legacy": [] }, { "id": 122920, "accession_number": "1943.179", "share_license_status": "CC0", "tombstone": "Tea Caddy, 1741–1742. Paul Jacques de Lamerie (British, 1688–1751). Silver gilt; overall: 13.4 x 9.6 x 5.8 cm (5 1/4 x 3 3/4 x 2 5/16 in.). The Cleveland Museum of Art, The Thomas S. Grasselli Memorial Collection 1943.179", "current_location": "203A British Painting and Decorative Arts", "title": "Tea Caddy", "creation_date": "1741–1742", "creation_date_earliest": 1741, "creation_date_latest": 1742, "artists_tags": [ "male" ], "culture": [ "England, London, 18th century" ], "technique": "silver gilt", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Silver", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The curving shape of this tea caddy is echoed by the scrolling lines and swirling naturalistic ornament on all four sides.", "description": "In the 1600s and 1700s, silver played a significant role in projecting wealth, status, power, and ritual in British life. Tea was likewise a highly valued commodity, and as such, silver caddies like this one were designed to display the social distinction of its owner. This canister’s prominently sloping shoulders were designed by Paul Jacques de Lamerie in the early 1730s and became a standard form for tea caddies by the end of the decade.", "citations": [], "url": "https://clevelandart.org/art/1943.179", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1943.179/1943.179_web.jpg", "width": "900", "height": "826", "filesize": "189366", "filename": "1943.179_web.jpg" } }, "alternate_images": [], "creditline": "The Thomas S. Grasselli Memorial Collection", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 122920, "creators": [ { "id": 8200, "description": "Paul Jacques de Lamerie (British, 1688–1751)", "extent": null, "qualifier": null, "role": "fabricated by", "biography": null, "name_in_original_language": null, "birth_year": "1688", "death_year": "1751" } ], "legal_status": "accessioned", "accession_date": "1943-04-26T00:00:00", "sortable_date": 1741, "date_text": "1741–1742", "is_highlight": false, "updated_at": "2024-02-09 18:04:20.221000", "legacy": [] }, { "id": 149386, "accession_number": "1978.43", "share_license_status": "CC0", "tombstone": "Hand Mirror, c. 1900. Designed by Félix Bracquemond (French, 1833–1914), relief by Auguste Rodin (French, 1840–1917), enamel by Alexander Riquet (French), goldsmith work by Alexis Falize (French, 1811–1898). Gold, enamel, and ivory; overall: 32.2 x 16.1 x 1.2 cm (12 11/16 x 6 5/16 x 1/2 in.). The Cleveland Museum of Art, Gift of Ralph King, by exchange 1978.43", "current_location": "001A ArtLens Exhibition", "title": "Hand Mirror", "creation_date": "c. 1900", "creation_date_earliest": 1895, "creation_date_latest": 1905, "artists_tags": [ "male" ], "culture": [ "France" ], "technique": "gold, enamel, and ivory", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Miscellaneous", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [ { "id": 166861, "description": "Design for a Hand Mirror, c. 1900-1902. Félix Bracquemond (French, 1833-1914). Watercolor and black ink with graphite; sheet: 18 x 13.8 cm (7 1/16 x 5 7/16 in.); framed: 62 x 45 cm (24 7/16 x 17 11/16 in.). The Cleveland Museum of Art, Dudley P. Allen Fund 2009.11.4", "relationship": null } ], "former_accession_numbers": [], "did_you_know": "The mirror’s relief of Venus may be the only example of Rodin providing an ornament for a small decorative object.", "description": "We often think of art as the work of just one person. In the case of this mirror, its harmonious appearance conceals the number of people involved in its creation. The designer Félix Bracquemond was commissioned by wealthy banker Baron Joseph Vitta to create decorative objects for his multiple homes. Bracquemond worked with other artists in making this mirror: well-known sculptor Auguste Rodin created the figure of Venus; artisan Alexandre Riquet fashioned the elaborate enameled decoration; and goldsmiths from Parisian jewelers Falize Frères completed the mirror and its blue translucent frame embedded with yellow, pink, and white flowers. Through close collaboration between patron, designer, and artists, this mirror represents the trend at the end of the 1800s for blending artistic specialties to create a single work of art.

The CMA’s collection includes Bracquemond’s preparatory drawings for the mirror and Rodin’s carved plaster model for the figure of Venus.", "citations": [], "url": "https://clevelandart.org/art/1978.43", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1978.43/1978.43_web.jpg", "width": "670", "height": "893", "filesize": "379845", "filename": "1978.43_web.jpg" } }, "alternate_images": [], "creditline": "Gift of Ralph King, by exchange", "sketchfab_id": "b2a253353667465aa071f9bd1ba86cf2", "sketchfab_url": "https://sketchfab.com/models/b2a253353667465aa071f9bd1ba86cf2", "gallery_donor_text": null, "athena_id": 149386, "creators": [ { "id": 5538, "description": "Félix Bracquemond (French, 1833–1914)", "extent": "designed by", "qualifier": null, "role": "designer", "biography": null, "name_in_original_language": null, "birth_year": "1833", "death_year": "1914" }, { "id": 5925, "description": "Auguste Rodin (French, 1840–1917)", "extent": "relief by", "qualifier": null, "role": "sculptor", "biography": null, "name_in_original_language": null, "birth_year": "1840", "death_year": "1917" }, { "id": 13439, "description": "Alexander Riquet (French)", "extent": "enamel by", "qualifier": null, "role": "enamelist", "biography": null, "name_in_original_language": null }, { "id": 13631, "description": "Alexis Falize (French, 1811–1898)", "extent": "goldsmith work by", "qualifier": null, "role": "goldsmith", "biography": null, "name_in_original_language": null, "birth_year": "1811", "death_year": "1898" } ], "legal_status": "accessioned", "accession_date": "1978-08-10T00:00:00", "sortable_date": 1895, "date_text": "c. 1900", "is_highlight": false, "updated_at": "2024-02-09 18:06:19.118000", "legacy": [] }, { "id": 142769, "accession_number": "1966.473", "share_license_status": "CC0", "tombstone": "Turtle Bell Push, c. 1895–1915. House of Fabergé (Russian, 1842–1918). Agate, gold, silver, diamonds, rubies; overall: 2.6 x 7.7 x 6.1 cm (1 x 3 1/16 x 2 3/8 in.). The Cleveland Museum of Art, The India Early Minshall Collection 1966.473", "current_location": "211 Fabergé", "title": "Turtle Bell Push", "creation_date": "c. 1895–1915", "creation_date_earliest": 1890, "creation_date_latest": 1918, "artists_tags": [ "gender unknown" ], "culture": [ "Russia, St. Petersburg" ], "technique": "agate, gold, silver, diamonds, rubies", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Miscellaneous", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "To summon the butler, a quick push on the turtle's head would ring the bell downstairs.", "description": "In creating luxurious accessories for a desk or tabletop, Fabergé often used native hardstones such as multicolored agate and jasper, green nephrite, pink rhodonite, and rock crystal found in the Ural Mountains of western Russia. By paying careful attention to the unique colors and textures of the stones, Fabergé and his craftsmen brought them to life, turning milky agate into this turtle bell push or black jasper into sleeping puppies. The use of native materials also promoted Russian nationalism, which appealed greatly to the tsar and his family.", "citations": [], "url": "https://clevelandart.org/art/1966.473", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1966.473/1966.473_web.jpg", "width": "1263", "height": "871", "filesize": "624396", "filename": "1966.473_web.jpg" } }, "alternate_images": [], "creditline": "The India Early Minshall Collection", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142769, "creators": [ { "id": 55332, "description": "House of Fabergé (Russian, 1842–1918)", "extent": null, "qualifier": null, "role": "maker", "biography": "Peter Carl Faberge (1846-1920) took over the House of Faberge in 1870 from his father Carl Gustav Faberge who had founded the firm in 1842. Until 1881, the firm manufactured primarily jewelry for Saint Petersburg's aristocrats and wealthy elite. In 1885 the firm was awarded the coveted imperial warrant as goldsmith to the tsar and began to produce elaborate presentation Easter eggs as a gift for the tsarina from her husband every year. They also produced luxurious accessories, jewelry, and hardstone sculptures. At one point, Faberge employed over 300 workers including 22 workmasters who oversaw the production of the firm's jewelry and precious objects. A branch of the firm opened in Moscow in 1887, specializing in neo-Russian and pan-Slavic motifs in jewelry, silver, and enamel. Other branches followed in Kiev, London, and Odessa as well as new premises in Saint Petersburg. At the onset of the Russian Revolution, Peter Carl Faberge fled the country to Paris then Switzerland, where he died in 1920. His firm was nationalized by the Bolsheviks in 1918.", "name_in_original_language": null, "birth_year": "1842", "death_year": "1918" } ], "legal_status": "accessioned", "accession_date": "1966-11-05T00:00:00", "sortable_date": 1890, "date_text": "c. 1895–1915", "is_highlight": false, "updated_at": "2024-02-09 18:05:51.058000", "legacy": [] }, { "id": 169465, "accession_number": "2011.3", "share_license_status": "CC0", "tombstone": "Settee, c. 1802–07. Thomas Hope (British, 1769–1831), Unknown Maker (British). Gilt-wood, reproduction wool upholstery; overall: 102.2 x 113 x 71.1 cm (40 1/4 x 44 1/2 x 28 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 2011.3", "current_location": "203B British Painting and Decorative Arts", "title": "Settee", "creation_date": "c. 1802–07", "creation_date_earliest": 1797, "creation_date_latest": 1812, "artists_tags": [ "gender unknown", "male" ], "culture": [ "England, 19th century" ], "technique": "gilt-wood, reproduction wool upholstery", "support_materials": [], "department": "Decorative Art and Design", "collection": "Furniture", "type": "Wood", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The acorn finials, ram’s heads, and clusters of stylized honeysuckle flowers along the settee’s frame are typical of Thomas Hope’s neoclassical designs.", "description": "An art collector, designer, and champion of neoclassicism, Thomas Hope designed this settee for display in his London house. Hope’s design exemplifies the continued interest in neoclassical ornament around 1800 through the use of elaborately carved friezes, a central pediment, and a lavishly gilded surface. In 1807 Hope published Household Furniture and Interior Decoration, featuring descriptions of his renowned collection of antiquities and the interior furnishings from his London house, including this settee. Many architects and cabinetmaking firms took inspiration from Hope’s designs, adapting Greek and Roman forms to create bold expressions of neoclassicism in their architecture and decoration.", "citations": [], "url": "https://clevelandart.org/art/2011.3", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/2011.3/2011.3_web.jpg", "width": "900", "height": "736", "filesize": "228883", "filename": "2011.3_web.jpg" } }, "alternate_images": [], "creditline": "Leonard C. Hanna, Jr. Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 169465, "creators": [ { "id": 61264, "description": "Thomas Hope (British, 1769–1831)", "extent": null, "qualifier": null, "role": "designer", "biography": null, "name_in_original_language": null, "birth_year": "1769", "death_year": "1831" }, { "id": 61326, "description": "Unknown Maker (British)", "extent": null, "qualifier": null, "role": "maker", "biography": null, "name_in_original_language": null } ], "legal_status": "accessioned", "accession_date": "2011-03-07T00:00:00", "sortable_date": 1797, "date_text": "c. 1802–07", "is_highlight": false, "updated_at": "2024-02-09 18:08:13.920000", "legacy": [] }, { "id": 168417, "accession_number": "2010.2", "share_license_status": "CC0", "tombstone": "Pair of Candelabra, c. 1790–95. Russia, Tula. Cut and polished steel with gold and silvered decoration; overall: 40.7 x 24.8 cm (16 x 9 3/4 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 2010.2", "current_location": "202 French Neoclassical Decorative Arts", "title": "Pair of Candelabra", "creation_date": "c. 1790–95", "creation_date_earliest": 1785, "creation_date_latest": 1880, "artists_tags": [], "culture": [ "Russia, Tula" ], "technique": "cut and polished steel with gold and silvered decoration", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Metalwork", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Decorative works in steel like this pair of candelabra were made by gun makers in the town of Tula, Russia, to impress the empress, Catherine the Great.", "description": "Founded in 1705 by Peter the Great, the armory at Tula developed steadily over the 18th century to become the center of Russian metalworking, especially in arms manufacturing. In the 1770s and 1780s, Catherine the Great took
a keen interest in the work produced there, sending several of the most proficient craftsmen to England to study the decorative application of steel in armories in Sheffield and London. Subsequently, the Tula artisans surpassed the metalworkers in Britain and elsewhere in Europe, producing decorative wares that were as precious and precise as their brilliantly embellished firearms. Empress Catherine was so pleased that she commissioned diplomatic and royal gifts of Tula ware as well as several noted examples of furniture in the distinctive Tula style of cut steel, gilt-bronze, silver, and gold.

The most recognizable characteristic of Tula ware was the use of beads of steel that replicated faceted diamonds and crystals. No other region was able to achieve the vividness of this technique in cut steel. Most works in Tula steel were small and precious such as inkstands, bobbin holders, buttons, footstools, single candlesticks, etc. These candelabra typify the Neoclassical taste in Russia during the late 1700s, a significant moment in Russian design because of the mature level of craftsmanship and style.", "citations": [], "url": "https://clevelandart.org/art/2010.2", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/2010.2/2010.2_web.jpg", "width": "900", "height": "648", "filesize": "140926", "filename": "2010.2_web.jpg" } }, "alternate_images": [], "creditline": "Leonard C. Hanna, Jr. Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168417, "creators": [], "legal_status": "accessioned", "accession_date": "2010-03-01T00:00:00", "sortable_date": 1785, "date_text": "c. 1790–95", "is_highlight": true, "updated_at": "2024-02-09 18:08:07.430000", "legacy": [] }, { "id": 152003, "accession_number": "1984.58", "share_license_status": "CC0", "tombstone": "Hen and Chicks Covered Tureen on Stand, c. 1755. Chelsea Porcelain Factory (Britain, London, 1745–84). Soft-paste porcelain; overall: 24.8 x 34.9 x 25.7 cm (9 3/4 x 13 3/4 x 10 1/8 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1984.58", "current_location": "203A British Painting and Decorative Arts", "title": "Hen and Chicks Covered Tureen on Stand", "creation_date": "c. 1755", "creation_date_earliest": 1750, "creation_date_latest": 1760, "artists_tags": [ "gender unknown" ], "culture": [ "England, London, Chelsea" ], "technique": "soft-paste porcelain", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Ceramic", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [ { "id": 161652, "description": "Stand for a Hen and Chicks Tureen, c. 1755. Chelsea Porcelain Factory (Britain, London, 1745-84). Soft-paste porcelain; overall: 48.7 x 37.7 x 6.4 cm (19 3/16 x 14 13/16 x 2 1/2 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 2000.3", "relationship": null } ], "former_accession_numbers": [], "did_you_know": "Though the form of a soup tureen suggests a functional role at the dining table, such large, expensive porcelains were probably only used for decoration because hot liquids might have easily caused them to crack.", "description": "The ceramic factory at Chelsea, located along the river Thames in western London, was Britain’s most renowned factory of decorative porcelain in the mid-1700s. Large tureens in the form of chickens or rabbits appealed to wealthy aristocrats, who took great care in developing specimen animal and poultry breeds on their country estates. The design for this particular tureen was taken from a popular seventeenth-century print by Francis Barlow depicting a farmyard.", "citations": [], "url": "https://clevelandart.org/art/1984.58", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1984.58/1984.58_web.jpg", "width": "900", "height": "651", "filesize": "188345", "filename": "1984.58_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 152003, "creators": [ { "id": 18265, "description": "Chelsea Porcelain Factory (Britain, London, 1745–84)", "extent": null, "qualifier": null, "role": "maker", "biography": null, "name_in_original_language": null } ], "legal_status": "accessioned", "accession_date": "1984-09-24T00:00:00", "sortable_date": 1750, "date_text": "c. 1755", "is_highlight": true, "updated_at": "2024-02-09 18:06:32.692000", "legacy": [] }, { "id": 140001, "accession_number": "1963.673", "share_license_status": "CC0", "tombstone": "Imperial Red Cross Easter Egg, 1915. Peter Carl Fabergé (Russian, 1846–1920), Henrik Wigström (Russian, 1862–1923), House of Fabergé (Russian, 1842–1918). Gold, silver gilt, enamel, glass, ivory; overall: 8.6 x 6.4 cm (3 3/8 x 2 1/2 in.). The Cleveland Museum of Art, The India Early Minshall Collection 1963.673", "current_location": "211 Fabergé", "title": "Imperial Red Cross Easter Egg", "creation_date": "1915", "creation_date_earliest": 1915, "creation_date_latest": 1915, "artists_tags": [ "male", "gender unknown" ], "culture": [ "Russia, St. Petersburg" ], "technique": "gold, silver gilt, enamel, glass, ivory", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Miscellaneous", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This egg was confiscated by the Bolsheviks during the Russian Revolution and sold by the government of Josef Stalin in the 1930s to raise money for the Soviet treasury.", "description": "Commissioned to honor Empress Alexandra's founding of the Red Cross in Russia at the start of the First World War as well as the commitment to wartime service of her and her daughters Olga and Tatiana, this egg is poignant in its spare design. Compared to other Fabergé eggs elaborately ornamented with jewels, the egg reflects the mood of austerity in Russia during World War I with its two simple red enamel crosses, emblazoned with miniatures of Olga and Tatiana, over a white enamel background. When opened, the egg reveals a depiction of Christ's resurrection flanked by the patron saints of the two young grand duchesses.", "citations": [], "url": "https://clevelandart.org/art/1963.673", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1963.673/1963.673_web.jpg", "width": "900", "height": "624", "filesize": "156248", "filename": "1963.673_web.jpg" } }, "alternate_images": [], "creditline": "The India Early Minshall Collection", "sketchfab_id": "5581861292264aaab2220a9706351149", "sketchfab_url": "https://sketchfab.com/models/5581861292264aaab2220a9706351149", "gallery_donor_text": null, "athena_id": 140001, "creators": [ { "id": 5366, "description": "Peter Carl Fabergé (Russian, 1846–1920)", "extent": null, "qualifier": null, "role": "designer", "biography": "Supplied most of the gifts exchanged by relatives of the imperial family in Russia, Denmark, Germany, and England for christenings, name days, birthdays, Christmas, and Easter.", "name_in_original_language": null, "birth_year": "1846", "death_year": "1920" }, { "id": 8891, "description": "Henrik Wigström (Russian, 1862–1923)", "extent": null, "qualifier": null, "role": "workmaster", "biography": "Workmaster for the House of Faberge based in St. Petersburg, Russia. Responsible for many of the imperial Easter eggs as well as enameled accessories and jewelry.", "name_in_original_language": null, "birth_year": "1862", "death_year": "1923" }, { "id": 55332, "description": "House of Fabergé (Russian, 1842–1918)", "extent": null, "qualifier": null, "role": "maker", "biography": "Peter Carl Faberge (1846-1920) took over the House of Faberge in 1870 from his father Carl Gustav Faberge who had founded the firm in 1842. Until 1881, the firm manufactured primarily jewelry for Saint Petersburg's aristocrats and wealthy elite. In 1885 the firm was awarded the coveted imperial warrant as goldsmith to the tsar and began to produce elaborate presentation Easter eggs as a gift for the tsarina from her husband every year. They also produced luxurious accessories, jewelry, and hardstone sculptures. At one point, Faberge employed over 300 workers including 22 workmasters who oversaw the production of the firm's jewelry and precious objects. A branch of the firm opened in Moscow in 1887, specializing in neo-Russian and pan-Slavic motifs in jewelry, silver, and enamel. Other branches followed in Kiev, London, and Odessa as well as new premises in Saint Petersburg. At the onset of the Russian Revolution, Peter Carl Faberge fled the country to Paris then Switzerland, where he died in 1920. His firm was nationalized by the Bolsheviks in 1918.", "name_in_original_language": null, "birth_year": "1842", "death_year": "1918" } ], "legal_status": "accessioned", "accession_date": "1964-02-22T00:00:00", "sortable_date": 1915, "date_text": "1915", "is_highlight": true, "updated_at": "2024-02-09 18:05:38.506000", "legacy": [] }, { "id": 150156, "accession_number": "1980.74", "share_license_status": "CC0", "tombstone": "Tea and Coffee Service, c. 1907. Carlo Bugatti (Italian, 1856–1940), Adrien-Aurélien Hebrard (French, 1866–1937). Gilt silver and ivory; The Cleveland Museum of Art, The Thomas L. Fawick Memorial Collection 1980.74", "current_location": "001A ArtLens Exhibition", "title": "Tea and Coffee Service", "creation_date": "c. 1907", "creation_date_earliest": 1902, "creation_date_latest": 1912, "artists_tags": [ "male" ], "culture": [ "France, Paris" ], "technique": "gilt silver and ivory", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Silver", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [ { "id": 156112, "description": "Tea Table, c. 1907. Carlo Bugatti (Italian, 1856-1940). Inlaid wood (mahogany?), cast and gilded bronze mounts, inlays of ivory or bone, metal, and mother-of-pearl (marine mussels or pearl oysters); overall: 71.5 x 67.1 x 41.3 cm (28 1/8 x 26 7/16 x 16 1/4 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 1991.45", "relationship": null }, { "id": 156113, "description": "Salver, c. 1907. Carlo Bugatti (Italian, 1856-1940), Adrien-Aurélien Hebrard (French, 1866-1937). Gilt silver and ivory; overall: 14.6 x 33 cm (5 3/4 x 13 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 1991.46", "relationship": null } ], "former_accession_numbers": [], "did_you_know": "Carlo Bugatti's sons achieved illustrious careers of their own. Rembrandt Bugatti (1884-1916) became a celebrated sculptor, and Ettore Bugatti (1881-1947) manufactured luxurious automobiles and racing cars.", "description": "This tea and coffee service, salver, and table, together with some now missing cups, were all designed by Carlo Bugatti as an ensemble and presented at the 1902 exposition devoted to decorative arts in Turin, Italy. The set was probably acquired from Bugatti's 1907 exhibition at the Galerie Hébrard in Paris by a wealthy South African widow, Anna Blake, who was living there at the time. Some of the animal and insect motifs suggest mythical beasts or the fossils of prehistoric animals. When Mrs. Blake returned to Cape Town, she took these and other pieces designed by Bugatti with her, and they remained in South Africa throughout her lifetime.", "citations": [], "url": "https://clevelandart.org/art/1980.74", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1980.74/1980.74_web.jpg", "width": "900", "height": "553", "filesize": "107875", "filename": "1980.74_web.jpg" } }, "alternate_images": [], "creditline": "The Thomas L. Fawick Memorial Collection", "sketchfab_id": "b23e00397d484d78946c5e814d08d449", "sketchfab_url": "https://sketchfab.com/models/b23e00397d484d78946c5e814d08d449", "gallery_donor_text": null, "athena_id": 150156, "creators": [ { "id": 15830, "description": "Carlo Bugatti (Italian, 1856–1940)", "extent": null, "qualifier": null, "role": "designer", "biography": "active in France after c. 1902.", "name_in_original_language": null, "birth_year": "1856", "death_year": "1940" }, { "id": 15899, "description": "Adrien-Aurélien Hebrard (French, 1866–1937)", "extent": null, "qualifier": null, "role": "maker", "biography": null, "name_in_original_language": null, "birth_year": "1866", "death_year": "1937" } ], "legal_status": "accessioned", "accession_date": "1980-09-09T04:00:00Z", "sortable_date": 1902, "date_text": "c. 1907", "is_highlight": false, "updated_at": "2024-02-13 19:48:48.333000", "legacy": [] }, { "id": 104769, "accession_number": "1923.1096", "share_license_status": "CC0", "tombstone": "Bella Donna Charger, c. 1520–30. Italy, Papal States, Deruta. Tin-glazed earthenware with yellow and blue lustre (maiolica); diameter: 8.6 x 41.3 cm (3 3/8 x 16 1/4 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1923.1096", "current_location": "118 Italian Renaissance", "title": "Bella Donna Charger", "creation_date": "c. 1520–30", "creation_date_earliest": 1520, "creation_date_latest": 1530, "artists_tags": [], "culture": [ "Italy, Papal States, Deruta" ], "technique": "tin-glazed earthenware with yellow and blue lustre (maiolica)", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Ceramic", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Scholars believe that chargers such as these were given as marriage gifts or in memory of someone who had died.", "description": "Ceremonial plates decorated with a bella donna (beautiful woman) feature half-length portraits of a young woman surrounded by scrolled banners. Many bella donna plates were informed by the frescos of Renaissance painters Pietro Perugino and Pinturicchio.", "citations": [], "url": "https://clevelandart.org/art/1923.1096", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1923.1096/1923.1096_web.jpg", "width": "904", "height": "893", "filesize": "673895", "filename": "1923.1096_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 104769, "creators": [], "legal_status": "accessioned", "accession_date": "1923-12-20T00:00:00", "sortable_date": 1520, "date_text": "c. 1520–30", "is_highlight": false, "updated_at": "2024-02-09 18:03:14.348000", "legacy": [] }, { "id": 170257, "accession_number": "2012.43", "share_license_status": "CC0", "tombstone": "Desk and Bookcase, c. 1780–95. Attributed to John Townsend (American, 1732–1809). \"Plum pudding\" mahogany, red cedar, chestnut, white pine, brass; overall: 240 x 108 x 64.8 cm (94 1/2 x 42 1/2 x 25 1/2 in.). The Cleveland Museum of Art, Gift of Harvey Buchanan in memory of Penelope Draper Buchanan and Dorothy Tuckerman Draper 2012.43", "current_location": "204 Colonial American", "title": "Desk and Bookcase", "creation_date": "c. 1780–95", "creation_date_earliest": 1775, "creation_date_latest": 1800, "artists_tags": [ "male" ], "culture": [ "America, Rhode Island, Newport, 18th century" ], "technique": "\"Plum pudding\" mahogany, red cedar, chestnut, white pine, brass", "support_materials": [], "department": "Decorative Art and Design", "collection": "Furniture", "type": "Furniture and woodwork", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This desk and bookcase was likely made for Oliver Wolcott Sr., a signer of the Declaration of Independence and later governor of Connecticut.", "description": "In the 1700s, Newport, Rhode Island, was the fifth largest city in North America and one of the most important centers of shipping and trade along the Eastern Seaboard. Orders for furniture from its celebrated cabinetmakers came in from far and wide. This desk and bookcase was likely made for Oliver Wolcott Sr., a signer of the Declaration of Independence and later governor of the State of Connecticut. Eventually, the desk passed down through his family to Dorothy Draper, an important 20th-century interior decorator, and ultimately to her daughter, Penelope Draper Buchanan, whose husband gave it to the museum after her death—a rare, unbroken line of succession.

Large desks were designed to hold all the necessary components of a gentleman’s office under lock and key: books, papers, pens and ink, and important documents. To serve such a function desks also became complicated masterworks of the cabinetmaker’s art, incorporating many parts from small drawers to large panels cut from a single tree, making them among the most expensive types of furniture available. This desk and bookcase exhibits the characteristic traits of classic Newport furniture—“plum pudding” mahogany, cupcake-like finials, and a carved shell on the inside of the desk.", "citations": [], "url": "https://clevelandart.org/art/2012.43", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/2012.43/2012.43_web.jpg", "width": "538", "height": "893", "filesize": "68083", "filename": "2012.43_web.jpg" } }, "alternate_images": [], "creditline": "Gift of Harvey Buchanan in memory of Penelope Draper Buchanan and Dorothy Tuckerman Draper", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 170257, "creators": [ { "id": 63187, "description": "John Townsend (American, 1732–1809)", "extent": null, "qualifier": "attributed to", "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1732", "death_year": "1809" } ], "legal_status": "accessioned", "accession_date": "2012-06-04T00:00:00", "sortable_date": 1775, "date_text": "c. 1780–95", "is_highlight": true, "updated_at": "2024-02-09 18:08:18.847000", "legacy": [] }, { "id": 97996, "accession_number": "1917.626", "share_license_status": "CC0", "tombstone": "Figure of Britannia, c. 1756. Made by Longton Hall Porcelain Factory (British, Staffordshire, 1749–60), decorated by Vauxhall Porcelain Factory (British, 1751–1764). Soft-paste porcelain; overall: 28 x 24.5 x 13.7 cm (11 x 9 5/8 x 5 3/8 in.). The Cleveland Museum of Art, Bequest of Mary Warden Harkness 1917.626", "current_location": "203A British Painting and Decorative Arts", "title": "Figure of Britannia", "creation_date": "c. 1756", "creation_date_earliest": 1750, "creation_date_latest": 1760, "artists_tags": [ "gender unknown" ], "culture": [ "England, Staffordshire" ], "technique": "soft-paste porcelain", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Ceramic", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The creation of this triumphant personification of the nation was likely spurred on by Great Britain’s conflict with France in the Seven Years’ War (1756–63).", "description": "In this depiction of Britannia, the figure is surrounded by symbols of England’s power and military might. On one side, she and a lion, another symbol of Britain, support a shield adorned with the Union flag. Below it lay motifs associated with war such as armor, a trumpet, and a flag. On her left, Britannia presents a medallion to the viewer as she rests her feet on a globe, a symbol of the nation’s territorial aspirations. The portrait may depict the reigning king, George II (1683–1760), or Prince Frederick Louis (1707–1751), his recently deceased heir.", "citations": [], "url": "https://clevelandart.org/art/1917.626", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1917.626/1917.626_web.jpg", "width": "933", "height": "893", "filesize": "426758", "filename": "1917.626_web.jpg" } }, "alternate_images": [], "creditline": "Bequest of Mary Warden Harkness", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 97996, "creators": [ { "id": 57145, "description": "Longton Hall Porcelain Factory (British, Staffordshire, 1749–60)", "extent": "made by", "qualifier": null, "role": "maker", "biography": "The first porcelain factory in Staffordshire, it was run by a salt-glaze potter, William Littler, from c. 1749 to 1760 and produced both decorative and useful wares in rather heavy soft-paste similar to that of Chelsea. Dishes, sauce-boats, teapots and small tureens composed of simulated overlapping leaves were a specialty. The Longton factory closed in 1760. (Dictionary of Decorative Arts. 1977, p. 493)", "name_in_original_language": null }, { "id": 343599, "description": "Vauxhall Porcelain Factory (British, 1751–1764)", "extent": "decorated by", "qualifier": null, "role": "decorator", "biography": "English porcelain manufactory, 1751-1764. The Vauxhall porcelain factory was run by the partnership of Nicholas Crisp, a merchant and owner of a jewelry shop in London, and John Saunders, a delftware potter.", "name_in_original_language": null, "birth_year": "1751", "death_year": "1764" } ], "legal_status": "accessioned", "accession_date": "1917-04-27T00:00:00", "sortable_date": 1750, "date_text": "c. 1756", "is_highlight": false, "updated_at": "2024-02-09 18:02:40.324000", "legacy": [] }, { "id": 150161, "accession_number": "1980.74.5", "share_license_status": "CC0", "tombstone": "Coffee Pot, c. 1907. Carlo Bugatti (Italian, 1856–1940), Adrien-Aurélien Hebrard (French, 1866–1937). Gilt silver and ivory; overall: 18.5 x 15.4 x 9.9 cm (7 5/16 x 6 1/16 x 3 7/8 in.). The Cleveland Museum of Art, The Thomas L. Fawick Memorial Collection 1980.74.5", "current_location": "001A ArtLens Exhibition", "title": "Coffee Pot", "creation_date": "c. 1907", "creation_date_earliest": 1902, "creation_date_latest": 1912, "artists_tags": [ "male" ], "culture": [ "France, Paris" ], "technique": "Gilt silver and ivory", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Silver", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [ "1980.78" ], "did_you_know": "This coffee pot is part of a larger tea and coffee service designed by Carlo Bugatti.", "description": "This tea and coffee service, salver, and table, together with some now missing cups, were all designed by Carlo Bugatti as an ensemble and presented at the 1902 exposition devoted to decorative arts in Turin, Italy. The set was probably acquired from Bugatti's 1907 exhibition at the Galerie Hébrard in Paris by a wealthy South African widow, Anna Blake, who was living there at the time. Some of the animal and insect motifs suggest mythical beasts or the fossils of prehistoric animals. When Mrs. Blake returned to Cape Town, she took these and other pieces designed by Bugatti with her, and they remained in South Africa throughout her lifetime.", "citations": [], "url": "https://clevelandart.org/art/1980.74.5", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1980.74.5/1980.74.5_web.jpg", "width": "714", "height": "900", "filesize": "175838", "filename": "1980.74.5_web.jpg" } }, "alternate_images": [], "creditline": "The Thomas L. Fawick Memorial Collection", "sketchfab_id": "61abd87afdf245b19177f58fb9bcf045", "sketchfab_url": "https://sketchfab.com/models/61abd87afdf245b19177f58fb9bcf045", "gallery_donor_text": null, "athena_id": 150161, "creators": [ { "id": 15830, "description": "Carlo Bugatti (Italian, 1856–1940)", "extent": null, "qualifier": null, "role": "designer", "biography": "active in France after c. 1902.", "name_in_original_language": null, "birth_year": "1856", "death_year": "1940" }, { "id": 15899, "description": "Adrien-Aurélien Hebrard (French, 1866–1937)", "extent": null, "qualifier": null, "role": "maker", "biography": null, "name_in_original_language": null, "birth_year": "1866", "death_year": "1937" } ], "legal_status": "accessioned", "accession_date": "1980-09-09T00:00:00", "sortable_date": 1902, "date_text": "c. 1907", "is_highlight": false, "updated_at": "2024-02-09 18:06:24.190000", "legacy": [] }, { "id": 155665, "accession_number": "1991.1", "share_license_status": "CC0", "tombstone": "Red-Figure Calyx-Krater (Mixing Vessel): Medea in Chariot (A); Telephos with Baby Orestes (B), c. 400 BCE. Near the Policoro Painter (South Italian, Lucanian, active c. 400 BCE). Ceramic; diameter of mouth: 49.9 cm (19 5/8 in.); overall: 50.5 cm (19 7/8 in.); diameter of foot: 22 cm (8 11/16 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 1991.1", "current_location": "102D Pre-Roman", "title": "Red-Figure Calyx-Krater (Mixing Vessel): Medea in Chariot (A); Telephos with Baby Orestes (B)", "creation_date": "c. 400 BCE", "creation_date_earliest": -405, "creation_date_latest": -395, "artists_tags": [ "male" ], "culture": [ "South Italian, Lucanian" ], "technique": "ceramic", "support_materials": [], "department": "Greek and Roman Art", "collection": "GR - South Italy", "type": "Ceramic", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This vase includes scenes connected to two Athenian tragedies dealing with children—Medea and Telephos.", "description": "The remarkable scene on the front of this vase relates to the famous tragedy Medea, written by Euripides and first produced in Athens in 431 BC. Framed in the center by a halo (recalling her sun god grandfather Helios), the sorceress Medea flies off in a dragon-drawn chariot. Seeking revenge against her husband Jason, leader of the Argonauts, Medea has just slain their two children. Two Furies flank her, while Jason and a distraught nurse and teacher approach the bodies on the altar below.

A different tragedy unfolds on the other side of the vase, from Euripides’s Telephos (438 BC). The wounded warrior Telephos holds the baby Orestes hostage at an altar, with Agamemnon and Clytemnestra rushing to save their son.", "citations": [], "url": "https://clevelandart.org/art/1991.1", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1991.1/1991.1_web.jpg", "width": "838", "height": "900", "filesize": "278182", "filename": "1991.1_web.jpg" } }, "alternate_images": [], "creditline": "Leonard C. Hanna, Jr. Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 155665, "creators": [ { "id": 10735, "description": "Policoro Painter (South Italian, Lucanian, active c. 400 BCE)", "extent": null, "qualifier": "near the", "role": "artist", "biography": null, "name_in_original_language": null } ], "legal_status": "accessioned", "accession_date": "1991-03-27T00:00:00", "sortable_date": -405, "date_text": "c. 400 BCE", "is_highlight": true, "updated_at": "2024-02-09 18:06:50.059000", "legacy": [] }, { "id": 124135, "accession_number": "1945.13", "share_license_status": "CC0", "tombstone": "Sleep and Death Cista Handle, 400–375 BCE. Etruscan. Bronze; with base: 18.5 x 18.3 cm (7 5/16 x 7 3/16 in.); without base: 14 x 17.4 cm (5 1/2 x 6 7/8 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1945.13", "current_location": "102D Pre-Roman", "title": "Sleep and Death Cista Handle", "creation_date": "400–375 BCE", "creation_date_earliest": -400, "creation_date_latest": -375, "artists_tags": [], "culture": [ "Etruscan" ], "technique": "bronze", "support_materials": [], "department": "Greek and Roman Art", "collection": "GR - Etruscan", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "These three figures were cast in eight separate pieces, then welded together and attached to the rectangular base.", "description": "Designed for attachment to the lid of a large bronze cista, a cylindrical lidded box, these three figures probably represent Sleep (Hypnos) and Death (Thanatos) holding the body of Sarpedon. A son of Zeus who helped to defend Troy from invading Greek forces, \"godlike Sarpedon of the brazen helmet\" fell at the hands of Patroclus, as told by Homer in Book XVI of the Iliad. Apollo then intervened to protect the body, removing it from danger and entrusting it to the two winged deities, as depicted here and in a number of other ancient artworks, Greek and Etruscan alike. If not Sarpedon, the fallen warrior could be Memnon, the son of Eos and Tithonos slain by Achilles.", "citations": [], "url": "https://clevelandart.org/art/1945.13", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1945.13/1945.13_web.jpg", "width": "1044", "height": "893", "filesize": "501878", "filename": "1945.13_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 124135, "creators": [], "legal_status": "accessioned", "accession_date": "1945-01-23T00:00:00", "sortable_date": -400, "date_text": "400–375 BCE", "is_highlight": true, "updated_at": "2024-02-09 18:04:25.856000", "legacy": [] }, { "id": 130360, "accession_number": "1953.125", "share_license_status": "CC0", "tombstone": "Torso of a Kouros, c. 550 BCE. Greece, Archaic period. Marble; overall: 62.5 cm (24 5/8 in.). The Cleveland Museum of Art, Gift of the Hanna Fund 1953.125", "current_location": "102B Greek", "title": "Torso of a Kouros", "creation_date": "c. 550 BCE", "creation_date_earliest": -555, "creation_date_latest": -545, "artists_tags": [], "culture": [ "Greece, Archaic period" ], "technique": "marble", "support_materials": [], "department": "Greek and Roman Art", "collection": "GR - Greek", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In antiquity, brightly colored paint would probably have rendered this kouros more lifelike.", "description": "Known as a kouros, the ancient Greek word for a youth, this fragmentary statue belongs to a relatively rare type of large-scale stone sculpture made for little more than a century—shortly before 600 BC to soon after 500 BC. A nude youth standing with arms to the sides and one foot slightly advanced, the type probably originated under Egyptian influence, but then developed along entirely Greek lines. Found in sanctuaries as well as cemeteries across the ancient Greek world, kouroi may represent gods—especially Apollo—as well as mortals. Although incomplete, this kouros retains much of its beautifully finished and patterned surface.", "citations": [], "url": "https://clevelandart.org/art/1953.125", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1953.125/1953.125_web.jpg", "width": "747", "height": "900", "filesize": "168019", "filename": "1953.125_web.jpg" } }, "alternate_images": [], "creditline": "Gift of the Hanna Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 130360, "creators": [], "legal_status": "accessioned", "accession_date": "1953-04-17T00:00:00", "sortable_date": -555, "date_text": "c. 550 BCE", "is_highlight": true, "updated_at": "2024-02-09 18:04:55.333000", "legacy": [] }, { "id": 110232, "accession_number": "1928.856", "share_license_status": "CC0", "tombstone": "Sarcophagus, c. 100–125 CE. Italy, Rome, Roman Empire. Greek marble; overall: 210 cm (82 11/16 in.). The Cleveland Museum of Art, Gift of the John Huntington Art and Polytechnic Trust 1928.856", "current_location": "103 Roman", "title": "Sarcophagus", "creation_date": "c. 100–125 CE", "creation_date_earliest": 100, "creation_date_latest": 125, "artists_tags": [], "culture": [ "Italy, Rome, Roman Empire" ], "technique": "Greek marble", "support_materials": [], "department": "Greek and Roman Art", "collection": "GR - Roman", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "From the Greek word for “flesh-eating,” sarcophagus is now used generically for “coffin.”", "description": "The tragic figure Orestes appears three times on the front of this sarcophagus, always wielding a short sword. In the center he stands over the body of his mother Clytemnestra, and at center left over the body of her lover Aegisthus. Orestes has killed them both to avenge their murder of his father Agamemnon, upon his return from years of fighting at Troy. At the far left, three Furies (avenging spirits) rest upon Agamemnon's tomb, while at the far right, Orestes atones for the murders at the Delphian shrine of Apollo, marked by a tripod and rock. On the lid, four reclining women symbolize the seasons, arranged in right-to-left order: Winter, Spring, Summer, Autumn, as indicated by their dress and the contents of their baskets.", "citations": [], "url": "https://clevelandart.org/art/1928.856", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1928.856/1928.856_web.jpg", "width": "900", "height": "395", "filesize": "135729", "filename": "1928.856_web.jpg" } }, "alternate_images": [], "creditline": "Gift of the John Huntington Art and Polytechnic Trust", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 110232, "creators": [], "legal_status": "accessioned", "accession_date": "1928-01-06T00:00:00", "sortable_date": 100, "date_text": "c. 100–125 CE", "is_highlight": true, "updated_at": "2024-02-09 18:03:36.652000", "legacy": [] }, { "id": 146147, "accession_number": "1971.46", "share_license_status": "CC0", "tombstone": "Black-Figure Dinos (Mixing Vessel): Warships (Int.); Heroic Scenes (Top), c. 520–515 BCE. Circle of Antimenes Painter (Greek, Attic, active c. 530–510 BCE). Ceramic; diameter: 50.8 cm (20 in.); overall: 33.6 cm (13 1/4 in.); diameter of rim: 34 cm (13 3/8 in.). The Cleveland Museum of Art, John L. Severance Fund 1971.46", "current_location": "102B Greek", "title": "Black-Figure Dinos (Mixing Vessel): Warships (Int.); Heroic Scenes (Top)", "creation_date": "c. 520–515 BCE", "creation_date_earliest": -520, "creation_date_latest": -515, "artists_tags": [ "male" ], "culture": [ "Greek, Attic" ], "technique": "ceramic", "support_materials": [], "department": "Greek and Roman Art", "collection": "GR - Greek", "type": "Ceramic", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Unable to stand on its own, this round-bottomed vessel probably once had a separately made base.", "description": "Designed for use at a symposium, or drinking party, this large dinos has a wide mouth allowing easy access to its contents—wine mixed with water (and sometimes other ingredients for flavoring). While drinking, symposiasts would often recite poetry and celebrate the mythological exploits of gods and heroes, perhaps prompted by the images painted on their pottery. Here, the vase-painter clearly anticipated such use; when the vessel was full, the ships painted on the inside of the rim would appear to sail across the “wine-dark sea” (to borrow a phrase found frequently in Homer’s Iliad and Odyssey). Other heroic scenes, including Herakles wrestling the Nemean lion and Theseus battling the Minotaur, appear on top of the rim, interspersed with chariots and anonymous combats.", "citations": [], "url": "https://clevelandart.org/art/1971.46", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1971.46/1971.46_web.jpg", "width": "1152", "height": "893", "filesize": "93875", "filename": "1971.46_web.jpg" } }, "alternate_images": [], "creditline": "John L. Severance Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 146147, "creators": [ { "id": 10915, "description": "Antimenes Painter (Greek, Attic, active c. 530–510 BCE)", "extent": null, "qualifier": "circle of", "role": "artist", "biography": null, "name_in_original_language": null } ], "legal_status": "accessioned", "accession_date": "1971-05-13T00:00:00", "sortable_date": -520, "date_text": "c. 520–515 BCE", "is_highlight": true, "updated_at": "2024-02-09 18:06:04.412000", "legacy": [] }, { "id": 142277, "accession_number": "1966.114", "share_license_status": "CC0", "tombstone": "White-Ground Lekythos (Oil Vessel): Atalanta and Erotes, 500–490 BCE. Attributed to Douris (Greek, Attic, active c. 500–470 BCE). Ceramic; overall: 31.8 cm (12 1/2 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 1966.114", "current_location": "102B Greek", "title": "White-Ground Lekythos (Oil Vessel): Atalanta and Erotes", "creation_date": "500–490 BCE", "creation_date_earliest": -500, "creation_date_latest": -490, "artists_tags": [ "male" ], "culture": [ "Greek, Attic" ], "technique": "ceramic", "support_materials": [], "department": "Greek and Roman Art", "collection": "GR - Greek", "type": "Ceramic", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Eros, god of love, appears three times on this vase.", "description": "Known as \"white-ground\" because of the white clay slip applied as a surface for figural decoration, vases of this type give some idea of the appearance of lost ancient large-scale wall paintings. Both remarkably well preserved and masterfully composed, the images cover the entire circumference of the vase. At the center, Atalanta, the virgin huntress renowned for both her speed and her opposition to marriage, races to the right while looking back at Eros, the winged god of love; both figures are named. This Eros, bounding forward, tries to crown her, while two additional Erotes (also named) further hem her in. Love will win.", "citations": [], "url": "https://clevelandart.org/art/1966.114", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1966.114/1966.114_web.jpg", "width": "555", "height": "893", "filesize": "241775", "filename": "1966.114_web.jpg" } }, "alternate_images": [], "creditline": "Leonard C. Hanna, Jr. Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142277, "creators": [ { "id": 10899, "description": "Douris (Greek, Attic, active c. 500–470 BCE)", "extent": null, "qualifier": "attributed to", "role": "artist", "biography": null, "name_in_original_language": null } ], "legal_status": "accessioned", "accession_date": "1966-05-25T00:00:00", "sortable_date": -500, "date_text": "500–490 BCE", "is_highlight": true, "updated_at": "2024-02-09 18:05:48.708000", "legacy": [] }, { "id": 110059, "accession_number": "1928.660", "share_license_status": "CC0", "tombstone": "Red-Figure Lekythos (Oil Vessel): Warrior Cutting Hair, c. 480–470 BCE. Attributed to Oionokles Painter (Greek, Attic, active c. 480–460 BCE). Ceramic; overall: 43.5 x 16.5 cm (17 1/8 x 6 1/2 in.). The Cleveland Museum of Art, The Charles W. Harkness Endowment Fund 1928.660", "current_location": "102B Greek", "title": "Red-Figure Lekythos (Oil Vessel): Warrior Cutting Hair", "creation_date": "c. 480–470 BCE", "creation_date_earliest": -485, "creation_date_latest": -465, "artists_tags": [ "male" ], "culture": [ "Greek, Attic" ], "technique": "ceramic", "support_materials": [], "department": "Greek and Roman Art", "collection": "GR - Greek", "type": "Ceramic", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The painter lavished great detail on this warrior’s armor, even including a lion on his helmet’s cheekpiece!", "description": "Whether cutting his hair or combing it, this solitary warrior seems to be contemplating his fate. If mythological, he may be Parthenopaios or another of the ill-fated Seven Against Thebes, a band of warriors tasked with overthrowing that central Greek city. The Seven left mementos for their loved ones before departing, and he may be cutting a lock of hair for this reason. The same motive might apply to historical soldiers as well, and he may represent one of the many Greeks who battled the Persians around the time this vase was made. Unfortunately, the inscriptions painted on either side of the figure seem to be nonsense—actual Greek letters that do not spell out recognizable names or words.", "citations": [], "url": "https://clevelandart.org/art/1928.660", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1928.660/1928.660_web.jpg", "width": "536", "height": "893", "filesize": "236609", "filename": "1928.660_web.jpg" } }, "alternate_images": [], "creditline": "The Charles W. Harkness Endowment Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 110059, "creators": [ { "id": 11009, "description": "Oionokles Painter (Greek, Attic, active c. 480–460 BCE)", "extent": null, "qualifier": "attributed to", "role": "artist", "biography": null, "name_in_original_language": null } ], "legal_status": "accessioned", "accession_date": "1928-11-16T00:00:00", "sortable_date": -485, "date_text": "c. 480–470 BCE", "is_highlight": false, "updated_at": "2024-02-09 18:03:36.383000", "legacy": [] }, { "id": 105967, "accession_number": "1924.1046", "share_license_status": "CC0", "tombstone": "Statue of an Athlete, 1–100 CE. Italy, Roman. Marble; overall: 173.9 cm (68 7/16 in.). The Cleveland Museum of Art, Gift of the John Huntington Art and Polytechnic Trust 1924.1046", "current_location": "103 Roman", "title": "Statue of an Athlete", "creation_date": "1–100 CE", "creation_date_earliest": 1, "creation_date_latest": 100, "artists_tags": [], "culture": [ "Italy, Roman" ], "technique": "marble", "support_materials": [], "department": "Greek and Roman Art", "collection": "GR - Roman", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [ "486.1924" ], "did_you_know": "For many years, this sculpture stood in the rotunda of the Cleveland Museum of Art.", "description": "This idealized athlete recalls Greek sculptural types invented and popularized during the 400s BC. Large-scale athletes and other sculptures like this were originally created by famous artists as sanctuary dedications. Centuries later, they were widely copied and adapted by Roman sculptors, whose clients sought their own versions of earlier masterpieces. Working in marble rather than bronze, these sculptors added certain elements for stability, such as the struts and the large tree trunk beside the right leg here. Sculptures like this one are profoundly complex, made by and for Romans but descended from Greek ancestors.", "citations": [], "url": "https://clevelandart.org/art/1924.1046", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1924.1046/1924.1046_web.jpg", "width": "473", "height": "893", "filesize": "239950", "filename": "1924.1046_web.jpg" } }, "alternate_images": [], "creditline": "Gift of the John Huntington Art and Polytechnic Trust", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "David and Inez Myers Foundation Gallery", "athena_id": 105967, "creators": [], "legal_status": "accessioned", "accession_date": "1924-04-08T00:00:00", "sortable_date": 1, "date_text": "1–100 CE", "is_highlight": false, "updated_at": "2024-02-09 18:03:20.153000", "legacy": [] }, { "id": 144965, "accession_number": "1970.16", "share_license_status": "CC0", "tombstone": "Black-Figure Neck-Amphora (Storage Vessel): Herakles and Nemean Lion (A); Dionysos, Satyrs, and Maenads (B), 515–510 BCE. Attributed to Painter of Berlin 1899 (Greek, Attic). Ceramic; overall: 39.8 cm (15 11/16 in.); diameter: 29 cm (11 7/16 in.). The Cleveland Museum of Art, Andrew R. and Martha Holden Jennings Fund 1970.16", "current_location": "001A ArtLens Exhibition", "title": "Black-Figure Neck-Amphora (Storage Vessel): Herakles and Nemean Lion (A); Dionysos, Satyrs, and Maenads (B)", "creation_date": "515–510 BCE", "creation_date_earliest": -515, "creation_date_latest": -510, "artists_tags": [ "male" ], "culture": [ "Greek, Attic" ], "technique": "ceramic", "support_materials": [], "department": "Greek and Roman Art", "collection": "GR - Greek", "type": "Ceramic", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "After Herakles strangled the Nemean lion, he wore its pelt as a protective trophy.", "description": "The neck-amphora, one of the most popular vase shapes in Archaic Athens, provided painters with ample space for both figural and ornamental decoration. Herakles, the greatest of Greek heroes, performs his most famous deed on the obverse, wrestling the Nemean lion. His patron goddess Athena, together with his nephew Iolaos, holding the hero’s club, stand by. On the other side is an unrelated scene, showing the wine god Dionysos with dancing maenads and satyrs. Abundant ornament covers other areas: stylized lotus blossom and palmette chains on the neck; intricately linked palmettes and lotuses beneath each handle; and a key pattern, linked lotus buds, and rays on the lower body.", "citations": [], "url": "https://clevelandart.org/art/1970.16", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1970.16/1970.16_web.jpg", "width": "578", "height": "893", "filesize": "279141", "filename": "1970.16_web.jpg" } }, "alternate_images": [], "creditline": "Andrew R. and Martha Holden Jennings Fund", "sketchfab_id": "0bb2525bdd734bf69d5a7b2b051928ad", "sketchfab_url": "https://sketchfab.com/models/0bb2525bdd734bf69d5a7b2b051928ad", "gallery_donor_text": null, "athena_id": 144965, "creators": [ { "id": 10906, "description": "Painter of Berlin 1899 (Greek, Attic)", "extent": null, "qualifier": "attributed to", "role": "artist", "biography": null, "name_in_original_language": null } ], "legal_status": "accessioned", "accession_date": "1970-03-09T00:00:00", "sortable_date": -515, "date_text": "515–510 BCE", "is_highlight": false, "updated_at": "2024-02-09 18:05:59.957000", "legacy": [] }, { "id": 161695, "accession_number": "2000.6", "share_license_status": "CC0", "tombstone": "Statuette of an Athlete, 510–500 BCE. Greece, Peloponnesus, late archaic - early classical period. Bronze (solid cast); overall: 21.5 cm (8 7/16 in.). The Cleveland Museum of Art, John L. Severance Fund 2000.6", "current_location": "102B Greek", "title": "Statuette of an Athlete", "creation_date": "510–500 BCE", "creation_date_earliest": -510, "creation_date_latest": -500, "artists_tags": [], "culture": [ "Greece, Peloponnesus, late archaic - early classical period" ], "technique": "bronze (solid cast)", "support_materials": [], "department": "Greek and Roman Art", "collection": "GR - Greek", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This robust athlete exudes power, despite his damaged feet and missing hands.", "description": "Striding forward with his right arm raised behind his head, this powerful figure conveys a naturalistic sense of form and movement associated with Greek sculpture created around 500 BC. Even without its right hand and the object it once held, other features of this statuette—especially its strong physique, posture, and clean-shaven face—all suggest that it represents an athlete, likely preparing to throw a javelin. For while the gods Zeus and Poseidon also strike similar poses in small bronzes of the period (holding a thunderbolt or trident, respectively), these gods would be bearded.", "citations": [], "url": "https://clevelandart.org/art/2000.6", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/2000.6/2000.6_web.jpg", "width": "617", "height": "893", "filesize": "284039", "filename": "2000.6_web.jpg" } }, "alternate_images": [], "creditline": "John L. Severance Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 161695, "creators": [], "legal_status": "accessioned", "accession_date": "2000-03-15T00:00:00", "sortable_date": -510, "date_text": "510–500 BCE", "is_highlight": true, "updated_at": "2024-02-09 18:07:25.806000", "legacy": [] }, { "id": 130359, "accession_number": "1953.124", "share_license_status": "CC0", "tombstone": "Candelabrum Stand of a Dancing Maenad, 525–500 BCE. Etruscan. Bronze; overall: 18.8 cm (7 3/8 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1953.124", "current_location": "102D Pre-Roman", "title": "Candelabrum Stand of a Dancing Maenad", "creation_date": "525–500 BCE", "creation_date_earliest": -525, "creation_date_latest": -500, "artists_tags": [], "culture": [ "Etruscan" ], "technique": "bronze", "support_materials": [], "department": "Greek and Roman Art", "collection": "GR - Etruscan", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "A small turtle beneath the figure’s back foot suggests a rustic setting.", "description": "Conceived primarily in two dimensions—front and rear silhouette—this small bronze dancer probably once belonged to an elaborate candelabra or incense burner. The exaggeratedly long fingers and pointed shoes characterize the work as Etruscan, as do the stylized folds of the figure’s dress, which add visual interest but not verisimilitude. While her right hand holds above her head a cylindrical support, her left squeezes a small object, perhaps a fruit or clapper.", "citations": [], "url": "https://clevelandart.org/art/1953.124", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1953.124/1953.124_web.jpg", "width": "738", "height": "893", "filesize": "313526", "filename": "1953.124_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 130359, "creators": [], "legal_status": "accessioned", "accession_date": "1953-04-17T00:00:00", "sortable_date": -525, "date_text": "525–500 BCE", "is_highlight": true, "updated_at": "2024-02-09 18:04:55.326000", "legacy": [] }, { "id": 148849, "accession_number": "1976.89", "share_license_status": "CC0", "tombstone": "Red-Figure Eye Cup: Warriors (A), Musician and Youths (B), c. 520 BCE. Attributed to Psiax (Greek, Attic, active c. 525–505 BCE), and Group of Leipzig T 3599. Ceramic; diameter of tondo: 6.4 cm (2 1/2 in.); overall: 11.2 x 33.6 cm (4 7/16 x 13 1/4 in.); diameter of rim: 26 cm (10 1/4 in.); diameter of foot: 10.2 cm (4 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1976.89", "current_location": "102B Greek", "title": "Red-Figure Eye Cup: Warriors (A), Musician and Youths (B)", "creation_date": "c. 520 BCE", "creation_date_earliest": -525, "creation_date_latest": -515, "artists_tags": [ "gender unknown", "male" ], "culture": [ "Greek, Attic" ], "technique": "ceramic", "support_materials": [], "department": "Greek and Roman Art", "collection": "GR - Greek", "type": "Ceramic", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The fallen warrior’s spear is done with added clay (shaft) and incision (head), not red-figure.", "description": "Red-figure eye cups, like their more common black-figure brethren (including one in Cleveland), feature two large eyes on either side, producing a masking effect for drinkers. Typically, palmettes flank the eyes, with either a nose or figure at center. Here, the innovative painter Psiax, who worked in both black-figure and red-figure, moved the palmettes to the tondo and created three-figure compositions on each exterior side: two warriors converging on a fallen comrade (or enemy); and a youth playing a cithara for an audience of two. The experimental nature of early red-figure may explain the unusual spear and awkwardly twisted torso and lower leg of the central warrior.", "citations": [], "url": "https://clevelandart.org/art/1976.89", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1976.89/1976.89_web.jpg", "width": "1263", "height": "831", "filesize": "425580", "filename": "1976.89_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 148849, "creators": [ { "id": 10924, "description": "Psiax (Greek, Attic, active c. 525–505 BCE)", "extent": null, "qualifier": "attributed to", "role": "artist", "biography": null, "name_in_original_language": null }, { "id": 379282, "description": "Group of Leipzig T 3599", "extent": null, "qualifier": "and", "role": "artist", "biography": "Chalcidian vase painters", "name_in_original_language": null, "birth_year": "-590", "death_year": "-500" } ], "legal_status": "accessioned", "accession_date": "1976-10-28T00:00:00", "sortable_date": -525, "date_text": "c. 520 BCE", "is_highlight": false, "updated_at": "2024-02-09 18:06:16.324000", "legacy": [] }, { "id": 147789, "accession_number": "1974.16", "share_license_status": "CC0", "tombstone": "Kottabos Element of a Dancing Satyr, 470–450 BCE. Etruscan. Bronze; overall: 15 cm (5 7/8 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1974.16", "current_location": "001A ArtLens Exhibition", "title": "Kottabos Element of a Dancing Satyr", "creation_date": "470–450 BCE", "creation_date_earliest": -470, "creation_date_latest": -450, "artists_tags": [], "culture": [ "Etruscan" ], "technique": "bronze", "support_materials": [], "department": "Greek and Roman Art", "collection": "GR - Etruscan", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This lively object was likely used to play a drinking game called kottabos.", "description": "This diminutive dancing satyr, identifiable by his snub nose and equine ears (though without a tail), lifts his leg and reaches with an upstretched arm toward a dish, now lost. The disc and cylinder on which he stands likely rested atop a much taller post, with a larger disc or dish below, as preserved in more complete examples and illustrated on numerous ancient vases. In the drinking game kottabos, known by its Greek name but also popular in Etruria, the goal was to knock a dish off its precarious perch, in this case the hand of the dancing satyr, using only the wine dregs in your cup.", "citations": [], "url": "https://clevelandart.org/art/1974.16", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1974.16/1974.16_web.jpg", "width": "510", "height": "893", "filesize": "250405", "filename": "1974.16_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": "34d0cda5076c4c52a8ce2eecd2d192c6", "sketchfab_url": "https://sketchfab.com/models/34d0cda5076c4c52a8ce2eecd2d192c6", "gallery_donor_text": null, "athena_id": 147789, "creators": [], "legal_status": "accessioned", "accession_date": "1974-03-08T00:00:00", "sortable_date": -470, "date_text": "470–450 BCE", "is_highlight": false, "updated_at": "2024-02-09 18:06:11.155000", "legacy": [] }, { "id": 156896, "accession_number": "1993.1", "share_license_status": "CC0", "tombstone": "Italo-Geometric Bird Askos (Oil Vessel): Hunter (Herakles?) and Stag, c. 700 BCE. Attributed to Bisenzio Class. Ceramic; overall: 33.5 x 15.5 cm (13 3/16 x 6 1/8 in.); diameter of foot: 11.9 cm (4 11/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1993.1", "current_location": "102D Pre-Roman", "title": "Italo-Geometric Bird Askos (Oil Vessel): Hunter (Herakles?) and Stag", "creation_date": "c. 700 BCE", "creation_date_earliest": -705, "creation_date_latest": -695, "artists_tags": [], "culture": [ "Etruscan, likely made at Vulci" ], "technique": "ceramic", "support_materials": [], "department": "Greek and Roman Art", "collection": "GR - Etruscan", "type": "Ceramic", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This askos may feature the earliest known representation of Herakles's third labor, the Keryneian hind.", "description": "This bird-shaped askos (oil vessel), with a tall filling spout and a pierced beak for pouring, perhaps held perfumed oil for a funerary function. Although the shape likely stems from Italian tradition, the abundantly painted geometric decoration, covering nearly every available surface, derives originally from Greece. Thus scholars have suggested that an immigrant Greek potter working in Etruria may have made the vessel. The sole narrative scene shows a man with a spear leading an antlered animal. If not an anonymous hunter, this could be the earliest known representation of the hero Herakles performing his third labor: capturing the golden-antlered Keryneian hind, or female deer.", "citations": [], "url": "https://clevelandart.org/art/1993.1", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1993.1/1993.1_web.jpg", "width": "1192", "height": "893", "filesize": "571054", "filename": "1993.1_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 156896, "creators": [ { "id": 379301, "description": "Bisenzio Class", "extent": null, "qualifier": "attributed to", "role": "artist", "biography": null, "name_in_original_language": null } ], "legal_status": "accessioned", "accession_date": "1993-02-17T00:00:00", "sortable_date": -705, "date_text": "c. 700 BCE", "is_highlight": false, "updated_at": "2024-02-09 18:06:56.736000", "legacy": [] }, { "id": 156119, "accession_number": "1991.50", "share_license_status": "CC0", "tombstone": "Monkey-Shaped Aryballos (Oil Vessel), c. 580 BCE. East Greek, probably Milesian. Ceramic; diameter of mouth: 2 cm (13/16 in.); overall: 9 cm (3 9/16 in.); diameter of base: 3.7 cm (1 7/16 in.). The Cleveland Museum of Art, Seventy-fifth anniversary gift of Dr. Leo Mildenberg in honor of Arielle P. Kozloff 1991.50", "current_location": "102B Greek", "title": "Monkey-Shaped Aryballos (Oil Vessel)", "creation_date": "c. 580 BCE", "creation_date_earliest": -585, "creation_date_latest": -575, "artists_tags": [], "culture": [ "East Greek, probably Milesian" ], "technique": "ceramic", "support_materials": [], "department": "Greek and Roman Art", "collection": "GR - Greek", "type": "Ceramic", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "An aryballos is a small jar for scented oils and perfumes.", "description": "Perfume flasks in the form of a monkey are numerous, but few are as well made and preserved as this one. The flask was worn suspended from the wrist by a cord. Its owner would take it to the communal baths and anoint himself with its contents afterward. Such flasks have been found throughout the Mediterranean and Egypt, but this vessel was likely made at a Greek settlement on the west coast of Asia Minor.", "citations": [], "url": "https://clevelandart.org/art/1991.50", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1991.50/1991.50_web.jpg", "width": "570", "height": "893", "filesize": "275041", "filename": "1991.50_web.jpg" } }, "alternate_images": [], "creditline": "Seventy-fifth anniversary gift of Dr. Leo Mildenberg in honor of Arielle P. Kozloff", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 156119, "creators": [], "legal_status": "accessioned", "accession_date": "1991-04-29T00:00:00", "sortable_date": -585, "date_text": "c. 580 BCE", "is_highlight": false, "updated_at": "2024-02-09 18:06:52.234000", "legacy": [] }, { "id": 125583, "accession_number": "1947.504", "share_license_status": "CC0", "tombstone": "Fibula (Pin), 400–200 BCE. South Italy, Campania. Gold; overall: 8 cm (3 1/8 in.). The Cleveland Museum of Art, John L. Severance Fund 1947.504", "current_location": "102D Pre-Roman", "title": "Fibula (Pin)", "creation_date": "400–200 BCE", "creation_date_earliest": -400, "creation_date_latest": -200, "artists_tags": [], "culture": [ "South Italy, Campania" ], "technique": "gold", "support_materials": [], "department": "Greek and Roman Art", "collection": "GR - Greek", "type": "Jewelry", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This fibula’s elaborate surface includes soldered gold wire and granulated spheres.", "description": "This extravagant fibula, likely used to fasten garments, is decorated with gold rosettes and vines. An enormous leech-shaped bow and pin form the body of the fibula. A band of rosettes adorns the center of the bow. Above the bow, a gold plaque is adorned with an eight-petaled flower and palmette filigree. A gold bead, perhaps representing a pomegranate, tops the plaque. The bead is crowned with oblong petals and sprouting leaves.", "citations": [], "url": "https://clevelandart.org/art/1947.504", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1947.504/1947.504_web.jpg", "width": "632", "height": "900", "filesize": "", "filename": "1947.504_web.jpg" } }, "alternate_images": [], "creditline": "John L. Severance Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 125583, "creators": [], "legal_status": "accessioned", "accession_date": "1947-12-19T00:00:00", "sortable_date": -400, "date_text": "400–200 BCE", "is_highlight": false, "updated_at": "2024-02-09 18:04:32.750000", "legacy": [] }, { "id": 149405, "accession_number": "1978.59", "share_license_status": "CC0", "tombstone": "Red-Figure Lekythos (Oil Vessel): Athena Slaying Giant (body); Satyr between Maenads (shoulder), c. 490 BCE. Shoulder attributed to Berlin Painter (Greek, Attic, active c. 505–460 BC), body attributed to Painter of Goluchow 37 (Greek, Attic, active c. 490–460 BC). Ceramic; diameter: 14.1 cm (5 9/16 in.); diameter of mouth: 8.7 cm (3 7/16 in.); overall: 38 cm (14 15/16 in.); diameter of foot: 10 cm (3 15/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1978.59", "current_location": "102B Greek", "title": "Red-Figure Lekythos (Oil Vessel): Athena Slaying Giant (body); Satyr between Maenads (shoulder)", "creation_date": "c. 490 BCE", "creation_date_earliest": -495, "creation_date_latest": -485, "artists_tags": [ "gender unknown" ], "culture": [ "Greek, Attic" ], "technique": "ceramic", "support_materials": [], "department": "Greek and Roman Art", "collection": "GR - Greek", "type": "Ceramic", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "First attributed to Douris, this vase is now thought to have been painted by two anonymous painters.", "description": "The two separate areas of figural decoration on this vase have been attributed to different painters: the small satyr and maenads on the shoulder to the Berlin Painter; and the larger figures of Athena and the slain Giant Enkelados on the body to the Painter of Goluchow 37. Scholars have named these two painters, whose actual names remain unknown, after other vases they have painted, now in Berlin and Warsaw. The victory of Athena and the Olympian gods over the Giants has been interpreted as a metaphor for the Greek victory over the Persians around the time this vase was made. Thus, although Enkelados appears as a fully armed warrior, he falls in utter and complete defeat—bleeding from multiple wounds, eyes rolling back, sword dropping from his hand.", "citations": [], "url": "https://clevelandart.org/art/1978.59", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1978.59/1978.59_web.jpg", "width": "572", "height": "893", "filesize": "261896", "filename": "1978.59_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 149405, "creators": [ { "id": 306250, "description": "Berlin Painter (Greek, Attic, active c. 505–460 BC)", "extent": "shoulder", "qualifier": "attributed to", "role": null, "biography": "Attic vase painter, active ca. 500-ca. 460 BCE", "name_in_original_language": null, "birth_year": "-540", "death_year": "-445" }, { "id": 306248, "description": "Painter of Goluchow 37 (Greek, Attic, active c. 490–460 BC)", "extent": "body", "qualifier": "attributed to", "role": null, "biography": "Attic vase painter, active ca. 500-480 BCE", "name_in_original_language": null, "birth_year": "-530", "death_year": "-450" } ], "legal_status": "accessioned", "accession_date": "1978-11-20T00:00:00", "sortable_date": -495, "date_text": "c. 490 BCE", "is_highlight": true, "updated_at": "2024-02-09 18:06:19.259000", "legacy": [] }, { "id": 106092, "accession_number": "1924.197", "share_license_status": "CC0", "tombstone": "Red-Figure Column Krater (Mixing Vessel): Komos (Revel), 470–460 BCE. Attributed to Pig Painter (Greek, Attic, active c. 480–460 BCE). Ceramic; diameter: 40.4 cm (15 7/8 in.); overall: 41 cm (16 1/8 in.). The Cleveland Museum of Art, Gift of Mrs. Leonard C. Hanna 1924.197", "current_location": "102B Greek", "title": "Red-Figure Column Krater (Mixing Vessel): Komos (Revel)", "creation_date": "470–460 BCE", "creation_date_earliest": -470, "creation_date_latest": -460, "artists_tags": [ "male" ], "culture": [ "Greek, Attic" ], "technique": "ceramic", "support_materials": [], "department": "Greek and Roman Art", "collection": "GR - Greek", "type": "Ceramic", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The bearded man on this vase is vomiting—perhaps a humorous warning against over imbibing.", "description": "Used for mixing wine and water at a symposium (or drinking party), this column-krater speaks to the perils and pleasures of drinking. On one side, a bearded man holding a staff and a drinking cup leans forward, a red stream of vomit falling from his mouth. Before him is a nude young boy, holding a tortoiseshell lyre and a basket or pail. On the other side, a young man dances, holding a deep cup and wearing just one boot. On the neck above him, scratched in large letters, is the name SIMONOS, probably indicating that the vase once belonged to someone named Simon.", "citations": [], "url": "https://clevelandart.org/art/1924.197", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1924.197/1924.197_web.jpg", "width": "900", "height": "843", "filesize": "198183", "filename": "1924.197_web.jpg" } }, "alternate_images": [], "creditline": "Gift of Mrs. Leonard C. Hanna", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 106092, "creators": [ { "id": 10960, "description": "Pig Painter (Greek, Attic, active c. 480–460 BCE)", "extent": null, "qualifier": "attributed to", "role": "artist", "biography": null, "name_in_original_language": null } ], "legal_status": "accessioned", "accession_date": "1924-01-31T00:00:00", "sortable_date": -470, "date_text": "470–460 BCE", "is_highlight": false, "updated_at": "2024-02-09 18:03:20.427000", "legacy": [] }, { "id": 111518, "accession_number": "1929.998", "share_license_status": "CC0", "tombstone": "Portrait Head of Emperor Vespasian, Recut from Head of Nero, 64–79 CE. Italy, Roman. Marble; overall: 40 x 21.6 x 24.9 cm (15 3/4 x 8 1/2 x 9 13/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1929.998", "current_location": "103 Roman", "title": "Portrait Head of Emperor Vespasian, Recut from Head of Nero", "creation_date": "64–79 CE", "creation_date_earliest": 64, "creation_date_latest": 79, "artists_tags": [], "culture": [ "Italy, Roman" ], "technique": "marble", "support_materials": [], "department": "Greek and Roman Art", "collection": "GR - Roman", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [ { "id": 110924, "description": "Togatus Figure, 1–200 CE. Italy, Roman. Pentelic marble; overall: 167.7 x 63.5 x 40.6 cm (66 x 25 x 16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1929.439", "relationship": null } ], "former_accession_numbers": [ "1929.439a", "1929.439.2" ], "did_you_know": "Originally a portrait of Emperor Nero, this head was recarved after his damnatio memoriae (condemnation of memory).", "description": "Although this portrait head was designed to fit into a statue of a body, it did not originally belong with the togate body that held it when purchased by the museum in 1929. In 1973, the two were separated, and the body is now in storage. The head itself was recarved in antiquity, from a likeness of Nero to one of Vespasian, following the damnatio memoriae (condemnation of memory) of the former. A line at the back of head shows clearly where the long hair of Nero has been shortened, while other Neronian features, such as a receding lower lip, remain.", "citations": [], "url": "https://clevelandart.org/art/1929.998", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1929.998/1929.998_web.jpg", "width": "626", "height": "893", "filesize": "269874", "filename": "1929.998_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": "359e48ed821544fe8cf22c3c5dbbff9d", "sketchfab_url": "https://sketchfab.com/models/359e48ed821544fe8cf22c3c5dbbff9d", "gallery_donor_text": "David and Inez Myers Foundation Gallery", "athena_id": 111518, "creators": [], "legal_status": "accessioned", "accession_date": "1929-05-15T00:00:00", "sortable_date": 64, "date_text": "64–79 CE", "is_highlight": false, "updated_at": "2024-02-09 18:03:39.454000", "legacy": [] }, { "id": 111818, "accession_number": "1930.336", "share_license_status": "CC0", "tombstone": "Pawing Bull, 500–475 BCE. South Italy, Lucania, Greek. Bronze; overall: 10.6 x 5 cm (4 3/16 x 1 15/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1930.336", "current_location": "102C Greek", "title": "Pawing Bull", "creation_date": "500–475 BCE", "creation_date_earliest": -500, "creation_date_latest": -475, "artists_tags": [], "culture": [ "South Italy, Lucania, Greek" ], "technique": "bronze", "support_materials": [], "department": "Greek and Roman Art", "collection": "GR - Greek", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This solid-cast bronze bull is nearly intact, missing only its tail.", "description": "With its head slightly lowered and right foreleg raised in a pawing motion, this robust bull seems poised for action. The pose closely resembles that of bulls on coins minted at Thurii, a Greek colony in South Italy, but the statuette seems earlier in date and could have other associations. Perhaps the bull once carried the princess Europa, for example, or battled a lion or a hero. Alternatively, it may have stood alone as a small-scale offering, representing the actual bulls sometimes sacrificed to deities.", "citations": [], "url": "https://clevelandart.org/art/1930.336", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1930.336/1930.336_web.jpg", "width": "900", "height": "544", "filesize": "167121", "filename": "1930.336_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 111818, "creators": [], "legal_status": "accessioned", "accession_date": "1930-06-19T00:00:00", "sortable_date": -500, "date_text": "500–475 BCE", "is_highlight": false, "updated_at": "2024-02-09 18:03:41.082000", "legacy": [] }, { "id": 123985, "accession_number": "1944.485", "share_license_status": "CC0", "tombstone": "The Wade Cup with Animated Script, 1200–1221. Iran, Seljuq period of Iran (1037–1194). Brass inlaid with silver; overall: 11.5 cm (4 1/2 in.); diameter: 16.1 cm (6 5/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1944.485", "current_location": "116 Islamic", "title": "The Wade Cup with Animated Script", "creation_date": "1200–1221", "creation_date_earliest": 1200, "creation_date_latest": 1221, "artists_tags": [], "culture": [ "Iran, Seljuq period of Iran (1037–1194)" ], "technique": "brass inlaid with silver", "support_materials": [], "department": "Islamic Art", "collection": "Islamic Art", "type": "Metalwork", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This is known as the Wade Cup, after J. H. Wade who bequeathed the funds for its acquisition", "description": "The highlight of the cup’s decoration is the inscription around the rim, which you see on the walls around you, with letters composed of human figures, animals, and birds. This is known as animated script and it developed in northeast Iran or Afghanistan during the mid-1100s and migrated westward. The inscription on the rim of the Wade Cup is the pinnacle of this form of script with its full-figure animation. The body of the cup is covered with interlacing bands of compartments containing tiny figures of humans and animals. These represent the 12 signs of the zodiac from astrology, the practice of interpreting the influence of planets and stars on earthly affairs. Astrology began in Mesopotamia, was adopted by the Greeks, and then absorbed into medieval Islamic culture through translations of Greek texts.", "citations": [], "url": "https://clevelandart.org/art/1944.485", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1944.485/1944.485_web.jpg", "width": "1175", "height": "893", "filesize": "622524", "filename": "1944.485_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": "4d4dfba6506d40b09b7eb34c642afab7", "sketchfab_url": "https://sketchfab.com/models/4d4dfba6506d40b09b7eb34c642afab7", "gallery_donor_text": null, "athena_id": 123985, "creators": [], "legal_status": "accessioned", "accession_date": "1944-12-15T00:00:00", "sortable_date": 1200, "date_text": "1200–1221", "is_highlight": true, "updated_at": "2024-02-09 18:04:25.050000", "legacy": [] }, { "id": 137298, "accession_number": "1962.23", "share_license_status": "CC0", "tombstone": "Prayer Niche (Mihrab), c. 1500s or mid-1900s. Iran, Isfahan, in the style of the Safavid period (1501–1722). Ceramic mosaic; mihrab: 290.7 x 245.3 cm (114 7/16 x 96 9/16 in.); frieze: 69.2 x 1563.5 cm (27 1/4 x 615 9/16 in.). The Cleveland Museum of Art, Gift of Katharine Holden Thayer 1962.23", "current_location": "116 Islamic", "title": "Prayer Niche (Mihrab)", "creation_date": "c. 1500s or mid-1900s", "creation_date_earliest": 1500, "creation_date_latest": 1950, "artists_tags": [], "culture": [ "Iran, Isfahan, in the style of the Safavid period (1501–1722)" ], "technique": "ceramic mosaic", "support_materials": [], "department": "Islamic Art", "collection": "Islamic Art", "type": "Ceramic", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Every mihrab is oriented toward Mecca.", "description": "The prayer niche (or mihrab in Arabic) is the focal point in the interior of a mosque, located in the qibla wall that faces Mecca, the holy city of Islam. Verses from the holy Qur’an, written in a form of Arabic script called thuluth, surround the mihrab. The inscription is rendered with white glaze, while the continuous arabesque vine behind the Qur’anic text is executed in gold, turquoise, and green—the color of the Prophet Muhammad and of paradise.

The inscription is from the Chapter of Light (Surah An-Nur): “Allah is the light of the Heavens and the Earth. His Light is like a niche in which is a lamp—the lamp enclosed in glass—the glass, as it were, a glistening star; lit from a blessed olive tree, neither of the East nor of the West, whose oil would almost glow, even though fire touched it not. Light upon light! Allah guides whom He will to His light, and Allah sets forth parables for men, and Allah knows all things.” The artistic and calligraphic styles suggest this mihrab was made about 1500, but the physical appearance of the ceramic mosaic pieces does not. The glaze colors are too consistent, and they have not discolored from moisture seeping behind the cut tile edges. Clay substrates of the tiles were tested in 2001 using thermoluminescence to determine the date the tiles were fired. The results indicated that the tiles were modern, made between 1941 and 1961, and they are under further examination.", "citations": [], "url": "https://clevelandart.org/art/1962.23", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1962.23/1962.23_web.jpg", "width": "766", "height": "900", "filesize": "612833", "filename": "1962.23_web.jpg" } }, "alternate_images": [], "creditline": "Gift of Katharine Holden Thayer", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 137298, "creators": [], "legal_status": "accessioned", "accession_date": "1962-02-17T00:00:00", "sortable_date": 1500, "date_text": "c. 1500s or mid-1900s", "is_highlight": false, "updated_at": "2024-02-09 18:05:22.145000", "legacy": [] }, { "id": 124005, "accession_number": "1944.492", "share_license_status": "CC0", "tombstone": "Dragon in foliage with lion and phoenix heads, mid-1500s. Attributed to Sahkulu (Turkish, active 1526–56). Ink, gum tempera, and gold on paper; sheet: 17.3 x 40.2 cm (6 13/16 x 15 13/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1944.492", "current_location": "242B Indian Painting", "title": "Dragon in foliage with lion and phoenix heads", "creation_date": "mid-1500s", "creation_date_earliest": 1526, "creation_date_latest": 1556, "artists_tags": [ "male" ], "culture": [ "Ottoman Turkey, Istanbul" ], "technique": "Ink, gum tempera, and gold on paper", "support_materials": [], "department": "Islamic Art", "collection": "Islamic Art", "type": "Drawing", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The lion head and phoenix head are part of the foliage, like fantastical blossoms.", "description": "A dragon lunges toward a pearl in the form of a seal inscribed with a verse from the Koran: “And I commit my case unto God” (40:44). In his front claw, the dragon grasps two flowering branches that magically produce a variety of blooms, including a lion that bites the dragon’s neck and a phoenix, who competes for the pearl.

Sahkulu was trained by Persian artists, as were many artists of Mughal India during the 1500s. He joined the Ottoman imperial painting atelier in Istanbul in 1526 and became the head in 1545.", "citations": [], "url": "https://clevelandart.org/art/1944.492", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1944.492/1944.492_web.jpg", "width": "900", "height": "407", "filesize": "252982", "filename": "1944.492_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 124005, "creators": [ { "id": 63200, "description": "Sahkulu (Turkish, active 1526–56)", "extent": null, "qualifier": "attributed to", "role": "artist", "biography": null, "name_in_original_language": null } ], "legal_status": "accessioned", "accession_date": "1944-12-15T00:00:00", "sortable_date": 1526, "date_text": "mid-1500s", "is_highlight": true, "updated_at": "2024-02-09 18:04:25.171000", "legacy": [] }, { "id": 126088, "accession_number": "1948.308", "share_license_status": "CC0", "tombstone": "Feline Incense Burner, 1150–1200. Iran, Khurasan, Seljuq period of Iran (1037–1194). Copper alloy, cast, engraved, chased, and pierced; overall: 35.5 x 11 x 32.5 cm (14 x 4 5/16 x 12 13/16 in.); head: 17.8 x 9.5 x 12.5 cm (7 x 3 3/4 x 4 15/16 in.). The Cleveland Museum of Art, John L. Severance Fund 1948.308", "current_location": "116 Islamic", "title": "Feline Incense Burner", "creation_date": "1150–1200", "creation_date_earliest": 1150, "creation_date_latest": 1200, "artists_tags": [], "culture": [ "Iran, Khurasan, Seljuq period of Iran (1037–1194)" ], "technique": "Copper alloy, cast, engraved, chased, and pierced", "support_materials": [], "department": "Islamic Art", "collection": "Islamic Art", "type": "Metalwork", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Arabic inscriptions in Kufic script against a background of scrolling arabesques run along the back and neck of the feline form.", "description": "In Iran during the 1000s and 1100s, vessels in the shape of animals gained popularity, especially as incense burners. Felines were favored in Persian art and this piece may represent a caracal, a type of lynx. The head of the creature was cast separately and is removable to fill its body with hot coals and incense. Qur’anic verses on the neck and spine remind worshippers to set work aside, attend prayer, and then disperse to seek God’s bounty. The diffusion of perfumed smoke through the burner’s pierced palmette design may have served as a sensorial reminder of this teaching.", "citations": [], "url": "https://clevelandart.org/art/1948.308", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1948.308/1948.308_web.jpg", "width": "780", "height": "900", "filesize": "191139", "filename": "1948.308_web.jpg" } }, "alternate_images": [], "creditline": "John L. Severance Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 126088, "creators": [], "legal_status": "accessioned", "accession_date": "1948-11-03T00:00:00", "sortable_date": 1150, "date_text": "1150–1200", "is_highlight": false, "updated_at": "2024-02-09 18:04:35.222000", "legacy": [] }, { "id": 123703, "accession_number": "1944.235", "share_license_status": "CC0", "tombstone": "Ceremonial Spittoon or Basin, late 1800s. Europe. Glass with enameled and gilded decoration; diameter: 31.8 cm (12 1/2 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1944.235", "current_location": "116 Islamic", "title": "Ceremonial Spittoon or Basin", "creation_date": "late 1800s", "creation_date_earliest": 1875, "creation_date_latest": 1899, "artists_tags": [], "culture": [ "Europe" ], "technique": "glass with enameled and gilded decoration", "support_materials": [], "department": "Islamic Art", "collection": "Islamic Art", "type": "Glass", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The intense enamel colors form striking star and leaf patterns.", "description": "This basin, as with the mosque lamp CMA 1981.10, is representative of reproductions of Mamluk glass that were prominent in the late 1800s in Europe during a period of resurgence of interest in Islamic art. At this time, collectors and artists revived the techniques of enameling and gilding that are hallmarks of Mamluk glass.", "citations": [], "url": "https://clevelandart.org/art/1944.235", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1944.235/1944.235_web.jpg", "width": "1192", "height": "893", "filesize": "668175", "filename": "1944.235_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 123703, "creators": [], "legal_status": "accessioned", "accession_date": "1944-05-01T00:00:00", "sortable_date": 1875, "date_text": "late 1800s", "is_highlight": false, "updated_at": "2024-02-09 18:04:23.696000", "legacy": [] }, { "id": 123967, "accession_number": "1944.476", "share_license_status": "CC0", "tombstone": "Luster Bowl with Antelope, 1000s. Egypt, Fustat (Old Cairo), Fatimid period (909–1171). Earthenware with luster-painted design; diameter: 25.4 cm (10 in.); overall: 6.8 cm (2 11/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1944.476", "current_location": "116 Islamic", "title": "Luster Bowl with Antelope", "creation_date": "1000s", "creation_date_earliest": 1000, "creation_date_latest": 1099, "artists_tags": [], "culture": [ "Egypt, Fustat (Old Cairo), Fatimid period (909–1171)" ], "technique": "earthenware with luster-painted design", "support_materials": [], "department": "Islamic Art", "collection": "Islamic Art", "type": "Ceramic", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The luster technique was transmitted by Iraqi potters to the Fatimid court in Cairo.", "description": "The production of lusterware flourished in the prosperous Fatimid court in Cairo. The technique used metal oxides to paint designs onto a ceramic vessel. It was expensive and unpredictable but, if done correctly, would create a glistening effect. Fatimid lusterware motifs are quite varied, drawing on Greek and Christian themes, floral and vegetal designs, and a menagerie of animals. Some scenes focus on a single creature, as is the case with the antelope on this dish, while others evoke courtly themes of hunting or banquets.", "citations": [], "url": "https://clevelandart.org/art/1944.476", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1944.476/1944.476_web.jpg", "width": "992", "height": "893", "filesize": "117030", "filename": "1944.476_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 123967, "creators": [], "legal_status": "accessioned", "accession_date": "1944-12-15T00:00:00", "sortable_date": 1000, "date_text": "1000s", "is_highlight": false, "updated_at": "2024-02-09 18:04:24.947000", "legacy": [] }, { "id": 133460, "accession_number": "1956.11", "share_license_status": "CC0", "tombstone": "Luxury Ewer Extending Good Fortune to the Owner, 1223. Inscribed by Ahmad al-Dhaki al-Mawsili (Iraqi, Mosul, active early 1200s?). Brass inlaid with silver; lid and base added later; diameter: 26.6 cm (10 1/2 in.); overall: 37.9 cm (14 15/16 in.); diameter of base: 14.5 cm (5 11/16 in.). The Cleveland Museum of Art, John L. Severance Fund 1956.11", "current_location": "116 Islamic", "title": "Luxury Ewer Extending Good Fortune to the Owner", "creation_date": "1223", "creation_date_earliest": 1223, "creation_date_latest": 1223, "artists_tags": [ "male" ], "culture": [ "Iraq, possibly Mosul, Zangid or Artugid Period, 13th Century" ], "technique": "brass inlaid with silver; lid and base added later", "support_materials": [], "department": "Islamic Art", "collection": "Islamic Art", "type": "Metalwork", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Later owners roughly scratched their names into the neck of the ewer.", "description": "This silver inlaid ewer was produced for luxury clientele. The wide band around the body of the vessel displays vignettes of daily and courtly life contained within multilobed medallions. Some of the scenes feature falconry, hunting, dancing, and several groups of musicians. All these scenes are set off against a skillfully executed arabesque background—a pervasive motif in Islamic art characterized by interwoven vegetal and curvilinear elements. An inscription around the ewer’s shoulder extends good fortune, prosperity, and peace to the owner. The ewer is dated 1223 and signed by the master craftsman Ahmad al-Dhaki of Mosul.", "citations": [], "url": "https://clevelandart.org/art/1956.11", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1956.11/1956.11_web.jpg", "width": "748", "height": "893", "filesize": "307619", "filename": "1956.11_web.jpg" } }, "alternate_images": [], "creditline": "John L. Severance Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 133460, "creators": [ { "id": 1254, "description": "Ahmad al-Dhaki al-Mawsili (Iraqi, Mosul, active early 1200s?)", "extent": "inscribed by", "qualifier": null, "role": "inscription by", "biography": null, "name_in_original_language": null } ], "legal_status": "accessioned", "accession_date": "1956-01-19T00:00:00", "sortable_date": 1223, "date_text": "1223", "is_highlight": false, "updated_at": "2024-02-09 18:05:07.738000", "legacy": [] }, { "id": 124286, "accession_number": "1945.27", "share_license_status": "CC0", "tombstone": "Twelve-sided Ewer with Sphinxes and Human-Headed Inscriptions, 1300–1350. Iran, Khurasan, Ilkhanid period (1256–1353). Hammered sheet of brass inlaid with silver; overall: 44.8 cm (17 5/8 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1945.27", "current_location": "116 Islamic", "title": "Twelve-sided Ewer with Sphinxes and Human-Headed Inscriptions", "creation_date": "1300–1350", "creation_date_earliest": 1300, "creation_date_latest": 1350, "artists_tags": [], "culture": [ "Iran, Khurasan, Ilkhanid period (1256–1353)" ], "technique": "hammered sheet of brass inlaid with silver", "support_materials": [], "department": "Islamic Art", "collection": "Islamic Art", "type": "Metalwork", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Calligraphy with human heads, known as animated script, developed in northeast Iran during the 1100s.", "description": "The spout and neck of the ewer display a crouching and seated lion in raised relief. Winged hare-like animals march around the top of the body, set off by foliate scrolls, while sphinxes process around the center. The bottom of the ewer’s body is encircled by an inscription with human heads, which only appear on metalwork in Islamic art. Ewers like this, and similar elaborate vessels, would have been used in court banquets and elite homes across the Islamic world.", "citations": [], "url": "https://clevelandart.org/art/1945.27", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1945.27/1945.27_web.jpg", "width": "606", "height": "893", "filesize": "318795", "filename": "1945.27_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 124286, "creators": [], "legal_status": "accessioned", "accession_date": "1945-02-21T00:00:00", "sortable_date": 1300, "date_text": "1300–1350", "is_highlight": false, "updated_at": "2024-02-09 18:04:26.418000", "legacy": [] }, { "id": 126239, "accession_number": "1948.458", "share_license_status": "CC0", "tombstone": "Bird-shaped Vessel, 1100s. Iran, Seljuq period (1037–1194). Bronze, cast, with chased and chiseled decoration; eyes inlaid with blue glass; overall: 17.5 x 9.5 cm (6 7/8 x 3 3/4 in.). The Cleveland Museum of Art, Edward L. Whittemore Fund 1948.458", "current_location": "116 Islamic", "title": "Bird-shaped Vessel", "creation_date": "1100s", "creation_date_earliest": 1100, "creation_date_latest": 1199, "artists_tags": [], "culture": [ "Iran, Seljuq period (1037–1194)" ], "technique": "bronze, cast, with chased and chiseled decoration; eyes inlaid with blue glass", "support_materials": [], "department": "Islamic Art", "collection": "Islamic Art", "type": "Metalwork", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "There is an undeciphered Kufic inscription above the bird's tail feathers.", "description": "This bird-shaped vessel may have been used as a medieval water vessel (aquamanile) for pouring water used in handwashing—an important element of secular and sacred rituals. In this piece, water could have been placed in the vessel through a hole in the bird’s chest and then poured out through the hinged beak. Birds in Islamic art often represented messengers and protectors, or symbolized freedom of the spirit and soaring of the soul. Possibly the blue-green eyes were considered good luck charms to protect the owner from the evil eye and to ward off misfortune.", "citations": [], "url": "https://clevelandart.org/art/1948.458", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1948.458/1948.458_web.jpg", "width": "1056", "height": "893", "filesize": "474630", "filename": "1948.458_web.jpg" } }, "alternate_images": [], "creditline": "Edward L. Whittemore Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 126239, "creators": [], "legal_status": "accessioned", "accession_date": "1948-12-30T00:00:00", "sortable_date": 1100, "date_text": "1100s", "is_highlight": false, "updated_at": "2024-02-09 18:04:35.823000", "legacy": [] }, { "id": 117918, "accession_number": "1938.7", "share_license_status": "CC0", "tombstone": "Dish with Falcon Attacking a Water Bird, 1100s. Syria, possibly Tell Minis, Zangid (1127–1251) or Ayyubid period (1171–1260). Fritware with carved decoration and underglaze design, Lakabi ware; overall: 8.3 x 40 cm (3 1/4 x 15 3/4 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1938.7", "current_location": "116 Islamic", "title": "Dish with Falcon Attacking a Water Bird", "creation_date": "1100s", "creation_date_earliest": 1100, "creation_date_latest": 1199, "artists_tags": [], "culture": [ "Syria, possibly Tell Minis, Zangid (1127–1251) or Ayyubid period (1171–1260)" ], "technique": "Fritware with carved decoration and underglaze design, Lakabi ware", "support_materials": [], "department": "Islamic Art", "collection": "Islamic Art", "type": "Ceramic", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Sanctioned by the Qur'an (5:4-6), falconry was for many centuries a favorite sport of Muslim rulers.", "description": "The development of fritware in the Islamic world revolutionized ceramic production and was likely influenced by the import of Chinese porcelain. Fritware was largely made of quartz with small amounts of crushed glass and fine clay in order to produce a white body. The carved surface with raised outlines allowed glazes of different colors to be side by side without running together when fired.", "citations": [], "url": "https://clevelandart.org/art/1938.7", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1938.7/1938.7_web.jpg", "width": "928", "height": "893", "filesize": "139225", "filename": "1938.7_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 117918, "creators": [], "legal_status": "accessioned", "accession_date": "1938-01-17T00:00:00", "sortable_date": 1100, "date_text": "1100s", "is_highlight": false, "updated_at": "2024-02-09 18:03:59.170000", "legacy": [] }, { "id": 126089, "accession_number": "1948.308.a", "share_license_status": "CC0", "tombstone": "Feline Incense Burner, 1150–1200. Iran, Khurasan, Seljuq period of Iran (1037–1194). Copper alloy, cast, engraved, chased, and pierced; overall: 35.5 x 11 cm (14 x 4 5/16 in.); head: 17.8 x 9.5 x 12.5 cm (7 x 3 3/4 x 4 15/16 in.). The Cleveland Museum of Art, John L. Severance Fund 1948.308.a", "current_location": "116 Islamic", "title": "Feline Incense Burner", "creation_date": "1150–1200", "creation_date_earliest": 1150, "creation_date_latest": 1200, "artists_tags": [], "culture": [ "Iran, Khurasan, Seljuq period of Iran (1037–1194)" ], "technique": "Copper alloy, cast, engraved, chased, and pierced", "support_materials": [], "department": "Islamic Art", "collection": "Islamic Art", "type": "Metalwork", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "A Kufic inscription against a background of scrolling arabesques runs along the back and neck of the feline form.", "description": "In Iran during the 1000s and 1100s, vessels in the shape of animals gained popularity, especially as incense burners. Felines were favored in Persian art and this piece may represent a caracal, a type of lynx. The head of the creature was cast separately and is removable to fill its body with hot coals and incense. Qur’anic verses on the neck and spine remind worshippers to set work aside, attend prayer, and then disperse to seek God’s bounty. The diffusion of perfumed smoke through the burner’s pierced palmette design may have served as a sensorial reminder of this teaching.", "citations": [], "url": "https://clevelandart.org/art/1948.308.a", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1948.308.a/1948.308.a_web.jpg", "width": "900", "height": "713", "filesize": "201097", "filename": "1948.308.a_web.jpg" } }, "alternate_images": [], "creditline": "John L. Severance Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 126089, "creators": [], "legal_status": "accessioned", "accession_date": "1948-11-03T00:00:00", "sortable_date": 1150, "date_text": "1150–1200", "is_highlight": false, "updated_at": "2024-02-09 18:04:35.235000", "legacy": [] }, { "id": 126090, "accession_number": "1948.308.b", "share_license_status": "CC0", "tombstone": "Head for a Feline Incense Burner, 1150–1200. Iran, Khurasan, Seljuq period of Iran (1037–1194). Copper alloy, cast, engraved, chased, and pierced; overall: 36 cm (14 3/16 in.). The Cleveland Museum of Art, John L. Severance Fund 1948.308.b", "current_location": "116 Islamic", "title": "Head for a Feline Incense Burner", "creation_date": "1150–1200", "creation_date_earliest": 1150, "creation_date_latest": 1200, "artists_tags": [], "culture": [ "Iran, Khurasan, Seljuq period of Iran (1037–1194)" ], "technique": "Copper alloy, cast, engraved, chased, and pierced", "support_materials": [], "department": "Islamic Art", "collection": "Islamic Art", "type": "Metalwork", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The head and body were each cast in halves that were soldered or welded together.", "description": "In Iran during the 1000s and 1100s, vessels in the shape of animals gained popularity, especially as incense burners. Felines were favored in Persian art and this piece may represent a caracal, a type of lynx. The head of the creature was cast separately and is removable to fill its body with hot coals and incense. Qur’anic verses on the neck and spine remind worshippers to set work aside, attend prayer, and then disperse to seek God’s bounty. The diffusion of perfumed smoke through the burner’s pierced palmette design may have served as a sensorial reminder of this teaching.", "citations": [], "url": "https://clevelandart.org/art/1948.308.b", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1948.308.b/1948.308.b_web.jpg", "width": "763", "height": "900", "filesize": "203992", "filename": "1948.308.b_web.jpg" } }, "alternate_images": [], "creditline": "John L. Severance Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 126090, "creators": [], "legal_status": "accessioned", "accession_date": "1948-11-03T00:00:00", "sortable_date": 1150, "date_text": "1150–1200", "is_highlight": false, "updated_at": "2024-02-09 18:04:35.245000", "legacy": [] }, { "id": 439544, "accession_number": "1948.308.c", "share_license_status": "CC0", "tombstone": "Tail for a Feline Incense Burner, 1150–1200. Iran, Khurasan, Seljuq period of Iran (1037–1194). Copper alloy, cast, engraved, chased, and pierced; overall: 36 cm (14 3/16 in.). The Cleveland Museum of Art, John L. Severance Fund 1948.308.c", "current_location": "116 Islamic", "title": "Tail for a Feline Incense Burner", "creation_date": "1150–1200", "creation_date_earliest": 1150, "creation_date_latest": 1200, "artists_tags": [], "culture": [ "Iran, Khurasan, Seljuq period of Iran (1037–1194)" ], "technique": "Copper alloy, cast, engraved, chased, and pierced", "support_materials": [], "department": "Islamic Art", "collection": "Islamic Art", "type": "Metalwork", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The end of the tail is decorated with a guilloche pattern of interlacing curved lines.", "description": "In Iran during the 1000s and 1100s, vessels in the shape of animals gained popularity, especially as incense burners. Felines were favored in Persian art and this piece may represent a caracal, a type of lynx. The head of the creature was cast separately and is removable to fill its body with hot coals and incense. Qur’anic verses on the neck and spine remind worshippers to set work aside, attend prayer, and then disperse to seek God’s bounty. The diffusion of perfumed smoke through the burner’s pierced palmette design may have served as a sensorial reminder of this teaching.", "citations": [], "url": "https://clevelandart.org/art/1948.308.c", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1948.308.c/1948.308.c_web.jpg", "width": "900", "height": "674", "filesize": "184461", "filename": "1948.308.c_web.jpg" } }, "alternate_images": [], "creditline": "John L. Severance Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 439544, "creators": [], "legal_status": "accessioned", "accession_date": "1948-11-03T00:00:00", "sortable_date": 1150, "date_text": "1150–1200", "is_highlight": false, "updated_at": "2024-02-09 18:08:59.743000", "legacy": [] }, { "id": 106697, "accession_number": "1924.742", "share_license_status": "CC0", "tombstone": "Ceramic dish with deer, phoenix, and lotus blossoms, 1300–1350. Iran, probably Sultanabad, Ilkhanid period (1256–1353). Fritware with underglaze-painted design, Sultanabad ware; overall: 7 x 32.6 cm (2 3/4 x 12 13/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1924.742", "current_location": "116 Islamic", "title": "Ceramic dish with deer, phoenix, and lotus blossoms", "creation_date": "1300–1350", "creation_date_earliest": 1300, "creation_date_latest": 1350, "artists_tags": [], "culture": [ "Iran, probably Sultanabad, Ilkhanid period (1256–1353)" ], "technique": "Fritware with underglaze-painted design, Sultanabad ware", "support_materials": [], "department": "Islamic Art", "collection": "Islamic Art", "type": "Ceramic", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [ "221.17" ], "did_you_know": "Fritware is made of ground quartz, glass frit (partially fused glass), and a small proportion of fine white clay to approximate the light color and weight of Chinese porcelain.", "description": "The design of a flying phoenix on the rim was frequently represented on vessels and tilework of this period. The motif was derived from China, most likely transmitted on prestigious silk textiles.", "citations": [], "url": "https://clevelandart.org/art/1924.742", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1924.742/1924.742_web.jpg", "width": "1054", "height": "893", "filesize": "746109", "filename": "1924.742_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 106697, "creators": [], "legal_status": "accessioned", "accession_date": "1917-02-12T00:00:00", "sortable_date": 1300, "date_text": "1300–1350", "is_highlight": false, "updated_at": "2024-02-09 18:03:23.781000", "legacy": [] }, { "id": 98300, "accession_number": "1917.977", "share_license_status": "CC0", "tombstone": "Mina'i Beaker with Seated Princes, 1180–1220. Iran, Kashan, Seljuq period of Iran (1037–1194). Fritware with overglaze design, mina’i ware; overall: 13.3 x 12.3 cm (5 1/4 x 4 13/16 in.). The Cleveland Museum of Art, Gift of the John Huntington Art and Polytechnic Trust 1917.977", "current_location": "116 Islamic", "title": "Mina'i Beaker with Seated Princes", "creation_date": "1180–1220", "creation_date_earliest": 1180, "creation_date_latest": 1220, "artists_tags": [], "culture": [ "Iran, Kashan, Seljuq period of Iran (1037–1194)" ], "technique": "Fritware with overglaze design, mina’i ware", "support_materials": [], "department": "Islamic Art", "collection": "Islamic Art", "type": "Ceramic", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [ "680.16", "898.17" ], "did_you_know": "A band of Kufic runs around the outside of the rim and another one is around the inside of the rim.", "description": "Mina’i ware takes its name from the Persian word for enamel. It was a luxurious type of pottery and used enamel painting to create true polychrome ceramic for the first time. Mina’i ware frequently combines blues, greens, and purples with sharp black and red executed with precise control. Figural scenes are quite common for these vessels and often recall book illustrations including rows of seated court members, sometimes flanking an enthroned ruler, and princely scenes of hunting or falconry.", "citations": [], "url": "https://clevelandart.org/art/1917.977", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1917.977/1917.977_web.jpg", "width": "934", "height": "893", "filesize": "101441", "filename": "1917.977_web.jpg" } }, "alternate_images": [], "creditline": "Gift of the John Huntington Art and Polytechnic Trust", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 98300, "creators": [], "legal_status": "accessioned", "accession_date": "1917-02-14T00:00:00", "sortable_date": 1180, "date_text": "1180–1220", "is_highlight": false, "updated_at": "2024-02-09 18:02:41.327000", "legacy": [] }, { "id": 150188, "accession_number": "1981.10", "share_license_status": "CC0", "tombstone": "Mosque Lamp, late 1800s. France. Glass with enameled and gilded decoration; overall: 39.5 cm (15 9/16 in.). The Cleveland Museum of Art, John L. Severance Fund 1981.10", "current_location": "116 Islamic", "title": "Mosque Lamp", "creation_date": "late 1800s", "creation_date_earliest": 1866, "creation_date_latest": 1899, "artists_tags": [], "culture": [ "France" ], "technique": "glass with enameled and gilded decoration", "support_materials": [], "department": "Islamic Art", "collection": "Islamic Art", "type": "Glass", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This colorful lamp would have been suspended by its six handles. When lowered to refill its oil, it could stand securely on its splayed foot.", "description": "In late 1800s Europe, there was a renewed interest in art from the Islamic world. Mosque lamps, made for Mamluk rulers and their high officials in the 1300s, were particularly prized. Phillippe-Joseph Brocard, a Parisian collector and craftsman, is renowned for reviving the Mamluk technique of enameling and gilding glass and produced many lamp reproductions. This lamp used to be in his collection and it is possible that it was made by him. The top Qur’anic inscription likens divine light to a shining glass lamp.", "citations": [], "url": "https://clevelandart.org/art/1981.10", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1981.10/1981.10_web.jpg", "width": "651", "height": "893", "filesize": "379247", "filename": "1981.10_web.jpg" } }, "alternate_images": [], "creditline": "John L. Severance Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150188, "creators": [], "legal_status": "accessioned", "accession_date": "1981-03-09T00:00:00", "sortable_date": 1866, "date_text": "late 1800s", "is_highlight": false, "updated_at": "2024-02-09 18:06:24.390000", "legacy": [] }, { "id": 97193, "accession_number": "1916.828", "share_license_status": "CC0", "tombstone": "Matchlock Musket, c. 1750. Turkey, Ottoman period (1299–1922). Wood, steel, brass, mother-of-pearl inlay, and leather; overall: 103.5 cm (40 3/4 in.); barrel: 68.3 cm (26 7/8 in.). The Cleveland Museum of Art, Gift of J. H. Wade 1916.828", "current_location": "116 Islamic", "title": "Matchlock Musket", "creation_date": "c. 1750", "creation_date_earliest": 1700, "creation_date_latest": 1710, "artists_tags": [], "culture": [ "Turkey, Ottoman period (1299–1922)" ], "technique": "Wood, steel, brass, mother-of-pearl inlay, and leather", "support_materials": [], "department": "Islamic Art", "collection": "Islamic Art", "type": "Arms and Armor", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "A matchlock musket was loaded from the muzzle end with a scouring stick kept in a sleeve on the underside of the barrel.", "description": "Collectively, the Safavid, Mughal, and Ottoman empires are known as the Gunpowder Empires. Particularly from the 1500–1700s, they were among the strongest economic, cultural, and militaristic powers. Each trained and equipped their armies with the latest gunpowder firearms, particularly cannons and muskets. While used in battle, muskets were also used for leisure activities, particularly hunting. The decoration on this musket suggests it was a courtly item, fitted with a leather pad to protect the shooter from the force of the explosion after firing.", "citations": [], "url": "https://clevelandart.org/art/1916.828", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1916.828/1916.828_web.jpg", "width": "900", "height": "438", "filesize": "60530", "filename": "1916.828_web.jpg" } }, "alternate_images": [], "creditline": "Gift of J. H. Wade", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 97193, "creators": [], "legal_status": "accessioned", "accession_date": "1916-05-26T00:00:00", "sortable_date": 1700, "date_text": "c. 1750", "is_highlight": false, "updated_at": "2024-02-09 18:02:37.529000", "legacy": [] }, { "id": 123704, "accession_number": "1944.236", "share_license_status": "CC0", "tombstone": "Mosque Lamp, 1585–95. Turkey, Iznik, Ottoman period (1299–1922). Fritware with underglaze design; overall: 28.4 x 19.5 cm (11 3/16 x 7 11/16 in.); diameter of rim: 17 cm (6 11/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1944.236", "current_location": "116 Islamic", "title": "Mosque Lamp", "creation_date": "1585–95", "creation_date_earliest": 1585, "creation_date_latest": 1595, "artists_tags": [], "culture": [ "Turkey, Iznik, Ottoman period (1299–1922)" ], "technique": "Fritware with underglaze design", "support_materials": [], "department": "Islamic Art", "collection": "Islamic Art", "type": "Ceramic", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Fritware is made of ground quartz, glass frit (partially fused glass), and a small proportion of fine white clay to approximate the light color and weight of Chinese porcelain.", "description": "Mosque lamps typically functioned as a lampshade, containing an oil lamp inside. Due to the opacity of this Ottoman lamp, it is likely that its primary function was not illumination. Instead, it would have been hung from chains in a mosque or mausoleum to add to the beauty of the space. This lamp is decorated with bright red carnations and blue hyacinths with additional floral and vegetal elements. The turquoise loops would have served for suspension from the ceiling. It is also possible that lamps like this were used as acoustic devices, softening the echo of prayer and discussion within the mosque’s halls.", "citations": [], "url": "https://clevelandart.org/art/1944.236", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1944.236/1944.236_web.jpg", "width": "752", "height": "893", "filesize": "91275", "filename": "1944.236_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 123704, "creators": [], "legal_status": "accessioned", "accession_date": "1944-05-01T00:00:00", "sortable_date": 1585, "date_text": "1585–95", "is_highlight": false, "updated_at": "2024-02-09 18:04:23.703000", "legacy": [] }, { "id": 111811, "accession_number": "1930.331", "share_license_status": "CC0", "tombstone": "Nataraja, Shiva as the Lord of Dance, 1000s. South India, Tamil Nadu, Chola period (900-1200s). Bronze; overall: 113 x 102 x 30 cm (44 1/2 x 40 3/16 x 11 13/16 in.); base: 35 x 24 cm (13 3/4 x 9 7/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1930.331", "current_location": "244 Indian and Southeast Asian", "title": "Nataraja, Shiva as the Lord of Dance", "creation_date": "1000s", "creation_date_earliest": 1000, "creation_date_latest": 1099, "artists_tags": [], "culture": [ "South India, Tamil Nadu, Chola period (900-1200s)" ], "technique": "Bronze", "support_materials": [], "department": "Indian and Southeast Asian Art", "collection": "Indian Art", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [ "257.30" ], "did_you_know": "The trampled figure holds a serpent in his left hand and with his right points up to Shiva.", "description": "One of the most celebrated sculptural forms in the history of Indian art, this elegant and dynamic figure embodies some of Hinduism’s most fundamental tenets. According to Hindu thought, time is cyclical; the world is created, maintained, preserved for a time, then destroyed, only to be created again an infinite number of times. For those Hindus who view Shiva to be the all-powerful creator divinity, he is responsible for both creation and destruction. The ring of fire and the tongue of flame he holds in his left hand refer to destruction, and the drum in his raised right hand refers to the relentless beat of time as it moves inevitably forward. His lower right hand, held up with the palm facing out, signals to his devotees not to be afraid of the impending destruction; they can be liberated from the cycles of birth and death through devotion to him, which he indicates by pointing to his upraised foot. With every step in his dance, he lands on a dwarfish figure personifying ignorance.", "citations": [], "url": "https://clevelandart.org/art/1930.331", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1930.331/1930.331_web.jpg", "width": "714", "height": "893", "filesize": "328531", "filename": "1930.331_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": "6862a3c673d4434a8dc39ced2a5b5720", "sketchfab_url": "https://sketchfab.com/models/6862a3c673d4434a8dc39ced2a5b5720", "gallery_donor_text": "Nancy F. & Joseph P. Keithley Gallery", "athena_id": 111811, "creators": [], "legal_status": "accessioned", "accession_date": "1930-06-19T00:00:00", "sortable_date": 1000, "date_text": "1000s", "is_highlight": true, "updated_at": "2024-02-13 20:01:07.797000", "legacy": [] }, { "id": 148021, "accession_number": "1975.101", "share_license_status": "CC0", "tombstone": "Eleven-Headed Bodhisattva of Compassion (Avalokiteshvara), around 1000. Western Himalayas. Gilt bronze with silver and copper inlay; overall: 39.4 x 14 x 7.6 cm (15 1/2 x 5 1/2 x 3 in.). The Cleveland Museum of Art, Andrew R. and Martha Holden Jennings Fund 1975.101", "current_location": "237 Himalayan", "title": "Eleven-Headed Bodhisattva of Compassion (Avalokiteshvara)", "creation_date": "around 1000", "creation_date_earliest": 975, "creation_date_latest": 1025, "artists_tags": [], "culture": [ "Western Himalayas" ], "technique": "gilt bronze with silver and copper inlay", "support_materials": [], "department": "Indian and Southeast Asian Art", "collection": "Tibetan Art", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The bottle in his lower-left hand contains the nectar of immortality.", "description": "One of the finest surviving examples of its kind, this rare six-armed form of Avalokiteshvara has the slender athletic figure and penetrating expression associated with the art of Kashmir, the main source for western Tibetan styles. This Bodhisattva combines the qualities of a prince and an ascetic, with his crown and jewels combined with the yogi's antelope skin over his left shoulder and prayer beads in his middle right hand. Representing the range of Avalokiteshvara's forms and aspects, his eleven heads are remarkably articulated with individualized features. They follow textual descriptions that describe his three placid faces, three fierce faces, three terrifying howling faces, and one laughing face, all surmounted by a head of the Buddha Amitabha, with whom he is closely associated. Tongues and lips have been inlaid with copper to extraordinary effect, and a miniature seated figure of Amitabha Buddha has been placed in the center of every crown.", "citations": [], "url": "https://clevelandart.org/art/1975.101", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1975.101/1975.101_web.jpg", "width": "607", "height": "893", "filesize": "51260", "filename": "1975.101_web.jpg" } }, "alternate_images": [], "creditline": "Andrew R. and Martha Holden Jennings Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 148021, "creators": [], "legal_status": "accessioned", "accession_date": "1975-11-29T00:00:00", "sortable_date": 975, "date_text": "around 1000", "is_highlight": false, "updated_at": "2024-02-09 18:06:12.563000", "legacy": [] }, { "id": 142560, "accession_number": "1966.30", "share_license_status": "CC0", "tombstone": "Standing Buddha, c. 900. India, Kashmir. Brass with silver and copper inlay; overall: 98.1 cm (38 5/8 in.); base: 28.2 cm (11 1/8 in.). The Cleveland Museum of Art, John L. Severance Fund 1966.30", "current_location": "237 Himalayan", "title": "Standing Buddha", "creation_date": "c. 900", "creation_date_earliest": 895, "creation_date_latest": 905, "artists_tags": [], "culture": [ "India, Kashmir" ], "technique": "brass with silver and copper inlay", "support_materials": [], "department": "Indian and Southeast Asian Art", "collection": "Indian Art", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "He grasps the end of his robe in his left hand.", "description": "The Tibetan inscription on the pedestal identifies the owner of this stunning image as Nagaraja, a royal monk from western Tibet who was instrumental in revitalizing Buddhism in this region. Sculptures like this were the stylistic source for subsequent artistic traditions in western Tibet. The wear on the sculpture's face indicates that it was actively worshipped in Kashmir for some time before it was brought to Tibet.

The slender athletic form of the body is clearly revealed. Vestiges of pleat lines that can be traced to the toga-like robes of Greco-Roman figurines—brought centuries earlier to the Indus River region—appear like stylized waves over the torso. The areas of articulation along the borders and hems convey a sense of energy emitting from the figure. His expression is serene, with silver and copper used to animate the face. His upraised right hand indicates that his teachings lead to the freedom from all fear.", "citations": [], "url": "https://clevelandart.org/art/1966.30", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1966.30/1966.30_web.jpg", "width": "560", "height": "893", "filesize": "251991", "filename": "1966.30_web.jpg" } }, "alternate_images": [], "creditline": "John L. Severance Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142560, "creators": [], "legal_status": "accessioned", "accession_date": "1966-01-03T00:00:00", "sortable_date": 895, "date_text": "c. 900", "is_highlight": false, "updated_at": "2024-02-09 18:05:50.040000", "legacy": [] }, { "id": 145407, "accession_number": "1970.62", "share_license_status": "CC0", "tombstone": "Ganesha, c. 1070. South India, Medieval period, Chola dynasty(10th-13th century). Bronze; overall: 50.8 x 25.4 x 17.8 cm (20 x 10 x 7 in.); base: 23 x 18.3 cm (9 1/16 x 7 3/16 in.). The Cleveland Museum of Art, Gift of Katharine Holden Thayer 1970.62", "current_location": "244 Indian and Southeast Asian", "title": "Ganesha", "creation_date": "c. 1070", "creation_date_earliest": 1060, "creation_date_latest": 1080, "artists_tags": [], "culture": [ "South India, Medieval period, Chola dynasty(10th-13th century)" ], "technique": "bronze", "support_materials": [], "department": "Indian and Southeast Asian Art", "collection": "Indian Art", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Ganesha pulls his own broken tusk in one hand, which he used as a pen to write the epic Mahabharata.", "description": "Ganesha, the god of wealth and abundance, is an auspicious and revered Hindu deity. He removes obstacles and protects his worshipers. Numerous myths explain how Ganesha became an elephant-man composite, but the most popular version relates the story of how he was decapitated by his enraged father, Shiva, and restored to life through the intervention of his mother, Parvati. Shiva agreed to revive him with the head of the first creature encountered: an elephant. Ganesha's strength—his profound spiritual wisdom—contrasts with his weakness for sweets, as indicated by his pudginess and the sweet modaka he carries. In Ganesha, opposing forces exist in perfect harmony.", "citations": [], "url": "https://clevelandart.org/art/1970.62", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1970.62/1970.62_web.jpg", "width": "541", "height": "893", "filesize": "285965", "filename": "1970.62_web.jpg" } }, "alternate_images": [], "creditline": "Gift of Katharine Holden Thayer", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Nancy F. & Joseph P. Keithley Gallery", "athena_id": 145407, "creators": [], "legal_status": "accessioned", "accession_date": "1970-09-10T00:00:00", "sortable_date": 1060, "date_text": "c. 1070", "is_highlight": false, "updated_at": "2024-02-13 20:04:10.181000", "legacy": [] }, { "id": 114974, "accession_number": "1935.146", "share_license_status": "CC0", "tombstone": "Buddha Calling on Earth to Witness, 800s. Northeastern India, Bihar, Tetravan, Pala Period (750-1197). Chloritic schist; overall: 94 cm (37 in.). The Cleveland Museum of Art, Dudley P. Allen Fund 1935.146", "current_location": "243 Indian and Southeast Asian", "title": "Buddha Calling on Earth to Witness", "creation_date": "800s", "creation_date_earliest": 800, "creation_date_latest": 899, "artists_tags": [], "culture": [ "Northeastern India, Bihar, Tetravan, Pala Period (750-1197)" ], "technique": "chloritic schist", "support_materials": [], "department": "Indian and Southeast Asian Art", "collection": "Indian Art", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The donors kneel at the lower corners.", "description": "This sculpture is one of a series that depict the Buddha at different scenes in his life. Here, he is at Bodhgaya, the place where he achieved enlightenment. At the top of the composition are the branches of the ficus tree with its heart-shaped leaves, under which he achieved enlightenment. His hand gesture indicates that he is calling upon the goddess of the earth to witness the moment. During the Pala period of the eighth through 12th centuries in medieval India, Buddhism dominated and flourished in major monastic universities. After the fall of the Pala dynasty, the numerous battles between small kingdoms vying for power caused the destruction of the Buddhist monasteries, and Buddhist monks fled with texts and movable art to Nepal, Tibet, and Southeast Asia, so that by the 14th century, Buddhism was eradicated in India.", "citations": [], "url": "https://clevelandart.org/art/1935.146", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1935.146/1935.146_web.jpg", "width": "593", "height": "893", "filesize": "332484", "filename": "1935.146_web.jpg" } }, "alternate_images": [], "creditline": "Dudley P. Allen Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 114974, "creators": [], "legal_status": "accessioned", "accession_date": "1935-06-24T00:00:00", "sortable_date": 800, "date_text": "800s", "is_highlight": false, "updated_at": "2024-02-09 18:03:50.554000", "legacy": [] }, { "id": 149101, "accession_number": "1977.34", "share_license_status": "CC0", "tombstone": "Corner Railing Pillar with Drinking Scenes, Yakshis, and Musicians, 100s CE. India, Mathura, Kushan period. Red sandstone; overall: 80 x 22.9 x 24 cm (31 1/2 x 9 x 9 7/16 in.). The Cleveland Museum of Art, John L. Severance Fund 1977.34", "current_location": "242A Ancient India", "title": "Corner Railing Pillar with Drinking Scenes, Yakshis, and Musicians", "creation_date": "100s CE", "creation_date_earliest": 100, "creation_date_latest": 199, "artists_tags": [], "culture": [ "India, Mathura, Kushan period" ], "technique": "red sandstone", "support_materials": [], "department": "Indian and Southeast Asian Art", "collection": "Indian Art - Kushan, Mathura", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The celestial musicians, who play a lyre, castanets, and a triangular harp, evoke bacchanalian connotations.", "description": "This pillar reflects the influence of Greco-Roman culture on Indian art and the influence of Gandharan styles and bacchanalian themes on the art of Mathura. The pillar depicts female figures who, seemingly intoxicated, play instruments and dance. Two additional scenes are carved on the base. First, a hunchbacked woman pours wine for an obese male fertility figure (yaksha). The second scene probably illustrates the story of the horse-headed yakshi who ate her victims.", "citations": [], "url": "https://clevelandart.org/art/1977.34", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1977.34/1977.34_web.jpg", "width": "560", "height": "893", "filesize": "298825", "filename": "1977.34_web.jpg" } }, "alternate_images": [], "creditline": "John L. Severance Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 149101, "creators": [], "legal_status": "accessioned", "accession_date": "1977-04-22T00:00:00", "sortable_date": 100, "date_text": "100s CE", "is_highlight": true, "updated_at": "2024-02-09 18:06:17.623000", "legacy": [] }, { "id": 94681, "accession_number": "1915.338", "share_license_status": "CC0", "tombstone": "Pair of Deity Earrings with Vishnu on Garuda (front) and chepu (monster mask) (back), 1600s or 1700s. Nepal, Kathmandu Valley. Gold set with precious and semi-precious stones; overall: 9.5 x 6.9 cm (3 3/4 x 2 11/16 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. J. H. Wade 1915.338", "current_location": "001A ArtLens Exhibition", "title": "Pair of Deity Earrings with Vishnu on Garuda (front) and chepu (monster mask) (back)", "creation_date": "1600s or 1700s", "creation_date_earliest": 1600, "creation_date_latest": 1799, "artists_tags": [], "culture": [ "Nepal, Kathmandu Valley" ], "technique": "Gold set with precious and semi-precious stones", "support_materials": [], "department": "Indian and Southeast Asian Art", "collection": "Nepalese Art", "type": "Jewelry", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "These larger-than-life earrings would hang on a deity statue in a Nepalese temple, rather than worn by a person.", "description": "A green Vishnu with four arms, each holding his attributes of discus (his upper right hand), mace (upper left), lotus (lower right), and conch (in pearl, lower left) rides on a coral Garuda with lapis wings, arms outstretched. The blue figures on either side are probably celestial beings praising him in dance postures, with one leg crossed over the other. On the back sides, delicate filigree floral scrolls form the backdrop of a protective mask popular in the Nepal; a sun over a crescent moon are inlaid above his head.", "citations": [], "url": "https://clevelandart.org/art/1915.338", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1915.338/1915.338_web.jpg", "width": "900", "height": "636", "filesize": "192060", "filename": "1915.338_web.jpg" } }, "alternate_images": [], "creditline": "Gift of Mr. and Mrs. J. H. Wade", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 94681, "creators": [], "legal_status": "accessioned", "accession_date": "1915-10-15T00:00:00", "sortable_date": 1600, "date_text": "1600s or 1700s", "is_highlight": false, "updated_at": "2024-02-09 18:02:24.711000", "legacy": [] }, { "id": 147010, "accession_number": "1972.43", "share_license_status": "CC0", "tombstone": "Standing Buddha, 150–200 CE. Pakistan, Gandhara, Kushan period. Schist; overall: 119.7 cm (47 1/8 in.); head: 1.5 x 3.2 cm (9/16 x 1 1/4 in.). The Cleveland Museum of Art, Gift of Morris and Eleanor Everett in memory of Flora Morris Everett 1972.43", "current_location": "242A Ancient India", "title": "Standing Buddha", "creation_date": "150–200 CE", "creation_date_earliest": 150, "creation_date_latest": 200, "artists_tags": [], "culture": [ "Pakistan, Gandhara, Kushan period" ], "technique": "schist", "support_materials": [], "department": "Indian and Southeast Asian Art", "collection": "Indian Art - Kushan, Gandhara", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The cavity at the top of the head may have once held a portion of the Buddha's relics.", "description": "Combining elements from both the Mediterranean and South Asian worlds, the artists of Gandhara created a new vision of the Buddha during the period of high contact between the two regions from the 100s to 200s AD. They were among the first to show the Buddha with a placid expression, thick wavy hair, and clothed in a heavy, toga-like monk’s robe.", "citations": [], "url": "https://clevelandart.org/art/1972.43", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1972.43/1972.43_web.jpg", "width": "534", "height": "893", "filesize": "218013", "filename": "1972.43_web.jpg" } }, "alternate_images": [], "creditline": "Gift of Morris and Eleanor Everett in memory of Flora Morris Everett", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 147010, "creators": [], "legal_status": "accessioned", "accession_date": "1972-05-03T00:00:00", "sortable_date": 150, "date_text": "150–200 CE", "is_highlight": false, "updated_at": "2024-02-09 18:06:08.025000", "legacy": [] }, { "id": 165154, "accession_number": "2007.155", "share_license_status": "CC0", "tombstone": "Brahma, late 900s–1000s. South India, Tamil Nadu, Chola dynasty, late 10th - early 11th century. Granite; overall: 162.6 x 48 cm (64 x 18 7/8 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund, this work was accepted in honor of Stanislaw Czuma in recognition of his long service to the CMA 2007.155", "current_location": "243 Indian and Southeast Asian", "title": "Brahma", "creation_date": "late 900s–1000s", "creation_date_earliest": 975, "creation_date_latest": 1100, "artists_tags": [], "culture": [ "South India, Tamil Nadu, Chola dynasty, late 10th - early 11th century" ], "technique": "granite", "support_materials": [], "department": "Indian and Southeast Asian Art", "collection": "Indian Art - Chola", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The back of the sculpture retains the original textured surface from a pointed chisel, suggesting it was in a niche or near a wall, protected from worshippers’ touches.", "description": "In the Hindu pantheon Brahma is in charge of carrying out the work of creation. In this tour-de-force of South Indian temple sculpture, he is in a special regal aspect, with the only elements of his typical priestly appearance being the prayer beads and the matted dreadlocks piled on his head.

Four arms connote superhuman power, and four heads convey the idea that his creative activities spread in all four directions. His upper right hand enjoins freedom from fear, and the lower holds a lotus bud associated with birth and the process of creation. His lowered left hand is held in the gift-giving gesture, suggestive of the gift of creation he will bestow upon the world.", "citations": [], "url": "https://clevelandart.org/art/2007.155", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/2007.155/2007.155_web.jpg", "width": "669", "height": "893", "filesize": "174898", "filename": "2007.155_web.jpg" } }, "alternate_images": [], "creditline": "Leonard C. Hanna, Jr. Fund, this work was accepted in honor of Stanislaw Czuma in recognition of his long service to the CMA", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 165154, "creators": [], "legal_status": "accessioned", "accession_date": "2007-06-04T00:00:00", "sortable_date": 975, "date_text": "late 900s–1000s", "is_highlight": true, "updated_at": "2024-02-09 18:07:46.429000", "legacy": [] }, { "id": 140437, "accession_number": "1964.369", "share_license_status": "CC0", "tombstone": "A Guardian of Shiva, 1200s. Southwestern India, Karnataka. Chloritic schist; overall: 113.3 x 49.2 x 29 cm (44 5/8 x 19 3/8 x 11 7/16 in.). The Cleveland Museum of Art, John L. Severance Fund 1964.369", "current_location": "244 Indian and Southeast Asian", "title": "A Guardian of Shiva", "creation_date": "1200s", "creation_date_earliest": 1200, "creation_date_latest": 1299, "artists_tags": [], "culture": [ "Southwestern India, Karnataka" ], "technique": "Chloritic schist", "support_materials": [], "department": "Indian and Southeast Asian Art", "collection": "Indian Art", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "A three-hooded cobra winds its way up the shaft, while another slithers through the sockets of the skull.", "description": "Guardians at Shiva temples sometimes appear as a form of the deity himself. Carved in the ornate style favored by kings of the Hoyshala dynasty (1026–1343), this four-armed figure holds a drum that indicates the ongoing passage of time in his upper right hand. In his upper left hand, he holds a staff surmounted by a decomposing head of the god of creation, Brahma. The soft contours of the face, complete with third eye of knowledge, temper his ferocity and create a gently alluring figure.", "citations": [], "url": "https://clevelandart.org/art/1964.369", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1964.369/1964.369_web.jpg", "width": "517", "height": "893", "filesize": "306306", "filename": "1964.369_web.jpg" } }, "alternate_images": [], "creditline": "John L. Severance Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Nancy F. & Joseph P. Keithley Gallery", "athena_id": 140437, "creators": [], "legal_status": "accessioned", "accession_date": "1964-10-31T00:00:00", "sortable_date": 1200, "date_text": "1200s", "is_highlight": false, "updated_at": "2024-02-09 18:05:40.698000", "legacy": [] }, { "id": 149924, "accession_number": "1980.16", "share_license_status": "CC0", "tombstone": "Piggy Bank, 1300s-1400s. Java, Majapahit Dynasty. Terracotta; overall: 24.2 cm (9 1/2 in.). The Cleveland Museum of Art, John L. Severance Fund 1980.16", "current_location": "001A ArtLens Exhibition", "title": "Piggy Bank", "creation_date": "1300s-1400s", "creation_date_earliest": 1300, "creation_date_latest": 1499, "artists_tags": [], "culture": [ "Java, Majapahit Dynasty" ], "technique": "terracotta", "support_materials": [], "department": "Indian and Southeast Asian Art", "collection": "Javanese Art", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The word for piggy bank in Eastern Java is tjèlèngan, meaning ‘wild boar.’", "description": "Do I look familiar to you? My round and exaggerated form makes me perfect for storing precious coins, which could be inserted through the slot (now closed) on the hump of my back. My fierce expression is a warning to scare off any burglars, and the padlock and chain around my neck indicate my function as a personal bank. Yes, I am a piggy bank—a lucky one that has survived intact for over 500 years! Usually we end up broken by people who want our coins.", "citations": [], "url": "https://clevelandart.org/art/1980.16", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1980.16/1980.16_web.jpg", "width": "1211", "height": "893", "filesize": "103025", "filename": "1980.16_web.jpg" } }, "alternate_images": [], "creditline": "John L. Severance Fund", "sketchfab_id": "14bfd106baf14d62aebf6eafbe25b3c3", "sketchfab_url": "https://sketchfab.com/models/14bfd106baf14d62aebf6eafbe25b3c3", "gallery_donor_text": null, "athena_id": 149924, "creators": [], "legal_status": "accessioned", "accession_date": "1980-01-30T00:00:00", "sortable_date": 1300, "date_text": "1300s-1400s", "is_highlight": false, "updated_at": "2024-02-09 18:06:22.499000", "legacy": [] }, { "id": 136944, "accession_number": "1961.419", "share_license_status": "CC0", "tombstone": "Parshva, 800s. Central India. Sandstone; overall: 160.7 x 67 cm (63 1/4 x 26 3/8 in.). The Cleveland Museum of Art, John L. Severance Fund 1961.419", "current_location": "242B Indian Painting", "title": "Parshva", "creation_date": "800s", "creation_date_earliest": 800, "creation_date_latest": 899, "artists_tags": [], "culture": [ "Central India" ], "technique": "sandstone", "support_materials": [], "department": "Indian and Southeast Asian Art", "collection": "Indian Art", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Parshva is the 23rd of the 24 Jinas who achieved liberation. He is the only one who is depicted with a serpent. This sculpture was made for followers of the branch of Jainism called Digambara, who enforce the regulations of total nudity among those actively seeking liberation. The only adornment of his figure is the auspicious symbol on his chest and the wheels of righteousness on his palms. The stark form of thenude body standing in a posture of meditation is masterfully set off from the array of gods and serpent divinities who venerate him. He stands with his feet on a lotus pedestal, but his hierarchically tall form reaches to the heavens, where gods fly to honor him with flower garlands. Three umbrellas over his head indicate his status as a liberated being worthy of worship.", "citations": [], "url": "https://clevelandart.org/art/1961.419", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1961.419/1961.419_web.jpg", "width": "626", "height": "893", "filesize": "77699", "filename": "1961.419_web.jpg" } }, "alternate_images": [], "creditline": "John L. Severance Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 136944, "creators": [], "legal_status": "accessioned", "accession_date": "1961-12-02T00:00:00", "sortable_date": 800, "date_text": "800s", "is_highlight": false, "updated_at": "2024-02-09 18:05:20.823000", "legacy": [] }, { "id": 137129, "accession_number": "1961.94", "share_license_status": "CC0", "tombstone": "Shiva and Parvati, c. 950–60. South India, Tamil Nadu, Chola period (900-13th Century). Bronze; base: 21.6 x 79.5 x 24.9 cm (8 1/2 x 31 5/16 x 9 13/16 in.); part 1: 81.9 x 48.7 cm (32 1/4 x 19 3/16 in.); part 2: 65.1 x 16.5 cm (25 5/8 x 6 1/2 in.). The Cleveland Museum of Art, John L. Severance Fund 1961.94", "current_location": "244 Indian and Southeast Asian", "title": "Shiva and Parvati", "creation_date": "c. 950–60", "creation_date_earliest": 950, "creation_date_latest": 960, "artists_tags": [], "culture": [ "South India, Tamil Nadu, Chola period (900-13th Century)" ], "technique": "bronze", "support_materials": [], "department": "Indian and Southeast Asian Art", "collection": "Indian Art", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The posts on the sides of the pedestal once supported a halo that surrounded both figures.", "description": "Bronze sculptures made during the Chola period (800s–1200s) are among the most celebrated and popular art forms of the Indian tradition, and the 10th century marks their flourishing peak. The sensual renditions of attenuated, youthful, and athletic forms are barely covered by garments and ornaments that move, yet cling to the bodies. The figures stand with a natural ease, and the volumes have been so skillfully rendered by the artists that they appear to be capable of walking the earth. Their serene and smiling expressions are completely idealized, leaving no mistake that these are gods, not humans.", "citations": [], "url": "https://clevelandart.org/art/1961.94", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1961.94/1961.94_web.jpg", "width": "809", "height": "893", "filesize": "341506", "filename": "1961.94_web.jpg" } }, "alternate_images": [], "creditline": "John L. Severance Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Nancy F. & Joseph P. Keithley Gallery", "athena_id": 137129, "creators": [], "legal_status": "accessioned", "accession_date": "1961-05-01T00:00:00", "sortable_date": 950, "date_text": "c. 950–60", "is_highlight": false, "updated_at": "2024-02-13 20:03:31.846000", "legacy": [] }, { "id": 147575, "accession_number": "1973.73", "share_license_status": "CC0", "tombstone": "One-Faced Linga (Ekamukhalinga), 600s–700s. Eastern India, Bihar, Medieval period, Pala dynasty. Chloritic schist; overall: 83.8 cm (33 in.). The Cleveland Museum of Art, John L. Severance Fund 1973.73", "current_location": "244 Indian and Southeast Asian", "title": "One-Faced Linga (Ekamukhalinga)", "creation_date": "600s–700s", "creation_date_earliest": 600, "creation_date_latest": 799, "artists_tags": [], "culture": [ "Eastern India, Bihar, Medieval period, Pala dynasty" ], "technique": "chloritic schist", "support_materials": [], "department": "Indian and Southeast Asian Art", "collection": "Indian Art", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Shiva wears the crescent moon as a hair ornament.", "description": "The innermost sanctum of a Hindu temple dedicated to Shiva is called a womb chamber in which a stylized phallus called a linga is installed. Together, the chamber and linga represent the potentiality of creation. Artists depict the first stage of creation by a face emerging from the phallus, which embodies one aspect of Shiva. This face is of a powerful yogi, with long matted locks adorned with a crescent moon. He has a penetrating gaze with all three of his eyes. This icon would have been accessed primarily by Brahmin priests who would perform rituals honoring Shiva as the ultimate creator of the world.", "citations": [], "url": "https://clevelandart.org/art/1973.73", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1973.73/1973.73_web.jpg", "width": "559", "height": "893", "filesize": "73664", "filename": "1973.73_web.jpg" } }, "alternate_images": [], "creditline": "John L. Severance Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 147575, "creators": [], "legal_status": "accessioned", "accession_date": "1973-05-07T00:00:00", "sortable_date": 600, "date_text": "600s–700s", "is_highlight": false, "updated_at": "2024-02-09 18:06:10.350000", "legacy": [] }, { "id": 150996, "accession_number": "1982.45", "share_license_status": "CC0", "tombstone": "Durga Destroying the Buffalo Demon, 800s–900s. Northern India, Kashmir or Himachal Pradesh, 9th-10th Century. Schist; overall: 76.2 cm (30 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 1982.45", "current_location": "244 Indian and Southeast Asian", "title": "Durga Destroying the Buffalo Demon", "creation_date": "800s–900s", "creation_date_earliest": 800, "creation_date_latest": 1000, "artists_tags": [], "culture": [ "Northern India, Kashmir or Himachal Pradesh, 9th-10th Century" ], "technique": "schist", "support_materials": [], "department": "Indian and Southeast Asian Art", "collection": "Indian Art", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "She uses Shiva's trident to pin down the demon.", "description": "IIn Hindu traditions, the goddess Durga is sometimes understood as a form of Shiva's wife Parvati, the personification of his female energies. This female creative energy, called shakti, has a powerful side that is personified as the warrior goddess Durga, capable of destroying arrogance and other mental vices, personified as the demon. Her main feat in the mythic literature is the slaying of the Buffalo Demon, Mahishasura. He had been ravaging the universe until the warrior goddess Durga decapitated him. His more vulnerable demonic form emerges from the neck, and she, calm but powerful, slays him with her sword.", "citations": [], "url": "https://clevelandart.org/art/1982.45", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1982.45/1982.45_web.jpg", "width": "655", "height": "893", "filesize": "68225", "filename": "1982.45_web.jpg" } }, "alternate_images": [], "creditline": "Leonard C. Hanna, Jr. Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150996, "creators": [], "legal_status": "accessioned", "accession_date": "1982-05-13T00:00:00", "sortable_date": 800, "date_text": "800s–900s", "is_highlight": false, "updated_at": "2024-02-09 18:06:28.287000", "legacy": [] }, { "id": 138692, "accession_number": "1963.104.2", "share_license_status": "CC0", "tombstone": "Vishnu, 900–950. South India, Tamil Nadu, probably Pudokkatai, early Chola Dynasty, 10th Century. Granite; overall: 129.5 x 38.1 cm (51 x 15 in.). The Cleveland Museum of Art, John L. Severance Fund 1963.104.2", "current_location": "243 Indian and Southeast Asian", "title": "Vishnu", "creation_date": "900–950", "creation_date_earliest": 900, "creation_date_latest": 950, "artists_tags": [], "culture": [ "South India, Tamil Nadu, probably Pudokkatai, early Chola Dynasty, 10th Century" ], "technique": "granite", "support_materials": [], "department": "Indian and Southeast Asian Art", "collection": "Indian Art", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [ "63.106" ], "did_you_know": null, "description": "Vishnu is shown here in his form as supreme lord, his high crown indicative of his royal aspect; his four arms reveal his superhuman nature. His upper right hand holds a discus, seen from the side. In his upper left hand he holds the conch shell.", "citations": [], "url": "https://clevelandart.org/art/1963.104.2", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1963.104.2/1963.104.2_web.jpg", "width": "507", "height": "900", "filesize": "111372", "filename": "1963.104.2_web.jpg" } }, "alternate_images": [], "creditline": "John L. Severance Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 138692, "creators": [], "legal_status": "accessioned", "accession_date": "1963-02-09T00:00:00", "sortable_date": 900, "date_text": "900–950", "is_highlight": false, "updated_at": "2024-02-09 18:05:30.931000", "legacy": [] }, { "id": 120411, "accession_number": "1941.25", "share_license_status": "CC0", "tombstone": "Shiva, early 1100s. Cambodia, Angkor, Baphuon, early 12th century. Gray sandstone; overall: 76.8 cm (30 1/4 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1941.25", "current_location": "244 Indian and Southeast Asian", "title": "Shiva", "creation_date": "early 1100s", "creation_date_earliest": 1100, "creation_date_latest": 1125, "artists_tags": [], "culture": [ "Cambodia, Angkor, Baphuon, early 12th century" ], "technique": "gray sandstone", "support_materials": [], "department": "Indian and Southeast Asian Art", "collection": "Cambodian Art", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Three beauty lines are lightly incised around the neck.", "description": "The parallel matted locks of hair and the incised third eye on the forehead identify this figure as the Hindu god Shiva. A close-cropped beard comes to a point at his chin. The slim elegant form and short lower garment fastened with a low-slung belt are features characteristic of this period.", "citations": [], "url": "https://clevelandart.org/art/1941.25", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1941.25/1941.25_web.jpg", "width": "633", "height": "893", "filesize": "45898", "filename": "1941.25_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 120411, "creators": [], "legal_status": "accessioned", "accession_date": "1941-04-28T00:00:00", "sortable_date": 1100, "date_text": "early 1100s", "is_highlight": false, "updated_at": "2024-02-09 18:04:09.631000", "legacy": [] }, { "id": 139455, "accession_number": "1963.263", "share_license_status": "CC0", "tombstone": "Naga-Enthroned Buddha, 1100s. Cambodia, Angkor, Angkor Wat Period, 12th century. Bronze; overall: 58.4 x 28 cm (23 x 11 in.). The Cleveland Museum of Art, John L. Severance Fund 1963.263", "current_location": "243 Indian and Southeast Asian", "title": "Naga-Enthroned Buddha", "creation_date": "1100s", "creation_date_earliest": 1100, "creation_date_latest": 1199, "artists_tags": [], "culture": [ "Cambodia, Angkor, Angkor Wat Period, 12th century" ], "technique": "bronze", "support_materials": [], "department": "Indian and Southeast Asian Art", "collection": "Cambodian Art", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Jayavarman VII, who built the great royal temple at Banteay Chhmar, linked himself with the image of the Buddha seated on a serpent, or naga, as the divine form under which he would be honored.

During his reign, the naga-enthroned Buddha became a ubiquitous image for veneration, often set up together with Lokeshvara, who was associated with his father, and Prajnaparamita, the form under which his deceased mother was honored. Lokeshvara is the powerful enlightened being of compassion, while Prajnaparmita is the goddess who personifies wisdom. King Jayavarman VII, therefore, presented himself as the enlightened Buddha, the product of the union of Compassion and Wisdom, supported and glorified by the naga, which refers to the
Khmer people.

Images of the naga-enthroned Buddha have been found at Banteay Chhmar, both in architectural relief sculpture and as icons in the round. After the death of Jayavarman VII, followers of other forms of Buddhism (for example, Theravada) that became prevalent in Cambodia changed the meaning of the naga-enthroned Buddha and reinterpreted the image to refer to a scene from the historical Buddha’s life story in which a serpent protected him from a flood. The crowned and bejeweled aspect of this Buddha, though, indicates that it is another kind of transcendent figure. In his lap his hands are in a posture of meditation, holding what appears to be an offering of ceremonial rice referring to the hope that he will ensure the prosperity of the land.", "citations": [], "url": "https://clevelandart.org/art/1963.263", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1963.263/1963.263_web.jpg", "width": "645", "height": "900", "filesize": "178980", "filename": "1963.263_web.jpg" } }, "alternate_images": [], "creditline": "John L. Severance Fund", "sketchfab_id": "de8310ead8b54d889b30225ad7fa0cdb", "sketchfab_url": "https://sketchfab.com/models/de8310ead8b54d889b30225ad7fa0cdb", "gallery_donor_text": null, "athena_id": 139455, "creators": [], "legal_status": "accessioned", "accession_date": "1963-05-11T00:00:00", "sortable_date": 1100, "date_text": "1100s", "is_highlight": false, "updated_at": "2024-02-09 18:05:35.744000", "legacy": [] }, { "id": 159840, "accession_number": "1997.151", "share_license_status": "CC0", "tombstone": "Siddhartha at the Bodhi Tree, 100s–200s CE. Pakistan, Gandhara. Schist; overall: 73.7 x 57.2 cm (29 x 22 1/2 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 1997.151", "current_location": "242A Ancient India", "title": "Siddhartha at the Bodhi Tree", "creation_date": "100s–200s CE", "creation_date_earliest": 100, "creation_date_latest": 299, "artists_tags": [], "culture": [ "Pakistan, Gandhara" ], "technique": "schist", "support_materials": [], "department": "Indian and Southeast Asian Art", "collection": "Indian Art - Kushan, Gandhara", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "The tree under which the Buddha reached enlightenment marks the center of the composition. It had been under worship by local villagers, for it was known to be the residence of a nature divinity, who here emerges from the tree and altar to praise the Buddha. The altar itself is covered with kusha grass used in the context of sacrificial offerings. At the base of the altar, the earth goddess has risen from the ground and kneels before him in reverence.", "citations": [], "url": "https://clevelandart.org/art/1997.151", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1997.151/1997.151_web.jpg", "width": "714", "height": "893", "filesize": "413476", "filename": "1997.151_web.jpg" } }, "alternate_images": [], "creditline": "Leonard C. Hanna, Jr. Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 159840, "creators": [], "legal_status": "accessioned", "accession_date": "1997-09-15T00:00:00", "sortable_date": 100, "date_text": "100s–200s CE", "is_highlight": false, "updated_at": "2024-02-09 18:07:14.510000", "legacy": [] }, { "id": 136970, "accession_number": "1961.44", "share_license_status": "CC0", "tombstone": "Hookah Base, c. 1700. India, Mughal Dynasty (1526-1756). Gold on blue glass; overall: 19.8 cm (7 13/16 in.). The Cleveland Museum of Art, Cornelia Blakemore Warner Fund 1961.44", "current_location": "116 Islamic", "title": "Hookah Base", "creation_date": "c. 1700", "creation_date_earliest": 1650, "creation_date_latest": 1750, "artists_tags": [], "culture": [ "India, Mughal Dynasty (1526-1756)" ], "technique": "gold on blue glass", "support_materials": [], "department": "Indian and Southeast Asian Art", "collection": "Indian Art", "type": "Glass", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The neckpiece was made separately and attached to the blown glass bowl.", "description": "Smoking tobacco was introduced to the Mughal court from Iran in the very early 1600s and soon became popular. This base formed part of a hookah, or water pipe, which consisted of a base that held water—sometimes perfumed with herbs or fresh fruit—a detachable bowl to hold tobacco, and a long tube. Early hookahs used existing vessels for bases, including coconut shells. By the late 1600s or early 1700s, richly decorated pieces like this were produced. The striking gold poppies on a cobalt blue background might indicate that opium was used in the hookah.", "citations": [], "url": "https://clevelandart.org/art/1961.44", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1961.44/1961.44_web.jpg", "width": "1006", "height": "893", "filesize": "94758", "filename": "1961.44_web.jpg" } }, "alternate_images": [], "creditline": "Cornelia Blakemore Warner Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 136970, "creators": [], "legal_status": "accessioned", "accession_date": "1961-02-20T00:00:00", "sortable_date": 1650, "date_text": "c. 1700", "is_highlight": false, "updated_at": "2024-02-09 18:05:20.891000", "legacy": [] }, { "id": 129799, "accession_number": "1952.233", "share_license_status": "CC0", "tombstone": "Backrest of a Litter, 1185–1275 (radiocarbon date, 95.4% probability). Central Andes, North Coast, Chimú people, late Intermediate period. Mixed media: wood, gold alloy, pigment, shell inlay; overall: 60.4 x 95 cm (23 3/4 x 37 3/8 in.). The Cleveland Museum of Art, John L. Severance Fund 1952.233", "current_location": "232 Andean", "title": "Backrest of a Litter", "creation_date": "1185–1275 (radiocarbon date, 95.4% probability)", "creation_date_earliest": 1185, "creation_date_latest": 1275, "artists_tags": [], "culture": [ "Central Andes, North Coast, Chimú people, late Intermediate period" ], "technique": "mixed media: wood, gold alloy, pigment, shell inlay", "support_materials": [], "department": "Art of the Americas", "collection": "AA - Andes", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Cinnabar, a toxic mercuric sulfide, was used to color the red background and faces of the figures.", "description": "This rare, dramatic object served as the back support of a litter carried by human porters, a mode of transport reserved for honored members of many societies without draft animals or wheeled vehicles. The simple, bold figures—perhaps a Chimú lord and four officials—all wear wide collars, tunics, and crescent headdresses that are either brightly painted or covered with golden but now-corroded sheet metal. The holes at the bottom probably served as lashing points for a beam that supported the litter's seat.", "citations": [], "url": "https://clevelandart.org/art/1952.233", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1952.233/1952.233_web.jpg", "width": "1263", "height": "797", "filesize": "760261", "filename": "1952.233_web.jpg" } }, "alternate_images": [], "creditline": "John L. Severance Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 129799, "creators": [], "legal_status": "accessioned", "accession_date": "1952-06-23T00:00:00", "sortable_date": 1185, "date_text": "1185–1275 (radiocarbon date, 95.4% probability)", "is_highlight": true, "updated_at": "2024-02-09 18:04:53.005000", "legacy": [] }, { "id": 127239, "accession_number": "1949.555", "share_license_status": "CC0", "tombstone": "Seated Male Carrying Maize, 1325–1521. Central Mexico, Aztec style, 13th-16th century. Stone, pigment; overall: 31.1 x 24.1 x 30.5 cm (12 1/4 x 9 1/2 x 12 in.). The Cleveland Museum of Art, The Norweb Collection 1949.555", "current_location": "233 Mesoamerican and Intermediate Region", "title": "Seated Male Carrying Maize", "creation_date": "1325–1521", "creation_date_earliest": 1325, "creation_date_latest": 1521, "artists_tags": [], "culture": [ "Central Mexico, Aztec style, 13th-16th century" ], "technique": "stone, pigment", "support_materials": [], "department": "Art of the Americas", "collection": "AA - Mesoamerica", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Macuilxochitl is one of five gods of excess pleasure, and the punishment that follows.", "description": "This figure probably represents an Aztec deity-either Macuilxochitl or Xochipilli-whose domain was beauty, the arts, and such pleasures as gameplaying, dancing, and sex. Both names include the Aztec word for \"flower,\" and in one hand the figure holds a cone of flowers, perhaps the blossoming crown of a cactus. For the Aztecs, flowers signified beauty, refinement, and fertility in general and sexuality in particular. The burden of maize cobs on his back also may allude to his creative energies.", "citations": [], "url": "https://clevelandart.org/art/1949.555", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1949.555/1949.555_web.jpg", "width": "915", "height": "893", "filesize": "456314", "filename": "1949.555_web.jpg" } }, "alternate_images": [], "creditline": "The Norweb Collection", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 127239, "creators": [], "legal_status": "accessioned", "accession_date": "1949-12-23T00:00:00", "sortable_date": 1325, "date_text": "1325–1521", "is_highlight": false, "updated_at": "2024-02-09 18:04:40.112000", "legacy": [] }, { "id": 147480, "accession_number": "1973.213", "share_license_status": "CC0", "tombstone": "Ballgame Hip Protector (Yoke), 600–900. Mexico, Gulf Coast, Classic Veracruz style (600-1100). Greenstone, pigment; overall: 41.5 x 37.5 x 11 cm (16 5/16 x 14 3/4 x 4 5/16 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 1973.213", "current_location": "233 Mesoamerican and Intermediate Region", "title": "Ballgame Hip Protector (Yoke)", "creation_date": "600–900", "creation_date_earliest": 600, "creation_date_latest": 900, "artists_tags": [], "culture": [ "Mexico, Gulf Coast, Classic Veracruz style (600-1100)" ], "technique": "greenstone, pigment", "support_materials": [], "department": "Art of the Americas", "collection": "AA - Mesoamerica", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The ballgame was a team sport played on specially constructed rectangular courts and involved striking a large solid rubber ball without using your hands.", "description": "U-shaped ballgame sculptures imitate the shape of belt-like protectors, perhaps made of wood and padding, worn to shield ballplayers from injury when they returned the solid rubber ball from their hips. This fine example embodies a major theme of the ballgame: the connection between fertility and death. It is made of greenstone, a precious material that through its color symbolizes the lush burgeoning of nature after the rainy season. The imagery, however, is menacing: a monstrous head snarls from the curve, and human skulls appear on the sides.", "citations": [], "url": "https://clevelandart.org/art/1973.213", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1973.213/1973.213_web.jpg", "width": "1263", "height": "741", "filesize": "528198", "filename": "1973.213_web.jpg" } }, "alternate_images": [], "creditline": "Leonard C. Hanna, Jr. Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 147480, "creators": [], "legal_status": "accessioned", "accession_date": "1973-12-28T00:00:00", "sortable_date": 600, "date_text": "600–900", "is_highlight": false, "updated_at": "2024-02-09 18:06:09.728000", "legacy": [] }, { "id": 147519, "accession_number": "1973.3", "share_license_status": "CC0", "tombstone": "Ballgame Palma, c. 900–1100. Mexico, Gulf Coast, Classic Veracruz style (600-1100). Stone; overall: 49.2 x 23.5 x 11.4 cm (19 3/8 x 9 1/4 x 4 1/2 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1973.3", "current_location": "233 Mesoamerican and Intermediate Region", "title": "Ballgame Palma", "creation_date": "c. 900–1100", "creation_date_earliest": 900, "creation_date_latest": 1100, "artists_tags": [], "culture": [ "Mexico, Gulf Coast, Classic Veracruz style (600-1100)" ], "technique": "stone", "support_materials": [], "department": "Art of the Americas", "collection": "AA - Mesoamerica", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The Mesoamerican ballgame was played with a hard rubber ball that players bounced off their hips.", "description": "Stone palmas—so-called today for their palm frond-like shape—are ceremonial sculptures that may replicate lightweight gear worn over the chest during the ballgame. The scene on the back of this palma vividly illustrates the tie between the ballgame and sacrifice. A bat descends from the top, clutching severed human body parts, and at the center an upright figure brandishes a blade over a reclining victim. The scene's many animal figures, including the one on the front, may belong to ballgame mythology that now is lost.", "citations": [], "url": "https://clevelandart.org/art/1973.3", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1973.3/1973.3_web.jpg", "width": "617", "height": "893", "filesize": "332887", "filename": "1973.3_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 147519, "creators": [], "legal_status": "accessioned", "accession_date": "1973-02-12T00:00:00", "sortable_date": 900, "date_text": "c. 900–1100", "is_highlight": true, "updated_at": "2024-02-09 18:06:09.975000", "legacy": [] }, { "id": 125101, "accession_number": "1946.80", "share_license_status": "CC0", "tombstone": "Figural Pendant, 400–700. Panama, Darién or Venado Beach region, Openwork style, 5th-8th Century. Cast gold; overall: 7.8 x 5.3 x 2.3 cm (3 1/16 x 2 1/16 x 7/8 in.). The Cleveland Museum of Art, Gift of Mrs. Benjamin P. Bole 1946.80", "current_location": "233 Mesoamerican and Intermediate Region", "title": "Figural Pendant", "creation_date": "400–700", "creation_date_earliest": 400, "creation_date_latest": 700, "artists_tags": [], "culture": [ "Panama, Darién or Venado Beach region, Openwork style, 5th-8th Century" ], "technique": "cast gold", "support_materials": [], "department": "Art of the Americas", "collection": "AA - Intermediate Region", "type": "Metalwork", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This ornament was made with the lost-wax casting technique.", "description": "This emphatically male figure combines a human body with a composite animal head. The antlers are the stag's; the snout, perhaps a snarling feline's; and the hair is formed of braided serpents whose heads hiss from the figure's shoulders. The extended tongue may convey aggression or perhaps death because dying animals are depicted with lolling tongues. Either condition is in keeping with the creature's ferocity.", "citations": [], "url": "https://clevelandart.org/art/1946.80", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1946.80/1946.80_web.jpg", "width": "735", "height": "893", "filesize": "328272", "filename": "1946.80_web.jpg" } }, "alternate_images": [], "creditline": "Gift of Mrs. Benjamin P. Bole", "sketchfab_id": "bb5d1a75ed0e4068b9b965e4b6eb5945", "sketchfab_url": "https://sketchfab.com/models/bb5d1a75ed0e4068b9b965e4b6eb5945", "gallery_donor_text": "Jon A. Lindseth and Virginia M. Lindseth, PhD, Galleries of the Ancient Americas", "athena_id": 125101, "creators": [], "legal_status": "accessioned", "accession_date": "1946-01-22T00:00:00", "sortable_date": 400, "date_text": "400–700", "is_highlight": false, "updated_at": "2024-02-09 18:04:30.168000", "legacy": [] }, { "id": 136813, "accession_number": "1961.31", "share_license_status": "CC0", "tombstone": "Head Fragment, c. 900–300 BCE. Mesoamerica, Mexico, Olmec. Jadeite; overall: 7.4 x 6.2 x 5 cm (2 15/16 x 2 7/16 x 1 15/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1961.31", "current_location": "233 Mesoamerican and Intermediate Region", "title": "Head Fragment", "creation_date": "c. 900–300 BCE", "creation_date_earliest": -900, "creation_date_latest": -300, "artists_tags": [], "culture": [ "Mesoamerica, Mexico, Olmec" ], "technique": "jadeite", "support_materials": [], "department": "Art of the Americas", "collection": "AA - Mesoamerica", "type": "Jade", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [ { "id": 137109, "description": "Drawing of Olmec Jade Head, 1930–57. Miguel Covarrubias (Mexican, 1904–1957). Pen and ink over graphite; image: 7.2 x 4.2 cm (2 13/16 x 1 5/8 in.); sheet: 9.9 x 10.7 cm (3 7/8 x 4 3/16 in.). The Cleveland Museum of Art, Gift of John Wise 1961.77", "relationship": null }, { "id": 137110, "description": "Drawing of Olmec Jade Head, mid-1900s. Miguel Covarrubias (Mexican, 1904–1957). Pen and ink over graphite; image: 14.8 x 6.5 cm (5 13/16 x 2 9/16 in.); sheet: 16.9 x 8.4 cm (6 5/8 x 3 5/16 in.). The Cleveland Museum of Art, Gift of John Wise 1961.78", "relationship": null } ], "former_accession_numbers": [], "did_you_know": "In ancient Mesoamerica, jade was more valuable than gold.", "description": "This sensual head fragment may come from a seated or standing figure like those shown nearby, though much larger. The carving is exceptionally fine, from the slight under-eye puffiness to the delineation of the fleshy lips and the teeth. The profile face of supernatural being is incised just in front of each ear, perhaps indicating that the subject had special power.", "citations": [], "url": "https://clevelandart.org/art/1961.31", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1961.31/1961.31_web.jpg", "width": "898", "height": "893", "filesize": "366375", "filename": "1961.31_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 136813, "creators": [], "legal_status": "accessioned", "accession_date": "1961-02-20T00:00:00", "sortable_date": -900, "date_text": "c. 900–300 BCE", "is_highlight": true, "updated_at": "2024-02-09 18:05:20.069000", "legacy": [] }, { "id": 117824, "accession_number": "1938.431", "share_license_status": "CC0", "tombstone": "Plaque, c. 500–200 BCE. Peru, North Coast, Chongoyape(?), Chavín style (900-200 BCE). Hammered and cut gold; overall: 12.5 x 13.8 cm (4 15/16 x 5 7/16 in.). The Cleveland Museum of Art, Dudley P. Allen Fund 1938.431", "current_location": "232 Andean", "title": "Plaque", "creation_date": "c. 500–200 BCE", "creation_date_earliest": -500, "creation_date_latest": -200, "artists_tags": [], "culture": [ "Peru, North Coast, Chongoyape(?), Chavín style (900-200 BCE)" ], "technique": "hammered and cut gold", "support_materials": [], "department": "Art of the Americas", "collection": "AA - Andes", "type": "Jewelry", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Hammered gold ornaments have been produced in the Andes since 1500 BC.", "description": "These plaques showing a powerful Chavín deity may come from a group of gold objects found in a lavish tomb in the 1920s. One is shaped as the deity’s fanged head, its fur transformed into sixteen serpents that edge the plaque. On the other, the deity’s visually elusive body also appears: the clawed hands over the chest may clutch a horizontal staff, an emblem of authority; across the waist is a belt that sprouts serpents; and beneath are the legs and feet, which stand atop fanged masks.", "citations": [], "url": "https://clevelandart.org/art/1938.431", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1938.431/1938.431_web.jpg", "width": "1019", "height": "893", "filesize": "543857", "filename": "1938.431_web.jpg" } }, "alternate_images": [], "creditline": "Dudley P. Allen Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 117824, "creators": [], "legal_status": "accessioned", "accession_date": "1938-12-19T00:00:00", "sortable_date": -500, "date_text": "c. 500–200 BCE", "is_highlight": true, "updated_at": "2024-02-09 18:03:58.983000", "legacy": [] }, { "id": 143381, "accession_number": "1967.29", "share_license_status": "CC0", "tombstone": "Front Face of a Stela (Free-standing Stone with Relief), 692. Mesoamerica, Guatemala, Department of the Petén, El Perú (also known as Waka'), Maya (250-900), Classic period (200-1000). Limestone; overall: 274.4 x 182.3 cm (108 1/16 x 71 3/4 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1967.29", "current_location": "233 Mesoamerican and Intermediate Region", "title": "Front Face of a Stela (Free-standing Stone with Relief)", "creation_date": "692", "creation_date_earliest": 692, "creation_date_latest": 692, "artists_tags": [], "culture": [ "Mesoamerica, Guatemala, Department of the Petén, El Perú (also known as Waka'), Maya (250-900), Classic period (200-1000)" ], "technique": "limestone", "support_materials": [], "department": "Art of the Americas", "collection": "AA - Mesoamerica", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": "Guatemala, Department of the Petén, El Perú (also known as Waka')", "related_works": [], "former_accession_numbers": [], "did_you_know": "The powerful Maya queen shown on this stela is known as Lady K’abel.", "description": "In stone sculpture, Maya rulers celebrated the milestones of their reigns with flamboyant portraits like this image of a royal woman, created to mark the passage of a twenty-year period known as the k’atun. She originally stood in a plaza next to a portrait of her spouse (see photo), with whom she ruled El Perú-Waka’, a provincial Maya town. A member of the powerful dynasty of a nearby Maya center, she seems to have held higher authority than her husband, serving as a military governor. Her costume reflects her status: the headdress has a fan of green quetzal feathers and her jewelry probably refers to jade-both among the most prized of ancient materials. Jade beads also may form the net over her garment, belted with the head of a fish-like creature. Completing the costume are the scepter and shield she grasps in her hands. The dwarf at her side may be a court attendant. The hieroglyphic text refers to important dynastic dates.", "citations": [], "url": "https://clevelandart.org/art/1967.29", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1967.29/1967.29_web.jpg", "width": "616", "height": "900", "filesize": "277248", "filename": "1967.29_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Jon A. Lindseth and Virginia M. Lindseth, PhD, Galleries of the Ancient Americas", "athena_id": 143381, "creators": [], "legal_status": "accessioned", "accession_date": "1967-01-30T00:00:00", "sortable_date": 692, "date_text": "692", "is_highlight": true, "updated_at": "2024-02-09 18:05:53.737000", "legacy": [] }, { "id": 142024, "accession_number": "1965.550", "share_license_status": "CC0", "tombstone": "Shell with Seated Noble, 600–900. Mexico or Central America, Maya. Conch shell; overall: 16.6 x 7.9 x 3.5 cm (6 9/16 x 3 1/8 x 1 3/8 in.). The Cleveland Museum of Art, The Norweb Collection 1965.550", "current_location": "233 Mesoamerican and Intermediate Region", "title": "Shell with Seated Noble", "creation_date": "600–900", "creation_date_earliest": 600, "creation_date_latest": 900, "artists_tags": [], "culture": [ "Mexico or Central America, Maya" ], "technique": "conch shell", "support_materials": [], "department": "Art of the Americas", "collection": "AA - Mesoamerica", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "A Maya nobleman smokes a cigar as he reaches toward a shell with a serpent.", "description": "This plaque, perhaps meant to be held in the hand for close viewing, is delicately incised with a ruler who leans toward a serpent-headed conch shell at the lower left. The lord, who smokes a cigar, is simply dressed in a loincloth; a band of body paint or tattoos appears on his chest.", "citations": [], "url": "https://clevelandart.org/art/1965.550", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1965.550/1965.550_web.jpg", "width": "567", "height": "893", "filesize": "297420", "filename": "1965.550_web.jpg" } }, "alternate_images": [], "creditline": "The Norweb Collection", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142024, "creators": [], "legal_status": "accessioned", "accession_date": "1966-01-03T00:00:00", "sortable_date": 600, "date_text": "600–900", "is_highlight": false, "updated_at": "2024-02-09 18:05:48.338000", "legacy": [] }, { "id": 118475, "accession_number": "1939.509", "share_license_status": "CC0", "tombstone": "Pendant, 400–700. Panama, International Style, 5th-8th century. Cast gold; overall: 7.4 x 5.2 x 5.2 cm (2 15/16 x 2 1/16 x 2 1/16 in.). The Cleveland Museum of Art, The Norweb Collection 1939.509", "current_location": "233 Mesoamerican and Intermediate Region", "title": "Pendant", "creation_date": "400–700", "creation_date_earliest": 400, "creation_date_latest": 700, "artists_tags": [], "culture": [ "Panama, International Style, 5th-8th century" ], "technique": "cast gold", "support_materials": [], "department": "Art of the Americas", "collection": "AA - Intermediate Region", "type": "Metalwork", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In the Panama-Costa Rica region, gold ornaments were associated with political and religious authority.", "description": null, "citations": [], "url": "https://clevelandart.org/art/1939.509", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1939.509/1939.509_web.jpg", "width": "924", "height": "893", "filesize": "438203", "filename": "1939.509_web.jpg" } }, "alternate_images": [], "creditline": "The Norweb Collection", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Jon A. Lindseth and Virginia M. Lindseth, PhD, Galleries of the Ancient Americas", "athena_id": 118475, "creators": [], "legal_status": "accessioned", "accession_date": "1939-10-25T00:00:00", "sortable_date": 400, "date_text": "400–700", "is_highlight": false, "updated_at": "2024-02-09 18:04:01.189000", "legacy": [] }, { "id": 155904, "accession_number": "1991.20", "share_license_status": "CC0", "tombstone": "\"Horned\" Male (Dwarf?), 100 BCE–300 CE. West Mexico, Colima, Comala style. Earthenware with colored slips, black burial deposits; overall: 41.5 x 24.9 x 24.7 cm (16 5/16 x 9 13/16 x 9 3/4 in.). The Cleveland Museum of Art, Fiftieth anniversary gift of the Womens Council in honor of the Museum's Seventy-fifth anniversary 1991.20", "current_location": "233 Mesoamerican and Intermediate Region", "title": "\"Horned\" Male (Dwarf?)", "creation_date": "100 BCE–300 CE", "creation_date_earliest": -100, "creation_date_latest": 300, "artists_tags": [], "culture": [ "West Mexico, Colima, Comala style" ], "technique": "earthenware with colored slips, black burial deposits", "support_materials": [], "department": "Art of the Americas", "collection": "AA - Mesoamerica", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This figure’s “horn” may be the spire of a conch shell, a reference to fertility.", "description": "This figure’s concentrated, otherworldly expression is emphasized by the hornlike element strapped to its forehead. This \"horn\" may be the spire of a conch shell, which comes from water and, therefore, refers to fertility—likely an important ritual concern of West Mexican chiefs. The element also could represent the \"horn of power\" worn in some areas of the world by shamans, the spiritual leaders and healers of small, non-industrial societies.", "citations": [], "url": "https://clevelandart.org/art/1991.20", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1991.20/1991.20_web.jpg", "width": "681", "height": "893", "filesize": "352835", "filename": "1991.20_web.jpg" } }, "alternate_images": [], "creditline": "Fiftieth anniversary gift of the Womens Council in honor of the Museum's Seventy-fifth anniversary", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 155904, "creators": [], "legal_status": "accessioned", "accession_date": "1991-03-27T00:00:00", "sortable_date": -100, "date_text": "100 BCE–300 CE", "is_highlight": true, "updated_at": "2024-02-09 18:06:50.883000", "legacy": [] }, { "id": 138881, "accession_number": "1963.252", "share_license_status": "CC0", "tombstone": "Mural Fragment with Elite Male and Maguey Cactus Leaves, 500–550. Central Mexico, Tlacuilapaxco apartment compound(?), Teotihuacán style, Classic Period. Fresco on wall fragment; overall: 83.2 x 116.2 cm (32 3/4 x 45 3/4 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1963.252", "current_location": "233 Mesoamerican and Intermediate Region", "title": "Mural Fragment with Elite Male and Maguey Cactus Leaves", "creation_date": "500–550", "creation_date_earliest": 500, "creation_date_latest": 550, "artists_tags": [], "culture": [ "Central Mexico, Tlacuilapaxco apartment compound(?), Teotihuacán style, Classic Period" ], "technique": "fresco on wall fragment", "support_materials": [], "department": "Art of the Americas", "collection": "AA - Mesoamerica", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This fragment is from a larger composition that covered the walls of a patio at Teotihuacan.", "description": "This richly dressed elite male belonged to a row of identical figures who processed along the walls of a patio in one of Teotihuacán’s wealthy apartment compounds. He offers a chant or prayer, materialized in a mouth scroll, along with a flower-filled libation that cascades from one hand. In the other hand, he carries an incense bag. The thorny spines of the maguey cactus, in front and behind, may allude to the offering of precious blood and a ritual beverage made from the cactus’s sap (pulque, a less refined form of tequila). The spines are thrust into objects that may represent bundles or plots of land.", "citations": [], "url": "https://clevelandart.org/art/1963.252", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1963.252/1963.252_web.jpg", "width": "900", "height": "626", "filesize": "324153", "filename": "1963.252_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 138881, "creators": [], "legal_status": "accessioned", "accession_date": "1963-11-30T00:00:00", "sortable_date": 500, "date_text": "500–550", "is_highlight": true, "updated_at": "2024-02-09 18:05:31.636000", "legacy": [] }, { "id": 155454, "accession_number": "1990.180", "share_license_status": "CC0", "tombstone": "Vessel with Ballplayer, c. 600–1000. Mexico, Yucatán, Maya (Chocholá) style (250-900). Earthenware, pigment; diameter: 18.1 x 15.6 cm (7 1/8 x 6 1/8 in.); overall: 18 cm (7 1/16 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. James C. Gruener 1990.180", "current_location": "233 Mesoamerican and Intermediate Region", "title": "Vessel with Ballplayer", "creation_date": "c. 600–1000", "creation_date_earliest": 600, "creation_date_latest": 1000, "artists_tags": [], "culture": [ "Mexico, Yucatán, Maya (Chocholá) style (250-900)" ], "technique": "earthenware, pigment", "support_materials": [], "department": "Art of the Americas", "collection": "AA - Mesoamerica", "type": "Ceramic", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This vessel was once broken into 34 pieces before being repaired.", "description": "Many Mesoamerican people played ball games, using their hips rather than hands and feet to keep the heavy, solid rubber ball in play. Here a Maya ballplayer, wearing a thick protector to shield his torso from injury, dives to intercept the ball, which hovers in front of his face. The scene is situated within stepped walls, probably those of a ball court.", "citations": [], "url": "https://clevelandart.org/art/1990.180", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1990.180/1990.180_web.jpg", "width": "714", "height": "893", "filesize": "355338", "filename": "1990.180_web.jpg" } }, "alternate_images": [], "creditline": "Gift of Mr. and Mrs. James C. Gruener", "sketchfab_id": "c1ddf562b5bf4d5ba5304ddf2b567cd2", "sketchfab_url": "https://sketchfab.com/models/c1ddf562b5bf4d5ba5304ddf2b567cd2", "gallery_donor_text": null, "athena_id": 155454, "creators": [], "legal_status": "accessioned", "accession_date": "1991-03-27T00:00:00", "sortable_date": 600, "date_text": "c. 600–1000", "is_highlight": false, "updated_at": "2024-02-09 18:06:48.789000", "legacy": [] }, { "id": 155432, "accession_number": "1990.160", "share_license_status": "CC0", "tombstone": "Crocodile Pendant, 1000–1550. Panama, Azuero Peninsula, Parita style, 11th-16th century. Cast gold, modern greenstone; overall: 6.5 x 5.5 x 4.4 cm (2 9/16 x 2 3/16 x 1 3/4 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. James C. Gruener 1990.160", "current_location": "233 Mesoamerican and Intermediate Region", "title": "Crocodile Pendant", "creation_date": "1000–1550", "creation_date_earliest": 1000, "creation_date_latest": 1550, "artists_tags": [], "culture": [ "Panama, Azuero Peninsula, Parita style, 11th-16th century" ], "technique": "cast gold, modern greenstone", "support_materials": [], "department": "Art of the Americas", "collection": "AA - Intermediate Region", "type": "Metalwork", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The greenstone replaced a piece of carved whale bone that was once improperly paired with the pendant.", "description": "Of great importance in ancient Panama were beings that combined crocodile features, especially the mouth, with lizard traits, such as the iguana’s head crest. This example also has a back-swept nose, perhaps that of the leaf-nosed bat. The greenstone is a modern replacement for a stone or shell that once completed the crocodile’s body.", "citations": [], "url": "https://clevelandart.org/art/1990.160", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1990.160/1990.160_web.jpg", "width": "879", "height": "893", "filesize": "363741", "filename": "1990.160_web.jpg" } }, "alternate_images": [], "creditline": "Gift of Mr. and Mrs. James C. Gruener", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 155432, "creators": [], "legal_status": "accessioned", "accession_date": "1991-03-27T00:00:00", "sortable_date": 1000, "date_text": "1000–1550", "is_highlight": false, "updated_at": "2024-02-09 18:06:48.657000", "legacy": [] }, { "id": 123806, "accession_number": "1944.319", "share_license_status": "CC0", "tombstone": "Staff Head(?), c. 400–700. Colombia or Panama, International style, 5th-8th Century. Cast gold; overall: 8.3 x 7.2 x 2.4 cm (3 1/4 x 2 13/16 x 15/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1944.319", "current_location": "233 Mesoamerican and Intermediate Region", "title": "Staff Head(?)", "creation_date": "c. 400–700", "creation_date_earliest": 400, "creation_date_latest": 700, "artists_tags": [], "culture": [ "Colombia or Panama, International style, 5th-8th Century" ], "technique": "cast gold", "support_materials": [], "department": "Art of the Americas", "collection": "AA - Intermediate Region", "type": "Metalwork", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "The two-headed beast that crouches on the top of this object-perhaps a staff finial (head)-holds a human head or perhaps a mask between its paws. The silken surface and simple, elegant design identify the finial as of the International style, so-called because it crossed ancient boundaries and is found in Colombia as well as Costa Rica and Panama.", "citations": [], "url": "https://clevelandart.org/art/1944.319", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1944.319/1944.319_web.jpg", "width": "1055", "height": "893", "filesize": "462881", "filename": "1944.319_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 123806, "creators": [], "legal_status": "accessioned", "accession_date": "1944-11-06T00:00:00", "sortable_date": 400, "date_text": "c. 400–700", "is_highlight": false, "updated_at": "2024-02-09 18:04:24.148000", "legacy": [] }, { "id": 159277, "accession_number": "1995.72", "share_license_status": "CC0", "tombstone": "Lidded Bowl with Iguana, c. 600–1100 (Thermoluminescence date, 995–1395). Costa Rica, Southern Nicoya region. Ceramic, slip; base: 15.1 x 35 cm (5 15/16 x 13 3/4 in.); lid: 29.9 x 38 cm (11 3/4 x 14 15/16 in.). The Cleveland Museum of Art, Norman O. Stone and Ella A. Stone Memorial Fund 1995.72", "current_location": "233 Mesoamerican and Intermediate Region", "title": "Lidded Bowl with Iguana", "creation_date": "c. 600–1100 (Thermoluminescence date, 995–1395)", "creation_date_earliest": 600, "creation_date_latest": 1100, "artists_tags": [], "culture": [ "Costa Rica, Southern Nicoya region" ], "technique": "ceramic, slip", "support_materials": [], "department": "Art of the Americas", "collection": "AA - Intermediate Region", "type": "Ceramic", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Green iguanas can grow to be over 6 feet long.", "description": "At the time of the Spanish conquest in the 16th century, Costa Rican mythology linked iguanas to the sky and to rulers. The earlier makers of this vessel left no written records, but they may have had similar beliefs. The lizard poses as though basking in the sun, a celestial body, and assumes an aggressive stance that could be likened to a ruler's: the teeth and chin under the dewlap are displayed, Also, fine ceramics like this were buried in the graves of the high-status dead, some of them certainly leaders of the several groups that competed in the area.", "citations": [], "url": "https://clevelandart.org/art/1995.72", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1995.72/1995.72_web.jpg", "width": "965", "height": "893", "filesize": "82345", "filename": "1995.72_web.jpg" } }, "alternate_images": [], "creditline": "Norman O. Stone and Ella A. Stone Memorial Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 159277, "creators": [], "legal_status": "accessioned", "accession_date": "1995-12-04T00:00:00", "sortable_date": 600, "date_text": "c. 600–1100 (Thermoluminescence date, 995–1395)", "is_highlight": true, "updated_at": "2024-02-09 18:07:11.125000", "legacy": [] }, { "id": 160142, "accession_number": "1998.1", "share_license_status": "CC0", "tombstone": "Animal-Headed Figure Pendant, c. 1000–1550. Panama, Veraguas or Parita style, c. 1000-1550. Cast gold; overall: 10.5 x 9.8 x 2 cm (4 1/8 x 3 7/8 x 13/16 in.). The Cleveland Museum of Art, John L. Severance Fund 1998.1", "current_location": "233 Mesoamerican and Intermediate Region", "title": "Animal-Headed Figure Pendant", "creation_date": "c. 1000–1550", "creation_date_earliest": 1000, "creation_date_latest": 1550, "artists_tags": [], "culture": [ "Panama, Veraguas or Parita style, c. 1000-1550" ], "technique": "cast gold", "support_materials": [], "department": "Art of the Americas", "collection": "AA - Intermediate Region", "type": "Metalwork", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [ "861.1994" ], "did_you_know": "The figure wears an elaborate headdress that is flanked by fierce-looking crocodilians in profile.", "description": "The culture area that extends from southern Central America to northern South America is generally referred to as the Intermediate Region because of its location between the two high culture zones of Mesoamerica and the central Andes. Research to date indicates that the pre-Columbian peoples of the Intermediate Region were organized into small, competitive chiefdoms, rather than large-scale states or empires. Despite political competition and warfare, trade in prestige goods such as jade and gold was common. Gold, obtained through panning and mining, was worked by hammering and lost-wax casting to produce intricate and showy personal ornaments.

The pendant represents a supernatural being, perhaps a fantastic crocodilian. It has projecting, tubelike eyes, a snout full of sharp teeth, and snake-headed streamers emanating from the nostrils. The simplified lower body consists of broad, flat legs, with large, curved talons at the ends of the feet. The elaborate headdress includes two central semidomes, flanked by fierce-looking profile crocodilians.", "citations": [], "url": "https://clevelandart.org/art/1998.1", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1998.1/1998.1_web.jpg", "width": "719", "height": "893", "filesize": "324890", "filename": "1998.1_web.jpg" } }, "alternate_images": [], "creditline": "John L. Severance Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 160142, "creators": [], "legal_status": "accessioned", "accession_date": "1998-03-09T00:00:00", "sortable_date": 1000, "date_text": "c. 1000–1550", "is_highlight": false, "updated_at": "2024-02-09 18:07:16.490000", "legacy": [] }, { "id": 151964, "accession_number": "1984.37", "share_license_status": "CC0", "tombstone": "Figure of a Warrior, after 1325 (thermoluminescence date of casting core, 1345–1575). Central Mexico, Tetzcoco?, Aztec, Post-Classic Period. Gold-silver-copper alloy (cast); overall: 11.2 x 6.1 cm (4 7/16 x 2 3/8 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 1984.37", "current_location": "233 Mesoamerican and Intermediate Region", "title": "Figure of a Warrior", "creation_date": "after 1325 (thermoluminescence date of casting core, 1345–1575)", "creation_date_earliest": 1325, "creation_date_latest": 1575, "artists_tags": [], "culture": [ "Central Mexico, Tetzcoco?, Aztec, Post-Classic Period" ], "technique": "gold-silver-copper alloy (cast)", "support_materials": [], "department": "Art of the Americas", "collection": "AA - Mesoamerica", "type": "Metalwork", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The calendar glyphs on the figure's back read \"2 Rabbit, 3 Water.\"", "description": "The elite status of this warrior, who holds a dartthrower, darts, and a shield, is revealed by the gold from which he is made as well as his jewelry and sandals. Military accomplishment was prized by the Aztecs, whose imperial expansion was fueled by ambition as well as their belief that they were chosen to uphold cosmic order through war. The purpose of the chest cavity is unclear; the figurine may have been worn as a pendant.", "citations": [], "url": "https://clevelandart.org/art/1984.37", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1984.37/1984.37_web.jpg", "width": "682", "height": "893", "filesize": "342591", "filename": "1984.37_web.jpg" } }, "alternate_images": [], "creditline": "Leonard C. Hanna, Jr. Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 151964, "creators": [], "legal_status": "accessioned", "accession_date": "1984-05-21T00:00:00", "sortable_date": 1325, "date_text": "after 1325 (thermoluminescence date of casting core, 1345–1575)", "is_highlight": true, "updated_at": "2024-02-09 18:06:32.393000", "legacy": [] }, { "id": 172523, "accession_number": "2015.3", "share_license_status": "CC0", "tombstone": "Finial with Bird (Harpy Eagle with Royal Flycatcher Crest?), 400–1000. Isthmian Region (Colombia), Sinú (Zenú), 5th century-11th century. Gold, cast; overall: 11.4 x 7.2 x 6 cm (4 1/2 x 2 13/16 x 2 3/8 in.). The Cleveland Museum of Art, Severance and Greta Millikin Purchase Fund 2015.3", "current_location": "233 Mesoamerican and Intermediate Region", "title": "Finial with Bird (Harpy Eagle with Royal Flycatcher Crest?)", "creation_date": "400–1000", "creation_date_earliest": 400, "creation_date_latest": 1000, "artists_tags": [], "culture": [ "Isthmian Region (Colombia), Sinú (Zenú), 5th century-11th century" ], "technique": "gold, cast", "support_materials": [], "department": "Art of the Americas", "collection": "AA - Intermediate Region", "type": "Metalwork", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "A museum visitor corrected our identification of this bird!", "description": "This gold finial fit over the end of a staff, an emblem of rank. The bird has the hooked beak of a raptor—perhaps the harpy eagle, the “king” of tropical forests. The enormous crest, however, may be inspired by the Royal Flycatcher, a smaller bird that fans its unique, brilliantly colored crest during mating.", "citations": [], "url": "https://clevelandart.org/art/2015.3", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/2015.3/2015.3_web.jpg", "width": "717", "height": "900", "filesize": "130767", "filename": "2015.3_web.jpg" } }, "alternate_images": [], "creditline": "Severance and Greta Millikin Purchase Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 172523, "creators": [], "legal_status": "accessioned", "accession_date": "2015-04-07T00:00:00", "sortable_date": 400, "date_text": "400–1000", "is_highlight": false, "updated_at": "2024-02-09 18:08:33.079000", "legacy": [] }, { "id": 165256, "accession_number": "2007.193", "share_license_status": "CC0", "tombstone": "Sacrificer Container, 770–890 (radiocarbon date, 95% probability). Central Andes, Wari style (600-1000). Wood and cinnabar; overall: 10.8 x 7 x 7.5 cm (4 1/4 x 2 3/4 x 2 15/16 in.). The Cleveland Museum of Art, John L. Severance Fund 2007.193", "current_location": "232 Andean", "title": "Sacrificer Container", "creation_date": "770–890 (radiocarbon date, 95% probability)", "creation_date_earliest": 770, "creation_date_latest": 890, "artists_tags": [], "culture": [ "Central Andes, Wari style (600-1000)" ], "technique": "wood and cinnabar", "support_materials": [], "department": "Art of the Americas", "collection": "AA - Andes", "type": "Wood", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Traces of cinnabar, a toxic mercuric sulfide, are visible on the container's surface.", "description": "This container assumes the shape of a magnificent, feline-headed, supernatural sacrificer who draws a knife across the throat of the human it holds in its lap. Severed human heads hang from the feline's belt and dangle by the trachea at the back of its headdress. Sacrifice had a place in Wari religious practice, probably as an unusual and exceptionally precious offering made to entice the benevolence of cosmic forces. Indeed, colonial-period Andean people believed that death was a prerequisite for the renewal of the world.", "citations": [], "url": "https://clevelandart.org/art/2007.193", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/2007.193/2007.193_web.jpg", "width": "838", "height": "900", "filesize": "201529", "filename": "2007.193_web.jpg" } }, "alternate_images": [], "creditline": "John L. Severance Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 165256, "creators": [], "legal_status": "accessioned", "accession_date": "2007-12-03T00:00:00", "sortable_date": 770, "date_text": "770–890 (radiocarbon date, 95% probability)", "is_highlight": true, "updated_at": "2024-02-09 18:07:47.063000", "legacy": [] }, { "id": 163543, "accession_number": "2004.85", "share_license_status": "CC0", "tombstone": "Staff of Office, early to mid-1800s. Central Africa, Democratic Republic of the Congo, Luba. Wood and iron; overall: 170 x 13.3 cm (66 15/16 x 5 1/4 in.). The Cleveland Museum of Art, John L. Severance Fund 2004.85", "current_location": "001A ArtLens Exhibition", "title": "Staff of Office", "creation_date": "early to mid-1800s", "creation_date_earliest": 1800, "creation_date_latest": 1850, "artists_tags": [], "culture": [ "Central Africa, Democratic Republic of the Congo, Luba" ], "technique": "Wood and iron", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The Yeke kingdom ruler Chief Msidi gave this as a gift of appreciation to the British missionary Frederick Stanley Arnot, whom the chief had invited to his kingdom.", "description": "Sanctified by a ritual specialist and enhanced with medicinal substances, the staff possessed supernatural qualities and was endowed with healing power. Luba staffs are among the most important regalia of Luba kings. The metal point alludes to the kingdom's stability and durability. Each staff has its own distinctive iconography to reflect regional styles. As Chief Msidi (former owner of this staff) ruled over the Yeke kingdom (and not the Luba kingdom), it begs the question of how he acquired this symbol of another realm's power.", "citations": [], "url": "https://clevelandart.org/art/2004.85", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/2004.85/2004.85_web.jpg", "width": "277", "height": "893", "filesize": "82866", "filename": "2004.85_web.jpg" } }, "alternate_images": [], "creditline": "John L. Severance Fund", "sketchfab_id": "54584c2569dd49798a49f1987fed4317", "sketchfab_url": "https://sketchfab.com/models/54584c2569dd49798a49f1987fed4317", "gallery_donor_text": null, "athena_id": 163543, "creators": [], "legal_status": "accessioned", "accession_date": "2004-12-06T00:00:00", "sortable_date": 1800, "date_text": "early to mid-1800s", "is_highlight": true, "updated_at": "2024-02-09 18:07:36.966000", "legacy": [] }, { "id": 153765, "accession_number": "1987.62", "share_license_status": "CC0", "tombstone": "Commemorative figure (lefem), mid-1800s–1910. Probably carved by Ateu Atsa (Bangwa, c. 1840–1910). Wood; overall: 92.1 x 20.3 cm (36 1/4 x 8 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1987.62", "current_location": "108A Sub-Saharan", "title": "Commemorative figure (lefem)", "creation_date": "mid-1800s–1910", "creation_date_earliest": 1850, "creation_date_latest": 1910, "artists_tags": [ "male" ], "culture": [ "Africa, Central Africa, Cameroon, Bangwa Kingdom" ], "technique": "wood", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Ateu Atsa was both a famous and infamous artist! It is said that he enraged a ruler by portraying him realistically rather than in an idealized way, and was chased out of town after the sculpture was revealed.", "description": "Adorned with royal attire consisting of a cap, beaded necklace, folded loincloth, and drinking horn, this figure was carved as a commemorative portrait of a historical king or high dignitary. It was kept by a secret association called Lefem, whose members gathered weekly in a sacred space in the forest to discuss matters related to the welfare of the kingdom. Standing in a royal shrine, the figure witnessed sacrifices made to the skulls of the chief’s ancestors. Meant to safeguard the kingdom and protect the fecundity of its inhabitants, it was also exhibited during funerals and royal ceremonies.", "citations": [], "url": "https://clevelandart.org/art/1987.62", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1987.62/1987.62_web.jpg", "width": "582", "height": "893", "filesize": "265074", "filename": "1987.62_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 153765, "creators": [ { "id": 49917, "description": "Ateu Atsa (Bangwa, c. 1840–1910)", "extent": "carved by", "qualifier": "probably carved by", "role": "carver", "biography": null, "name_in_original_language": null, "birth_year": "ca. 1840", "death_year": "1910" } ], "legal_status": "accessioned", "accession_date": "1987-08-19T00:00:00", "sortable_date": 1850, "date_text": "mid-1800s–1910", "is_highlight": false, "updated_at": "2024-02-09 18:06:40.865000", "legacy": [] }, { "id": 159023, "accession_number": "1995.23", "share_license_status": "CC0", "tombstone": "Ifá diviner's necklace (òdìgbà Ifá), 1900s. Africa, West Africa, Nigeria, Yorùbá-style maker. Cloth, glass beads, cardboard, cotton, probably wool, and wood; overall: 49.5 cm (19 1/2 in.); bag: 21.5 x 19.6 cm (8 7/16 x 7 11/16 in.). The Cleveland Museum of Art, Andrew R. and Martha Holden Jennings Fund 1995.23", "current_location": "108C Akan & Yoruba", "title": "Ifá diviner's necklace (òdìgbà Ifá)", "creation_date": "1900s", "creation_date_earliest": 1900, "creation_date_latest": 1930, "artists_tags": [], "culture": [ "Africa, West Africa, Nigeria, Yorùbá-style maker" ], "technique": "Cloth, glass beads, cardboard, cotton, probably wool, and wood", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Implements", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [ "1995.23.a", "1995.23.b" ], "did_you_know": "Look closely at the minuscule beads used to make the complex patterns of this multicolored necklace containing two pouches with thin strands that are connected by rope-like cords. A Yoruba diviner would have communicated with the spirit world while wearing this accessory.", "description": "The use of colorful glass beads adds luster to the divination session and underlines the high status diviners enjoy in Yorùbá society. Like kings, diviners derive their authority from the otherworld, òrún. A beaded necklace with two beaded pouches is an accessory carried by the itinerant Yorùbá diviner. Substances sewn into the miniature bags protect the diviner and ensure his power.", "citations": [], "url": "https://clevelandart.org/art/1995.23", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1995.23/1995.23_web.jpg", "width": "917", "height": "893", "filesize": "576481", "filename": "1995.23_web.jpg" } }, "alternate_images": [], "creditline": "Andrew R. and Martha Holden Jennings Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 159023, "creators": [], "legal_status": "accessioned", "accession_date": "1995-06-07T00:00:00", "sortable_date": 1900, "date_text": "1900s", "is_highlight": false, "updated_at": "2024-02-09 18:07:09.338000", "legacy": [] }, { "id": 143898, "accession_number": "1968.284", "share_license_status": "CC0", "tombstone": "Ancestral Altar Tusk, c. 1820. Nigeria, Benin Kingdom, Ẹdo peoples, members of the Igbesanmwan (wood and ivory carvers) guild. Elephant ivory; overall: 197.4 cm (77 11/16 in.). The Cleveland Museum of Art, Gift of Katherine C. White 1968.284", "current_location": "108A Sub-Saharan", "title": "Ancestral Altar Tusk", "creation_date": "c. 1820", "creation_date_earliest": 1815, "creation_date_latest": 1825, "artists_tags": [], "culture": [ "Nigeria, Benin Kingdom, Ẹdo peoples, members of the Igbesanmwan (wood and ivory carvers) guild" ], "technique": "Elephant ivory", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [ "1033.68" ], "did_you_know": "Originally, this carved tusk was placed on an ancestral altar as part of an ensemble of objects made to memorialize a deceased Ọba (ruler).", "description": "Ọba Ọsẹmwẹdẹ commissioned the carving of this tusk to connect with his ancestors and symbolize his strength. It is covered with royal figures wearing elaborate regalia and scenes of power, ritual, and violence. While Benin royal symbols may look similar across centuries, their meanings can shift. Ọsẹmwẹdẹ’s reign was prosperous due to trade with the Dutch; however, 16th-century Portuguese men are carved on the lower tusk. By the 1800s they represented any European traders. This tusk’s surface likely became worn and cracked from frequent washing, bleaching, and the applying of a white clay (orhue) linked to peace, purity, and prosperity.", "citations": [], "url": "https://clevelandart.org/art/1968.284", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1968.284/1968.284_web.jpg", "width": "900", "height": "874", "filesize": "163951", "filename": "1968.284_web.jpg" } }, "alternate_images": [], "creditline": "Gift of Katherine C. White", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 143898, "creators": [], "legal_status": "accessioned", "accession_date": "1969-01-22T00:00:00", "sortable_date": 1815, "date_text": "c. 1820", "is_highlight": false, "updated_at": "2024-02-09 18:05:55.120000", "legacy": [] }, { "id": 155510, "accession_number": "1990.23", "share_license_status": "CC0", "tombstone": "Headdress, early 1900s. Africa, West Africa, Nigeria, Ejagham-style maker. Wood, rawhide, cane, paint, bone or ivory, natural fiber, and metal; overall: 67.3 x 43.2 x 43.2 cm (26 1/2 x 17 x 17 in.). The Cleveland Museum of Art, Andrew R. and Martha Holden Jennings Fund 1990.23", "current_location": "108A Sub-Saharan", "title": "Headdress", "creation_date": "early 1900s", "creation_date_earliest": 1900, "creation_date_latest": 1925, "artists_tags": [], "culture": [ "Africa, West Africa, Nigeria, Ejagham-style maker" ], "technique": "Wood, rawhide, cane, paint, bone or ivory, natural fiber, and metal", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Mask", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The headdress represents a girl that evokes ideal female beauty and is ready for marriage. The depicted hairstyle was worn during the coming-out ceremony following the girls’ seclusion.", "description": "Headdresses or crest masks made of antelope skin stretched over a carved head are a distinctive art form of the Cross River region in southeastern Nigeria and western Cameroon. This female evocation of ideal feminine beauty was most probably worn by an Ejagham woman in the context of a female society called Ekpa, which was responsible for the education of girls in preparation for marriage.", "citations": [], "url": "https://clevelandart.org/art/1990.23", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1990.23/1990.23_web.jpg", "width": "632", "height": "893", "filesize": "298990", "filename": "1990.23_web.jpg" } }, "alternate_images": [], "creditline": "Andrew R. and Martha Holden Jennings Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 155510, "creators": [], "legal_status": "accessioned", "accession_date": "1990-09-06T00:00:00", "sortable_date": 1900, "date_text": "early 1900s", "is_highlight": false, "updated_at": "2024-02-09 18:06:49.121000", "legacy": [] }, { "id": 143174, "accession_number": "1967.152", "share_license_status": "CC0", "tombstone": "Figure (baàthíl), c. 1900. Burkina Faso, Ghana, or Côte d’Ivoire, Lobi–style artist. Wood and organic materials; overall: 63.6 cm (25 1/16 in.). The Cleveland Museum of Art, Gift in memory of Mr. and Mrs. Ralph M. Coe from various donors 1967.152", "current_location": "108A Sub-Saharan", "title": "Figure (baàthíl)", "creation_date": "c. 1900", "creation_date_earliest": 1895, "creation_date_latest": 1905, "artists_tags": [], "culture": [ "Burkina Faso, Ghana, or Côte d’Ivoire, Lobi–style artist" ], "technique": "Wood and organic materials", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Historically, figures like this baàthíl were associated with harmful spirits. Less common nowadays, they are used for different reasons, like to relieve suffering from malnutrition.", "description": "This headpost (baàthíl) was likely a temporary sanctuary for khélé, a harmful spirit released after killing a person or dangerous animal. Around 1900, members of the Milkuùr religious association used baàthíla to counteract khélé. While the head resembles that of a teenage girl with pierced upper lip and earlobes, the roughly hewn, pole-like bottom suggests otherwise. Buried in an altar, devotees ritually applied materials that darkened the exposed head. When the owner died, the khélé left the sculpture; no longer sacred, it was buried. Milkuùr’s strict rules ensure these objects are made from the appropriate wood and that artists’ names remain secret.", "citations": [], "url": "https://clevelandart.org/art/1967.152", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1967.152/1967.152_web.jpg", "width": "518", "height": "893", "filesize": "225749", "filename": "1967.152_web.jpg" } }, "alternate_images": [], "creditline": "Gift in memory of Mr. and Mrs. Ralph M. Coe from various donors", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 143174, "creators": [], "legal_status": "accessioned", "accession_date": "1967-10-27T00:00:00", "sortable_date": 1895, "date_text": "c. 1900", "is_highlight": false, "updated_at": "2024-02-09 18:05:52.724000", "legacy": [] }, { "id": 117905, "accession_number": "1938.6", "share_license_status": "CC0", "tombstone": "Ancestral Commemorative Head (uhunmwun-elao), possibly mid-1500s or early 1600s. Nigeria, Benin Kingdom, Ẹdo peoples, members of the Igun Eronmwon (royal brasscasters) guild. Copper alloy and iron; overall: 29.9 x 21.6 x 20.4 cm (11 3/4 x 8 1/2 x 8 1/16 in.). The Cleveland Museum of Art, Dudley P. Allen Fund 1938.6", "current_location": "108A Sub-Saharan", "title": "Ancestral Commemorative Head (uhunmwun-elao)", "creation_date": "possibly mid-1500s or early 1600s", "creation_date_earliest": 1550, "creation_date_latest": 1625, "artists_tags": [], "culture": [ "Nigeria, Benin Kingdom, Ẹdo peoples, members of the Igun Eronmwon (royal brasscasters) guild" ], "technique": "Copper alloy and iron", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The obas (kings) of the Benin Kingdom still wear coral headpieces and jewelry like this sculpted head depicts.", "description": "Brass heads are among many objects a new Ọba commissions when dedicating a shrine to their predecessor. This head of an Ọba wears layered necklaces of royal coral beads. Tubular beads adorn both the netted cap and slender braids alongside his temples. While representing an individual, his facial features and calm expression are idealized. The thickly cast head once supported a tusk. Immune to corrosion, brass symbolizes royal permanence. A personal religious object, this head sat on an ancestral altar in the Ọba’s palace. Like many works taken from Benin altars, this contrasts with its present-day public display in an American museum.", "citations": [], "url": "https://clevelandart.org/art/1938.6", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1938.6/1938.6_web.jpg", "width": "654", "height": "900", "filesize": "203827", "filename": "1938.6_web.jpg" } }, "alternate_images": [], "creditline": "Dudley P. Allen Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 117905, "creators": [], "legal_status": "accessioned", "accession_date": "1938-01-17T00:00:00", "sortable_date": 1550, "date_text": "possibly mid-1500s or early 1600s", "is_highlight": true, "updated_at": "2024-02-09 18:03:59.091000", "legacy": [] }, { "id": 115157, "accession_number": "1935.304", "share_license_status": "CC0", "tombstone": "Mask (Bwoom), mid- to late 1800s. Africa, Central Africa, Democratic Republic of Congo, Kuba-style carver. Wood and paint; overall: 43.3 x 31.2 x 28.3 cm (17 1/16 x 12 5/16 x 11 1/8 in.). The Cleveland Museum of Art, James Albert Ford Memorial Fund 1935.304", "current_location": "108A Sub-Saharan", "title": "Mask (Bwoom)", "creation_date": "mid- to late 1800s", "creation_date_earliest": 1850, "creation_date_latest": 1900, "artists_tags": [], "culture": [ "Africa, Central Africa, Democratic Republic of Congo, Kuba-style carver" ], "technique": "Wood and paint", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Mask", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [ "2500.35" ], "did_you_know": "Imagine this mask topped with eagle feathers; they would have been added only on special occasions when it was performed.", "description": "Among the Bushoong, the central Kuba group, the mask known as bwoom—most typically identified as the head of a hunter-gatherer—forms a triad with a female mask and another male mask. All three are protagonists in the reenactment of the foundation of the Kuba kingdom. Outside the capital, however, bwoom appears in different non-royal contexts, such as the men’s initiation society.", "citations": [], "url": "https://clevelandart.org/art/1935.304", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1935.304/1935.304_web.jpg", "width": "704", "height": "893", "filesize": "343848", "filename": "1935.304_web.jpg" } }, "alternate_images": [], "creditline": "James Albert Ford Memorial Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 115157, "creators": [], "legal_status": "accessioned", "accession_date": "1935-10-24T00:00:00", "sortable_date": 1850, "date_text": "mid- to late 1800s", "is_highlight": false, "updated_at": "2024-02-09 18:03:51.157000", "legacy": [] }, { "id": 115163, "accession_number": "1935.310", "share_license_status": "CC0", "tombstone": "Disk Pendant (akrafokɔnmu), 1800s, before 1896. Africa, West Africa, Ghana, Asante Empire/Kingdom, probably Kumasi, member of the goldsmiths’ guild. Gold; diameter: 9.8 cm (3 7/8 in.); overall: 1.3 cm (1/2 in.). The Cleveland Museum of Art, Dudley P. Allen Fund 1935.310", "current_location": "108C Akan & Yoruba", "title": "Disk Pendant (akrafokɔnmu)", "creation_date": "1800s, before 1896", "creation_date_earliest": 1800, "creation_date_latest": 1895, "artists_tags": [], "culture": [ "Africa, West Africa, Ghana, Asante Empire/Kingdom, probably Kumasi, member of the goldsmiths’ guild" ], "technique": "Gold", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Jewelry", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Akan goldsmiths were organized into guilds, a kind of specialized group of artisans.", "description": "Gold discs dangling on the chests of Akan state officials and elites showed their rank and duties. Worn by these akrafo (“soul people”) since the 1800s, they are often linked to kradware, officials who represent and purify (“wash”) the king’s soul. To make them, goldsmiths cast or flattened gold. Muslim North African gold coins likely inspired their form and material, while concentric water rings influenced their composition. This small disc is a typical pre-colonial example: asantehene (king) Prempeh I reportedly owned this disk. The British emptied his treasury after deposing and exiling him in 1896. Gold ornament making ceased until 1924; court officials now wear large discs.", "citations": [], "url": "https://clevelandart.org/art/1935.310", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1935.310/1935.310_web.jpg", "width": "939", "height": "893", "filesize": "519695", "filename": "1935.310_web.jpg" } }, "alternate_images": [], "creditline": "Dudley P. Allen Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 115163, "creators": [], "legal_status": "accessioned", "accession_date": "1935-10-24T00:00:00", "sortable_date": 1800, "date_text": "1800s, before 1896", "is_highlight": false, "updated_at": "2024-02-09 18:03:51.195000", "legacy": [] }, { "id": 168757, "accession_number": "2010.459", "share_license_status": "CC0", "tombstone": "Pair of Figures, late 1800s-early 1900s. Africa, Central Africa, Democratic Republic of Congo, probably Ngbandi-style carver. Wood, iron alloy, copper alloy, glass beads, plant fiber, and cloth; part 1: 45 x 15.5 x 9.2 cm (17 11/16 x 6 1/8 x 3 5/8 in.); part 2: 41 x 13 x 11.5 cm (16 1/8 x 5 1/8 x 4 1/2 in.). The Cleveland Museum of Art, René and Odette Delenne Collection, Leonard C. Hanna, Jr. Fund 2010.459", "current_location": "108A Sub-Saharan", "title": "Pair of Figures", "creation_date": "late 1800s-early 1900s", "creation_date_earliest": 1880, "creation_date_latest": -1920, "artists_tags": [], "culture": [ "Africa, Central Africa, Democratic Republic of Congo, probably Ngbandi-style carver" ], "technique": "Wood, iron alloy, copper alloy, glass beads, plant fiber, and cloth", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Odette Delenne, the collector of this pair, once stated that these figures reminded her of herself and her husband, René.", "description": "Carving of paired figures is quite well documented among the Ngbandi and its neighbors the Ngbaka-Minagende, where such sculptures are said to represent the mythical ancestor Seto and his sister-wife, Nabo. Field-based research cannot confirm the existence of figurative couples among the Ngbandi.", "citations": [], "url": "https://clevelandart.org/art/2010.459", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/2010.459/2010.459_web.jpg", "width": "852", "height": "900", "filesize": "146007", "filename": "2010.459_web.jpg" } }, "alternate_images": [], "creditline": "René and Odette Delenne Collection, Leonard C. Hanna, Jr. Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168757, "creators": [], "legal_status": "accessioned", "accession_date": "2006-06-05T00:00:00", "sortable_date": 1880, "date_text": "late 1800s-early 1900s", "is_highlight": false, "updated_at": "2024-02-09 18:08:09.625000", "legacy": [] }, { "id": 155499, "accession_number": "1990.22", "share_license_status": "CC0", "tombstone": "Memorial head (nsodie), late 1600s-early 1700s. Africa, West Africa, Ghana, Akan-style artist. Terracotta; overall: 19.1 x 13.6 x 15.5 cm (7 1/2 x 5 3/8 x 6 1/8 in.). The Cleveland Museum of Art, Edwin R. and Harriet Pelton Perkins Memorial Fund 1990.22", "current_location": "108C Akan & Yoruba", "title": "Memorial head (nsodie)", "creation_date": "late 1600s-early 1700s", "creation_date_earliest": 1675, "creation_date_latest": 1725, "artists_tags": [], "culture": [ "Africa, West Africa, Ghana, Akan-style artist" ], "technique": "Terracotta", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The woman who sculpted this head did so without making a sketch, working from her memory of the subject.", "description": "Before they died, Akan royal family members commissioned terracotta portraits, including heads like this one, from female artists. After royal burials, these idealized substitutes were placed in sacred groves outside the village where they were the focus of periodic libations, offerings, and prayers. The knobs on the head imitate a once popular male hairstyle having a tufted pattern.", "citations": [], "url": "https://clevelandart.org/art/1990.22", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1990.22/1990.22_web.jpg", "width": "820", "height": "900", "filesize": "245181", "filename": "1990.22_web.jpg" } }, "alternate_images": [], "creditline": "Edwin R. and Harriet Pelton Perkins Memorial Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 155499, "creators": [], "legal_status": "accessioned", "accession_date": "1990-09-06T00:00:00", "sortable_date": 1675, "date_text": "late 1600s-early 1700s", "is_highlight": true, "updated_at": "2024-02-13 19:49:09.228000", "legacy": [] }, { "id": 168759, "accession_number": "2010.459.2", "share_license_status": "CC0", "tombstone": "Female Figure of a Pair, late 1800s-early 1900s. Africa, Central Africa, Democratic Republic of Congo, probably Ngbandi-style carver. Wood, iron alloy, glass beads, plant fiber, and cloth; overall: 41 x 13 x 11.5 cm (16 1/8 x 5 1/8 x 4 1/2 in.). The Cleveland Museum of Art, René and Odette Delenne Collection, Leonard C. Hanna, Jr. Fund 2010.459.2", "current_location": "108A Sub-Saharan", "title": "Female Figure of a Pair", "creation_date": "late 1800s-early 1900s", "creation_date_earliest": 1880, "creation_date_latest": 1920, "artists_tags": [], "culture": [ "Africa, Central Africa, Democratic Republic of Congo, probably Ngbandi-style carver" ], "technique": "Wood, iron alloy, glass beads, plant fiber, and cloth", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Odette Delenne, the collector of this pair, said that these figures reminded her of herself and her husband, René.", "description": "Carving of paired figures is quite well documented among the Ngbandi and its neighbors the Ngbaka-Minagende, where such sculptures are said to represent the mythical ancestor Seto and his sister-wife, Nabo. Field-based research cannot confirm the existence of figurative couples among the Ngbandi.", "citations": [], "url": "https://clevelandart.org/art/2010.459.2", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/2010.459.2/2010.459.2_web.jpg", "width": "614", "height": "893", "filesize": "260349", "filename": "2010.459.2_web.jpg" } }, "alternate_images": [], "creditline": "René and Odette Delenne Collection, Leonard C. Hanna, Jr. Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168759, "creators": [], "legal_status": "accessioned", "accession_date": "2006-06-05T00:00:00", "sortable_date": 1880, "date_text": "late 1800s-early 1900s", "is_highlight": false, "updated_at": "2024-02-09 18:08:09.639000", "legacy": [] }, { "id": 168758, "accession_number": "2010.459.1", "share_license_status": "CC0", "tombstone": "Male Figure of a Pair, late 1800s-early 1900s. Africa, Central Africa, Democratic Republic of Congo, probably Ngbandi-style carver. Wood, iron alloy, copper alloy, and cloth; overall: 45 x 15.5 x 9.2 cm (17 11/16 x 6 1/8 x 3 5/8 in.). The Cleveland Museum of Art, René and Odette Delenne Collection, Leonard C. Hanna, Jr. Fund 2010.459.1", "current_location": "108A Sub-Saharan", "title": "Male Figure of a Pair", "creation_date": "late 1800s-early 1900s", "creation_date_earliest": 1880, "creation_date_latest": -1920, "artists_tags": [], "culture": [ "Africa, Central Africa, Democratic Republic of Congo, probably Ngbandi-style carver" ], "technique": "Wood, iron alloy, copper alloy, and cloth", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Odette Delenne, the collector of this pair, once stated that these figures reminded her of herself and her husband, René.", "description": "Carving of paired figures is quite well documented among the Ngbandi and its neighbors the Ngbaka-Minagende, where such sculptures are said to represent the mythical ancestor Seto and his sister-wife, Nabo. Field-based research cannot confirm the existence of figurative couples among the Ngbandi.", "citations": [], "url": "https://clevelandart.org/art/2010.459.1", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/2010.459.1/2010.459.1_web.jpg", "width": "629", "height": "893", "filesize": "261913", "filename": "2010.459.1_web.jpg" } }, "alternate_images": [], "creditline": "René and Odette Delenne Collection, Leonard C. Hanna, Jr. Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168758, "creators": [], "legal_status": "accessioned", "accession_date": "2006-06-05T00:00:00", "sortable_date": 1880, "date_text": "late 1800s-early 1900s", "is_highlight": false, "updated_at": "2024-02-09 18:08:09.632000", "legacy": [] }, { "id": 168721, "accession_number": "2010.428", "share_license_status": "CC0", "tombstone": "Male Figure, late 1800s-early 1900s. Africa, Central Africa, Republic of the Congo, Beembe-style maker. Wood, ceramic or Formica, copper alloy, and iron alloy; overall: 47.5 x 14.8 x 16.3 cm (18 11/16 x 5 13/16 x 6 7/16 in.). The Cleveland Museum of Art, René and Odette Delenne Collection, Leonard C. Hanna, Jr. Fund 2010.428", "current_location": "108A Sub-Saharan", "title": "Male Figure", "creation_date": "late 1800s-early 1900s", "creation_date_earliest": 1880, "creation_date_latest": 1920, "artists_tags": [], "culture": [ "Africa, Central Africa, Republic of the Congo, Beembe-style maker" ], "technique": "Wood, ceramic or Formica, copper alloy, and iron alloy", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This figure is considered “monumental” as most other types of Beembe figures measure about 15 centimeters tall.", "description": "This sculpture played a role in ancestral worship among the Beembe people. Ancestors are held in high regard among the Beembe, and this figure is thought to represent an idealized form of a deceased individual within the ethnic group. The object is one of only two seated male Beembe figures of this size in Western institutions.", "citations": [], "url": "https://clevelandart.org/art/2010.428", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/2010.428/2010.428_web.jpg", "width": "620", "height": "893", "filesize": "268915", "filename": "2010.428_web.jpg" } }, "alternate_images": [], "creditline": "René and Odette Delenne Collection, Leonard C. Hanna, Jr. Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168721, "creators": [], "legal_status": "accessioned", "accession_date": "2006-06-05T00:00:00", "sortable_date": 1880, "date_text": "late 1800s-early 1900s", "is_highlight": false, "updated_at": "2024-02-09 18:08:09.392000", "legacy": [] }, { "id": 168739, "accession_number": "2010.444", "share_license_status": "CC0", "tombstone": "Crucifix, late 1800s-early 1900s. Africa, Central Africa, Kongo Kingdom, Kongo-style maker(s). Copper alloy, wood, upholstery studs, and iron alloy; overall: 44.7 x 22.2 x 3.2 cm (17 5/8 x 8 3/4 x 1 1/4 in.). The Cleveland Museum of Art, René and Odette Delenne Collection, Leonard C. Hanna, Jr. Fund 2010.444", "current_location": "108A Sub-Saharan", "title": "Crucifix", "creation_date": "late 1800s-early 1900s", "creation_date_earliest": 1880, "creation_date_latest": 1920, "artists_tags": [], "culture": [ "Africa, Central Africa, Kongo Kingdom, Kongo-style maker(s)" ], "technique": "Copper alloy, wood, upholstery studs, and iron alloy", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This x-shapes of the cross and on Christ's wrapper are forms with symbolic meaning tied to the life cycle in both Catholicism and in the indigenous Kongo religion.", "description": "An artist made this crucifix from wood and metal centuries after Catholicism became the Kongo Kingdom’s official faith. Following King Nzinga a Nkuwu's 1491 decision to convert, Kongo Christianity uniquely reflected its surroundings. While early Christ images arrived from Portugal and Italy, this later local example has braids like a Kongo man. Worn smooth by repeated touch, the lower figure is the Virgin Mary or a worshiper knelt in mourning or respect. The x-shape incised into his waist wrapper references the dikenga dia Kongo. This likely pre-Christian symbol diagrams the life cycle's four points.", "citations": [], "url": "https://clevelandart.org/art/2010.444", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/2010.444/2010.444_web.jpg", "width": "588", "height": "893", "filesize": "213165", "filename": "2010.444_web.jpg" } }, "alternate_images": [], "creditline": "René and Odette Delenne Collection, Leonard C. Hanna, Jr. Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168739, "creators": [], "legal_status": "accessioned", "accession_date": "2006-06-05T00:00:00", "sortable_date": 1880, "date_text": "late 1800s-early 1900s", "is_highlight": false, "updated_at": "2024-02-09 18:08:09.515000", "legacy": [] }, { "id": 123778, "accession_number": "1944.290", "share_license_status": "CC0", "tombstone": "Disk Pendant (akrafokɔnmu), 1800s, before 1871; pin added later. Africa, West Africa, Ghana, Asante Empire/ Kingdom, member of the goldsmiths’ guild. Gold; overall: 7 x 7.6 x 1.6 cm (2 3/4 x 3 x 5/8 in.). The Cleveland Museum of Art, James Albert Ford Memorial Fund 1944.290", "current_location": "108C Akan & Yoruba", "title": "Disk Pendant (akrafokɔnmu)", "creation_date": "1800s, before 1871; pin added later", "creation_date_earliest": 1800, "creation_date_latest": 1870, "artists_tags": [], "culture": [ "Africa, West Africa, Ghana, Asante Empire/ Kingdom, member of the goldsmiths’ guild" ], "technique": "Gold", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Jewelry", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "An 1886 letter indicates that the English doctor Harry T. Reilly received this disk as a gift from three Asante chiefs for providing them with medical care while they were imprisoned in Cape Coast Castle in the aftermath of the Second Anglo-Ashanti war (1863-64).", "description": "Gold discs dangling on the chests of Akan state officials and elites showed their rank and duties. Worn by these akrafo (“soul people”) since the 1800s, they are often linked to kradware, officials who represent and purify (“wash”) the king’s soul. To make them, goldsmiths cast or flattened gold. Muslim North African gold coins likely inspired their form and material, while concentric water rings influenced their composition. This small disc is a typical pre-colonial example. Gold ornament making ceased until 1924; court officials now wear large discs.", "citations": [], "url": "https://clevelandart.org/art/1944.290", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1944.290/1944.290_web.jpg", "width": "900", "height": "612", "filesize": "217503", "filename": "1944.290_web.jpg" } }, "alternate_images": [], "creditline": "James Albert Ford Memorial Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 123778, "creators": [], "legal_status": "accessioned", "accession_date": "1944-07-12T00:00:00", "sortable_date": 1800, "date_text": "1800s, before 1871; pin added later", "is_highlight": false, "updated_at": "2024-02-09 18:04:24.090000", "legacy": [] }, { "id": 144495, "accession_number": "1969.2", "share_license_status": "CC0", "tombstone": "Buffalo Mask, early to mid-1900s. Africa, West Africa, Burkina Faso, possibly Bwa-style maker. Wood, plant fibers, paint, and iron; overall: 69.8 cm (27 1/2 in.). The Cleveland Museum of Art, Gift of Katherine C. White 1969.2", "current_location": "108A Sub-Saharan", "title": "Buffalo Mask", "creation_date": "early to mid-1900s", "creation_date_earliest": 1900, "creation_date_latest": 1970, "artists_tags": [], "culture": [ "Africa, West Africa, Burkina Faso, possibly Bwa-style maker" ], "technique": "Wood, plant fibers, paint, and iron", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Mask", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [ "933.68" ], "did_you_know": null, "description": "Among the Bwa people, masks with human, animal, and fantastic traits typically represent protective bush spirits. This mask’s horns and muzzle identify it as a bush buffalo. Masked dancers appear during the dry season for initiations, funerals of elders, market days, harvest celebrations, and annual renewal rituals to protect the well-being of the community.", "citations": [], "url": "https://clevelandart.org/art/1969.2", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1969.2/1969.2_web.jpg", "width": "600", "height": "900", "filesize": "117240", "filename": "1969.2_web.jpg" } }, "alternate_images": [], "creditline": "Gift of Katherine C. White", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 144495, "creators": [], "legal_status": "accessioned", "accession_date": "1969-01-22T00:00:00", "sortable_date": 1900, "date_text": "early to mid-1900s", "is_highlight": false, "updated_at": "2024-02-09 18:05:57.688000", "legacy": [] }, { "id": 168750, "accession_number": "2010.454", "share_license_status": "CC0", "tombstone": "Female Bowl-Bearing Figure, late 1800s-early 1900s. Africa, Central Africa, Democratic Republic of Congo, Luba-style carver. Wood, glass beads, upholstery studs, plant fiber, and iron; overall: 40.8 x 16.1 x 27.3 cm (16 1/16 x 6 5/16 x 10 3/4 in.). The Cleveland Museum of Art, René and Odette Delenne Collection, Leonard C. Hanna, Jr. Fund 2010.454", "current_location": "108A Sub-Saharan", "title": "Female Bowl-Bearing Figure", "creation_date": "late 1800s-early 1900s", "creation_date_earliest": 1880, "creation_date_latest": 1920, "artists_tags": [], "culture": [ "Africa, Central Africa, Democratic Republic of Congo, Luba-style carver" ], "technique": "Wood, glass beads, upholstery studs, plant fiber, and iron", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Symbolic of anvils, the round metal tacks decorating the figure's hair \"pin\" spirits and their secrets within it. They are at the hairline and each of the four hair cascades (the bottommost is now gone).", "description": "In Luba-style art, an object's beauty affects how well it works. While bowl-bearing figures had many possible uses, a royal diviner likely used this well-carved image of a woman carrying a bowl in rituals. Dusty traces of mpemba (white chalk) fleck the shining exterior and the bowl's interior, showing it once held this sacred powder. Diamond-shaped scarification marks at her waist, chest, and back add to her beauty. Her hair is carved into the cascading layered hairstyle worn in the Luba region at the turn of the twentieth century. Strands of imported glass beads encircle her waist and neck, and dangle from her hair. The alternating white and blue beads may symbolize the moon and Mbidi Kiluwe, a culture hero linked to royal practice and smithing. While much Luba-style art depicts women—who are societally important—men created and owned the majority of such works.", "citations": [], "url": "https://clevelandart.org/art/2010.454", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/2010.454/2010.454_web.jpg", "width": "672", "height": "900", "filesize": "164813", "filename": "2010.454_web.jpg" } }, "alternate_images": [], "creditline": "René and Odette Delenne Collection, Leonard C. Hanna, Jr. Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168750, "creators": [], "legal_status": "accessioned", "accession_date": "2006-06-05T00:00:00", "sortable_date": 1880, "date_text": "late 1800s-early 1900s", "is_highlight": false, "updated_at": "2024-02-09 18:08:09.581000", "legacy": [] }, { "id": 129836, "accession_number": "1952.265", "share_license_status": "CC0", "tombstone": "Pendant: Crocodile, 1930 or earlier. Africa, West Africa, Côte d'Ivoire, probably Baule-style goldsmith. Gold; overall: 4.9 cm (1 15/16 in.). The Cleveland Museum of Art, John L. Severance Fund 1952.265", "current_location": "108C Akan & Yoruba", "title": "Pendant: Crocodile", "creation_date": "1930 or earlier", "creation_date_earliest": 1850, "creation_date_latest": 1930, "artists_tags": [], "culture": [ "Africa, West Africa, Côte d'Ivoire, probably Baule-style goldsmith" ], "technique": "Gold", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Jewelry", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "A goldsmith had to create superfine rolls of wax to make the texture of this piece; the wax was used to make a mold into which liquid gold was poured.", "description": "This pendant was cast in gold using the lost-wax method. Gold objects are the only Baule art forms associated with ancestor spirits. Pendants can have many uses. Usually hidden in pots or suitcases, gold adornments can be displayed on important occasions such as funerals. They can be laid out around the corpse before burial. A widow will wear them on a chain around her neck or attached to her hair at the ceremony signaling the end of mourning.", "citations": [], "url": "https://clevelandart.org/art/1952.265", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1952.265/1952.265_web.jpg", "width": "1263", "height": "786", "filesize": "580577", "filename": "1952.265_web.jpg" } }, "alternate_images": [], "creditline": "John L. Severance Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 129836, "creators": [], "legal_status": "accessioned", "accession_date": "1952-08-13T00:00:00", "sortable_date": 1850, "date_text": "1930 or earlier", "is_highlight": false, "updated_at": "2024-02-09 18:04:53.152000", "legacy": [] }, { "id": 130309, "accession_number": "1952.84", "share_license_status": "CC0", "tombstone": "Disk Pendant (akrafokɔnmu), 1800s. Africa, West Africa, Ghana, Asante Empire/ Kingdom, member of the goldsmiths’ guild. Gold; diameter: 11 cm (4 5/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1952.84", "current_location": "108C Akan & Yoruba", "title": "Disk Pendant (akrafokɔnmu)", "creation_date": "1800s", "creation_date_earliest": 1800, "creation_date_latest": 1899, "artists_tags": [], "culture": [ "Africa, West Africa, Ghana, Asante Empire/ Kingdom, member of the goldsmiths’ guild" ], "technique": "Gold", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Jewelry", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Gold miners from the Akan region once mined gold to make local objects like this and to supply gold for trade across trans-Saharan routes and into places as far away as Europe.", "description": "Gold discs dangling on the chests of Akan state officials and elites showed their rank and duties. Worn by these akrafo (“soul people”) since the 1800s, they are often linked to kradware, officials who represent and purify (“wash”) the king’s soul. To make them, goldsmiths cast or flattened gold. Muslim North African gold coins likely inspired their form and material, while concentric water rings influenced their composition. This small disc is typical of pre-colonial examples. Gold ornament making ceased until 1924; court officials now wear large discs.", "citations": [], "url": "https://clevelandart.org/art/1952.84", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1952.84/1952.84_web.jpg", "width": "946", "height": "893", "filesize": "653385", "filename": "1952.84_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 130309, "creators": [], "legal_status": "accessioned", "accession_date": "1952-02-13T00:00:00", "sortable_date": 1800, "date_text": "1800s", "is_highlight": false, "updated_at": "2024-02-09 18:04:55.193000", "legacy": [] }, { "id": 145412, "accession_number": "1970.67", "share_license_status": "CC0", "tombstone": "Portrait of Hottō Enmyō Kokushi, c. 1295–1315. Japan, Kamakura period (1185–1333). Hinoki cypress wood with lacquer, metal staples and fittings; overall: 91.4 cm (36 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 1970.67", "current_location": "235B Japanese", "title": "Portrait of Hottō Enmyō Kokushi", "title_in_original_language": "法燈円明国師像", "creation_date": "c. 1295–1315", "creation_date_earliest": 1295, "creation_date_latest": 1315, "artists_tags": [], "culture": [ "Japan, Kamakura period (1185–1333)" ], "technique": "Hinoki cypress wood with lacquer, metal staples and fittings", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Two famous sculptural portraits of this monk, one at the temple Ankokuji in Hiroshima, and another at the temple Kōkokuji in Wakayama, are dated to 1275 and 1286, respectively.", "description": "Hottō Enmyō Kokushi, is a posthumous title bestowed upon the Zen Buddhist monk Shinchi Kakushin (1203–1298) by the emperor Go-Daigo. The title means “perfectly awakened national teacher of the Dharma lamp.” Considered a fine example of “Kamakura realism,” while downplaying detail in the body, the sculpture emphasizes fidelity in representing the visage of Kakushin.", "citations": [], "url": "https://clevelandart.org/art/1970.67", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1970.67/1970.67_web.jpg", "width": "678", "height": "900", "filesize": "136343", "filename": "1970.67_web.jpg" } }, "alternate_images": [], "creditline": "Leonard C. Hanna, Jr. Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 145412, "creators": [], "legal_status": "accessioned", "accession_date": "1970-12-18T00:00:00", "sortable_date": 1295, "date_text": "c. 1295–1315", "is_highlight": true, "updated_at": "2024-02-09 18:06:01.988000", "legacy": [] }, { "id": 147155, "accession_number": "1973.105", "share_license_status": "CC0", "tombstone": "Zaō Gongen, 1200s. Japan, Kamakura period (1185–1333). Wood; average: 106.7 cm (42 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1973.105", "current_location": "235B Japanese", "title": "Zaō Gongen", "title_in_original_language": "蔵王権現像", "creation_date": "1200s", "creation_date_earliest": 1200, "creation_date_latest": 1299, "artists_tags": [], "culture": [ "Japan, Kamakura period (1185–1333)" ], "technique": "wood", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Zaō Gongen wears the pelt of a large feline, the face of which is near his knee.", "description": "Zaō Gongen is the guardian deity of Mount Kinpu in Yoshino south of Nara. Zaō appeared at the behest of En no Gyōja, who prayed for a powerful protector of the mountain. The deity was described as a combined manifestation of the Buddha Shakyamuni, Thousand-Armed Kannon, and Miroku. These three deities were viewed as the past, present, and future protectors of the world. Zaō’s appearance derives from portrayals of fierce Buddhist deities.", "citations": [], "url": "https://clevelandart.org/art/1973.105", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1973.105/1973.105_web.jpg", "width": "644", "height": "900", "filesize": "191138", "filename": "1973.105_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 147155, "creators": [], "legal_status": "accessioned", "accession_date": "1973-08-06T00:00:00", "sortable_date": 1200, "date_text": "1200s", "is_highlight": false, "updated_at": "2024-02-09 18:06:08.666000", "legacy": [] }, { "id": 147588, "accession_number": "1973.85", "share_license_status": "CC0", "tombstone": "Seated Buddha with Halo, 1100s. Japan, Heian period (794–1185). Gilded wood; overall: 145.4 cm (57 1/4 in.); figure: 88.2 cm (34 3/4 in.); pedestal: 57.2 cm (22 1/2 in.). The Cleveland Museum of Art, Gift of Takako Setsu and her husband, Iwao, in memory of her father-in-law, Inosuke Setsu, and his long friendship with Sherman E. Lee 1973.85", "current_location": "235B Japanese", "title": "Seated Buddha with Halo", "title_in_original_language": "如来坐像", "creation_date": "1100s", "creation_date_earliest": 1100, "creation_date_latest": 1199, "artists_tags": [], "culture": [ "Japan, Heian period (794–1185)" ], "technique": "gilded wood", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "A 1906 photo taken at Kōfukuji shows this sculpture without a halo or left hand.", "description": "Composed of a number of hollowed-out pieces of wood that were then covered with lacquer and gilding, this sculpture served as an image of worship in one of the small temples surrounding Kōfukuji, a major Buddhist temple in Nara, Japan. Like many Buddhas, this figure has its right hand positioned in a gesture meaning \"fear not.\" The left hand is a replacement, so its original gesture, a clue to this Buddha's identity, is unknown. However, as the left foot is exposed over the garment, in lotus position, it may have been created as a Medicine Master Buddha, Yakushi Nyorai in Japanese, or the Buddha of our era, Shakyamuni.", "citations": [], "url": "https://clevelandart.org/art/1973.85", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1973.85/1973.85_web.jpg", "width": "725", "height": "893", "filesize": "75834", "filename": "1973.85_web.jpg" } }, "alternate_images": [], "creditline": "Gift of Takako Setsu and her husband, Iwao, in memory of her father-in-law, Inosuke Setsu, and his long friendship with Sherman E. Lee", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 147588, "creators": [], "legal_status": "accessioned", "accession_date": "1973-05-07T00:00:00", "sortable_date": 1100, "date_text": "1100s", "is_highlight": true, "updated_at": "2024-02-09 18:06:10.448000", "legacy": [] }, { "id": 137057, "accession_number": "1961.48", "share_license_status": "CC0", "tombstone": "Sun Bodhisattva (Nikkō Bosatsu), c. 800. Japan, Heian period (794–1185). Japanese nutmeg-yew wood with traces of color and gold; overall: 46.7 cm (18 3/8 in.). The Cleveland Museum of Art, John L. Severance Fund 1961.48", "current_location": "235B Japanese", "title": "Sun Bodhisattva (Nikkō Bosatsu)", "title_in_original_language": "日光菩薩像", "creation_date": "c. 800", "creation_date_earliest": 795, "creation_date_latest": 805, "artists_tags": [], "culture": [ "Japan, Heian period (794–1185)" ], "technique": "Japanese nutmeg-yew wood with traces of color and gold", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Japanese nutmeg-yew, or kaya, was used as a replacement for the unobtainable sandalwood of which small Buddhist sculptures imported from China were made.", "description": "Bodhisattvas are beings who have attained enlightenment but delay entry into Buddhahood until they have fulfilled their varied vows to aid others along the path to enlightenment. The flowing robes and curving posture of this figure were inspired by Chinese Buddhist sculpture. However, the interplay of the wood grain in this single block of yew with the artist’s subtle carving is a Japanese innovation. Originally paired with the Moon Bodhisattva (Gekkō Bosatsu), this figure likely flanked a sculpture of the Medicine Master Buddha (Yakushi Nyorai).", "citations": [], "url": "https://clevelandart.org/art/1961.48", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1961.48/1961.48_web.jpg", "width": "619", "height": "893", "filesize": "301403", "filename": "1961.48_web.jpg" } }, "alternate_images": [], "creditline": "John L. Severance Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 137057, "creators": [], "legal_status": "accessioned", "accession_date": "1961-02-20T00:00:00", "sortable_date": 795, "date_text": "c. 800", "is_highlight": true, "updated_at": "2024-02-09 18:05:20.924000", "legacy": [] }, { "id": 128067, "accession_number": "1950.86", "share_license_status": "CC0", "tombstone": "Buddha of the Future (Miroku Bosatsu), late 600s. Japan, Asuka period (538–710). Cast bronze, incised, with traces of gilding; overall: 45.8 cm (18 1/16 in.); figure: 39.4 cm (15 1/2 in.). The Cleveland Museum of Art, John L. Severance Fund 1950.86", "current_location": "235B Japanese", "title": "Buddha of the Future (Miroku Bosatsu)", "title_in_original_language": "弥勒菩薩像", "creation_date": "late 600s", "creation_date_earliest": 675, "creation_date_latest": 699, "artists_tags": [], "culture": [ "Japan, Asuka period (538–710)" ], "technique": "cast bronze, incised, with traces of gilding", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The Sanskrit name of this being, Maitreya, derives from the Sanskrit word for friend, mita.", "description": "Buddhism was introduced to Japan in the sixth century. For early Japanese devotees, Buddhism offered the promise of salvation through faith in the Buddha of the Future, who would appear at the end of the world. The concept of eternal salvation held particular resonance with the Japanese aristocracy, who became the staunchest supporters of this new faith. Small sculptures like this one, with its gentle grace and powerful presence, were popular devotional objects.", "citations": [], "url": "https://clevelandart.org/art/1950.86", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1950.86/1950.86_web.jpg", "width": "686", "height": "900", "filesize": "177555", "filename": "1950.86_web.jpg" } }, "alternate_images": [], "creditline": "John L. Severance Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 128067, "creators": [], "legal_status": "accessioned", "accession_date": "1950-03-16T00:00:00", "sortable_date": 675, "date_text": "late 600s", "is_highlight": true, "updated_at": "2024-02-13 20:02:26.713000", "legacy": [] }, { "id": 439542, "accession_number": "1950.86.a", "share_license_status": "CC0", "tombstone": "Buddha of the Future (Miroku Bosatsu), late 600s. Japan, Asuka period (538–710). Cast bronze, incised, with traces of gilding; figure: 39.4 cm (15 1/2 in.). The Cleveland Museum of Art, John L. Severance Fund 1950.86.a", "current_location": "235B Japanese", "title": "Buddha of the Future (Miroku Bosatsu)", "title_in_original_language": "弥勒菩薩像", "creation_date": "late 600s", "creation_date_earliest": 675, "creation_date_latest": 699, "artists_tags": [], "culture": [ "Japan, Asuka period (538–710)" ], "technique": "cast bronze, incised, with traces of gilding", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The Sanskrit name of this being, Maitreya, derives from the Sanskrit word for friend, mita.", "description": "Buddhism was introduced to Japan in the sixth century. For early Japanese devotees, Buddhism offered the promise of salvation through faith in the Buddha of the Future, who would appear at the end of the world. The concept of eternal salvation held particular resonance with the Japanese aristocracy, who became the staunchest supporters of this new faith. Small sculptures like this one, with its gentle grace and powerful presence, were popular devotional objects.", "citations": [], "url": "https://clevelandart.org/art/1950.86.a", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1950.86.a/1950.86.a_web.jpg", "width": "718", "height": "900", "filesize": "172964", "filename": "1950.86.a_web.jpg" } }, "alternate_images": [], "creditline": "John L. Severance Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 439542, "creators": [], "legal_status": "accessioned", "accession_date": "1950-03-16T00:00:00", "sortable_date": 675, "date_text": "late 600s", "is_highlight": false, "updated_at": "2024-02-09 18:08:59.736000", "legacy": [] }, { "id": 439545, "accession_number": "1950.86.b", "share_license_status": "CC0", "tombstone": "Halo for Buddha of the Future (Miroku Bosatsu), late 600s. Japan, Asuka period (538–710). Cast bronze, incised, with traces of gilding; overall: 45.8 cm (18 1/16 in.). The Cleveland Museum of Art, John L. Severance Fund 1950.86.b", "current_location": "235B Japanese", "title": "Halo for Buddha of the Future (Miroku Bosatsu)", "title_in_original_language": "弥勒菩薩像 光背", "creation_date": "late 600s", "creation_date_earliest": 675, "creation_date_latest": 699, "artists_tags": [], "culture": [ "Japan, Asuka period (538–710)" ], "technique": "cast bronze, incised, with traces of gilding", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The Sanskrit name of this being, Maitreya, derives from the Sanskrit word for friend, mita.", "description": "Buddhism was introduced to Japan in the sixth century. For early Japanese devotees, Buddhism offered the promise of salvation through faith in the Buddha of the Future, who would appear at the end of the world. The concept of eternal salvation held particular resonance with the Japanese aristocracy, who became the staunchest supporters of this new faith. Small sculptures like this one, with its gentle grace and powerful presence, were popular devotional objects.", "citations": [], "url": "https://clevelandart.org/art/1950.86.b", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1950.86.b/1950.86.b_web.jpg", "width": "494", "height": "900", "filesize": "146427", "filename": "1950.86.b_web.jpg" } }, "alternate_images": [], "creditline": "John L. Severance Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 439545, "creators": [], "legal_status": "accessioned", "accession_date": "1950-03-16T00:00:00", "sortable_date": 675, "date_text": "late 600s", "is_highlight": false, "updated_at": "2024-02-09 18:08:59.749000", "legacy": [] }, { "id": 153662, "accession_number": "1987.185", "share_license_status": "CC0", "tombstone": "Aizen Myōō, early 1300s. Japan, Kamakura period (1185–1333). Wood with black lacquer and red pigments; overall: 75 x 59 x 35 cm (29 1/2 x 23 1/4 x 13 3/4 in.). The Cleveland Museum of Art, Bequest of Elizabeth M. Skala 1987.185", "current_location": "235B Japanese", "title": "Aizen Myōō", "title_in_original_language": "愛染明王像", "creation_date": "early 1300s", "creation_date_earliest": 1300, "creation_date_latest": 1333, "artists_tags": [], "culture": [ "Japan, Kamakura period (1185–1333)" ], "technique": "Wood with black lacquer and red pigments", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The torso, head, and legs of this figure were carved from a single block of wood. Four of the arms were carved separately.", "description": "The Buddhist deity Aizen Myōō channels carnal desire into a lust for spiritual enlightenment. In its principal right arm, this figure once held a vajra, a symbolic weapon used to cut through illusion, while its main left arm still grasps the vajra bell rung to bring one to awareness. The lion’s head in Aizen’s hair holds its mouth open to devour thoughts and desires. Holes along the front of the legs show where the sculpture’s base would have been attached.", "citations": [], "url": "https://clevelandart.org/art/1987.185", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1987.185/1987.185_web.jpg", "width": "714", "height": "893", "filesize": "315957", "filename": "1987.185_web.jpg" } }, "alternate_images": [], "creditline": "Bequest of Elizabeth M. Skala", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 153662, "creators": [], "legal_status": "accessioned", "accession_date": "1987-12-16T00:00:00", "sortable_date": 1300, "date_text": "early 1300s", "is_highlight": false, "updated_at": "2024-02-09 18:06:40.214000", "legacy": [] }, { "id": 145418, "accession_number": "1970.69", "share_license_status": "CC0", "tombstone": "West Lake, mid-1700s. Ike Taiga (Japanese, 1723–1776). Hanging scroll; ink and light color on paper; painting: 58 x 133 cm (22 13/16 x 52 3/8 in.); mounted: 170.5 x 140.3 cm (67 1/8 x 55 1/4 in.). The Cleveland Museum of Art, John L. Severance Fund 1970.69", "current_location": "235A Japanese", "title": "West Lake", "title_in_original_language": "西湖図", "creation_date": "mid-1700s", "creation_date_earliest": 1740, "creation_date_latest": 1776, "artists_tags": [ "male" ], "culture": [ "Japan, Edo period (1615-1868)" ], "technique": "Hanging scroll; ink and light color on paper", "support_materials": [], "department": "Japanese Art", "collection": "ASIAN - Hanging scroll", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Among Taiga's sources for his paintings were images he studied in Chinese wood-block–printed books.", "description": "West Lake near Hangzhou, China, has been home to revered poets who immortalized it in their poetry. Tang dynasty poet Bai Juyi (772–846) lived in its vicinity, and Song dynasty poet Lin Bu (967–1028) led a reclusive life on Solitary Hill near the lake. Landscape paintings of West Lake gained in popularity in Japan as early as the 1400s. The distinctive, arched bridges connecting small islands in the lake identify the subject. Ike Taiga was among the first generation of Japanese artists to emulate Chinese scholars who painted as amateurs and gifted their work to friends and colleagues.", "citations": [], "url": "https://clevelandart.org/art/1970.69", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1970.69/1970.69_web.jpg", "width": "1263", "height": "561", "filesize": "528336", "filename": "1970.69_web.jpg" } }, "alternate_images": [], "creditline": "John L. Severance Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 145418, "creators": [ { "id": 7625, "description": "Ike Taiga (Japanese, 1723–1776)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "池大雅", "birth_year": "1723", "death_year": "1776" } ], "legal_status": "accessioned", "accession_date": "1970-12-18T00:00:00", "sortable_date": 1740, "date_text": "mid-1700s", "is_highlight": false, "updated_at": "2024-02-09 18:06:02.029000", "legacy": [] }, { "id": 149097, "accession_number": "1977.30", "share_license_status": "CC0", "tombstone": "Gazing at a Waterfall, early 1500s. Sōami (Japanese, d. 1525). Album leaf mounted as a hanging scroll; ink and slight color on paper; painting: 29 x 30.1 cm (11 7/16 x 11 7/8 in.); mounted with knobs: 113 x 47.6 cm (44 1/2 x 18 3/4 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1977.30", "current_location": "235A Japanese", "title": "Gazing at a Waterfall", "title_in_original_language": "観瀑図", "creation_date": "early 1500s", "creation_date_earliest": 1500, "creation_date_latest": 1525, "artists_tags": [ "male" ], "culture": [ "Japan, Muromachi period (1392–1573)" ], "technique": "Album leaf mounted as a hanging scroll; ink and slight color on paper", "support_materials": [], "department": "Japanese Art", "collection": "ASIAN - Hanging scroll", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The setting of this painting is historical China, as evidenced by the clothing and hairstyles of the two people appreciating the waterfall.", "description": "Chinese poet Li Bai’s (701–762) poem “Gazing at a Waterfall on Mount Lu” is about experiencing the vastness of the galaxy in relationship to one’s own being. Japanese Zen monk-poet Keijo Shūrin (1440–1518) identified Li’s poem as the inspiration for Japanese painter Geiami’s (1431–1485) work Gazing at a Waterfall, in the collection of the Nezu Museum, which features sharp brushstrokes and bright colors. In contrast, this album leaf’s painter, Geiami’s son Sōami, took a more delicate approach to the theme. The waterfall and the pair watching it frame the mist rising from the water at the center of the image.", "citations": [], "url": "https://clevelandart.org/art/1977.30", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1977.30/1977.30_web.jpg", "width": "931", "height": "893", "filesize": "630214", "filename": "1977.30_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 149097, "creators": [ { "id": 5979, "description": "Sōami (Japanese, d. 1525)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "相阿弥", "death_year": "1525" } ], "legal_status": "accessioned", "accession_date": "1977-05-10T00:00:00", "sortable_date": 1500, "date_text": "early 1500s", "is_highlight": false, "updated_at": "2024-02-09 18:06:17.591000", "legacy": [] }, { "id": 140273, "accession_number": "1964.245", "share_license_status": "CC0", "tombstone": "Large Dish with Persimmon Branch, mid- to late 1600s. Japan, Edo period (1615-1868). Porcelain with underglaze black and overglaze enamel (Hizen ware, Ko-Kutani style); diameter: 33.4 cm (13 1/8 in.); height: 6.2 cm (2 7/16 in.). The Cleveland Museum of Art, Severance and Greta Millikin Collection 1964.245", "current_location": "235A Japanese", "title": "Large Dish with Persimmon Branch", "title_in_original_language": "色絵柿の枝図平鉢", "creation_date": "mid- to late 1600s", "creation_date_earliest": 1650, "creation_date_latest": 1700, "artists_tags": [], "culture": [ "Japan, Edo period (1615-1868)" ], "technique": "Porcelain with underglaze black and overglaze enamel (Hizen ware, Ko-Kutani style)", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Ceramic", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Persimmons ripen in autumn and are often associated with that time of year.", "description": "This large plate is considered to have been produced in Kyushu, and is in a palette of Ko-Kutani style works called aode (literally, bluish-green hand) for the deep blue, green, purple, and yellow overglaze enamels that completely cover their surfaces. Ko-Kutani means “old Kutani,” and can refer to two kinds of porcelains. One kind is said to have been produced in the village of Kutani in present-day Ishikawa prefecture in the mid-1600s through the early 1700s. The other kind, decorated with similar glazes and designs, was produced in the former Arita domain of present-day Saga prefecture in Kyushu.", "citations": [], "url": "https://clevelandart.org/art/1964.245", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1964.245/1964.245_web.jpg", "width": "900", "height": "885", "filesize": "259100", "filename": "1964.245_web.jpg" } }, "alternate_images": [], "creditline": "Severance and Greta Millikin Collection", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 140273, "creators": [], "legal_status": "accessioned", "accession_date": "1964-06-09T00:00:00", "sortable_date": 1650, "date_text": "mid- to late 1600s", "is_highlight": false, "updated_at": "2024-02-09 18:05:39.849000", "legacy": [] }, { "id": 140309, "accession_number": "1964.271", "share_license_status": "CC0", "tombstone": "Dish with Reeds and Mist, c. 1700. Japan, Edo period (1615-1868). Porcelain with underglaze blue and overglaze color enamel (Hizen ware, Nabeshima type); diameter: 20.1 cm (7 15/16 in.); overall: 5.6 cm (2 3/16 in.). The Cleveland Museum of Art, Severance and Greta Millikin Collection 1964.271", "current_location": "235A Japanese", "title": "Dish with Reeds and Mist", "title_in_original_language": "色絵靄芦皿", "creation_date": "c. 1700", "creation_date_earliest": 1695, "creation_date_latest": 1705, "artists_tags": [], "culture": [ "Japan, Edo period (1615-1868)" ], "technique": "Porcelain with underglaze blue and overglaze color enamel (Hizen ware, Nabeshima type)", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Ceramic", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Nabeshima dishes were produced in standard sizes of three, five, and seven sun (a traditional measurement of around 3 cm) in diameter.
", "description": "The interior of this dish features clusters of reeds emerging from mist. The gradation of blue wash in the background suggests that the scene is set by still waters, perhaps the banks of a river or edge of a marsh. The celadon, or pale green glaze, evocative of mist or fog, contrasts visually with the reeds and water.", "citations": [], "url": "https://clevelandart.org/art/1964.271", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1964.271/1964.271_web.jpg", "width": "900", "height": "828", "filesize": "126651", "filename": "1964.271_web.jpg" } }, "alternate_images": [], "creditline": "Severance and Greta Millikin Collection", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 140309, "creators": [], "legal_status": "accessioned", "accession_date": "1964-06-09T00:00:00", "sortable_date": 1695, "date_text": "c. 1700", "is_highlight": false, "updated_at": "2024-02-09 18:05:40.084000", "legacy": [] }, { "id": 146712, "accession_number": "1972.16", "share_license_status": "CC0", "tombstone": "Gazing at a Waterfall, 1790. Tani Bunchō (Japanese, 1763–1841). Hanging scroll; ink and color on silk; painting: 112.5 x 51.1 cm (44 5/16 x 20 1/8 in.); mounted: 214 x 54.5 cm (84 1/4 x 21 7/16 in.). The Cleveland Museum of Art, John L. Severance Fund 1972.16", "current_location": "235A Japanese", "title": "Gazing at a Waterfall", "title_in_original_language": "観瀑図", "creation_date": "1790", "creation_date_earliest": 1790, "creation_date_latest": 1790, "artists_tags": [ "male" ], "culture": [ "Japan, Edo period (1615-1868)" ], "technique": "hanging scroll; ink and color on silk", "support_materials": [], "department": "Japanese Art", "collection": "ASIAN - Hanging scroll", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Drive about eight hours west of Shanghai to get to Mount Lu, the mountain range likely alluded to in this painting.", "description": "Artist Tani Bunchō painted this image in a mountain pavilion during winter. He inscribed it with two lines of a poem: “The stone cliff of layered rocks is extremely high. Waterfalls tumbling from the skies reverberate in the clouds.” The scholarly figure and attendant carrying his qin (a stringed instrument) are set amid majestically soaring mountains in China. For many people in Japan at the time, the image would call to mind a poem about a waterfall at Mount Lu by Chinese poet Li Bai (701–762).", "citations": [], "url": "https://clevelandart.org/art/1972.16", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1972.16/1972.16_web.jpg", "width": "409", "height": "893", "filesize": "273991", "filename": "1972.16_web.jpg" } }, "alternate_images": [], "creditline": "John L. Severance Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 146712, "creators": [ { "id": 35576, "description": "Tani Bunchō (Japanese, 1763–1841)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "谷文晁", "birth_year": "1763", "death_year": "1841" } ], "legal_status": "accessioned", "accession_date": "1972-01-31T00:00:00", "sortable_date": 1790, "date_text": "1790", "is_highlight": false, "updated_at": "2024-02-09 18:06:06.134000", "legacy": [] }, { "id": 140318, "accession_number": "1964.277", "share_license_status": "CC0", "tombstone": "Square Jar with Birds and Flowers, late 1600s. Japan, Edo period (1615-1868). Porcelain with overglaze color enamels and gold (Hizen ware, Kakiemon type); overall: 27.8 x 11.6 cm (10 15/16 x 4 9/16 in.). The Cleveland Museum of Art, Severance and Greta Millikin Collection 1964.277", "current_location": "235A Japanese", "title": "Square Jar with Birds and Flowers", "title_in_original_language": "色絵花鳥文四角壺", "creation_date": "late 1600s", "creation_date_earliest": 1660, "creation_date_latest": 1699, "artists_tags": [], "culture": [ "Japan, Edo period (1615-1868)" ], "technique": "Porcelain with overglaze color enamels and gold (Hizen ware, Kakiemon type)", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Ceramic", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "A jar like this was fired at a high temperature, painted with colored enamels, and then fired again at a lower temperature.", "description": "This lidded square jar was likely paired with a complementary yet nonidentical mate. The pine tree, plum, and bamboo together form the frequently depicted motif known as the Three Friends of Winter (shōchikubai), so named because of their hardy perseverance in the cold. Each side also features a pair of birds, including cranes on one face and pheasants on another.", "citations": [], "url": "https://clevelandart.org/art/1964.277", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1964.277/1964.277_web.jpg", "width": "668", "height": "900", "filesize": "186185", "filename": "1964.277_web.jpg" } }, "alternate_images": [], "creditline": "Severance and Greta Millikin Collection", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 140318, "creators": [], "legal_status": "accessioned", "accession_date": "1964-06-09T00:00:00", "sortable_date": 1660, "date_text": "late 1600s", "is_highlight": false, "updated_at": "2024-02-09 18:05:40.142000", "legacy": [] }, { "id": 140319, "accession_number": "1964.277.a", "share_license_status": "CC0", "tombstone": "Square Jar with Birds and Flowers, late 1600s. Japan, Edo period (1615-1868). Porcelain with overglaze color enamels and gold (Hizen ware, Kakiemon type); overall: 27.8 x 11.6 cm (10 15/16 x 4 9/16 in.). The Cleveland Museum of Art, Severance and Greta Millikin Collection 1964.277.a", "current_location": "235A Japanese", "title": "Square Jar with Birds and Flowers", "title_in_original_language": "色絵花鳥文四角壺", "creation_date": "late 1600s", "creation_date_earliest": 1660, "creation_date_latest": 1699, "artists_tags": [], "culture": [ "Japan, Edo period (1615-1868)" ], "technique": "Porcelain with overglaze color enamels and gold (Hizen ware, Kakiemon type)", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Ceramic", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "A jar like this was fired at a high temperature, painted with colored enamels, and then fired again at a lower temperature.", "description": "This lidded square jar was likely paired with a complementary yet nonidentical mate. The pine tree, plum, and bamboo together form the frequently depicted motif known as the Three Friends of Winter (shōchikubai), so named because of their hardy perseverance in the cold. Each side also features a pair of birds, including cranes on one face and pheasants on another.", "citations": [], "url": "https://clevelandart.org/art/1964.277.a", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1964.277.a/1964.277.a_web.jpg", "width": "668", "height": "900", "filesize": "190025", "filename": "1964.277.a_web.jpg" } }, "alternate_images": [], "creditline": "Severance and Greta Millikin Collection", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 140319, "creators": [], "legal_status": "accessioned", "accession_date": "1964-06-09T00:00:00", "sortable_date": 1660, "date_text": "late 1600s", "is_highlight": false, "updated_at": "2024-02-09 18:05:40.149000", "legacy": [] }, { "id": 140320, "accession_number": "1964.277.b", "share_license_status": "CC0", "tombstone": "Square Jar with Birds and Flowers (lid), late 1600s. Japan, Edo period (1615-1868). Porcelain with overglaze color enamels and gold (Hizen ware, Kakiemon type); overall: 27.8 x 11.6 cm (10 15/16 x 4 9/16 in.). The Cleveland Museum of Art, Severance and Greta Millikin Collection 1964.277.b", "current_location": "235A Japanese", "title": "Square Jar with Birds and Flowers (lid)", "title_in_original_language": "色絵花鳥文四角壺", "creation_date": "late 1600s", "creation_date_earliest": 1660, "creation_date_latest": 1699, "artists_tags": [], "culture": [ "Japan, Edo period (1615-1868)" ], "technique": "Porcelain with overglaze color enamels and gold (Hizen ware, Kakiemon type)", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Ceramic", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "A jar like this was fired at a high temperature, painted with colored enamels, and then fired again at a lower temperature.", "description": "This lidded square jar was likely paired with a complementary yet nonidentical mate. The pine tree, plum, and bamboo together form the frequently depicted motif known as the Three Friends of Winter (shōchikubai), so named because of their hardy perseverance in the cold. Each side also features a pair of birds, including cranes on one face and pheasants on another.", "citations": [], "url": "https://clevelandart.org/art/1964.277.b", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1964.277.b/1964.277.b_web.jpg", "width": "900", "height": "667", "filesize": "171033", "filename": "1964.277.b_web.jpg" } }, "alternate_images": [], "creditline": "Severance and Greta Millikin Collection", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 140320, "creators": [], "legal_status": "accessioned", "accession_date": "1964-06-09T00:00:00", "sortable_date": 1660, "date_text": "late 1600s", "is_highlight": false, "updated_at": "2024-02-09 18:05:40.156000", "legacy": [] }, { "id": 122979, "accession_number": "1943.246", "share_license_status": "CC0", "tombstone": "Saluting Protective Spirit, 883–859 BCE. Neo-Assyrian (911–609 BCE), Iraq, Nimrud, Northwest Palace, reign of Ashurnasirpal II (883–859 BCE). Gypsum; overall: 229.9 x 137 cm (90 1/2 x 53 15/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1943.246", "current_location": "102A Ancient Near East", "title": "Saluting Protective Spirit", "creation_date": "883–859 BCE", "creation_date_earliest": -883, "creation_date_latest": -859, "artists_tags": [], "culture": [ "Neo-Assyrian (911–609 BCE), Iraq, Nimrud, Northwest Palace, reign of Ashurnasirpal II (883–859 BCE)" ], "technique": "gypsum", "support_materials": [], "department": "Egyptian and Ancient Near Eastern Art", "collection": "Near Eastern Art", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": "palace of Ashur-nasirapal II in Calah (Nimrud)", "related_works": [], "former_accession_numbers": [], "did_you_know": "The details of his garments are painstakingly rendered; he wears a long fringed cloak with tassels over a shorter kilt and an under tunic.", "description": "Striding forward with muscular arms and legs, this winged deity offers a gesture of salutation along with symbols of agricultural bounty. Inscribed with an account of the Assyrian king Ashurnasirpal II's military conquests and victories, this relief once stood alongside hundreds of similar ones that decorated the palace at Nimrud.", "citations": [], "url": "https://clevelandart.org/art/1943.246", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1943.246/1943.246_web.jpg", "width": "668", "height": "893", "filesize": "421435", "filename": "1943.246_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": "e059aaa709694929abcd87c2411c1a06", "sketchfab_url": "https://sketchfab.com/models/e059aaa709694929abcd87c2411c1a06", "gallery_donor_text": null, "athena_id": 122979, "creators": [], "legal_status": "accessioned", "accession_date": "1943-02-03T00:00:00", "sortable_date": -883, "date_text": "883–859 BCE", "is_highlight": true, "updated_at": "2024-02-09 18:04:20.496000", "legacy": [] }, { "id": 93984, "accession_number": "1914.561", "share_license_status": "CC0", "tombstone": "Coffin of Bakenmut, c. 1000–900 BCE. Egypt, Thebes, Third Intermediate (1069–715 BCE), Dynasties 21–22. Gessoed and painted sycamore fig; overall: 208 x 68 cm (81 7/8 x 26 3/4 in.). The Cleveland Museum of Art, Gift of the John Huntington Art and Polytechnic Trust 1914.561", "current_location": "107 Egyptian", "title": "Coffin of Bakenmut", "creation_date": "c. 1000–900 BCE", "creation_date_earliest": -1000, "creation_date_latest": -900, "artists_tags": [], "culture": [ "Egypt, Thebes, Third Intermediate (1069–715 BCE), Dynasties 21–22" ], "technique": "gessoed and painted sycamore fig", "support_materials": [], "department": "Egyptian and Ancient Near Eastern Art", "collection": "Egypt - Third Intermediate", "type": "Funerary Equipment", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Originally another smaller coffin was placed inside this outer coffin and in that the deceased with a mummy board would have rested.", "description": "The coffin of Bakenmut is one of the finest examples of painted wooden coffins made for the priests of Amen and their families at Thebes during Dynasty 21 and early Dynasty 22. The pharaohs of this time were no longer buried in the Valley of the Kings, but instead built tombs in the Delta, far to the north, where they resided. Security was lax in the Theban necropolis. The coffins and funerary goods of the wealthy citizens of Thebes were placed in unmarked and undecorated family tombs cut into the cliffs on the west bank of the Nile. All the care and detail that in more prosperous times were devoted to the decoration of the tomb chapel were now lavished on the elaborately painted coffins. Every available surface is crowded with religious scenes, images of funerary gods and goddesses, protective spells, and magical symbols. The deceased appears mummiform. An elaborate floral collar entirely covers the upper body, exposing only the separately attached hands (now lost). A pair of red \"mummy braces\" are crossed over the chest, their point of intersection marked by a winged sun disk. The lower body is covered with tiny figures modeled in gesso against a yellow background, which gives the effect of gold inlaid with glass or semiprecious stone. The decoration on the interior features two deified dead kings of Dynasty 18. Although these rulers had lived centuries before, memory of their greatness was still very much alive. The main scene near the top depicts Tuthmosis III, the great military pharaoh, who lived 500 years before Bakenmut. Posed as a mummy, the ruler wears a brilliant feathered garment enfolding him with falcon’s wings. The scene below features back-to-back seated images of Amenhotep I, regarded as the patron of the Theban cemetery and worshiped as a local god there.", "citations": [], "url": "https://clevelandart.org/art/1914.561", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1914.561/1914.561_web.jpg", "width": "738", "height": "893", "filesize": "330837", "filename": "1914.561_web.jpg" } }, "alternate_images": [], "creditline": "Gift of the John Huntington Art and Polytechnic Trust", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 93984, "creators": [], "legal_status": "accessioned", "accession_date": "1914-01-01T00:00:00", "sortable_date": -1000, "date_text": "c. 1000–900 BCE", "is_highlight": true, "updated_at": "2024-02-13 20:00:33.273000", "legacy": [] }, { "id": 137194, "accession_number": "1962.150", "share_license_status": "CC0", "tombstone": "Dish with King Hormizd II or Hormizd III Hunting Lions, 400–600 CE. Iran, Sasanian Empire (224–651 CE). Silver gilt; overall: 4.6 x 20.8 cm (1 13/16 x 8 3/16 in.). The Cleveland Museum of Art, John L. Severance Fund 1962.150", "current_location": "116 Islamic", "title": "Dish with King Hormizd II or Hormizd III Hunting Lions", "creation_date": "400–600 CE", "creation_date_earliest": 400, "creation_date_latest": 600, "artists_tags": [], "culture": [ "Iran, Sasanian Empire (224–651 CE)" ], "technique": "silver gilt", "support_materials": [], "department": "Egyptian and Ancient Near Eastern Art", "collection": "Near Eastern Art", "type": "Metalwork", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Hormizd II's crown is distinct with its eagle form and topped with the traditional korymbos, a fine, bejeweled fabric that encases the top hair in a glob-like fashion.", "description": "Lion hunting was a traditional royal sport in ancient Near Eastern cultures and was frequently incorporated into artwork, such as Assyrian (about 912–612 BC) palace reliefs. Thematically, depictions of the hunt in royal artwork bridge the pre- and post-Islamic worlds. This dish features the Sasanian ruler Hormizd II (reigned from AD 303–9), identifiable by his distinctive crown. The style of the king’s and horse’s equipment suggest that this dish was made long after he died, perhaps as a commemorative work by a much later successor, Hormizd III (reigned from AD 457-59).", "citations": [], "url": "https://clevelandart.org/art/1962.150", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1962.150/1962.150_web.jpg", "width": "900", "height": "751", "filesize": "268544", "filename": "1962.150_web.jpg" } }, "alternate_images": [], "creditline": "John L. Severance Fund", "sketchfab_id": "57ba611b823b4f9691262876d3ebb9a3", "sketchfab_url": "https://sketchfab.com/models/57ba611b823b4f9691262876d3ebb9a3", "gallery_donor_text": null, "athena_id": 137194, "creators": [], "legal_status": "accessioned", "accession_date": "1962-06-02T00:00:00", "sortable_date": 400, "date_text": "400–600 CE", "is_highlight": false, "updated_at": "2024-02-09 18:05:21.611000", "legacy": [] }, { "id": 157016, "accession_number": "1993.165", "share_license_status": "CC0", "tombstone": "Statuette of a Woman: \"The Stargazer\", c. 3000 BCE. Western Anatolia, early Bronze Age (c. 3300–1200 BCE). Marble; overall: 17.2 x 6.5 x 6.3 cm (6 3/4 x 2 9/16 x 2 1/2 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund; John L. Severance Fund 1993.165", "current_location": "102A Ancient Near East", "title": "Statuette of a Woman: \"The Stargazer\"", "creation_date": "c. 3000 BCE", "creation_date_earliest": -3005, "creation_date_latest": -2995, "artists_tags": [], "culture": [ "Western Anatolia, early Bronze Age (c. 3300–1200 BCE)" ], "technique": "marble", "support_materials": [], "department": "Egyptian and Ancient Near Eastern Art", "collection": "Near Eastern Art", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "We can identify this mysterious figure as female by the inscribed pubic triangle below her waist.", "description": "\"The Stargazer\" moniker was given to this diminutive marble sculpture because its upturned head looks toward the heavens. Details carved into the stone are visible while painted features have been lost to time. We do not know how this object was used, but its enigmatic nature invites speculation.", "citations": [], "url": "https://clevelandart.org/art/1993.165", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1993.165/1993.165_web.jpg", "width": "611", "height": "893", "filesize": "165978", "filename": "1993.165_web.jpg" } }, "alternate_images": [], "creditline": "Leonard C. Hanna, Jr. Fund; John L. Severance Fund", "sketchfab_id": "84cd036f133e449ba7e67d33eb8047ee", "sketchfab_url": "https://sketchfab.com/models/84cd036f133e449ba7e67d33eb8047ee", "gallery_donor_text": null, "athena_id": 157016, "creators": [], "legal_status": "accessioned", "accession_date": "1993-12-06T00:00:00", "sortable_date": -3005, "date_text": "c. 3000 BCE", "is_highlight": true, "updated_at": "2024-02-09 18:06:57.204000", "legacy": [] }, { "id": 96303, "accession_number": "1916.2011", "share_license_status": "CC0", "tombstone": "Head of Sekhmet, c. 1391–1353 BCE. Egypt, Thebes(?), New Kingdom (1540–1069 BCE), Dynasty 18, reign of Amenhotep III (1390–1352 BCE). Granodiorite; overall: 33.4 x 31.5 x 32 cm (13 1/8 x 12 3/8 x 12 5/8 in.). The Cleveland Museum of Art, Gift of the John Huntington Art and Polytechnic Trust 1916.2011", "current_location": "107 Egyptian", "title": "Head of Sekhmet", "creation_date": "c. 1391–1353 BCE", "creation_date_earliest": -1391, "creation_date_latest": -1353, "artists_tags": [], "culture": [ "Egypt, Thebes(?), New Kingdom (1540–1069 BCE), Dynasty 18, reign of Amenhotep III (1390–1352 BCE)" ], "technique": "granodiorite", "support_materials": [], "department": "Egyptian and Ancient Near Eastern Art", "collection": "Egypt - New Kingdom", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Amenhotep III may have dedicated 730 statues of Sekhmet, two for each day of the year.", "description": "This lioness head once belonged to a grand statue of the goddess Sekhmet, \"the powerful one,\" probably seated and wearing a tight dress. Possibly appealing to her healing aspect, Pharaoh Amenhotep III, often described as “beloved of Sekhmet,” commissioned and dedicated hundreds of large granodiorite Sekhmet sculptures in his Theban mortuary temple. Thus, this head likely comes from Thebes, perhaps later moved across the Nile—like many such sculptures—to the temple of Mut, a related deity, at Karnak. Behind her stylized ruff, Sekhmet wears a wig, once crowned with a sun disk and uraeus, the stylized cobra symbolizing royal or divine power.", "citations": [], "url": "https://clevelandart.org/art/1916.2011", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1916.2011/1916.2011_web.jpg", "width": "1059", "height": "893", "filesize": "555070", "filename": "1916.2011_web.jpg" } }, "alternate_images": [], "creditline": "Gift of the John Huntington Art and Polytechnic Trust", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 96303, "creators": [], "legal_status": "accessioned", "accession_date": "1916-10-05T00:00:00", "sortable_date": -1391, "date_text": "c. 1391–1353 BCE", "is_highlight": false, "updated_at": "2024-02-09 18:02:33.546000", "legacy": [] }, { "id": 148794, "accession_number": "1976.4", "share_license_status": "CC0", "tombstone": "Talatat: Portrait of Nefertiti, c. 1353–1347 BCE. Egypt, Karnak, New Kingdom (1540–1069 BCE), Dynasty 18, reign of Akhenaten (1351–1334 BCE). Painted sandstone; overall: 21.5 x 24.3 cm (8 7/16 x 9 9/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1976.4", "current_location": "107 Egyptian", "title": "Talatat: Portrait of Nefertiti", "creation_date": "c. 1353–1347 BCE", "creation_date_earliest": -1353, "creation_date_latest": -1347, "artists_tags": [], "culture": [ "Egypt, Karnak, New Kingdom (1540–1069 BCE), Dynasty 18, reign of Akhenaten (1351–1334 BCE)" ], "technique": "painted sandstone", "support_materials": [], "department": "Egyptian and Ancient Near Eastern Art", "collection": "Egypt - New Kingdom", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Even though all we see is a fragment of the head we know it is Nefertiti by the double uraeus or serpent symbol on the headband, which was only worn by the queen.", "description": "The son of Amenhotep III, Akhenaten, brought about the short-lived \"monotheistic\" revolution in Egyptian religion near the end of Dynasty 18. The young king constructed a temple complex to the Aten, the Sun Disk, at Karnak—from which this relief comes—before he moved his capital to El Armana. For reasons yet unknown, the figure of the Queen Nefertiti appears in these reliefs far more often than that of the king. Ironically, the Aten temples were dismantled anciently to be used as foundations and fill for additions to the Great Temple of Amun, whom the Aten had briefly displaced.", "citations": [], "url": "https://clevelandart.org/art/1976.4", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1976.4/1976.4_web.jpg", "width": "1042", "height": "893", "filesize": "738578", "filename": "1976.4_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 148794, "creators": [], "legal_status": "accessioned", "accession_date": "1976-02-24T00:00:00", "sortable_date": -1353, "date_text": "c. 1353–1347 BCE", "is_highlight": false, "updated_at": "2024-02-09 18:06:15.965000", "legacy": [] }, { "id": 101363, "accession_number": "1920.1976", "share_license_status": "CC0", "tombstone": "Fragment of an Inlay Headdress, c. 1353–1295 BCE. Egypt, New Kingdom (1540–1069 BCE), Dynasty 18. Lavender blue faience with deep blue overglaze; overall: 6.7 x 7.7 x 2.8 cm (2 5/8 x 3 1/16 x 1 1/8 in.). The Cleveland Museum of Art, Gift of the John Huntington Art and Polytechnic Trust 1920.1976", "current_location": "107 Egyptian", "title": "Fragment of an Inlay Headdress", "creation_date": "c. 1353–1295 BCE", "creation_date_earliest": -1353, "creation_date_latest": -1295, "artists_tags": [], "culture": [ "Egypt, New Kingdom (1540–1069 BCE), Dynasty 18" ], "technique": "lavender blue faience with deep blue overglaze", "support_materials": [], "department": "Egyptian and Ancient Near Eastern Art", "collection": "Egypt - New Kingdom", "type": "Inlays", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [ "3943.20" ], "did_you_know": "It has been suggested that this fragment was part of a headdress that belonged to a queen. The fine, carved details of this headdress attest to the great skill of its maker and the luster of the blue lapis lazuli faience would have been appropriate for Egyptian royalty.", "description": "This fragment is part of the curled headdress of an inlay figure, probably of a queen, assembled of various materials fit together like the pieces of a jigsaw puzzle. The front part of the headdress (directly over the forehead) is to the left, followed by the ear tab and part of the cutout above the ear. The luster of the faience is marvelously preserved. Blue, primarily associated with lapis lazuli, was an appropriate color for kings' and gods' hair and was part of the apparatus signaling them as otherworldly beings.", "citations": [], "url": "https://clevelandart.org/art/1920.1976", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1920.1976/1920.1976_web.jpg", "width": "1228", "height": "893", "filesize": "543947", "filename": "1920.1976_web.jpg" } }, "alternate_images": [], "creditline": "Gift of the John Huntington Art and Polytechnic Trust", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 101363, "creators": [], "legal_status": "accessioned", "accession_date": "1920-12-30T00:00:00", "sortable_date": -1353, "date_text": "c. 1353–1295 BCE", "is_highlight": false, "updated_at": "2024-02-09 18:02:56.675000", "legacy": [] }, { "id": 125901, "accession_number": "1948.141", "share_license_status": "CC0", "tombstone": "Torso of Amenpayom, probably 200–100 BCE. Egypt, Greco-Roman period (332 BCE–395 CE), Ptolemaic dynasty (305–30 BCE). Granodiorite; overall: 96.4 x 32.3 x 28.6 cm (37 15/16 x 12 11/16 x 11 1/4 in.). The Cleveland Museum of Art, Gift of the Hanna Fund 1948.141", "current_location": "107 Egyptian", "title": "Torso of Amenpayom", "creation_date": "probably 200–100 BCE", "creation_date_earliest": -200, "creation_date_latest": -100, "artists_tags": [], "culture": [ "Egypt, Greco-Roman period (332 BCE–395 CE), Ptolemaic dynasty (305–30 BCE)" ], "technique": "granodiorite", "support_materials": [], "department": "Egyptian and Ancient Near Eastern Art", "collection": "Egypt - Ptolemaic Dynasty", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "On the back Amenpayom is depicted again worshiping the gods of Mendes, Harpocrates, Banebjedet, and Hatmehit.", "description": "This magnificent life-sized torso is inscribed for Amenpayom, the great army general of the district of Mendes in the Nile Delta. By the end of the Ptolemaic dynasty (305-30 BC) when this statue was made, the Egyptians could draw on 3,000 years of expertise carving hard stone. Enough remains to show that Amenpayom was represented in the traditional pose for men: left leg striding forward, arms at his sides, and supported by a back pillar. The subtle, masterful treatment of the undulating musculature and meticulous, flawless polish are hallmarks of this period, when Egyptian artists reveled in the natural beauty of the human form.", "citations": [], "url": "https://clevelandart.org/art/1948.141", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1948.141/1948.141_web.jpg", "width": "606", "height": "893", "filesize": "247179", "filename": "1948.141_web.jpg" } }, "alternate_images": [], "creditline": "Gift of the Hanna Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 125901, "creators": [], "legal_status": "accessioned", "accession_date": "1948-06-15T00:00:00", "sortable_date": -200, "date_text": "probably 200–100 BCE", "is_highlight": true, "updated_at": "2024-02-09 18:04:34.322000", "legacy": [] }, { "id": 94188, "accession_number": "1914.714", "share_license_status": "CC0", "tombstone": "Coffin of Nesykhonsu, c. 976–889 BCE. Egypt, Thebes, Third Intermediate (1069–715 BCE), Dynasties 21–22. Gessoed and painted sycamore fig; overall: 70 cm (27 9/16 in.). The Cleveland Museum of Art, Gift of the John Huntington Art and Polytechnic Trust 1914.714", "current_location": "107 Egyptian", "title": "Coffin of Nesykhonsu", "creation_date": "c. 976–889 BCE", "creation_date_earliest": -976, "creation_date_latest": -889, "artists_tags": [], "culture": [ "Egypt, Thebes, Third Intermediate (1069–715 BCE), Dynasties 21–22" ], "technique": "gessoed and painted sycamore fig", "support_materials": [], "department": "Egyptian and Ancient Near Eastern Art", "collection": "Egypt - Third Intermediate", "type": "Funerary Equipment", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Two of Nesykhonsu's titles, \"Lady of the House\" and \"Singer of the Choir of Mut the Great,\" are written on the outside of the coffin.", "description": "Egyptian coffins told stories and illustrated spells to help the deceased transition safely to the afterlife. Inside Nesykhonsu's coffin there are two jackals, one facing right and the other left, near the top. Here, the jackal represents the powerful deity Anubis, the god of the afterlife and embalming.", "citations": [], "url": "https://clevelandart.org/art/1914.714", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1914.714/1914.714_web.jpg", "width": "758", "height": "893", "filesize": "356370", "filename": "1914.714_web.jpg" } }, "alternate_images": [], "creditline": "Gift of the John Huntington Art and Polytechnic Trust", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 94188, "creators": [], "legal_status": "accessioned", "accession_date": "1914-01-01T00:00:00", "sortable_date": -976, "date_text": "c. 976–889 BCE", "is_highlight": true, "updated_at": "2024-02-09 18:02:22.183000", "legacy": [] }, { "id": 130133, "accession_number": "1952.513", "share_license_status": "CC0", "tombstone": "Head of Amenhotep III Wearing the Blue Crown, c. 1391–1353 BCE. Egypt, New Kingdom (1540–1069 BCE), Dynasty 18, reign of Amenhotep III (1390–1352 BCE). Granodiorite; overall: 39.1 x 30.3 x 27.7 cm (15 3/8 x 11 15/16 x 10 7/8 in.). The Cleveland Museum of Art, Gift of the Hanna Fund 1952.513", "current_location": "107 Egyptian", "title": "Head of Amenhotep III Wearing the Blue Crown", "creation_date": "c. 1391–1353 BCE", "creation_date_earliest": -1391, "creation_date_latest": -1353, "artists_tags": [], "culture": [ "Egypt, New Kingdom (1540–1069 BCE), Dynasty 18, reign of Amenhotep III (1390–1352 BCE)" ], "technique": "granodiorite", "support_materials": [], "department": "Egyptian and Ancient Near Eastern Art", "collection": "Egypt - New Kingdom", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The Blue Crown or Khepresh was worn by New Kingdom Pharaohs into battle as well as in ceremonies.", "description": "During the long, peaceful reign of Amenhotep III, Egypt reached a pinnacle of wealth and splendor. This magnificent portrait captures the ruler's exotic features to perfection. He has large, almond-shaped eyes, elegant arched eyebrows, and a full mouth. His face is youthful and without blemish. The bone structure is lost in the fleshy fullness of the face. The contrast between polished and roughened surfaces is a hallmark of hard stone images of Amenhotep III. The flesh areas were smoothed to a glistening sheen, while the eyeballs and the crown were left rougher. The roughening of the crown also had a practical purpose, for the upper portion was originally painted blue and the browband was painted yellow. The paint would have adhered better to the unpolished surface.", "citations": [], "url": "https://clevelandart.org/art/1952.513", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1952.513/1952.513_web.jpg", "width": "790", "height": "893", "filesize": "377395", "filename": "1952.513_web.jpg" } }, "alternate_images": [], "creditline": "Gift of the Hanna Fund", "sketchfab_id": "ff3dd192a81944a0a93a54beb8a7a27f", "sketchfab_url": "https://sketchfab.com/models/ff3dd192a81944a0a93a54beb8a7a27f", "gallery_donor_text": null, "athena_id": 130133, "creators": [], "legal_status": "accessioned", "accession_date": "1952-01-01T00:00:00", "sortable_date": -1391, "date_text": "c. 1391–1353 BCE", "is_highlight": true, "updated_at": "2024-02-09 18:04:54.492000", "legacy": [] }, { "id": 141487, "accession_number": "1964.96", "share_license_status": "CC0", "tombstone": "Woman and Water Buffalo Rhyton, 500–700. Sasanian, Iran, 600s or Turk Shahi dynasty, Kabul, Afghanistan, 500s. Silver, with mercury gilding and glass inlays; overall: 19.1 cm (7 1/2 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 1964.96", "current_location": "102A Ancient Near East", "title": "Woman and Water Buffalo Rhyton", "creation_date": "500–700", "creation_date_earliest": 500, "creation_date_latest": 700, "artists_tags": [], "culture": [ "Sasanian, Iran, 600s or Turk Shahi dynasty, Kabul, Afghanistan, 500s" ], "technique": "silver, with mercury gilding and glass inlays", "support_materials": [], "department": "Egyptian and Ancient Near Eastern Art", "collection": "Near Eastern Art", "type": "Metalwork", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Inlays once filled the buffalo eye sockets, perhaps of colored glass like that still present within some petals of the disc-shaped earrings.", "description": "Recalling both Greek and Iranian traditions of head vases and rhyta (drinking horns), this unusual silver vessel combines the heads of a woman and a water buffalo. A filling hole on top and a pouring or drinking spout in front make clear its function. An inscription in Middle Persian on its back records its weight: probably 50 staters and three drachmae (close to its current weight of just over 700 grams, or about 1-1/2 pounds). The woman’s flat brow, straight nose, and widely set, heavy-lidded eyes—along with the sectarian mark in gold on her forehead—relate to art of the Indus River Valley and Hindu Kush regions of today’s Pakistan and Afghanistan. While we do not know for sure, numerous scholars have suggested that she may depict the Indian warrior goddess Durga, slayer of the buffalo demon.", "citations": [], "url": "https://clevelandart.org/art/1964.96", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1964.96/1964.96_web.jpg", "width": "690", "height": "893", "filesize": "294279", "filename": "1964.96_web.jpg" } }, "alternate_images": [], "creditline": "Leonard C. Hanna, Jr. Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 141487, "creators": [], "legal_status": "accessioned", "accession_date": "1964-05-06T00:00:00", "sortable_date": 500, "date_text": "500–700", "is_highlight": false, "updated_at": "2024-02-09 18:05:46.671000", "legacy": [] }, { "id": 136667, "accession_number": "1961.205", "share_license_status": "CC0", "tombstone": "Nome Gods Bearing Offerings, c. 1391–1353 BCE. Egypt, New Kingdom (1540–1069 BCE), Dynasty 18, reign of Amenhotep III (1390–1352 BCE). Painted limestone; overall: 66 x 133 cm (26 x 52 3/8 in.). The Cleveland Museum of Art, John L. Severance Fund 1961.205", "current_location": "107 Egyptian", "title": "Nome Gods Bearing Offerings", "creation_date": "c. 1391–1353 BCE", "creation_date_earliest": -1391, "creation_date_latest": -1353, "artists_tags": [], "culture": [ "Egypt, New Kingdom (1540–1069 BCE), Dynasty 18, reign of Amenhotep III (1390–1352 BCE)" ], "technique": "painted limestone", "support_materials": [], "department": "Egyptian and Ancient Near Eastern Art", "collection": "Egypt - New Kingdom", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [ { "id": 148798, "description": "Nome Gods Bearing Offerings, c. 1391–1353 BCE. Egypt, New Kingdom (1540–1069 BCE), Dynasty 18, reign of Amenhotep III (1390–1352 BCE). Painted limestone; overall: 66 x 133 cm (26 x 52 3/8 in.). The Cleveland Museum of Art, John L. Severance Fund 1976.51", "relationship": "originally part of" } ], "former_accession_numbers": [], "did_you_know": "Another block from the same temple wall was acquired 15 years later by the museum.", "description": "These blocks from a temple wall show four figures identified as nomes, or provinces, of ancient Egypt. Carrying trays heaped with offerings and leading sacrificial animals, they personify the bounty of the land that they bring to the god who stood in the upper register, facing a figure of the king, Amenhotep III. These blocks may be from Amenhotep III's temple, dedicated to the god Horus.", "citations": [], "url": "https://clevelandart.org/art/1961.205", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1961.205/1961.205_web.jpg", "width": "1263", "height": "695", "filesize": "862287", "filename": "1961.205_web.jpg" } }, "alternate_images": [], "creditline": "John L. Severance Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 136667, "creators": [], "legal_status": "accessioned", "accession_date": "1961-08-19T00:00:00", "sortable_date": -1391, "date_text": "c. 1391–1353 BCE", "is_highlight": true, "updated_at": "2024-02-09 18:05:19.603000", "legacy": [] }, { "id": 148798, "accession_number": "1976.51", "share_license_status": "CC0", "tombstone": "Nome Gods Bearing Offerings, c. 1391–1353 BCE. Egypt, New Kingdom (1540–1069 BCE), Dynasty 18, reign of Amenhotep III (1390–1352 BCE). Painted limestone; overall: 66 x 133 cm (26 x 52 3/8 in.). The Cleveland Museum of Art, John L. Severance Fund 1976.51", "current_location": "107 Egyptian", "title": "Nome Gods Bearing Offerings", "creation_date": "c. 1391–1353 BCE", "creation_date_earliest": -1391, "creation_date_latest": -1353, "artists_tags": [], "culture": [ "Egypt, New Kingdom (1540–1069 BCE), Dynasty 18, reign of Amenhotep III (1390–1352 BCE)" ], "technique": "painted limestone", "support_materials": [], "department": "Egyptian and Ancient Near Eastern Art", "collection": "Egypt - New Kingdom", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [ { "id": 136667, "description": "Nome Gods Bearing Offerings, c. 1391–1353 BCE. Egypt, New Kingdom (1540–1069 BCE), Dynasty 18, reign of Amenhotep III (1390–1352 BCE). Painted limestone; overall: 66 x 133 cm (26 x 52 3/8 in.). The Cleveland Museum of Art, John L. Severance Fund 1961.205", "relationship": "originally part of" } ], "former_accession_numbers": [], "did_you_know": "Another block from the same temple wall was acquired 15 years earlier by the museum.", "description": "These blocks from a temple wall have preserved their original painted decoration to a remarkable degree. The four portly figures in the lower register bear emblems on their heads identifying them as nomes, or provinces, of ancient Egypt. Carrying trays heaped with offerings and leading sacrificial animals, they personify the bounty of the land. First (on the right) is the Oryx Nome, followed by the Dog Nome, the Falcon Nome, and the Double Scepter Nome. The face of each nome figure is a miniature portrait of Amenhotep III, and each recites a speech in the king's name. The first figure says, \"King Nebmaatra [Amenhotep III] has come, bringing to you every good thing that is in this land, that you may give him all life, stability, dominion, and all health from you.\" The second, third, and fourth figures bring \"all greens,\" \"the produce of the Two Lands [Upper and Lower Egypt],\" and \"all offerings and provisions.\" The god to whom the nomes bring offerings stood in the fragmentary upper register, facing a standing figure of the king, Amenhotep III. The pair of legs on the right belonged to the god; the single foot on the left belonged to the king. The god held a scepter, forked at the bottom, embellished with coils of rope (for eternity), tadpoles (for hundreds of thousands), and notched palm ribs (for years), the whole signifying \"an eternity of hundreds of thousands of years.\" These blocks may be from Amenhotep III's temple at Kom el-Ahmar, ancient Hebenu, in Middle Egypt, dedicated to the god Horus. Hebenu was the capital of the Oryx Nome, which leads the procession of nome gods. Amenhotep III's temple was later dismantled, and its blocks were reused in the foundations of another structure, which would account for the excellent preservation of the paint.", "citations": [], "url": "https://clevelandart.org/art/1976.51", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1976.51/1976.51_web.jpg", "width": "770", "height": "893", "filesize": "669461", "filename": "1976.51_web.jpg" } }, "alternate_images": [], "creditline": "John L. Severance Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 148798, "creators": [], "legal_status": "accessioned", "accession_date": "1976-07-29T00:00:00", "sortable_date": -1391, "date_text": "c. 1391–1353 BCE", "is_highlight": true, "updated_at": "2024-02-09 18:06:15.991000", "legacy": [] }, { "id": 136942, "accession_number": "1961.417", "share_license_status": "CC0", "tombstone": "Head of Amenhotep III Wearing the Round Wig, c. 1391–1353 BCE. Egypt, New Kingdom (1540–1069 BCE), Dynasty 18, reign of Amenhotep III (1390–1352 BCE). Brown quartzite; overall: 17.3 x 17 x 25.3 cm (6 13/16 x 6 11/16 x 9 15/16 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 1961.417", "current_location": "107 Egyptian", "title": "Head of Amenhotep III Wearing the Round Wig", "creation_date": "c. 1391–1353 BCE", "creation_date_earliest": -1391, "creation_date_latest": -1353, "artists_tags": [], "culture": [ "Egypt, New Kingdom (1540–1069 BCE), Dynasty 18, reign of Amenhotep III (1390–1352 BCE)" ], "technique": "brown quartzite", "support_materials": [], "department": "Egyptian and Ancient Near Eastern Art", "collection": "Egypt - New Kingdom", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Amenhotep wears a chin strap that would have held up a false beard.", "description": "Although he must have been nearly 50 years old when this portrait was carved, Amenhotep III appears more youthful than ever. Over a round, curly wig he wears a diadem with side streamers adorned with cobras bearing sun disks on their heads. The stone quartzite was associated with the sun on account of its ruddy hues, ranging in color from brown to red to purple. It was a favorite of Amenhotep III, the king who called himself the \"dazzling sun-disk of all lands.\"", "citations": [], "url": "https://clevelandart.org/art/1961.417", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1961.417/1961.417_web.jpg", "width": "948", "height": "893", "filesize": "448393", "filename": "1961.417_web.jpg" } }, "alternate_images": [], "creditline": "Leonard C. Hanna, Jr. Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 136942, "creators": [], "legal_status": "accessioned", "accession_date": "1961-12-02T00:00:00", "sortable_date": -1391, "date_text": "c. 1391–1353 BCE", "is_highlight": true, "updated_at": "2024-02-09 18:05:20.817000", "legacy": [] }, { "id": 153630, "accession_number": "1987.156", "share_license_status": "CC0", "tombstone": "Ostracon: Ramesses II Suckled by a Goddess, c. 1279–1213 BCE. Egypt, New Kingdom (1540–1069 BCE), Dynasty 19, reign of Ramesses II (1279–1213 BCE). Painted limestone; overall: 31.2 x 18.2 x 3.3 cm (12 5/16 x 7 3/16 x 1 5/16 in.). The Cleveland Museum of Art, Given in honor of James N. Sherwin, Trustee 1957-1971 1987.156", "current_location": "107 Egyptian", "title": "Ostracon: Ramesses II Suckled by a Goddess", "creation_date": "c. 1279–1213 BCE", "creation_date_earliest": -1279, "creation_date_latest": -1213, "artists_tags": [], "culture": [ "Egypt, New Kingdom (1540–1069 BCE), Dynasty 19, reign of Ramesses II (1279–1213 BCE)" ], "technique": "painted limestone", "support_materials": [], "department": "Egyptian and Ancient Near Eastern Art", "collection": "Egypt - New Kingdom", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The artisans who carved the tombs in the cemeteries lived in a tiny community not far from their workplace.", "description": "Ostraca (singular, ostracon) are natural limestone flakes, common to the region of Thebes. The ancient Egyptians who lived there, particularly the artisans of the royal tombs, used them extensively as writing or drawing surfaces, both for practice and for instruction. Some are almost finished works of art; others are clearly sketches. Whether passing idle time or practicing their technique, these pieces provide a rare look at an ancient artist at work. This ostracon is decorated with a scene of the king suckled by a goddess. Although his body is that of an adult, the king (identified by the inscriptions as Ramesses II) appears child size. The goddess wears a long garment of vulture's wings--she could be any of a number of protective mother or sky goddesses.", "citations": [], "url": "https://clevelandart.org/art/1987.156", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1987.156/1987.156_web.jpg", "width": "614", "height": "893", "filesize": "412210", "filename": "1987.156_web.jpg" } }, "alternate_images": [], "creditline": "Given in honor of James N. Sherwin, Trustee 1957-1971", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 153630, "creators": [], "legal_status": "accessioned", "accession_date": "1987-11-17T00:00:00", "sortable_date": -1279, "date_text": "c. 1279–1213 BCE", "is_highlight": false, "updated_at": "2024-02-09 18:06:39.995000", "legacy": [] }, { "id": 93985, "accession_number": "1914.561.a", "share_license_status": "CC0", "tombstone": "Coffin of Bakenmut, c. 1000–900 BCE. Egypt, Thebes, Third Intermediate (1069–715 BCE), Dynasties 21–22. Gessoed and painted sycamore fig ; overall: 68 cm (26 3/4 in.). The Cleveland Museum of Art, Gift of the John Huntington Art and Polytechnic Trust 1914.561.a", "current_location": "107 Egyptian", "title": "Coffin of Bakenmut", "creation_date": "c. 1000–900 BCE", "creation_date_earliest": -1000, "creation_date_latest": -900, "artists_tags": [], "culture": [ "Egypt, Thebes, Third Intermediate (1069–715 BCE), Dynasties 21–22" ], "technique": "gessoed and painted sycamore fig ", "support_materials": [], "department": "Egyptian and Ancient Near Eastern Art", "collection": "Egypt - Third Intermediate", "type": "Funerary Equipment", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [ "353.14", "14.561" ], "did_you_know": "Originally another smaller coffin was placed inside this outer coffin and in that the deceased with a mummy board would have rested.", "description": "The coffin of Bakenmut is one of the finest examples of painted wooden coffins made for the priests of Amen and their families at Thebes during Dynasty 21 and early Dynasty 22. The pharaohs of this time were no longer buried in the Valley of the Kings, but instead built tombs in the Delta, far to the north, where they resided. Security was lax in the Theban necropolis. The coffins and funerary goods of the wealthy citizens of Thebes were placed in unmarked and undecorated family tombs cut into the cliffs on the west bank of the Nile. All the care and detail that in more prosperous times were devoted to the decoration of the tomb chapel were now lavished on the elaborately painted coffins. Every available surface is crowded with religious scenes, images of funerary gods and goddesses, protective spells, and magical symbols. The deceased appears mummiform. An elaborate floral collar entirely covers the upper body, exposing only the separately attached hands (now lost). A pair of red \"mummy braces\" are crossed over the chest, their point of intersection marked by a winged sun disk. The lower body is covered with tiny figures modeled in gesso against a yellow background, which gives the effect of gold inlaid with glass or semiprecious stone. The decoration on the interior features two deified dead kings of Dynasty 18. Although these rulers had lived centuries before, memory of their greatness was still very much alive. The main scene near the top depicts Tuthmosis III, the great military pharaoh, who lived 500 years before Bakenmut. Posed as a mummy, the ruler wears a brilliant feathered garment enfolding him with falcon’s wings. The scene below features back-to-back seated images of Amenhotep I, regarded as the patron of the Theban cemetery and worshiped as a local god there.", "citations": [], "url": "https://clevelandart.org/art/1914.561.a", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1914.561.a/1914.561.a_web.jpg", "width": "539", "height": "893", "filesize": "276596", "filename": "1914.561.a_web.jpg" } }, "alternate_images": [], "creditline": "Gift of the John Huntington Art and Polytechnic Trust", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 93985, "creators": [], "legal_status": "accessioned", "accession_date": "1914-01-01T00:00:00", "sortable_date": -1000, "date_text": "c. 1000–900 BCE", "is_highlight": false, "updated_at": "2024-02-13 20:00:37.980000", "legacy": [] }, { "id": 144280, "accession_number": "1969.118", "share_license_status": "CC0", "tombstone": "Apis Bull, 400–100 BCE. Egypt, Greco-Roman period (332 BCE–395 CE), Ptolemaic dynasty (305–30 BCE). Serpentinite; overall: 53 x 19 x 59 cm (20 7/8 x 7 1/2 x 23 1/4 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 1969.118", "current_location": "107 Egyptian", "title": "Apis Bull", "creation_date": "400–100 BCE", "creation_date_earliest": -400, "creation_date_latest": -100, "artists_tags": [], "culture": [ "Egypt, Greco-Roman period (332 BCE–395 CE), Ptolemaic dynasty (305–30 BCE)" ], "technique": "serpentinite", "support_materials": [], "department": "Egyptian and Ancient Near Eastern Art", "collection": "Egypt - Ptolemaic Dynasty", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Sacred animal cults have a long history in ancient Egypt, but they became even more important in the Ptolemaic and Roman periods. Because each god could incarnate himself into any animal species, beasts of all sorts--dogs, cats, ibises, crocodiles--were protected, venerated, mummified, and collected by the thousands in specialized animal cemeteries. The sacred bull cults were different. Apis, the bull of Memphis, was a god in his own right. But he was also associated with other deities, such as Ptah, the god of Memphis, and Osiris, in the form of Osiris-Apis (or Serapis). Statues and reliefs always show him crowned with a sun disk and cobra. When an Apis bull died, he was given a burial fit for a king in an area of the Memphite cemetery known as the Serapeum.", "citations": [], "url": "https://clevelandart.org/art/1969.118", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1969.118/1969.118_web.jpg", "width": "1144", "height": "893", "filesize": "598641", "filename": "1969.118_web.jpg" } }, "alternate_images": [], "creditline": "Leonard C. Hanna, Jr. Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 144280, "creators": [], "legal_status": "accessioned", "accession_date": "1969-07-12T00:00:00", "sortable_date": -400, "date_text": "400–100 BCE", "is_highlight": false, "updated_at": "2024-02-09 18:05:56.295000", "legacy": [] }, { "id": 135658, "accession_number": "1959.188", "share_license_status": "CC0", "tombstone": "Talatat: Portrait of Nefertiti, c. 1353–1347 BCE. Egypt, Karnak, New Kingdom (1540–1069 BCE), Dynasty 18, reign of Akhenaten (1351–1334 BCE). Painted sandstone; overall: 22 x 22.7 cm (8 11/16 x 8 15/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1959.188", "current_location": "107 Egyptian", "title": "Talatat: Portrait of Nefertiti", "creation_date": "c. 1353–1347 BCE", "creation_date_earliest": -1353, "creation_date_latest": -1347, "artists_tags": [], "culture": [ "Egypt, Karnak, New Kingdom (1540–1069 BCE), Dynasty 18, reign of Akhenaten (1351–1334 BCE)" ], "technique": "painted sandstone", "support_materials": [], "department": "Egyptian and Ancient Near Eastern Art", "collection": "Egypt - New Kingdom", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": "East Karnak", "related_works": [], "former_accession_numbers": [], "did_you_know": "This relief comes from the short end of a talatat, a limestone block of standardized size used during the 18th Dynasty reign of the Pharaoh Akhenaten in the building of the Aton temples at Karnak and Akhetaten. The standardized size and their small weight made construction more efficient.", "description": "The son of Amenhotep III, Akenhaten, brought about the short-lived \"monotheistic\" revolution in Egyptian religion near the end of Dynasty 18. The young king constructed a temple complex to the Aten, the Sun Disk, at Karnak—from which this relief comes—before he moved his capital to El Amarna. For reasons yet unknown, the figure of the Queen Nefertiti appears in these reliefs far more often that that of the king. Ironically, the Aten temples were dismantled to be used as foundations and fill for additions to the Great Temple of Amun, whom the Aten had briefly displaced.", "citations": [], "url": "https://clevelandart.org/art/1959.188", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1959.188/1959.188_web.jpg", "width": "1015", "height": "893", "filesize": "704822", "filename": "1959.188_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 135658, "creators": [], "legal_status": "accessioned", "accession_date": "1959-06-20T00:00:00", "sortable_date": -1353, "date_text": "c. 1353–1347 BCE", "is_highlight": false, "updated_at": "2024-02-09 18:05:15.762000", "legacy": [] }, { "id": 148796, "accession_number": "1976.5", "share_license_status": "CC0", "tombstone": "Statue of Heqat, the Frog Goddess, c. 2950 BCE. Egypt, Predynastic (5000–2950 BCE), Naqada III (3200–3000 BCE)–Egypt, Early Dynastic (2950–2647 BCE), Dynasty 1. Travertine (Egyptian alabaster); overall: 15.4 x 14.7 x 15.5 cm (6 1/16 x 5 13/16 x 6 1/8 in.). The Cleveland Museum of Art, Andrew R. and Martha Holden Jennings Fund 1976.5", "current_location": "107 Egyptian", "title": "Statue of Heqat, the Frog Goddess", "creation_date": "c. 2950 BCE", "creation_date_earliest": -2900, "creation_date_latest": -2950, "artists_tags": [], "culture": [ "Egypt, Predynastic (5000–2950 BCE), Naqada III (3200–3000 BCE)–Egypt, Early Dynastic (2950–2647 BCE), Dynasty 1" ], "technique": "travertine (Egyptian alabaster)", "support_materials": [], "department": "Egyptian and Ancient Near Eastern Art", "collection": "Egypt - Predynastic", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This probably represents a puffed-up Bufo viridis, one of two types of \"frogs\" (it is actually a toad) represented in Egyptian art.", "description": "During the Predynastic period statues of animals are much more common than those of humans. This statue of a frog stands at the beginning of a great tradition of animal sculpture in Egyptian art. The sculptor has shown great sensitivity to the natural banding of the stone, using it to enhance the roundness of the animal's form. Small frogs, mostly of faience, are among the most common votive offerings deposited at early temple sites. The frog's exact religious significance in the Predynastic period is unknown, but in later times it was most often identified with Heqat, the goddess who assisted at childbirth.", "citations": [], "url": "https://clevelandart.org/art/1976.5", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1976.5/1976.5_web.jpg", "width": "1116", "height": "893", "filesize": "470311", "filename": "1976.5_web.jpg" } }, "alternate_images": [], "creditline": "Andrew R. and Martha Holden Jennings Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 148796, "creators": [], "legal_status": "accessioned", "accession_date": "1976-02-25T00:00:00", "sortable_date": -2900, "date_text": "c. 2950 BCE", "is_highlight": false, "updated_at": "2024-02-09 18:06:15.978000", "legacy": [] }, { "id": 101378, "accession_number": "1920.1991", "share_license_status": "CC0", "tombstone": "Vulture Headdress Inlay, 100–1 BCE. Egypt, Greco-Roman period (332 BCE–395 CE), Ptolemaic dynasty (305–30 BCE). Gold and semi-precious stones; overall: 3 x 2.8 cm (1 3/16 x 1 1/8 in.). The Cleveland Museum of Art, Gift of the John Huntington Art and Polytechnic Trust 1920.1991", "current_location": "107 Egyptian", "title": "Vulture Headdress Inlay", "creation_date": "100–1 BCE", "creation_date_earliest": -100, "creation_date_latest": -1, "artists_tags": [], "culture": [ "Egypt, Greco-Roman period (332 BCE–395 CE), Ptolemaic dynasty (305–30 BCE)" ], "technique": "gold and semi-precious stones", "support_materials": [], "department": "Egyptian and Ancient Near Eastern Art", "collection": "Egypt - Ptolemaic Dynasty", "type": "Jewelry", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [ "3937.20" ], "did_you_know": "When creating this headdress, artisans used numerous semiprecious stones with inset partitions to keep them separate. To ensure that the stones would stay in place, a resin-like material was used as an adhesive.", "description": "The vulture headdress was worn by goddesses and queens. This inlay in the form of a vulture headdress has more than 100 stones: lapis lazuli (dark blue), turquoise (light blue), petrified wood (red), and an unidentified white stone painstakingly cut to shape and separated by thin plates of gold. Body, wing, and tail feathers are carefully distinguished in minute detail.", "citations": [], "url": "https://clevelandart.org/art/1920.1991", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1920.1991/1920.1991_web.jpg", "width": "935", "height": "893", "filesize": "515459", "filename": "1920.1991_web.jpg" } }, "alternate_images": [], "creditline": "Gift of the John Huntington Art and Polytechnic Trust", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 101378, "creators": [], "legal_status": "accessioned", "accession_date": "1920-12-30T00:00:00", "sortable_date": -100, "date_text": "100–1 BCE", "is_highlight": false, "updated_at": "2024-02-09 18:02:56.755000", "legacy": [] }, { "id": 147084, "accession_number": "1972.96", "share_license_status": "CC0", "tombstone": "Virupa, early 1400s. China, Ming dynasty (1368-1644), Yongle reign (1403-1424). Gilt bronze with silver, stones, and pigment; overall: 43.6 cm (17 3/16 in.). The Cleveland Museum of Art, Gift of Mary B. Lee, C. Bingham Blossom, Dudley S. Blossom III, Laurel B. Kovacik, and Elizabeth B. Blossom, in memory of Elizabeth B. Blossom 1972.96", "current_location": "237 Himalayan", "title": "Virupa", "creation_date": "early 1400s", "creation_date_earliest": 1400, "creation_date_latest": 1420, "artists_tags": [], "culture": [ "China, Ming dynasty (1368-1644), Yongle reign (1403-1424)" ], "technique": "Gilt bronze with silver, stones, and pigment", "support_materials": [], "department": "Chinese Art", "collection": "China - Ming Dynasty", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Virupa's clothing and jewelry are embellished with silver and stones, while pigments enhance his hair and eyes.", "description": "Virupa is one of the great teachers in the history of tantric Buddhism. His posture references his ability to stop the sun; as an enlightened being, he can control phenomena of nature. As a tantric practitioner, he overturns ordinary assumptions about proper behavior, so he overeats, drinks large quantities of liquor, and waits for the king to pay his bill at the tavern.

At the edge of the lotus pedestal is an inscription identifying the image as having been made in the imperial kilns of the third emperor of the Ming dynasty in China as a gift to a Tibetan monastic leader. While closely linked to Tibetan styles, the luxurious detailing, special gilding process, and the casting of the ornaments onto the body without use of inlay are specifically Chinese characteristics.", "citations": [], "url": "https://clevelandart.org/art/1972.96", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1972.96/1972.96_web.jpg", "width": "718", "height": "900", "filesize": "171763", "filename": "1972.96_web.jpg" } }, "alternate_images": [], "creditline": "Gift of Mary B. Lee, C. Bingham Blossom, Dudley S. Blossom III, Laurel B. Kovacik, and Elizabeth B. Blossom, in memory of Elizabeth B. Blossom", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 147084, "creators": [], "legal_status": "accessioned", "accession_date": "1972-07-31T00:00:00", "sortable_date": 1400, "date_text": "early 1400s", "is_highlight": false, "updated_at": "2024-02-09 18:06:08.539000", "legacy": [] }, { "id": 130939, "accession_number": "1953.628", "share_license_status": "CC0", "tombstone": "Amulet in the Form of a Seated Figure with Bovine Head, c. 4700–2920 BCE. Northeast China, Neolithic period, probably Hongshan culture (4700–2920 BCE). Jade (nephrite); overall: 13.2 cm (5 3/16 in.). The Cleveland Museum of Art, Gift of Severance A. Millikin 1953.628", "current_location": "241A Arts of Ancient China", "title": "Amulet in the Form of a Seated Figure with Bovine Head", "title_in_original_language": "牛首玉人", "creation_date": "c. 4700–2920 BCE", "creation_date_earliest": -4710, "creation_date_latest": -2910, "artists_tags": [], "culture": [ "Northeast China, Neolithic period, probably Hongshan culture (4700–2920 BCE)" ], "technique": "jade (nephrite)", "support_materials": [], "department": "Chinese Art", "collection": "China - Neolithic", "type": "Jade", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "CMA daringly acquired this masterpiece without knowing exactly what it was. Only after Chinese archaeologists started excavating similar jades in Northeast China could it be attributed to the Hongshan culture.", "description": "With a bovine head and four horns, this seated figurine was a powerful ritual and shamanic symbol. Drill holes above its shoulders form two interconnected perforations for suspension, suggesting that the jade was originally used as a pendant, presumably by the shaman performing the tasks of journeying to and communicating with the supernatural realms.", "citations": [], "url": "https://clevelandart.org/art/1953.628", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1953.628/1953.628_web.jpg", "width": "605", "height": "893", "filesize": "226945", "filename": "1953.628_web.jpg" } }, "alternate_images": [], "creditline": "Gift of Severance A. Millikin", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 130939, "creators": [], "legal_status": "accessioned", "accession_date": "1953-12-15T00:00:00", "sortable_date": -4710, "date_text": "c. 4700–2920 BCE", "is_highlight": true, "updated_at": "2024-02-09 18:04:58.088000", "legacy": [] }, { "id": 93992, "accession_number": "1914.567", "share_license_status": "CC0", "tombstone": "Stele with Sakyamuni and Bodhisattvas, 537. China, Hebei province, Eastern Wei dynasty (534-550). Limestone; overall: 77.5 x 44.4 cm (30 1/2 x 17 1/2 in.). The Cleveland Museum of Art, Gift of the John Huntington Art and Polytechnic Trust 1914.567", "current_location": "241C Chinese Buddhist Sculptures", "title": "Stele with Sakyamuni and Bodhisattvas", "creation_date": "537", "creation_date_earliest": 537, "creation_date_latest": 537, "artists_tags": [], "culture": [ "China, Hebei province, Eastern Wei dynasty (534-550)" ], "technique": "limestone", "support_materials": [], "department": "Chinese Art", "collection": "China - Northern Dynasties", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [ "420.1914" ], "did_you_know": "Traces of polychrome paints remaining in the interstices of the carving, particularly on the foliate carving around Shakyamuni, suggest the stele was originally brightly colored.", "description": "According to the inscription, this stele was commissioned in 537 by Yuan'ning, prince of the Gaoping branch of the imperial Wei family, in memory of his deceased consort, in the hope that it would bring her to the Western paradise. It was carved by one of the finest craftsmen in the Eastern Wei capital of Ye in Hebei province.

Here, the Buddha's robe shows a careful arrangement of patterned drapery (large U-shaped folds and scallop-shaped folds at the hem), combining linear rhythms with an ordered symmetry. Soaring flames edge the mandorla (almond-shaped halo), echoing the linear eloquence of Chinese painting.", "citations": [], "url": "https://clevelandart.org/art/1914.567", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1914.567/1914.567_web.jpg", "width": "635", "height": "893", "filesize": "379677", "filename": "1914.567_web.jpg" } }, "alternate_images": [], "creditline": "Gift of the John Huntington Art and Polytechnic Trust", "sketchfab_id": "ead841ad0125426b8de404924e7dfa9b", "sketchfab_url": "https://sketchfab.com/models/ead841ad0125426b8de404924e7dfa9b", "gallery_donor_text": null, "athena_id": 93992, "creators": [], "legal_status": "accessioned", "accession_date": "1914-05-01T00:00:00", "sortable_date": 537, "date_text": "537", "is_highlight": false, "updated_at": "2024-02-09 18:02:21.032000", "legacy": [] }, { "id": 135007, "accession_number": "1957.61", "share_license_status": "CC0", "tombstone": "Wine Cup with Children at Play, 1465–87. China, Jiangxi province, Jingdezhen, Ming dynasty (1368-1644), Chenghua mark and period (1465-1487). Porcelain with underglaze blue and overglaze enamel decoration, docai (\"joined colors\") ware; overall: 4.8 cm (1 7/8 in.). The Cleveland Museum of Art, John L. Severance Fund 1957.61", "current_location": "238 Chinese Ceramics", "title": "Wine Cup with Children at Play", "title_in_original_language": "斗彩婴戏杯", "creation_date": "1465–87", "creation_date_earliest": 1465, "creation_date_latest": 1487, "artists_tags": [], "culture": [ "China, Jiangxi province, Jingdezhen, Ming dynasty (1368-1644), Chenghua mark and period (1465-1487)" ], "technique": "porcelain with underglaze blue and overglaze enamel decoration, docai (\"joined colors\") ware", "support_materials": [], "department": "Chinese Art", "collection": "China - Ming Dynasty", "type": "Ceramic", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Chenghua ware demonstrates one of the high points of technological accomplishment in Chinese porcelain production.", "description": "This delicate wine cup, only two inches high, exhibits free, spontaneous drawing as well as perfect compositional balance over its small surface area. The motifs were outlined with cobalt blue; the piece was then glazed and fired in the normal way for making the blue-and-white ware. After firing, the outline painting was completed with colored enamels over the glaze. The piece was fired the second time. The pictorial decoration is refined and complicated; the porcelain body is of exceptionally high quality and is thin, translucent, and light in weight.", "citations": [], "url": "https://clevelandart.org/art/1957.61", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1957.61/1957.61_web.jpg", "width": "1042", "height": "893", "filesize": "353846", "filename": "1957.61_web.jpg" } }, "alternate_images": [], "creditline": "John L. Severance Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 135007, "creators": [], "legal_status": "accessioned", "accession_date": "1957-01-17T00:00:00", "sortable_date": 1465, "date_text": "1465–87", "is_highlight": true, "updated_at": "2024-02-09 18:05:12.409000", "legacy": [] }, { "id": 117940, "accession_number": "1938.9", "share_license_status": "CC0", "tombstone": "Cranes and Serpents, 475–221 BCE. China, reportedly from Hunan province, Changsha, Warring States period (475–221 BCE), State of Chu (c. 1046–223 BCE). Lacquered wood with polychromy; overall: 132.1 x 124.5 cm (52 x 49 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1938.9", "current_location": "241A Arts of Ancient China", "title": "Cranes and Serpents", "title_in_original_language": "蛇座鳳鳥鼓架", "creation_date": "475–221 BCE", "creation_date_earliest": -475, "creation_date_latest": -221, "artists_tags": [], "culture": [ "China, reportedly from Hunan province, Changsha, Warring States period (475–221 BCE), State of Chu (c. 1046–223 BCE)" ], "technique": "lacquered wood with polychromy", "support_materials": [], "department": "Chinese Art", "collection": "China - Zhou Dynasty", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The cranes' long necks allowed a lightweight drum to be suspended from strings through the beaks, while the densely intertwined snakes provided a weighty base to stabilize the object during musical performances.", "description": "A different style of ritual art developed in the state of Chu in South China. In addition to bronze vessels, lacquered wood artifacts expanded the repertory of ritual implements.

This extraordinary sculpture was probably a drum stand for supporting a suspended drum in ritual ceremonies. It is unique among other excavated drum stands of the Chu, which typically show two birds standing on tigers. The theme of the bird stepping on the serpent was common in the Chu visual culture. Yet the slender proportions and seemingly flimsy structure of this particular set raise the question of whether it was utilitarian or mostly served symbolic functions in the tomb.

The birds' and serpents' bodies have designs painted in red lacquer and yellow pigment against the black lacquer. Scientific analyses confirm the additional use of a blue or green pigment that has been discolored over time.", "citations": [], "url": "https://clevelandart.org/art/1938.9", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1938.9/1938.9_web.jpg", "width": "770", "height": "900", "filesize": "185650", "filename": "1938.9_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": "1b7e690bf1df4c4cb053857f5b86cf8a", "sketchfab_url": "https://sketchfab.com/models/1b7e690bf1df4c4cb053857f5b86cf8a", "gallery_donor_text": null, "athena_id": 117940, "creators": [], "legal_status": "accessioned", "accession_date": "1938-01-17T00:00:00", "sortable_date": -475, "date_text": "475–221 BCE", "is_highlight": true, "updated_at": "2024-02-09 18:03:59.285000", "legacy": [] }, { "id": 161427, "accession_number": "2000.118.1", "share_license_status": "CC0", "tombstone": "Tomb Guardian with Animal Head, early 700s. China, probably Shaanxi province, Xi'an, Tang dynasty (618-907). Glazed earthenware, sancai (three-color) ware; overall: 92.3 x 43.8 x 41.9 cm (36 5/16 x 17 1/4 x 16 1/2 in.). The Cleveland Museum of Art, Gift of various donors to the department of Asian Art (by exchange) 2000.118.1", "current_location": "239 Chinese Ceramics and Metalwork", "title": "Tomb Guardian with Animal Head", "title_in_original_language": "鎮墓獸", "creation_date": "early 700s", "creation_date_earliest": 700, "creation_date_latest": 725, "artists_tags": [], "culture": [ "China, probably Shaanxi province, Xi'an, Tang dynasty (618-907)" ], "technique": "glazed earthenware, sancai (three-color) ware", "support_materials": [], "department": "Chinese Art", "collection": "China - Tang Dynasty", "type": "Ceramic", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Sancai (three-color) glazes in green, amber, and transparent white, plus expensive cobalt blue glaze, show the high social status of the tomb’s occupant.", "description": "With their fierce expressions and exaggerated physical features, fantastic guardian creatures were intended to guard the entrance to a tomb, warding off evil as well as keeping the soul of the deceased from wandering. Known as \"earth spirits\" or qitou, this one has an animal face and a pair of antlers growing above its eyebrows; the other sports a human face with huge protruding ears and a short horn surrounded by fiery, twisting hair. Their many elongated spikes heighten the fearful intensity.

Before tomb sculptures were placed in the tomb, they were carried through the streets in a funerary procession. Funerary gifts provided the deceased with means for the afterlife. They were also an expression of filial piety and demonstrated the wealth and power of the descendants.", "citations": [], "url": "https://clevelandart.org/art/2000.118.1", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/2000.118.1/2000.118.1_web.jpg", "width": "635", "height": "893", "filesize": "76528", "filename": "2000.118.1_web.jpg" } }, "alternate_images": [], "creditline": "Gift of various donors to the department of Asian Art (by exchange)", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 161427, "creators": [], "legal_status": "accessioned", "accession_date": "2000-12-04T00:00:00", "sortable_date": 700, "date_text": "early 700s", "is_highlight": true, "updated_at": "2024-02-13 19:49:50.227000", "legacy": [] }, { "id": 147576, "accession_number": "1973.74", "share_license_status": "CC0", "tombstone": "Mirror with Phoenixes, Birds, Butterflies, and Floral Sprays, 700s. China, Tang dynasty (618-907). Bronze with silver and gold inlaid lacquer; diameter: 19.2 cm (7 9/16 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 1973.74", "current_location": "239 Chinese Ceramics and Metalwork", "title": "Mirror with Phoenixes, Birds, Butterflies, and Floral Sprays", "title_in_original_language": "金銀平脫花鳥鏡", "creation_date": "700s", "creation_date_earliest": 700, "creation_date_latest": 799, "artists_tags": [], "culture": [ "China, Tang dynasty (618-907)" ], "technique": "bronze with silver and gold inlaid lacquer", "support_materials": [], "department": "Chinese Art", "collection": "China - Tang Dynasty", "type": "Metalwork", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Mirrors like this have a polished side for viewing and a decorated side with a central knob for lifting.", "description": "This extremely rare pingtuo mirror is coated with a lacquer base inlaid with paper-thin sheets of silver and gold. The decorative patterns, especially the floral arabesques and the phoenixes and birds holding branches in their mouths, have a pronounced Persian and Central Asian flavor. Luxury items like this had been used by the Tang emperor as diplomatic gifts. A similar example from the Japanese imperial collection of Emperor Shōmu was donated by Empress Kōmyō in 756 to the Shōsō-in repository of the Tōdai-ji Temple, Nara, Japan.", "citations": [], "url": "https://clevelandart.org/art/1973.74", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1973.74/1973.74_web.jpg", "width": "930", "height": "893", "filesize": "621586", "filename": "1973.74_web.jpg" } }, "alternate_images": [], "creditline": "Leonard C. Hanna, Jr. Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 147576, "creators": [], "legal_status": "accessioned", "accession_date": "1973-05-07T00:00:00", "sortable_date": 700, "date_text": "700s", "is_highlight": true, "updated_at": "2024-02-09 18:06:10.357000", "legacy": [] }, { "id": 134843, "accession_number": "1957.40", "share_license_status": "CC0", "tombstone": "Brush Washer, late 1000s–1127. China, Henan Province, Baofeng, Qingliangsi, Northern Song dynasty (960-1127). Porcelaneous stoneware, Ru ware; diameter: 12.8 cm (5 1/16 in.); overall: 3.8 cm (1 1/2 in.). The Cleveland Museum of Art, John L. Severance Fund 1957.40", "current_location": "238 Chinese Ceramics", "title": "Brush Washer", "title_in_original_language": "汝瓷筆洗盤", "creation_date": "late 1000s–1127", "creation_date_earliest": 1075, "creation_date_latest": 1127, "artists_tags": [], "culture": [ "China, Henan Province, Baofeng, Qingliangsi, Northern Song dynasty (960-1127)" ], "technique": "porcelaneous stoneware, Ru ware", "support_materials": [], "department": "Chinese Art", "collection": "China - Song Dynasty", "type": "Ceramic", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The little black spot in the glaze inside the dish is one of the slight imperfections characteristic of genuine Ru ware.", "description": "Ru ware is the rarest and most celebrated of all Chinese imperial wares. It was made for the late Northern Song court for a very short time and was therefore extremely rare and precious. Simplicity and refined elegance are Ru ware's hallmarks. Its graceful shape, soft luster, and subtle color variation of the glaze interact in perfect unity. Other physical characteristics include an ash-grey body, soft greyblue glaze with a fine crackle, as well as small sesame-seed spur marks on the base.", "citations": [], "url": "https://clevelandart.org/art/1957.40", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1957.40/1957.40_web.jpg", "width": "900", "height": "514", "filesize": "86253", "filename": "1957.40_web.jpg" } }, "alternate_images": [], "creditline": "John L. Severance Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 134843, "creators": [], "legal_status": "accessioned", "accession_date": "1957-01-17T00:00:00", "sortable_date": 1075, "date_text": "late 1000s–1127", "is_highlight": true, "updated_at": "2024-02-09 18:05:11.640000", "legacy": [] }, { "id": 145937, "accession_number": "1971.145", "share_license_status": "CC0", "tombstone": "Vase with Golden Pheasants, 1736–95. China, Jiangxi province, Jingdezhen kilns, Qing dynasty (1644-1911), Qianlong mark and period (1736-95). Porcelain painted in polychrome enamels over transparent glaze; overall: 18.6 x 10.5 cm (7 5/16 x 4 1/8 in.). The Cleveland Museum of Art, John L. Severance Fund 1971.145", "current_location": "238 Chinese Ceramics", "title": "Vase with Golden Pheasants", "title_in_original_language": "珐琅彩錦雞花卉蒜頭瓶", "creation_date": "1736–95", "creation_date_earliest": 1736, "creation_date_latest": 1795, "artists_tags": [], "culture": [ "China, Jiangxi province, Jingdezhen kilns, Qing dynasty (1644-1911), Qianlong mark and period (1736-95)" ], "technique": "porcelain painted in polychrome enamels over transparent glaze", "support_materials": [], "department": "Chinese Art", "collection": "China - Qing Dynasty", "type": "Ceramic", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Refined porcelains produced in Jingdezhen kilns were sent to Beijing palace workshops to be decorated in falangcai technique under direct imperial supervision.", "description": "The flower-and-bird painting in this vase was intricately executed in colored enamels (falangcai), with careful modeling, shading, and blending of colors reflecting European influences through missionary-artists at the Qing court. The Jesuit artist Giuseppe Castiglione (1688–1766), in particular, exerted tremendous impact at the Qianlong academy.", "citations": [], "url": "https://clevelandart.org/art/1971.145", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1971.145/1971.145_web.jpg", "width": "595", "height": "893", "filesize": "208012", "filename": "1971.145_web.jpg" } }, "alternate_images": [], "creditline": "John L. Severance Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 145937, "creators": [], "legal_status": "accessioned", "accession_date": "1971-12-11T00:00:00", "sortable_date": 1736, "date_text": "1736–95", "is_highlight": true, "updated_at": "2024-02-09 18:06:02.948000", "legacy": [] }, { "id": 154710, "accession_number": "1989.3", "share_license_status": "CC0", "tombstone": "Bell (Lai Zhong), c. 800–700 BCE. China, Shaanxi province, Meixian, Western Zhou dynasty (c. 1046–771 BCE). Bronze; overall: 70.3 x 37 x 26.6 cm (27 11/16 x 14 9/16 x 10 1/2 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 1989.3", "current_location": "241A Arts of Ancient China", "title": "Bell (Lai Zhong)", "title_in_original_language": "逨鐘", "creation_date": "c. 800–700 BCE", "creation_date_earliest": -810, "creation_date_latest": -690, "artists_tags": [], "culture": [ "China, Shaanxi province, Meixian, Western Zhou dynasty (c. 1046–771 BCE)" ], "technique": "bronze", "support_materials": [], "department": "Chinese Art", "collection": "China - Zhou Dynasty", "type": "Metalwork", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The technical sophistication of the unusual lens-shaped cavity allowed the bell to produce two different tones.", "description": "In ancient China, music and ritual had political significance and were linked inseparably to the power of states. During the Zhou dynasty, bronze bells were made in sets of eight to sixty bells. This bell is the second largest from a set of eight.

This bell bears an inscription of 118 characters about its owner, Lai, and why it was cast. Lai's ancestors dutifully served the Western Zhou royal court, and he was granted a hereditary position by the \"Son of Heaven\" (the ruler). To express filial piety, Lai commissioned a set of bells as an offering to his father, Gongshu, in the hope that they would be forever treasured by future generations. This important inscription also provides an early example of Chinese calligraphy highlighting the purely abstract lines and construction of characters.", "citations": [], "url": "https://clevelandart.org/art/1989.3", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1989.3/1989.3_web.jpg", "width": "668", "height": "893", "filesize": "59341", "filename": "1989.3_web.jpg" } }, "alternate_images": [], "creditline": "Leonard C. Hanna, Jr. Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 154710, "creators": [], "legal_status": "accessioned", "accession_date": "1989-02-24T00:00:00", "sortable_date": -810, "date_text": "c. 800–700 BCE", "is_highlight": true, "updated_at": "2024-02-09 18:06:45.412000", "legacy": [] }, { "id": 112307, "accession_number": "1930.730", "share_license_status": "CC0", "tombstone": "Finial, 475–221 BCE. China, Henan province, Jincun, Warring States period (475–221 BCE). Bronze inlaid with gold and silver; overall: 13.1 cm (5 3/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1930.730", "current_location": "241A Arts of Ancient China", "title": "Finial", "creation_date": "475–221 BCE", "creation_date_earliest": -475, "creation_date_latest": -221, "artists_tags": [], "culture": [ "China, Henan province, Jincun, Warring States period (475–221 BCE)" ], "technique": "bronze inlaid with gold and silver", "support_materials": [], "department": "Chinese Art", "collection": "China - Zhou Dynasty", "type": "Metalwork", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This finial is made to be placed on the top of a pole or staff.", "description": "Chariots and weapons were associated with hunting and warfare in the ancient world. Those bronze fittings with lavish inlaid decoration were status symbols of rulers and high-ranking officials.

This finial combines extravagance and ferocious beauty to reveal the aesthetics of the time. The birds with hooked beaks are above the intertwined serpent-dragons. Such artistic conception emphasizes the power of the bird in combat. Every facet of this finial is exquisitely crafted to give full play to the inlaid decoration.", "citations": [], "url": "https://clevelandart.org/art/1930.730", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1930.730/1930.730_web.jpg", "width": "537", "height": "893", "filesize": "295226", "filename": "1930.730_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 112307, "creators": [], "legal_status": "accessioned", "accession_date": "1930-12-09T00:00:00", "sortable_date": -475, "date_text": "475–221 BCE", "is_highlight": false, "updated_at": "2024-02-09 18:03:42.474000", "legacy": [] }, { "id": 135430, "accession_number": "1958.427", "share_license_status": "CC0", "tombstone": "Dragon; Tiger, c. 1250–79. Fachang Muqi (Chinese, 1220–1280). Pair of hanging scrolls; ink on silk; painting: 125.2 x 57.2 cm (49 5/16 x 22 1/2 in.); overall: 226.8 x 71.8 cm (89 5/16 x 28 1/4 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1958.427", "current_location": "240A Chinese Paintings and Calligraphy", "title": "Dragon; Tiger", "title_in_original_language": "龍虎圖", "creation_date": "c. 1250–79", "creation_date_earliest": 1250, "creation_date_latest": 1275, "artists_tags": [ "male" ], "culture": [ "China, Southern Song dynasty (1127-1279)" ], "technique": "Pair of hanging scrolls; ink on silk", "support_materials": [], "department": "Chinese Art", "collection": "ASIAN - Hanging scroll", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Fachang Muqi's ink paintings on Chan (or Zen in Japanese) themes were very popular in Japan.", "description": "The dragon and tiger are tied to the philosophical concept of yin and yang, which describes opposite but complementary forces. The dragon occupies a tiered background of waves and mist. Its luminous head emerges from the darker passages, and its narrow twisting body is serpent-like. By contrast, the close-up view of the tiger emphasizes its bulk. The tiger bends its head to lick its paw while its tail curls in the foreground.

In their original Chan Buddhist context, this pair of scrolls likely flanked a central image, like the Bodhisattva Guanyin. The silk has darkened over the centuries, and the slight reddish shading in the tiger’s tongue and nose has faded.", "citations": [], "url": "https://clevelandart.org/art/1958.427", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1958.427/1958.427_web.jpg", "width": "875", "height": "900", "filesize": "286974", "filename": "1958.427_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Clara T. Rankin Galleries of Chinese Art", "athena_id": 135430, "creators": [ { "id": 29198, "description": "Fachang Muqi (Chinese, 1220–1280)", "extent": null, "qualifier": null, "role": "artist", "biography": "active mid-13th century", "name_in_original_language": "法常 牧谿", "birth_year": "1220", "death_year": "1280" } ], "legal_status": "accessioned", "accession_date": "1958-11-29T00:00:00", "sortable_date": 1250, "date_text": "c. 1250–79", "is_highlight": false, "updated_at": "2024-02-13 20:03:00.079000", "legacy": [] }, { "id": 150493, "accession_number": "1981.53", "share_license_status": "CC0", "tombstone": "Eleven-Headed Guanyin, 1100–1200. China, late Northern Song dynasty (960-1127) - Jin dynasty (1115-1234). Wood with polychromy and cut gold; overall: 218.5 cm (86 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1981.53", "current_location": "238 Chinese Ceramics", "title": "Eleven-Headed Guanyin", "title_in_original_language": "十一面觀音菩薩", "creation_date": "1100–1200", "creation_date_earliest": 1100, "creation_date_latest": 1200, "artists_tags": [], "culture": [ "China, late Northern Song dynasty (960-1127) - Jin dynasty (1115-1234)" ], "technique": "wood with polychromy and cut gold", "support_materials": [], "department": "Chinese Art", "collection": "China - Song Dynasty", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This Guanyin is carved from a single block of willow (genus Salix sp.).", "description": "The bodhisattva is an enlightened being dedicated to the spiritual awakening of all beings. The compassionate bodhisattva Guanyin, in a variety of manifestations, is probably the most popular deity of worship in Chinese Buddhism. In the Esoteric Buddhist form shown here, this standing Guanyin has a total of eleven heads, with smaller ones above the principal head. The uppermost head represents the Buddha Amitabha, to whom he is closely related. The eleven heads symbolize the Buddha’s steps on the path to enlightenment.", "citations": [], "url": "https://clevelandart.org/art/1981.53", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1981.53/1981.53_web.jpg", "width": "435", "height": "900", "filesize": "160202", "filename": "1981.53_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": "a8581040a43346718e1daadca397f3d0", "sketchfab_url": "https://sketchfab.com/models/a8581040a43346718e1daadca397f3d0", "gallery_donor_text": null, "athena_id": 150493, "creators": [], "legal_status": "accessioned", "accession_date": "1981-12-08T00:00:00", "sortable_date": 1100, "date_text": "1100–1200", "is_highlight": false, "updated_at": "2024-02-09 18:06:25.789000", "legacy": [] }, { "id": 135432, "accession_number": "1958.427.2", "share_license_status": "CC0", "tombstone": "Tiger, c. 1250–79. Fachang Muqi (Chinese, 1220–1280). Hanging scroll; ink and slight color on silk; painting: 125.2 x 57.2 cm (49 5/16 x 22 1/2 in.); overall with knobs: 227.1 x 78 cm (89 7/16 x 30 11/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1958.427.2", "current_location": "240A Chinese Paintings and Calligraphy", "title": "Tiger", "title_in_original_language": "虎圖", "creation_date": "c. 1250–79", "creation_date_earliest": 1250, "creation_date_latest": 1279, "artists_tags": [ "male" ], "culture": [ "China, Southern Song dynasty (1127-1279)" ], "technique": "Hanging scroll; ink and slight color on silk", "support_materials": [], "department": "Chinese Art", "collection": "ASIAN - Hanging scroll", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [ "1958.428" ], "did_you_know": "Fachang Muqi's ink paintings, like this pair, were highly appreciated and collected in Japan.", "description": "The dragon and tiger are tied to the philosophical concept of yin and yang, which describes opposite but complementary forces. The dragon occupies a tiered background of waves and mist. Its luminous head emerges from the darker passages, and its narrow twisting body is serpent-like. By contrast, the close-up view of the tiger emphasizes its bulk. The tiger bends its head to lick its paw while its tail curls in the foreground.

In their original Chan Buddhist context, this pair of scrolls likely flanked a central image, like the Bodhisattva Guanyin. The silk has darkened over the centuries, and the slight reddish shading in the tiger’s tongue and nose has faded.", "citations": [], "url": "https://clevelandart.org/art/1958.427.2", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1958.427.2/1958.427.2_web.jpg", "width": "426", "height": "893", "filesize": "54804", "filename": "1958.427.2_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Clara T. Rankin Galleries of Chinese Art", "athena_id": 135432, "creators": [ { "id": 29198, "description": "Fachang Muqi (Chinese, 1220–1280)", "extent": null, "qualifier": null, "role": "artist", "biography": "active mid-13th century", "name_in_original_language": "法常 牧谿", "birth_year": "1220", "death_year": "1280" } ], "legal_status": "accessioned", "accession_date": "1958-11-29T00:00:00", "sortable_date": 1250, "date_text": "c. 1250–79", "is_highlight": false, "updated_at": "2024-02-13 20:03:07.676000", "legacy": [] }, { "id": 135431, "accession_number": "1958.427.1", "share_license_status": "CC0", "tombstone": "Dragon, c. 1250–79. Fachang Muqi (Chinese, 1220–1280). Hanging scroll; ink on silk; painting: 125.2 x 57.2 cm (49 5/16 x 22 1/2 in.); overall with knobs: 226.8 x 78 cm (89 5/16 x 30 11/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1958.427.1", "current_location": "240A Chinese Paintings and Calligraphy", "title": "Dragon", "title_in_original_language": "龍圖", "creation_date": "c. 1250–79", "creation_date_earliest": 1250, "creation_date_latest": 1279, "artists_tags": [ "male" ], "culture": [ "China, Southern Song dynasty (1127-1279)" ], "technique": "Hanging scroll; ink on silk", "support_materials": [], "department": "Chinese Art", "collection": "ASIAN - Hanging scroll", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [ "58.427" ], "did_you_know": "Fachang Muqi was a Chinese Chan Buddhist monk and painter.", "description": "The dragon and tiger are tied to the philosophical concept of yin and yang, which describes opposite but complementary forces. The dragon occupies a tiered background of waves and mist. Its luminous head emerges from the darker passages, and its narrow twisting body is serpent-like. By contrast, the close-up view of the tiger emphasizes its bulk. The tiger bends its head to lick its paw while its tail curls in the foreground.

In their original Chan Buddhist context, this pair of scrolls likely flanked a central image, like the Bodhisattva Guanyin. The silk has darkened over the centuries, and the slight reddish shading in the tiger’s tongue and nose has faded.", "citations": [], "url": "https://clevelandart.org/art/1958.427.1", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1958.427.1/1958.427.1_web.jpg", "width": "426", "height": "893", "filesize": "51885", "filename": "1958.427.1_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Clara T. Rankin Galleries of Chinese Art", "athena_id": 135431, "creators": [ { "id": 29198, "description": "Fachang Muqi (Chinese, 1220–1280)", "extent": null, "qualifier": null, "role": "artist", "biography": "active mid-13th century", "name_in_original_language": "法常 牧谿", "birth_year": "1220", "death_year": "1280" } ], "legal_status": "accessioned", "accession_date": "1958-11-29T00:00:00", "sortable_date": 1250, "date_text": "c. 1250–79", "is_highlight": false, "updated_at": "2024-02-13 20:03:03.961000", "legacy": [] }, { "id": 156948, "accession_number": "1993.108", "share_license_status": "CC0", "tombstone": "Stele with Shakyamuni and Maitreya, c. 570s. China, Northern Qi dynasty (550-577). Marble with polychromy; overall: 119 cm (46 7/8 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 1993.108", "current_location": "241C Chinese Buddhist Sculptures", "title": "Stele with Shakyamuni and Maitreya", "creation_date": "c. 570s", "creation_date_earliest": 560, "creation_date_latest": 580, "artists_tags": [], "culture": [ "China, Northern Qi dynasty (550-577)" ], "technique": "marble with polychromy", "support_materials": [], "department": "Chinese Art", "collection": "China - Northern Dynasties", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Shakyamuni, or the historical Buddha, was a prince who gave up his earthly possessions for spiritual transcendence.", "description": "In this stele, Shakyamuni (the historical Buddha) bears a benign smile in the hand gestures of fearlessness and gift giving. He is flanked by two bodhisattvas and two disciples-all standing against a mandorla (almond-shaped halo) adorned with a stupa and flying heavenly beings. On the reverse side, the Buddha sits in a pensive pose with his head tilted, mediating under twin sala trees. This position is reserved for Shakyamuni’s first meditation or Maitreya’s meditation. The joint appearance of Shakyamuni and Maitreya (the future Buddha) on two sides of a stele was a favorite scheme of the Northern Qi period.", "citations": [], "url": "https://clevelandart.org/art/1993.108", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1993.108/1993.108_web.jpg", "width": "621", "height": "893", "filesize": "406797", "filename": "1993.108_web.jpg" } }, "alternate_images": [], "creditline": "Leonard C. Hanna, Jr. Fund", "sketchfab_id": "cb4bf4308714484185bd619116aae7c6", "sketchfab_url": "https://sketchfab.com/models/cb4bf4308714484185bd619116aae7c6", "gallery_donor_text": null, "athena_id": 156948, "creators": [], "legal_status": "accessioned", "accession_date": "1993-05-05T00:00:00", "sortable_date": 560, "date_text": "c. 570s", "is_highlight": false, "updated_at": "2024-02-09 18:06:56.794000", "legacy": [] }, { "id": 112308, "accession_number": "1930.731", "share_license_status": "CC0", "tombstone": "Monster Face: Door Ring Holder (Pushou), 500s. China, Henan province, Northern Dynasties period (386-581). Gilt bronze; overall: 13.6 x 20 cm (5 3/8 x 7 7/8 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1930.731", "current_location": "241B Arts of Ancient China", "title": "Monster Face: Door Ring Holder (Pushou)", "title_in_original_language": "鋪首", "creation_date": "500s", "creation_date_earliest": 500, "creation_date_latest": 599, "artists_tags": [], "culture": [ "China, Henan province, Northern Dynasties period (386-581)" ], "technique": "gilt bronze", "support_materials": [], "department": "Chinese Art", "collection": "China - Southern Dynasties", "type": "Metalwork", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Three rivet holes (one on the forehead and one by each limb) were used to nail the mask onto a door.", "description": "This gilt bronze Door Ring Holder is in the form of a monster head with curving horns, protruding eyes, three-clawed paws, curling beard, and flame-shaped hair. The tongue dangles from the mouth, in which the creature originally grasped a ring. While it had a practical function as a door knocker, the intimidating form could also frighten away both intruders and evil spirits.", "citations": [], "url": "https://clevelandart.org/art/1930.731", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1930.731/1930.731_web.jpg", "width": "1068", "height": "893", "filesize": "640985", "filename": "1930.731_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 112308, "creators": [], "legal_status": "accessioned", "accession_date": "1930-12-09T00:00:00", "sortable_date": 500, "date_text": "500s", "is_highlight": false, "updated_at": "2024-02-09 18:03:42.482000", "legacy": [] }, { "id": 94676, "accession_number": "1915.334.1", "share_license_status": "CC0", "tombstone": "Seated Amitayus Buddha, c. 570s. China, Northern Qi dynasty (550-577). Marble; overall: 110 x 66.1 cm (43 5/16 x 26 in.). The Cleveland Museum of Art, Worcester R. Warner Collection 1915.334.1", "current_location": "241B Arts of Ancient China", "title": "Seated Amitayus Buddha", "creation_date": "c. 570s", "creation_date_earliest": 550, "creation_date_latest": 590, "artists_tags": [], "culture": [ "China, Northern Qi dynasty (550-577)" ], "technique": "marble", "support_materials": [], "department": "Chinese Art", "collection": "China - Southern Dynasties", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [ "1915.334" ], "did_you_know": "The stringlike folds of the Buddha's draperies emphasize his monumental, rigidly erect torso and tubular limbs.", "description": "Amitayus, the Buddha of Infinite Life, is seated in meditation on a double lotus pedestal. The pedestal was not made with the statue but the combination is faithful to the original artistic conception. The statue is an extremely rare example of a major type of Northern Qi Buddhist sculpture. The heavy, massive front highlights the sense of monumentality and the spiritual essence of the Buddha.

Today the sculpture is united with a pedestal that exhibits the rich, ornate style of early Tang sculpture. It was commissioned by the Duke of Liang, Fang Xuanling (578–648), for the blessing of his second son and daughter-in-law, the Tang imperial princess of Gaoyang. The iconography and inscription suggest that it originally went with a statue, now missing, of Shakyamuni, the historical Buddha, instead of Amitayus.", "citations": [], "url": "https://clevelandart.org/art/1915.334.1", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1915.334.1/1915.334.1_web.jpg", "width": "749", "height": "900", "filesize": "150050", "filename": "1915.334.1_web.jpg" } }, "alternate_images": [], "creditline": "Worcester R. Warner Collection", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 94676, "creators": [], "legal_status": "accessioned", "accession_date": "1915-10-15T00:00:00", "sortable_date": 550, "date_text": "c. 570s", "is_highlight": false, "updated_at": "2024-02-09 18:02:24.673000", "legacy": [] }, { "id": 161426, "accession_number": "2000.118", "share_license_status": "CC0", "tombstone": "Tomb Guardians, early 700s. China, probably Shaanxi province, Xi'an, Tang dynasty (618-907). Glazed earthenware, sancai (three-color) ware; part 1: 92.3 x 43.8 x 41.9 cm (36 5/16 x 17 1/4 x 16 1/2 in.); part 2: 88.9 x 41 x 50.8 cm (35 x 16 1/8 x 20 in.). The Cleveland Museum of Art, Gift of various donors to the department of Asian Art (by exchange) 2000.118", "current_location": "239 Chinese Ceramics and Metalwork", "title": "Tomb Guardians", "title_in_original_language": "鎮墓獸", "creation_date": "early 700s", "creation_date_earliest": 700, "creation_date_latest": 725, "artists_tags": [], "culture": [ "China, probably Shaanxi province, Xi'an, Tang dynasty (618-907)" ], "technique": "glazed earthenware, sancai (three-color) ware", "support_materials": [], "department": "Chinese Art", "collection": "China - Tang Dynasty", "type": "Ceramic", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Sancai (three-color) glazes in green, amber, and transparent white, plus expensive cobalt blue glaze, show the high social status of the tomb’s occupant.", "description": "With their fierce expressions and exaggerated physical features, these two fantastic guardian creatures were intended to guard the entrance to a tomb, warding off evil as well as keeping the soul of the deceased from wandering. Known as \"earth spirits\" or qitou, they are markedly different in appearance: one has an animal face and a pair of antlers growing above its eyebrows; the other sports a human face with huge protruding ears and a short horn surrounded by fiery, twisting hair. Their many elongated spikes heighten the fearful intensity.

Before tomb sculptures were placed in the tomb, they were carried through the streets in a funerary procession. Funerary gifts provided the deceased with means for the afterlife. They were also an expression of filial piety and demonstrated the wealth and power of the descendants.", "citations": [], "url": "https://clevelandart.org/art/2000.118", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/2000.118/2000.118_web.jpg", "width": "900", "height": "644", "filesize": "244934", "filename": "2000.118_web.jpg" } }, "alternate_images": [], "creditline": "Gift of various donors to the department of Asian Art (by exchange)", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 161426, "creators": [], "legal_status": "accessioned", "accession_date": "2000-12-04T00:00:00", "sortable_date": 700, "date_text": "early 700s", "is_highlight": false, "updated_at": "2024-02-13 19:49:48.871000", "legacy": [] }, { "id": 160133, "accession_number": "1997.91", "share_license_status": "CC0", "tombstone": "Quails and Sparrows in an Autumn Scene, 1347. Wang Yuan (Chinese, c. 1299-after 1366). Hanging scroll, ink on paper; painting: 114.3 x 56 cm (45 x 22 1/16 in.); overall with knobs: 267.5 x 85 cm (105 5/16 x 33 7/16 in.). The Cleveland Museum of Art, Bequest of Mrs. A. Dean Perry 1997.91", "current_location": "240A Chinese Paintings and Calligraphy", "title": "Quails and Sparrows in an Autumn Scene", "title_in_original_language": "秋景鶉雀圖", "creation_date": "1347", "creation_date_earliest": 1347, "creation_date_latest": 1347, "artists_tags": [ "male" ], "culture": [ "China, Yuan dynasty (1271-1368)" ], "technique": "hanging scroll, ink on paper", "support_materials": [], "department": "Chinese Art", "collection": "ASIAN - Hanging scroll", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [ "121.81" ], "did_you_know": "Wang Yuan was from Qiantang, today’s Hangzhou in eastern China.", "description": "The flower-and-bird subjects here are depicted in a meticulous manner, echoing the academic tradition but translating the customarily colored images to plain monochrome. Fine ink lines combined with carefully graded washes define the contours and give subtle modeling to the natural forms.

Wang Yuan excelled in flower-and-bird subjects as well as landscape and figure paintings. A child prodigy, he was instructed by the great Yuan master Zhao Mengfu at an early age.", "citations": [], "url": "https://clevelandart.org/art/1997.91", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1997.91/1997.91_web.jpg", "width": "495", "height": "893", "filesize": "329872", "filename": "1997.91_web.jpg" } }, "alternate_images": [], "creditline": "Bequest of Mrs. A. Dean Perry", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 160133, "creators": [ { "id": 11246, "description": "Wang Yuan (Chinese, c. 1299-after 1366)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "王淵", "death_year": "1371" } ], "legal_status": "accessioned", "accession_date": "1997-06-02T00:00:00", "sortable_date": 1347, "date_text": "1347", "is_highlight": false, "updated_at": "2024-02-09 18:07:16.415000", "legacy": [] }, { "id": 136290, "accession_number": "1960.176.2", "share_license_status": "CC0", "tombstone": "Youth (From Chateau de Chaumont Set), 1512–15. France, Lyon(?), early 16th century. Silk and wool; tapestry weave; overall: 321.8 x 452 cm (126 11/16 x 177 15/16 in.). The Cleveland Museum of Art, John L. Severance Fund 1960.176.2", "current_location": "113 French Tapestries & Illuminated Manuscripts", "title": "Youth (From Chateau de Chaumont Set)", "creation_date": "1512–15", "creation_date_earliest": 1512, "creation_date_latest": 1515, "artists_tags": [], "culture": [ "France, Lyon(?), early 16th century" ], "technique": "silk and wool; tapestry weave", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Tapestry", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [ "1960.177" ], "did_you_know": null, "description": "Louise of Savoy (1476-1531), queen mother of King Francis I, is depicted here in a sumptuous brocaded velvet in the center. She addresses youthful figures including Éléonore, Pierre Sala’s daughter who is facing her future husband, Hector. On the right, King Louis XII (died 1514) stands in front of the Chateau Langais where he had married Anne of Brittany. Above is Hector’s deceased father with a partially concealed skull under his robe, while a woman expresses surprise at the sight. The verse in Old French at the top states that youthful happiness is not eternal: Youth makes sounds as long as its heart is healthy, And thinks that it holds all in its hand. But this triumph is not eternal. Here you see clearly an example: He that is happy has death in his breast. Of this you people should take note.", "citations": [], "url": "https://clevelandart.org/art/1960.176.2", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1960.176.2/1960.176.2_web.jpg", "width": "1240", "height": "893", "filesize": "1103860", "filename": "1960.176.2_web.jpg" } }, "alternate_images": [], "creditline": "John L. Severance Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 136290, "creators": [], "legal_status": "accessioned", "accession_date": "1960-08-13T00:00:00", "sortable_date": 1512, "date_text": "1512–15", "is_highlight": false, "updated_at": "2024-02-09 18:05:17.748000", "legacy": [] }, { "id": 136291, "accession_number": "1960.176.3", "share_license_status": "CC0", "tombstone": "Time (From Chateau de Chaumont Set), 1512–15. France, Lyon(?), early 16th century. Silk and wool; tapestry weave; overall: 326.6 x 434.1 cm (128 9/16 x 170 7/8 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 1960.176.3", "current_location": "113 French Tapestries & Illuminated Manuscripts", "title": "Time (From Chateau de Chaumont Set)", "creation_date": "1512–15", "creation_date_earliest": 1512, "creation_date_latest": 1515, "artists_tags": [], "culture": [ "France, Lyon(?), early 16th century" ], "technique": "silk and wool; tapestry weave", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Tapestry", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [ "1960.178" ], "did_you_know": null, "description": "Pierre Sala, who likely commissioned the set, is portrayed as the richly attired central figure offering a bouquet, a symbol of knowledge, to Éléonore, his daughter. Éléonore is pregnant, revealed by her upturned skirt and the persimmon in her husband Hector’s hand. Hector’s mother, Marguerite, in dark attire, will wed the widowed Sala in 1519. They appear in front of the royal chateau of Blois. The figures at the right convey Sala’s advice to his children. Time (the old man with the staff) with Clio, the Muse of History, standing on his shoulders, is being attacked by a Herculean youth wielding a stick. With this allegory, Sala is explaining that youth is ignorant of the complexities of life and time. The small unicorn at the far right represents the soul. The verse in Old French at the top refers to changing time: One sees Time adorned with green foliage, Sometimes as pleasant as an angel, Then suddenly change and become quite strange. Never does Time persist in one state.", "citations": [], "url": "https://clevelandart.org/art/1960.176.3", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1960.176.3/1960.176.3_web.jpg", "width": "1167", "height": "893", "filesize": "1005521", "filename": "1960.176.3_web.jpg" } }, "alternate_images": [], "creditline": "Leonard C. Hanna, Jr. Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 136291, "creators": [], "legal_status": "accessioned", "accession_date": "1960-08-13T00:00:00", "sortable_date": 1512, "date_text": "1512–15", "is_highlight": false, "updated_at": "2024-02-09 18:05:17.756000", "legacy": [] }, { "id": 136289, "accession_number": "1960.176.1", "share_license_status": "CC0", "tombstone": "The Triumph of Eternity (From Chateau de Chaumont Set), 1512–15. France, Lyon(?), early 16th century. Silk and wool; tapestry weave; overall: 319.3 x 377.6 cm (125 11/16 x 148 11/16 in.). The Cleveland Museum of Art, Gift from various donors by exchange 1960.176.1", "current_location": "113 French Tapestries & Illuminated Manuscripts", "title": "The Triumph of Eternity (From Chateau de Chaumont Set)", "creation_date": "1512–15", "creation_date_earliest": 1512, "creation_date_latest": 1515, "artists_tags": [], "culture": [ "France, Lyon(?), early 16th century" ], "technique": "silk and wool; tapestry weave", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Tapestry", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [ "60.176" ], "did_you_know": null, "description": "The Triumph of Eternity is represented by the Coronation of the Virgin. Dressed in crimson velvet with an opulent brocaded velvet shawl, the Virgin is seated in the center as two angels hold a crown over her head. Five musical angels surround her playing an organ, recorder, straight cornetto, harp, and lute, while another sings from an open music book. The scenes in the set display a conservative style in which the figures are placed in shallow landscapes, thereby ignoring pictorial innovations for depicting space and mass. The verse in Old French at the top states: Nothing triumphing by due authority Remains permanent and durable. Nothing is permanent under the heavens, But above, eternity triumphs.", "citations": [], "url": "https://clevelandart.org/art/1960.176.1", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1960.176.1/1960.176.1_web.jpg", "width": "1037", "height": "893", "filesize": "883936", "filename": "1960.176.1_web.jpg" } }, "alternate_images": [], "creditline": "Gift from various donors by exchange", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 136289, "creators": [], "legal_status": "accessioned", "accession_date": "1960-08-13T00:00:00", "sortable_date": 1512, "date_text": "1512–15", "is_highlight": false, "updated_at": "2024-02-09 18:05:17.737000", "legacy": [] }, { "id": 119675, "accession_number": "1940.514", "share_license_status": "CC0", "tombstone": "Tunic, 400–200 BCE. Peru, South Coast, Ica Valley, Ocucaje site?, Paracas people. Looped camelid fiber; average: 94 x 82.6 cm (37 x 32 1/2 in.). The Cleveland Museum of Art, The Norweb Collection 1940.514", "current_location": "232 Andean", "title": "Tunic", "creation_date": "400–200 BCE", "creation_date_earliest": -400, "creation_date_latest": -200, "artists_tags": [], "culture": [ "Peru, South Coast, Ica Valley, Ocucaje site?, Paracas people" ], "technique": "looped camelid fiber", "support_materials": [], "department": "Textiles", "collection": "T - Pre-Columbian", "type": "Textile", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The red dyes in this tunic likely come from madder root.", "description": "The striking, large-scale figure shown on this tunic has an elaborate, monkey-like tail as well as head appendages that mark the creature as supernatural. This tunic, a relatively rare type, was made not on a loom but rather by working the yarns into loops with a needle. It is made entirely with camelid fiber, which can readily be dyed in a range of vivid colors. The fiber comes from one of the four camels (camelids) native to the Andes Mountains—the alpaca and llama, both domesticated, and the wild guanaco and vicuña. On the coast, it represents a prestige import.", "citations": [], "url": "https://clevelandart.org/art/1940.514", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1940.514/1940.514_web.jpg", "width": "780", "height": "893", "filesize": "673136", "filename": "1940.514_web.jpg" } }, "alternate_images": [], "creditline": "The Norweb Collection", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Jon A. Lindseth and Virginia M. Lindseth, PhD, Galleries of the Ancient Americas", "athena_id": 119675, "creators": [], "legal_status": "accessioned", "accession_date": "1940-10-30T00:00:00", "sortable_date": -400, "date_text": "400–200 BCE", "is_highlight": false, "updated_at": "2024-02-09 18:04:05.813000", "legacy": [] }, { "id": 128056, "accession_number": "1950.8", "share_license_status": "CC0", "tombstone": "Louis XV Savonnerie Carpet with Royal Arms, c. 1740–50. Royal Savonnerie Manufactory, Chaillot Workshops (French, est. 1627), Pierre Josse Perrot (French). Savonnerie knotted pile (symmetrical ruf knot), wool, hemp; overall: 546 x 615.6 cm (214 15/16 x 242 3/8 in.). The Cleveland Museum of Art, John L. Severance Fund 1950.8", "current_location": "216B French and German", "title": "Louis XV Savonnerie Carpet with Royal Arms", "creation_date": "c. 1740–50", "creation_date_earliest": 1735, "creation_date_latest": 1755, "artists_tags": [ "gender unknown", "male" ], "culture": [ "France, 18th century" ], "technique": "Savonnerie knotted pile (symmetrical ruf knot), wool, hemp", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Carpet", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "This spectacular carpet, one of three with this royal pattern, was originally designed for Louis XV’s dining room at chateau La Muette by the prominent Savonnerie artist Pierre-Josse Perrot in 1735. The royal arms of France on the orb are topped by a crown with eagle’s wings. Cornucopia issue from corner pieces that alternate with military trophies. The lively artistic style was simplified for faster weaving and a brown ground was used to heighten the brilliant colors.The Savonnerie factory was founded in the early 1600s to create French versions of Oriental carpets, whose import had created a drain on the economy. The technique, copying Turkish carpets, has wool pile formed with symmetrical rug-knots, wool warps, and hemp wefts.", "citations": [], "url": "https://clevelandart.org/art/1950.8", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1950.8/1950.8_web.jpg", "width": "1212", "height": "893", "filesize": "996877", "filename": "1950.8_web.jpg" } }, "alternate_images": [], "creditline": "John L. Severance Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 128056, "creators": [ { "id": 11823, "description": "Royal Savonnerie Manufactory, Chaillot Workshops (French, est. 1627)", "extent": null, "qualifier": null, "role": "manufacturer", "biography": null, "name_in_original_language": null, "death_year": "1825" }, { "id": 33373, "description": "Pierre Josse Perrot (French)", "extent": null, "qualifier": null, "role": "designed by", "biography": "worked at Savonnerie from 1725 to 1750.", "name_in_original_language": null } ], "legal_status": "accessioned", "accession_date": "1950-01-23T00:00:00", "sortable_date": 1735, "date_text": "c. 1740–50", "is_highlight": false, "updated_at": "2024-02-09 18:04:43.943000", "legacy": [] }, { "id": 394840, "accession_number": "2020.261", "share_license_status": "CC0", "tombstone": "The Family (In Memory of a Summer in the White Mountains), 1917. Marguerite Zorach (American, 1887–1968). Plain weave silk; wool embroidery; object: 86.4 x 72.4 cm (34 x 28 1/2 in.); framed: 91.4 x 77.8 cm (36 x 30 5/8 in.). The Cleveland Museum of Art, Edwin R. and Harriet Pelton Perkins Memorial Fund 2020.261", "current_location": "226A American Modern", "title": "The Family (In Memory of a Summer in the White Mountains)", "creation_date": "1917", "creation_date_earliest": 1917, "creation_date_latest": 1917, "artists_tags": [ "female" ], "culture": [ "America" ], "technique": "plain weave silk; wool embroidery", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Embroidery", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In 1925, Zorach served as first president of the New York Society of Women Artists, an organization still in existence.", "description": "Marguerite Zorach conceived her large, complex embroideries as major artistic statements at a time when the medium was routinely considered “craft,” as opposed to “fine art.” In doing so, she helped to erase such distinctions. One of her most acclaimed works, this example celebrates humanity in harmony with nature, presenting the artist, her husband (a Cleveland-raised sculptor named William Zorach), and their son amid an evergreen tree and four pairs of animals. Very time consuming to create, Zorach’s embroideries are rare.", "citations": [], "url": "https://clevelandart.org/art/2020.261", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/2020.261/2020.261_web.jpg", "width": "768", "height": "900", "filesize": "533111", "filename": "2020.261_web.jpg" } }, "alternate_images": [], "creditline": "Edwin R. and Harriet Pelton Perkins Memorial Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Dr. Robert B. Benyo Trust Gallery", "athena_id": 394840, "creators": [ { "id": 41147, "description": "Marguerite Zorach (American, 1887–1968)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1887", "death_year": "1968" } ], "legal_status": "accessioned", "accession_date": "2020-12-07T00:00:00-05:00", "sortable_date": 1917, "date_text": "1917", "is_highlight": false, "updated_at": "2024-02-09 18:08:54.910000", "legacy": [] }, { "id": 115383, "accession_number": "1936.17", "share_license_status": "CC0", "tombstone": "Woolen carpet with millefleurs decoration, early 1600s. India, Kashmir. Pashmina (wool): asymmetrical knot; average: 292.7 x 248.9 cm (115 1/4 x 98 in.). The Cleveland Museum of Art, Dudley P. Allen Fund 1936.17", "current_location": "242B Indian Painting", "title": "Woolen carpet with millefleurs decoration", "creation_date": "early 1600s", "creation_date_earliest": 1600, "creation_date_latest": 1620, "artists_tags": [], "culture": [ "India, Kashmir" ], "technique": "Pashmina (wool): asymmetrical knot", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Carpet", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The border contrasts with the central design, putting red flowers against a white background.", "description": "Pashmina, a very fine fiber made from the fleece of Himalayan goats, was a material highly valued at the Mughal courts. Luxury rugs functioned in several ways, including as insulators for palatial and ceremonial spaces and as framing devices for important figures. In a biography of the Mughal emperor Akbar (reigned 1556–1605), called the Ain-i-Akbari, the court historian Abu’l Fazl (1551–1602) poetically wrote that such textiles created “a beautiful flowerbed.” The description is apt, as this carpet features an impressively symmetrical floral design known as millefleurs, or “thousand flowers” in French. Viewing several of these carpets and other hangings at once would have been visually impressive for court attendees.", "citations": [], "url": "https://clevelandart.org/art/1936.17", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1936.17/1936.17_web.jpg", "width": "780", "height": "900", "filesize": "619533", "filename": "1936.17_web.jpg" } }, "alternate_images": [], "creditline": "Dudley P. Allen Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 115383, "creators": [], "legal_status": "accessioned", "accession_date": "1936-01-03T00:00:00", "sortable_date": 1600, "date_text": "early 1600s", "is_highlight": false, "updated_at": "2024-02-09 18:03:51.875000", "legacy": [] }, { "id": 126139, "accession_number": "1948.352", "share_license_status": "CC0", "tombstone": "Altar Cloth, c. 1350. Germany, Altenberg on the Lahn, Premonstratensian Convent, 14th century. Embroidery: linen; overall: 154.3 x 374.5 cm (60 3/4 x 147 7/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1948.352", "current_location": "115 Manuscripts & Textiles", "title": "Altar Cloth", "creation_date": "c. 1350", "creation_date_earliest": 1345, "creation_date_latest": 1355, "artists_tags": [], "culture": [ "Germany, Altenberg on the Lahn, Premonstratensian Convent, 14th century" ], "technique": "embroidery: linen", "support_materials": [], "department": "Textiles", "collection": "T - Ecclesiastical", "type": "Embroidery", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "When lit from behind, the previously hidden details emerge and the complex design becomes evident.", "description": "This large, embroidered altar cloth is one of the rarest, most important medieval church furnishings in existence. It was stitched by nuns in the Premonstratensian Convent in Altenberg on the Lahn River, north of Frankfurt, Germany, and was used to cover the church’s high altar in the weeks
leading up to Easter. The cloth is an example of linen embroidery, a specialty of German nuns in the later Middle Ages.
The Altenberg monastery church once had valuable furnishings; the high altar retable (a decorated frame with sculptures and paintings on the top of an altar) has survived, the main parts of which are now in the Städel Museum in Frankfurt, Germany.", "citations": [], "url": "https://clevelandart.org/art/1948.352", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1948.352/1948.352_web.jpg", "width": "1263", "height": "491", "filesize": "538888", "filename": "1948.352_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 126139, "creators": [], "legal_status": "accessioned", "accession_date": "1948-11-03T00:00:00", "sortable_date": 1345, "date_text": "c. 1350", "is_highlight": false, "updated_at": "2024-02-09 18:04:35.514000", "legacy": [] }, { "id": 123707, "accession_number": "1944.239", "share_license_status": "CC0", "tombstone": "Fragment with falconer and attendant in animated lattice, from a robe, mid-1500s. Iran, Kashan, Safavid period (1501–1722). Silk: velvet, brocaded, pile-warp substitution; gilt-metal thread; overall: 79.4 x 66.7 cm (31 1/4 x 26 1/4 in.); mounted: 89.5 x 74.9 cm (35 1/4 x 29 1/2 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1944.239", "current_location": "116 Islamic", "title": "Fragment with falconer and attendant in animated lattice, from a robe", "creation_date": "mid-1500s", "creation_date_earliest": 1525, "creation_date_latest": 1575, "artists_tags": [], "culture": [ "Iran, Kashan, Safavid period (1501–1722)" ], "technique": "Silk: velvet, brocaded, pile-warp substitution; gilt-metal thread", "support_materials": [], "department": "Textiles", "collection": "T - Islamic", "type": "Velvet", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "This velvet of Iran’s Safavid period (1501–1722) displaying a falconry scene is celebrated for its refined beauty and meticulous draftsmanship. A falconer and attendant flank a blossoming plant on a golden ground of lobed medallions. Animated vines display leaves bearing lion’s masks and dragons coiled around larger leaves on the crimson ground. Instead of two or three colors of velvet, Iranian weavers wove with as many as 14 colors, the most colorful velvets ever woven.", "citations": [], "url": "https://clevelandart.org/art/1944.239", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1944.239/1944.239_web.jpg", "width": "727", "height": "893", "filesize": "226753", "filename": "1944.239_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 123707, "creators": [], "legal_status": "accessioned", "accession_date": "1944-05-01T00:00:00", "sortable_date": 1525, "date_text": "mid-1500s", "is_highlight": false, "updated_at": "2024-02-09 18:04:23.721000", "legacy": [] }, { "id": 110051, "accession_number": "1928.653", "share_license_status": "CC0", "tombstone": "Fragmentary Chasuble with Woven Orphrey Band, 1300s. Italy (Chasuble) and Germany (Orphrey). Silk and gold thread, lampas weave; embroidered orphrey; overall: 106.7 x 68.6 cm (42 x 27 in.); mounted: 123.2 x 82.5 cm (48 1/2 x 32 1/2 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1928.653", "current_location": "115 Manuscripts & Textiles", "title": "Fragmentary Chasuble with Woven Orphrey Band", "creation_date": "1300s", "creation_date_earliest": 1300, "creation_date_latest": 1399, "artists_tags": [], "culture": [ "Italy (Chasuble) and Germany (Orphrey)" ], "technique": "Silk and gold thread, lampas weave; embroidered orphrey", "support_materials": [], "department": "Textiles", "collection": "T - Ecclesiastical", "type": "Textile", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "The second half of the 1300s was one of the great periods of Italian silk design. Drawing upon Chinese, Islamic, and European motifs, artists created international designs. This rare, fragmentary chasuble displays a Chinese phoenix with outstretched wings flying toward a group of pseudo-Kufic, Arabic-like letters while a dog snarls at the bird. Arabic script was associated with the Holy Land. Italian textiles were an important export product at the end of the Middle Ages. In this case, the fabric was shipped to Germany, where it was used to create a chasuble, the upper garment of the bishop and priest during Holy Mass.", "citations": [], "url": "https://clevelandart.org/art/1928.653", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1928.653/1928.653_web.jpg", "width": "598", "height": "893", "filesize": "498941", "filename": "1928.653_web.jpg" } }, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 110051, "creators": [], "legal_status": "accessioned", "accession_date": "1928-11-16T00:00:00", "sortable_date": 1300, "date_text": "1300s", "is_highlight": false, "updated_at": "2024-02-09 18:03:36.331000", "legacy": [] }, { "id": 129250, "accession_number": "1952.14", "share_license_status": "CC0", "tombstone": "Panel: Spring, c. 1715. Royal Savonnerie Manufactory, Chaillot Workshops (French, est. 1627). Savonnerie knotted-pile (144 symmetrical rug knots per square inch); wool, hemp; overall: 274.3 x 219.7 cm (108 x 86 1/2 in.). The Cleveland Museum of Art, John L. Severance Fund 1952.14", "current_location": "215 French, German, and Dutch", "title": "Panel: Spring", "creation_date": "c. 1715", "creation_date_earliest": 1700, "creation_date_latest": 1717, "artists_tags": [ "gender unknown" ], "culture": [ "France, early 18th century" ], "technique": "Savonnerie knotted-pile (144 symmetrical rug knots per square inch); wool, hemp", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Carpet", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [ { "id": 124763, "description": "Savonnerie Panel: Autumn, c. 1717. Royal Savonnerie Manufactory, Chaillot Workshops (French, est. 1627). Knotted pile, silk and wool; overall: 297.2 x 218.5 cm (117 x 86 in.). The Cleveland Museum of Art, John L. Severance Fund 1946.247", "relationship": null } ], "former_accession_numbers": [], "did_you_know": null, "description": "Courtiers and aristocrats anxious to model their lifestyles on the king also commissioned works from the same state manufactories that produced tapestries, carpets, and upholstery for the French monarchy. Established in the early 1600s, the Savonnerie factory provided both domestic furnishings for the king’s palaces and diplomatic gifts for foreign heads of state. The double coat of arms in this tapestry suggests that it was made for a count and countess who married in 1717. One of a group of four tapestries depicting the seasons, this work depicts the abundant flora and fauna of spring. The Cleveland Museum of Art rotates this tapestry with another from this group. The other two tapestries in the suite can be seen at the Toledo Museum of Art.", "citations": [], "url": "https://clevelandart.org/art/1952.14", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1952.14/1952.14_web.jpg", "width": "669", "height": "893", "filesize": "632817", "filename": "1952.14_web.jpg" } }, "alternate_images": [], "creditline": "John L. Severance Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 129250, "creators": [ { "id": 11823, "description": "Royal Savonnerie Manufactory, Chaillot Workshops (French, est. 1627)", "extent": null, "qualifier": null, "role": "manufacturer", "biography": null, "name_in_original_language": null, "death_year": "1825" } ], "legal_status": "accessioned", "accession_date": "1946-07-25T00:00:00", "sortable_date": 1700, "date_text": "c. 1715", "is_highlight": false, "updated_at": "2024-02-09 18:04:49.948000", "legacy": [] }, { "id": 119686, "accession_number": "1940.524", "share_license_status": "CC0", "tombstone": "Mummy Bundle \"Mask\", 400–200 BCE. Peru, South Coast, Ica Valley, Ocucaje site, Paracas style (700 BCE–1 CE). Cotton and pigment, plain weave; overall: 58.4 x 21 cm (23 x 8 1/4 in.). The Cleveland Museum of Art, The Norweb Collection 1940.524", "current_location": "232 Andean", "title": "Mummy Bundle \"Mask\"", "creation_date": "400–200 BCE", "creation_date_earliest": -400, "creation_date_latest": -200, "artists_tags": [], "culture": [ "Peru, South Coast, Ica Valley, Ocucaje site, Paracas style (700 BCE–1 CE)" ], "technique": "cotton and pigment, plain weave", "support_materials": [], "department": "Textiles", "collection": "T - Pre-Columbian", "type": "Textile", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "These masks fall into two categories, those with only a face and those with a full-bodied figure.", "description": "The Paracas people buried their dead in bundles that they created by carefully wrapping the seated human body in layers of garments and other textiles. In some cases, they placed a painted
cloth—such as these examples—on the outer layer and at the top of the bundle. The hair-like
yarns (unwoven warps) were arranged around a solid cotton disk that was sometimes wrapped
with a headband. The cloths, then, seem to have functioned as the bundle’s head, even though
some are painted not with faces but with complete figures whose supernatural character is marked by the appendages streaming from their bodies.", "citations": [], "url": "https://clevelandart.org/art/1940.524", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1940.524/1940.524_web.jpg", "width": "549", "height": "900", "filesize": "222347", "filename": "1940.524_web.jpg" } }, "alternate_images": [], "creditline": "The Norweb Collection", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 119686, "creators": [], "legal_status": "accessioned", "accession_date": "1940-10-30T00:00:00", "sortable_date": -400, "date_text": "400–200 BCE", "is_highlight": false, "updated_at": "2024-02-09 18:04:05.878000", "legacy": [] }, { "id": 119683, "accession_number": "1940.521", "share_license_status": "CC0", "tombstone": "Mummy Bundle \"Mask\", 400–200 BCE. Peru, South Coast, Ica Valley, Ocucaje site, Paracas style (700 BCE–1 CE). Cotton and pigment, plain weave; overall: 103.5 x 40 cm (40 3/4 x 15 3/4 in.). The Cleveland Museum of Art, The Norweb Collection 1940.521", "current_location": "232 Andean", "title": "Mummy Bundle \"Mask\"", "creation_date": "400–200 BCE", "creation_date_earliest": -400, "creation_date_latest": -200, "artists_tags": [], "culture": [ "Peru, South Coast, Ica Valley, Ocucaje site, Paracas style (700 BCE–1 CE)" ], "technique": "cotton and pigment, plain weave", "support_materials": [], "department": "Textiles", "collection": "T - Pre-Columbian", "type": "Textile", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "These masks fall into two categories, those with only a face and those with a full-bodied figure.", "description": "The Paracas people buried their dead in bundles that they created by carefully wrapping the seated human body in layers of garments and other textiles. In some cases, they placed a painted
cloth—such as these examples—on the outer layer and at the top of the bundle. The hair-like
yarns (unwoven warps) were arranged around a solid cotton disk that was sometimes wrapped
with a headband. The cloths, then, seem to have functioned as the bundle’s head, even though
some are painted not with faces but with complete figures whose supernatural character is marked by the appendages streaming from their bodies.", "citations": [], "url": "https://clevelandart.org/art/1940.521", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1940.521/1940.521_web.jpg", "width": "565", "height": "900", "filesize": "229866", "filename": "1940.521_web.jpg" } }, "alternate_images": [], "creditline": "The Norweb Collection", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 119683, "creators": [], "legal_status": "accessioned", "accession_date": "1940-10-30T00:00:00", "sortable_date": -400, "date_text": "400–200 BCE", "is_highlight": false, "updated_at": "2024-02-09 18:04:05.860000", "legacy": [] }, { "id": 108415, "accession_number": "1926.143", "share_license_status": "CC0", "tombstone": "Fragment of a Tunic, 400s–600s CE. Egypt, Byzantine period. Wool: tabby ground, inwoven tapestry ornament; overall: 94 x 39.4 cm (37 x 15 1/2 in.); mounted: 99.7 x 48.3 cm (39 1/4 x 19 in.). The Cleveland Museum of Art, Gift of George D. Pratt 1926.143", "current_location": "106A Migration Period & Coptic", "title": "Fragment of a Tunic", "creation_date": "400s–600s CE", "creation_date_earliest": 400, "creation_date_latest": 699, "artists_tags": [], "culture": [ "Egypt, Byzantine period" ], "technique": "wool: tabby ground, inwoven tapestry ornament", "support_materials": [], "department": "Textiles", "collection": "T - Coptic", "type": "Textile", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The dark blue dye is made from indigo.", "description": "Tunics with decoration on the front and back were worn by both men and women. These long bands, called clavi, feature pairs of stylized haloed figures gesturing, possibly in dance, and wearing short skirts with scarves across their chests. They alternate with pairs of foxes (?) and fish. The ancient repair in the lower center of this woolen winter tunic reveals that decorated cloth was expensive, and thus often mended and reused.", "citations": [], "url": "https://clevelandart.org/art/1926.143", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1926.143/1926.143_web.jpg", "width": "397", "height": "893", "filesize": "318480", "filename": "1926.143_web.jpg" } }, "alternate_images": [], "creditline": "Gift of George D. Pratt", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 108415, "creators": [], "legal_status": "accessioned", "accession_date": "1926-06-04T00:00:00", "sortable_date": 400, "date_text": "400s–600s CE", "is_highlight": false, "updated_at": "2024-02-09 18:03:30.422000", "legacy": [] }, { "id": 114576, "accession_number": "1934.199", "share_license_status": "CC0", "tombstone": "Border Fragment of a Shawl, early 1800s. Kashmir. Wool: tapestry twill; overall: 33 x 52.7 cm (13 x 20 3/4 in.); mounted: 20 x 70.5 cm (7 7/8 x 27 3/4 in.). The Cleveland Museum of Art, Gift of the Cleveland School of Art 1934.199", "current_location": "237 Himalayan", "title": "Border Fragment of a Shawl", "creation_date": "early 1800s", "creation_date_earliest": 1800, "creation_date_latest": 1820, "artists_tags": [], "culture": [ "Kashmir" ], "technique": "wool: tapestry twill", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Textile", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The right edge of this textile features a repeating row of wild mulberries and flowers.", "description": "Green, yellow, red, blue, and white woolen threads were woven to create the instantly recognizable Kashmiri teardrop flower patterns on this shawl border. Such a work was part of a larger textile, which would have entranced the viewer with its complexity and vibrancy, especially as it moved with the wearer and contrasted with other articles of clothing.", "citations": [], "url": "https://clevelandart.org/art/1934.199", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1934.199/1934.199_web.jpg", "width": "900", "height": "589", "filesize": "329853", "filename": "1934.199_web.jpg" } }, "alternate_images": [], "creditline": "Gift of the Cleveland School of Art", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 114576, "creators": [], "legal_status": "accessioned", "accession_date": "1934-06-21T00:00:00", "sortable_date": 1800, "date_text": "early 1800s", "is_highlight": false, "updated_at": "2024-02-09 18:03:49.296000", "legacy": [] }, { "id": 159836, "accession_number": "1997.148", "share_license_status": "CC0", "tombstone": "Tiger Family, late 1800s. Korea, Joseon dynasty (1392–1910). Hanging scroll; ink and color on paper; image: 170 x 90.4 cm (66 15/16 x 35 9/16 in.); overall: 262.5 x 115.1 cm (103 3/8 x 45 5/16 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 1997.148", "current_location": "236 Korean", "title": "Tiger Family", "title_in_original_language": "호랑이 가족도 (虎家圖)", "creation_date": "late 1800s", "creation_date_earliest": 1850, "creation_date_latest": 1899, "artists_tags": [], "culture": [ "Korea, Joseon dynasty (1392–1910)" ], "technique": "hanging scroll; ink and color on paper", "support_materials": [], "department": "Korean Art", "collection": "ASIAN - Hanging scroll", "type": "Painting", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "A great number of tigers used to have live in the Korean peninsula. An old Chinese proverb says: “Korean people hunt tigers half of the year, and tigers hunt people other half of the year.”", "description": "In deep mountains, a tigress, two cubs, and a leopard welcome the early morning sun. This is not merely a playful scene but a well calculated image with symbols of longevity (pine trees), prosperity (tigress and cubs), and good fortune (leopard). Traditionally, on New Year’s Eve, the image of a fearsome-looking tiger was pasted on entrance doors to ward off evil spirits. Conventional Korean tiger paintings often include frolicking magpies, but here, the crimson sun is placed behind a majestic pine. Through the sunrise and the details of the felines’ skin shines the artist’s keen interest in creating a realistic atmosphere.", "citations": [], "url": "https://clevelandart.org/art/1997.148", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1997.148/1997.148_web.jpg", "width": "478", "height": "893", "filesize": "124125", "filename": "1997.148_web.jpg" } }, "alternate_images": [], "creditline": "Leonard C. Hanna, Jr. Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 159836, "creators": [], "legal_status": "accessioned", "accession_date": "1997-09-15T00:00:00", "sortable_date": 1850, "date_text": "late 1800s", "is_highlight": false, "updated_at": "2024-02-09 18:07:14.480000", "legacy": [] }, { "id": 160211, "accession_number": "1998.123", "share_license_status": "CC0", "tombstone": "Buddhist Ritual Bell, 1300s. Korea, Goryeo dynasty (918–1392). Bronze; with incised designs; overall: 17.8 x 6.6 cm (7 x 2 5/8 in.). The Cleveland Museum of Art, Gift of Mitsuru Tajima 1998.123", "current_location": "236 Korean", "title": "Buddhist Ritual Bell", "title_in_original_language": "청동 금강령 (靑銅金剛鈴)", "creation_date": "1300s", "creation_date_earliest": 1300, "creation_date_latest": 1399, "artists_tags": [], "culture": [ "Korea, Goryeo dynasty (918–1392)" ], "technique": "bronze; with incised designs", "support_materials": [], "department": "Korean Art", "collection": "Korean Art", "type": "Metalwork", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Called a vajra in Sanskrit, this implement is used in Buddhist rituals meant to destroy ignorance.", "description": "This Buddhist ritual bell is called the \"five-pronged\" bell due to the four prongs bending toward a central prong at the end of the handle. This shape is a vajra, or lightning bolt, a powerful and important symbol in esoteric Buddhism, which originated in India, spread across Asia, and was practiced in Korea.", "citations": [], "url": "https://clevelandart.org/art/1998.123", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1998.123/1998.123_web.jpg", "width": "607", "height": "893", "filesize": "49381", "filename": "1998.123_web.jpg" } }, "alternate_images": [], "creditline": "Gift of Mitsuru Tajima", "sketchfab_id": "40fd03799d4248ae8f60748a31525a2e", "sketchfab_url": "https://sketchfab.com/models/40fd03799d4248ae8f60748a31525a2e", "gallery_donor_text": null, "athena_id": 160211, "creators": [], "legal_status": "accessioned", "accession_date": "1998-09-08T00:00:00", "sortable_date": 1300, "date_text": "1300s", "is_highlight": false, "updated_at": "2024-02-09 18:07:16.925000", "legacy": [] }, { "id": 152212, "accession_number": "1985.112", "share_license_status": "CC0", "tombstone": "Basin with Inscribed Figures and Calligraphy, 1100s–1200s. Korea, Goryeo dynasty (918–1392). Bronze; overall: 17 cm (6 11/16 in.); diameter of mouth with rim: 21.7 cm (8 9/16 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 1985.112", "current_location": "236 Korean", "title": "Basin with Inscribed Figures and Calligraphy", "title_in_original_language": "청동 은입사 호 (靑銅銀入絲兩耳壺)", "creation_date": "1100s–1200s", "creation_date_earliest": 1100, "creation_date_latest": 1299, "artists_tags": [], "culture": [ "Korea, Goryeo dynasty (918–1392)" ], "technique": "bronze", "support_materials": [], "department": "Korean Art", "collection": "Korean Art", "type": "Metalwork", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "A child, one of the main decorative elements for this basin, is possibly a young Buddhist pilgrim named Sudhana, who took a long spiritual journey to search for enlightenment.", "description": "This bronze basin may have been used for containing purified water. What makes this work charming is its intricate decoration done in silver inlay: the five-character, four-line poems interspersed among images of a child. The poems, which evoke the concept of nonattachment and nonduality, were written by Buddhist monks.", "citations": [], "url": "https://clevelandart.org/art/1985.112", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1985.112/1985.112_web.jpg", "width": "1145", "height": "893", "filesize": "107266", "filename": "1985.112_web.jpg" } }, "alternate_images": [], "creditline": "Leonard C. Hanna, Jr. Fund", "sketchfab_id": "4655f17bd4b5491d8f602b6c32c43e4c", "sketchfab_url": "https://sketchfab.com/models/4655f17bd4b5491d8f602b6c32c43e4c", "gallery_donor_text": null, "athena_id": 152212, "creators": [], "legal_status": "accessioned", "accession_date": "1985-08-27T00:00:00", "sortable_date": 1100, "date_text": "1100s–1200s", "is_highlight": true, "updated_at": "2024-02-09 18:06:33.158000", "legacy": [] }, { "id": 103681, "accession_number": "1921.631", "share_license_status": "CC0", "tombstone": "Water Ewer for Rituals (Kundika) with Incised Parrot Design, 1100s. Korea, Goryeo dynasty (918–1392). Stoneware with celadon glaze, incised and carved decoration; overall: 35.3 cm (13 7/8 in.). The Cleveland Museum of Art, Gift of John L. Severance 1921.631", "current_location": "236 Korean", "title": "Water Ewer for Rituals (Kundika) with Incised Parrot Design", "title_in_original_language": "청자 음각 앵무새무늬 정병 (靑磁陰刻鸚鵡文淨甁)", "creation_date": "1100s", "creation_date_earliest": 1100, "creation_date_latest": 1199, "artists_tags": [], "culture": [ "Korea, Goryeo dynasty (918–1392)" ], "technique": "stoneware with celadon glaze, incised and carved decoration", "support_materials": [], "department": "Korean Art", "collection": "Korean Art", "type": "Ceramic", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Unlike most existing examples that have an image of a willow tree or lotus pond, this ewer bears an image of flying parrots delicately incised on its surface.", "description": "This distinctively shaped celadon vessel is a kundika. With a spout on one side, this type of vessel is often used in Buddhist purification rituals. Unlike most existing examples that have an image of a willow tree, this work has a rare flying phoenix design incised on its surface. During the Goryeo period (918-1392), about 260 kilns operated in mainly Jeolla and Chungcheong provinces, meeting a soaring demand for high-end products like this example.", "citations": [], "url": "https://clevelandart.org/art/1921.631", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1921.631/1921.631_web.jpg", "width": "668", "height": "900", "filesize": "122483", "filename": "1921.631_web.jpg" } }, "alternate_images": [], "creditline": "Gift of John L. Severance", "sketchfab_id": "f469d0ee3bd9496bb5297c803d4b1e0c", "sketchfab_url": "https://sketchfab.com/models/f469d0ee3bd9496bb5297c803d4b1e0c", "gallery_donor_text": null, "athena_id": 103681, "creators": [], "legal_status": "accessioned", "accession_date": "1921-06-21T00:00:00", "sortable_date": 1100, "date_text": "1100s", "is_highlight": true, "updated_at": "2024-02-09 18:03:08.544000", "legacy": [] }, { "id": 103683, "accession_number": "1921.631.b", "share_license_status": "CC0", "tombstone": "Water Ewer for Rituals with Incised Parrot Design (lid), 1100s. Korea, Goryeo dynasty (918–1392). Stoneware with celadon glaze, incised and carved decoration; overall: 36.2 x 14 cm (14 1/4 x 5 1/2 in.). The Cleveland Museum of Art, Gift of John L. Severance 1921.631.b", "current_location": "236 Korean", "title": "Water Ewer for Rituals with Incised Parrot Design (lid)", "title_in_original_language": "청자 음각 앵무새무늬 정병", "creation_date": "1100s", "creation_date_earliest": 1100, "creation_date_latest": 1199, "artists_tags": [], "culture": [ "Korea, Goryeo dynasty (918–1392)" ], "technique": "stoneware with celadon glaze, incised and carved decoration", "support_materials": [], "department": "Korean Art", "collection": "Korean Art", "type": "Ceramic", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This distinctively shaped vessel is called a kundika in Sanskrit, simply referring to a water bottle.", "description": "This distinctively shaped celadon vessel is a kundika. With a spout on one side, this type of vessel is often used in Buddhist purification rituals. Unlike most existing examples that have an image of a willow tree, this work has a rare flying phoenix design incised on its surface.", "citations": [], "url": "https://clevelandart.org/art/1921.631.b", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1921.631.b/1921.631.b_web.jpg", "width": "900", "height": "760", "filesize": "145531", "filename": "1921.631.b_web.jpg" } }, "alternate_images": [], "creditline": "Gift of John L. Severance", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 103683, "creators": [], "legal_status": "accessioned", "accession_date": "1921-06-21T00:00:00", "sortable_date": 1100, "date_text": "1100s", "is_highlight": false, "updated_at": "2024-02-09 18:03:08.563000", "legacy": [] }, { "id": 154216, "accession_number": "1988.34", "share_license_status": "CC0", "tombstone": "Standing Amitabha, 800s. Korea, Unified Silla period (676-935). Gilt bronze; overall: 25.4 cm (10 in.); with tang: 26 cm (10 1/4 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 1988.34", "current_location": "236 Korean", "title": "Standing Amitabha", "title_in_original_language": "금동아미타여래입상 (金銅阿彌陀如來立)", "creation_date": "800s", "creation_date_earliest": 800, "creation_date_latest": 899, "artists_tags": [], "culture": [ "Korea, Unified Silla period (676-935)" ], "technique": "gilt bronze", "support_materials": [], "department": "Korean Art", "collection": "Korean Art", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This Korean statue has a stylistic affinity with statues from the Indian Gupta period (300s–500s CE) that emphasize soft modeling and naturalism.", "description": "Buddhist teachings emphasize the pursuit of spirituality, rather than physicality, to achieve enlightenment. This statue’s artist, however, made genuine efforts to represent the divine’s beautiful voluminous body. Inspired by Indian Gupta period art (300s–500s CE), this particular artistic style emphasizing soft modeling and naturalism was further developed in China and flourished across East Asia.", "citations": [], "url": "https://clevelandart.org/art/1988.34", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1988.34/1988.34_web.jpg", "width": "640", "height": "893", "filesize": "66545", "filename": "1988.34_web.jpg" } }, "alternate_images": [], "creditline": "Leonard C. Hanna, Jr. Fund", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 154216, "creators": [], "legal_status": "accessioned", "accession_date": "1988-06-09T00:00:00", "sortable_date": 800, "date_text": "800s", "is_highlight": false, "updated_at": "2024-02-09 18:06:42.845000", "legacy": [] }, { "id": 103682, "accession_number": "1921.631.a", "share_license_status": "CC0", "tombstone": "Water Ewer for Rituals with Incised Parrot Design, 1100s. Korea, Goryeo dynasty (918–1392). Stoneware with celadon glaze, incised and carved decoration; overall: 36.2 x 14 cm (14 1/4 x 5 1/2 in.). The Cleveland Museum of Art, Gift of John L. Severance 1921.631.a", "current_location": "236 Korean", "title": "Water Ewer for Rituals with Incised Parrot Design", "title_in_original_language": "청자 음각 앵무새무늬 정병", "creation_date": "1100s", "creation_date_earliest": 1100, "creation_date_latest": 1199, "artists_tags": [], "culture": [ "Korea, Goryeo dynasty (918–1392)" ], "technique": "stoneware with celadon glaze, incised and carved decoration", "support_materials": [], "department": "Korean Art", "collection": "Korean Art", "type": "Ceramic", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This distinctively shaped vessel is called a kundika in Sanskrit, simply referring to a water bottle.", "description": "This distinctively shaped celadon vessel is a kundika. With a spout on one side, this type of vessel is often used in Buddhist purification rituals. Unlike most existing examples that have an image of a willow tree, this work has a rare flying phoenix design incised on its surface.", "citations": [], "url": "https://clevelandart.org/art/1921.631.a", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1921.631.a/1921.631.a_web.jpg", "width": "669", "height": "900", "filesize": "123454", "filename": "1921.631.a_web.jpg" } }, "alternate_images": [], "creditline": "Gift of John L. Severance", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 103682, "creators": [], "legal_status": "accessioned", "accession_date": "1921-06-21T00:00:00", "sortable_date": 1100, "date_text": "1100s", "is_highlight": false, "updated_at": "2024-02-09 18:03:08.555000", "legacy": [] }, { "id": 156281, "accession_number": "1992.118", "share_license_status": "CC0", "tombstone": "Bronze Ritual Bell, 1226. Korea, Goryeo dynasty (918–1392). Cast bronze with incised inscription; diameter: 14 cm (5 1/2 in.); overall: 22.6 cm (8 7/8 in.). The Cleveland Museum of Art, John L. Severance Fund 1992.118", "current_location": "236 Korean", "title": "Bronze Ritual Bell", "title_in_original_language": "청동 범종 (靑銅梵鐘)", "creation_date": "1226", "creation_date_earliest": 1223, "creation_date_latest": 1226, "artists_tags": [], "culture": [ "Korea, Goryeo dynasty (918–1392)" ], "technique": "cast bronze with incised inscription", "support_materials": [], "department": "Korean Art", "collection": "Korean Art", "type": "Metalwork", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The inscription informs us that this miniature indoor bell was produced in 1226.", "description": "This miniature bell was once used as part of Buddhist indoor rituals. Likely suspended in a Buddhist temple, it features a cast dragon and a vertical tube to amplify the sound on top, and is decorated with Buddhist figures seated on lotuses. The echoing sound of the bell was thought to help Buddhist believers understand the significance of transience and impermanence; the sound instantly fades away as soon as one hears it. This sensory experience creates a striking conceptual parallel with Buddhist teachings, including the idea that all things and beings exist merely in our perception or imagination. An inscription indicates it was cast in the year of the dragon and took three years to make.", "citations": [], "url": "https://clevelandart.org/art/1992.118", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1992.118/1992.118_web.jpg", "width": "743", "height": "893", "filesize": "410033", "filename": "1992.118_web.jpg" } }, "alternate_images": [], "creditline": "John L. Severance Fund", "sketchfab_id": "b487349bf0ff4690adebb301edeaa179", "sketchfab_url": "https://sketchfab.com/models/b487349bf0ff4690adebb301edeaa179", "gallery_donor_text": null, "athena_id": 156281, "creators": [], "legal_status": "accessioned", "accession_date": "1992-10-19T00:00:00", "sortable_date": 1223, "date_text": "1226", "is_highlight": false, "updated_at": "2024-02-09 18:06:52.904000", "legacy": [] }, { "id": 123585, "accession_number": "1944.164", "share_license_status": "CC0", "tombstone": "Vase in the Form of a Melon, 1100s. Korea, Goryeo dynasty (918–1392). Celadon; overall: 25.2 cm (9 15/16 in.). The Cleveland Museum of Art, The Elisabeth Severance Prentiss Collection 1944.164", "current_location": "236 Korean", "title": "Vase in the Form of a Melon", "title_in_original_language": "청자 참외모양 병 (靑磁瓜形甁)", "creation_date": "1100s", "creation_date_earliest": 1100, "creation_date_latest": 1199, "artists_tags": [], "culture": [ "Korea, Goryeo dynasty (918–1392)" ], "technique": "celadon", "support_materials": [], "department": "Korean Art", "collection": "Korean Art", "type": "Ceramic", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The shape of this bottle resembles is a type of yellow muskmelon cultivated mainly in East Asia.", "description": "As early as the seventh century, the practice of drinking tea and wine became an important part of elite culture in Korea. Elites of the Goryeo period commissioned a variety of types of utensils and vessels including this elegant bottle, not only to make their drinking experience more exciting, but also to show their appreciation of nature. During the Goryeo period (918-1392), kilns operated in Jeolla and Chungcheong provinces, meeting a soaring demand for high-quality tableware.", "citations": [], "url": "https://clevelandart.org/art/1944.164", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1944.164/1944.164_web.jpg", "width": "690", "height": "893", "filesize": "35846", "filename": "1944.164_web.jpg" } }, "alternate_images": [], "creditline": "The Elisabeth Severance Prentiss Collection", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 123585, "creators": [], "legal_status": "accessioned", "accession_date": "1944-03-17T00:00:00", "sortable_date": 1100, "date_text": "1100s", "is_highlight": false, "updated_at": "2024-02-09 18:04:23.176000", "legacy": [] }, { "id": 98798, "accession_number": "1918.472", "share_license_status": "CC0", "tombstone": "Prunus Vase with Inlaid Lotus and Reed Design, 1300s. Korea, Goryeo dynasty (918–1392). Celadon ware with inlaid white and black slip decoration; overall: 33 cm (13 in.). The Cleveland Museum of Art, Gift of John L. Severance 1918.472", "current_location": "236 Korean", "title": "Prunus Vase with Inlaid Lotus and Reed Design", "title_in_original_language": "청자 상감 연꽃·갈대무늬 매병 (靑磁象嵌蓮蘆文梅甁)", "creation_date": "1300s", "creation_date_earliest": 1300, "creation_date_latest": 1399, "artists_tags": [], "culture": [ "Korea, Goryeo dynasty (918–1392)" ], "technique": "Celadon ware with inlaid white and black slip decoration", "support_materials": [], "department": "Korean Art", "collection": "Korean Art", "type": "Ceramic", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Prunus vases are often believed to contain a branch of plum blossoms, but recent research reveals that these lidded vases were also used to contain cooking liquid such as sesame oil.", "description": "As early as the seventh century, the practice of drinking tea and wine became an important part of elite culture in Korea. Once used to store alcoholic beverages, this type of vase features a wide body followed by a sharply rounded shoulder, a short neck and a small opening. Most of the remaining examples no longer have a lid, but originally it may have had a lid that not only covers the opening, but also served as a cup.", "citations": [], "url": "https://clevelandart.org/art/1918.472", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1918.472/1918.472_web.jpg", "width": "672", "height": "900", "filesize": "118661", "filename": "1918.472_web.jpg" } }, "alternate_images": [], "creditline": "Gift of John L. Severance", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 98798, "creators": [], "legal_status": "accessioned", "accession_date": "1918-09-25T00:00:00", "sortable_date": 1300, "date_text": "1300s", "is_highlight": false, "updated_at": "2024-02-09 18:02:44.232000", "legacy": [] }, { "id": 153635, "accession_number": "1987.160", "share_license_status": "CC0", "tombstone": "Dog-shaped Paperweight, 676–935. Korea, Unified Silla period (676-935). Gilt bronze; overall: 5 x 2.7 cm (1 15/16 x 1 1/16 in.). The Cleveland Museum of Art, Gift of Robert H. Ellsworth in honor of Sherman E. Lee 1987.160", "current_location": "236 Korean", "title": "Dog-shaped Paperweight", "title_in_original_language": "개모양 금동 문진 (犬形金銅文鎭)", "creation_date": "676–935", "creation_date_earliest": 676, "creation_date_latest": 935, "artists_tags": [], "culture": [ "Korea, Unified Silla period (676-935)" ], "technique": "gilt bronze", "support_materials": [], "department": "Korean Art", "collection": "Korean Art", "type": "Sculpture", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This is a dog and lion hybrid.", "description": "This small object in the shape of a hybrid dog-lion is believed to have been used as a paperweight. Since the Three Kingdoms period (57 BC−668), mercury amalgam gilding had been widely employed to embellish metal objects as well as to make their surface resistant to acids. This technique involves mixing pure gold powder with liquid mercury to form a paste-like mixture. As heat is applied, the mercury evaporates, but an opaque layer of gold remains on the surface. This coating must be polished by first rubbing it with dried rice seedlings, then processing it in ash lye to eliminate impurities; next, the piece is washed and rinsed in a plum vinegar bath.", "citations": [], "url": "https://clevelandart.org/art/1987.160", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1987.160/1987.160_web.jpg", "width": "900", "height": "610", "filesize": "207213", "filename": "1987.160_web.jpg" } }, "alternate_images": [], "creditline": "Gift of Robert H. Ellsworth in honor of Sherman E. Lee", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 153635, "creators": [], "legal_status": "accessioned", "accession_date": "1987-12-16T00:00:00", "sortable_date": 676, "date_text": "676–935", "is_highlight": false, "updated_at": "2024-02-09 18:06:40.035000", "legacy": [] }, { "id": 97469, "accession_number": "1917.1040", "share_license_status": "CC0", "tombstone": "Ornament with Carp and Lotus Design, 1100s. Korea, Goryeo dynasty (918–1392). Gilt bronze; overall: 3.2 x 2 cm (1 1/4 x 13/16 in.). The Cleveland Museum of Art, Gift of the John Huntington Art and Polytechnic Trust 1917.1040", "current_location": "236 Korean", "title": "Ornament with Carp and Lotus Design", "title_in_original_language": "금동 잉어·연꽃무늬 꾸미개 (金銅漁花文裝身具)", "creation_date": "1100s", "creation_date_earliest": 1100, "creation_date_latest": 1199, "artists_tags": [], "culture": [ "Korea, Goryeo dynasty (918–1392)" ], "technique": "gilt bronze", "support_materials": [], "department": "Korean Art", "collection": "Korean Art", "type": "Metalwork", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [ "1406.1917" ], "did_you_know": "This metal ornament is part of a decorative brooch once used to hold clothes together.", "description": "Metalworking techniques advanced remarkably during the Goryeo period (918–1392). Sophisticated metal objects with intricate designs were used not only as daily accessories, but also as burial goods for commemorating the dead. Traces of fibers found on the backs of these metal ornaments suggest that they were once used as brooches to hold garments together.", "citations": [], "url": "https://clevelandart.org/art/1917.1040", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1917.1040/1917.1040_web.jpg", "width": "925", "height": "893", "filesize": "76206", "filename": "1917.1040_web.jpg" } }, "alternate_images": [], "creditline": "Gift of the John Huntington Art and Polytechnic Trust", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 97469, "creators": [], "legal_status": "accessioned", "accession_date": "1917-07-06T00:00:00", "sortable_date": 1100, "date_text": "1100s", "is_highlight": false, "updated_at": "2024-02-09 18:02:38.542000", "legacy": [] }, { "id": 97476, "accession_number": "1917.1045", "share_license_status": "CC0", "tombstone": "Ornament with Dragon Design, 1100s. Korea, Goryeo dynasty (918–1392). Bronze; overall: 3.4 x 2.5 cm (1 5/16 x 1 in.). The Cleveland Museum of Art, Gift of the John Huntington Art and Polytechnic Trust 1917.1045", "current_location": "236 Korean", "title": "Ornament with Dragon Design", "title_in_original_language": "은제 용무늬 꾸미개 (銀製龍文裝身具)", "creation_date": "1100s", "creation_date_earliest": 1100, "creation_date_latest": 1199, "artists_tags": [], "culture": [ "Korea, Goryeo dynasty (918–1392)" ], "technique": "bronze", "support_materials": [], "department": "Korean Art", "collection": "Korean Art", "type": "Metalwork", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [ "1411.1917" ], "did_you_know": "This metal ornament is part of a decorative brooch once used to hold clothes together.", "description": "Metalworking techniques advanced remarkably during the Goryeo period (918–1392). Sophisticated metal objects with intricate designs were used not only as daily accessories, but also as burial goods for commemorating the dead. Traces of fibers found on the backs of these metal ornaments suggest that they were once used as brooches to hold garments together.", "citations": [], "url": "https://clevelandart.org/art/1917.1045", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1917.1045/1917.1045_web.jpg", "width": "853", "height": "893", "filesize": "507009", "filename": "1917.1045_web.jpg" } }, "alternate_images": [], "creditline": "Gift of the John Huntington Art and Polytechnic Trust", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 97476, "creators": [], "legal_status": "accessioned", "accession_date": "1917-07-06T00:00:00", "sortable_date": 1100, "date_text": "1100s", "is_highlight": false, "updated_at": "2024-02-09 18:02:38.584000", "legacy": [] }, { "id": 97465, "accession_number": "1917.1037", "share_license_status": "CC0", "tombstone": "Ornament with Carp and Lotus Design, 1100s. Korea, Goryeo dynasty (918–1392). Bronze; overall: 3 x 2 cm (1 3/16 x 13/16 in.). The Cleveland Museum of Art, Gift of the John Huntington Art and Polytechnic Trust 1917.1037", "current_location": "236 Korean", "title": "Ornament with Carp and Lotus Design", "title_in_original_language": "금동 잉어·연꽃무늬 꾸미개 (金銅漁花文裝身具)", "creation_date": "1100s", "creation_date_earliest": 1100, "creation_date_latest": 1199, "artists_tags": [], "culture": [ "Korea, Goryeo dynasty (918–1392)" ], "technique": "bronze", "support_materials": [], "department": "Korean Art", "collection": "Korean Art", "type": "Metalwork", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [ "1403.1917" ], "did_you_know": "This metal ornament is part of a decorative brooch once used to hold clothes together.", "description": "Metalworking techniques advanced remarkably during the Goryeo period (918–1392). Sophisticated metal objects with intricate designs were used not only as daily accessories, but also as burial goods for commemorating the dead. Traces of fibers found on the backs of these metal ornaments suggest that they were once used as brooches to hold garments together.", "citations": [], "url": "https://clevelandart.org/art/1917.1037", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1917.1037/1917.1037_web.jpg", "width": "1020", "height": "893", "filesize": "76672", "filename": "1917.1037_web.jpg" } }, "alternate_images": [], "creditline": "Gift of the John Huntington Art and Polytechnic Trust", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 97465, "creators": [], "legal_status": "accessioned", "accession_date": "1917-07-06T00:00:00", "sortable_date": 1100, "date_text": "1100s", "is_highlight": false, "updated_at": "2024-02-09 18:02:38.518000", "legacy": [] }, { "id": 156127, "accession_number": "1991.58", "share_license_status": "CC0", "tombstone": "Water Ewer for Rituals (Kundika), 1100s. Korea, Goryeo dynasty (918–1392). Bronze; overall: 39.5 cm (15 9/16 in.). The Cleveland Museum of Art, Seventy-fifth anniversary gift of David S. Utterberg 1991.58", "current_location": "236 Korean", "title": "Water Ewer for Rituals (Kundika)", "title_in_original_language": "청동 정병 (靑銅淨甁)", "creation_date": "1100s", "creation_date_earliest": 1100, "creation_date_latest": 1199, "artists_tags": [], "culture": [ "Korea, Goryeo dynasty (918–1392)" ], "technique": "bronze", "support_materials": [], "department": "Korean Art", "collection": "Korean Art", "type": "Metalwork", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This distinctively shaped vessel is called a kundika in Sanskrit, simply referring to a water bottle.", "description": "Known as kundika in Sanskrit, this distinctively shaped vessel served to purify a sacred space and to invoke a deity. In Korean Buddhist art, it appears primarily as an attribute of the Bodhisattva Avalokitesvara (Gwaneum in Korean). By the 1100s, however, the kundika was used as aristocrats’ fancy water container for everyday use.", "citations": [], "url": "https://clevelandart.org/art/1991.58", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1991.58/1991.58_web.jpg", "width": "563", "height": "893", "filesize": "43790", "filename": "1991.58_web.jpg" } }, "alternate_images": [], "creditline": "Seventy-fifth anniversary gift of David S. Utterberg", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 156127, "creators": [], "legal_status": "accessioned", "accession_date": "1991-06-24T00:00:00", "sortable_date": 1100, "date_text": "1100s", "is_highlight": false, "updated_at": "2024-02-09 18:06:52.282000", "legacy": [] }, { "id": 98773, "accession_number": "1918.454", "share_license_status": "CC0", "tombstone": "Bottle with Chrysanthemum Design, 1200s-1300s. Korea, Goryeo dynasty (918–1392). Celadon ware with inlaid white and black slip decoration; diameter: 14.7 cm (5 13/16 in.); overall: 40.4 cm (15 7/8 in.). The Cleveland Museum of Art, Gift of John L. Severance 1918.454", "current_location": "236 Korean", "title": "Bottle with Chrysanthemum Design", "title_in_original_language": "청자 상감 국화무늬 병 (靑磁象嵌菊花文甁)", "creation_date": "1200s-1300s", "creation_date_earliest": 1200, "creation_date_latest": 1399, "artists_tags": [], "culture": [ "Korea, Goryeo dynasty (918–1392)" ], "technique": "Celadon ware with inlaid white and black slip decoration", "support_materials": [], "department": "Korean Art", "collection": "Korean Art", "type": "Ceramic", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Termed kintsugi (literally meaning “gold joinery”) in Japanese, this method of repairing broken parts with glittering gold mixed with lacquer was extensively used for ceramic works in the Goryeo period, such as this one.", "description": "This rare long-neck celadon wine bottle is inlaid with white wild chrysanthemums, symbols of both the poem \"Drinking Wine\" and blessings of longevity. One root has three stems with tiny white blossoms. The damaged lip was repaired with gold lacquer.


Korean Celadons Repaired with Gold

Termed kintsugi (literally meaning “gold joinery”) in Japanese, this method of repair highlights broken parts with glittering gold mixed with lacquer. Initiated in 15th-century Japan, the technique follows a popular aesthetic concept called wabi-sabi, which finds beauty in imperfect things and continued to be practiced throughout the modern period in East Asia. Goryeo celadons were considered extremely rare treasures among modern collectors; thus, the broken condition of these examples is brilliantly highlighted in gold lacquer on the repaired spouts, handle, and lid.", "citations": [], "url": "https://clevelandart.org/art/1918.454", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1918.454/1918.454_web.jpg", "width": "577", "height": "893", "filesize": "210142", "filename": "1918.454_web.jpg" } }, "alternate_images": [], "creditline": "Gift of John L. Severance", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 98773, "creators": [], "legal_status": "accessioned", "accession_date": "1918-09-25T00:00:00", "sortable_date": 1200, "date_text": "1200s-1300s", "is_highlight": false, "updated_at": "2024-02-09 18:02:44.148000", "legacy": [] }, { "id": 103719, "accession_number": "1921.660", "share_license_status": "CC0", "tombstone": "Eight-foiled Mirror with Flower and Phoenix Design, 1100s. Korea, Goryeo dynasty (918–1392). Bronze; overall: 13.4 x 0.5 cm (5 1/4 x 3/16 in.). The Cleveland Museum of Art, Gift of John L. Severance 1921.660", "current_location": "236 Korean", "title": "Eight-foiled Mirror with Flower and Phoenix Design", "title_in_original_language": "청동 쌍난·보화무늬 팔능 거울 (銅製雙鸞寶華文八稜形鏡)", "creation_date": "1100s", "creation_date_earliest": 1100, "creation_date_latest": 1199, "artists_tags": [], "culture": [ "Korea, Goryeo dynasty (918–1392)" ], "technique": "bronze", "support_materials": [], "department": "Korean Art", "collection": "Korean Art", "type": "Metalwork", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Due to its origin as an important tool in religion and politics, mirrors are often mentioned in many Korean proverbs that warn certain behaviors.", "description": "From ancient times, a mirror assumed various roles; a ritualistic tool, a diplomatic gift, and a luxury commodity. During the Goryeo dynasty (918-1392), which saw the great advancement of metallurgy, the royal court was the center of distributing sophisticated bronze artifacts. According to historical records, on the 7th day of the Lunar New Year, the king bestowed a bronze mirror inscribed with auspicious symbols upon each court official as part of a ceremony to celebrate the Day of Humans. This explains why a large quantity of bronze mirrors were excavated from elite tombs.", "citations": [], "url": "https://clevelandart.org/art/1921.660", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1921.660/1921.660_web.jpg", "width": "836", "height": "893", "filesize": "557575", "filename": "1921.660_web.jpg" } }, "alternate_images": [], "creditline": "Gift of John L. Severance", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 103719, "creators": [], "legal_status": "accessioned", "accession_date": "1921-06-21T00:00:00", "sortable_date": 1100, "date_text": "1100s", "is_highlight": false, "updated_at": "2024-02-09 18:03:08.736000", "legacy": [] }, { "id": 97474, "accession_number": "1917.1044.1", "share_license_status": "CC0", "tombstone": "Ornament with Heron and Turtle Design, 1100s. Korea, Goryeo dynasty (918–1392). Bronze; overall: 3.4 x 2.5 cm (1 5/16 x 1 in.). The Cleveland Museum of Art, Gift of the John Huntington Art and Polytechnic Trust 1917.1044.1", "current_location": "236 Korean", "title": "Ornament with Heron and Turtle Design", "title_in_original_language": "금동 왜가리·거북무늬 꾸미개 (金銅鷺龜文裝身具)", "creation_date": "1100s", "creation_date_earliest": 1100, "creation_date_latest": 1199, "artists_tags": [], "culture": [ "Korea, Goryeo dynasty (918–1392)" ], "technique": "bronze", "support_materials": [], "department": "Korean Art", "collection": "Korean Art", "type": "Metalwork", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [ "1410.1917" ], "did_you_know": "This metal ornament is part of a decorative brooch once used to hold clothes together.", "description": "Metalworking techniques advanced remarkably during the Goryeo period (918–1392). Sophisticated metal objects with intricate designs were used not only as daily accessories, but also as burial goods for commemorating the dead. Traces of fibers found on the backs of these metal ornaments suggest that they were once used as brooches to hold garments together.", "citations": [], "url": "https://clevelandart.org/art/1917.1044.1", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1917.1044.1/1917.1044.1_web.jpg", "width": "816", "height": "893", "filesize": "63532", "filename": "1917.1044.1_web.jpg" } }, "alternate_images": [], "creditline": "Gift of the John Huntington Art and Polytechnic Trust", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 97474, "creators": [], "legal_status": "accessioned", "accession_date": "1917-07-06T00:00:00", "sortable_date": 1100, "date_text": "1100s", "is_highlight": false, "updated_at": "2024-02-09 18:02:38.572000", "legacy": [] }, { "id": 97491, "accession_number": "1917.1057", "share_license_status": "CC0", "tombstone": "Comma-shaped Jade, 400s CE. Korea, Three Kingdoms period (57 BCE–668 CE). Jade; overall: 8 x 4.9 x 3.1 cm (3 1/8 x 1 15/16 x 1 1/4 in.). The Cleveland Museum of Art, Gift of the John Huntington Art and Polytechnic Trust 1917.1057", "current_location": "236 Korean", "title": "Comma-shaped Jade", "title_in_original_language": "곱은 옥 (曲玉)", "creation_date": "400s CE", "creation_date_earliest": 400, "creation_date_latest": 499, "artists_tags": [], "culture": [ "Korea, Three Kingdoms period (57 BCE–668 CE)" ], "technique": "jade", "support_materials": [], "department": "Korean Art", "collection": "Korean Art", "type": "Jewelry", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [ "1425.1917" ], "did_you_know": "This unique shaped jade was used as a pendant to decorate necklaces, eyerings, and crowns during the Three Kingdoms period.", "description": "Jade is one of the hardest stones and requires an intensive, arduous process of abrasion—cutting, chiseling, grinding, and polishing—to achieve the desired shape. A grindstone and a slurry of grit and water shape the jade into the desired form, and then a cloth dampened and rubbed with finer grit may have been used to give the jade the smooth surface. For the Silla kingdom (57 BC–985), in particular, comma-shaped jades served as an essential item for the burials of the ruling class and were luxurious accessories to decorate golden crowns. Their comma shape is thought to represent embryonic forms, symbolizing life, particularly rebirth in the afterlife.", "citations": [], "url": "https://clevelandart.org/art/1917.1057", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1917.1057/1917.1057_web.jpg", "width": "968", "height": "893", "filesize": "88346", "filename": "1917.1057_web.jpg" } }, "alternate_images": [], "creditline": "Gift of the John Huntington Art and Polytechnic Trust", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 97491, "creators": [], "legal_status": "accessioned", "accession_date": "1917-07-06T00:00:00", "sortable_date": 400, "date_text": "400s CE", "is_highlight": false, "updated_at": "2024-02-09 18:02:38.673000", "legacy": [] }, { "id": 97492, "accession_number": "1917.1058", "share_license_status": "CC0", "tombstone": "String of Glass Beads, 400s CE. Korea, Three Kingdoms period (57 BCE–668 CE). Glass; The Cleveland Museum of Art, Gift of the John Huntington Art and Polytechnic Trust 1917.1058", "current_location": "236 Korean", "title": "String of Glass Beads", "title_in_original_language": "구슬 목걸이 (瑠璃玉頸飾)", "creation_date": "400s CE", "creation_date_earliest": 400, "creation_date_latest": 499, "artists_tags": [], "culture": [ "Korea, Three Kingdoms period (57 BCE–668 CE)" ], "technique": "glass", "support_materials": [], "department": "Korean Art", "collection": "Korean Art", "type": "Jewelry", "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [ "1426.1917" ], "did_you_know": "Glass, largely produced in ancient Rome since the late 1st century, also reached the Korean peninsula through the Silk Road, the ancient global trade route. Yet, cobalt blue glass beads shown in this work are highly likely to have been produced in the Silla territory.", "description": "An enormous amount of beaded strings and necklaces were excavated from Silla tomb sites. Glass, largely produced in ancient Rome since the late 1st century, also reached the Korean peninsula through the Silk Road, the ancient global trade route. Yet cobalt blue glass beads shown in this string are highly likely to be soda glass produced in the Silla territory.", "citations": [], "url": "https://clevelandart.org/art/1917.1058", "images": { "web": { "url": "https://openaccess-cdn.clevelandart.org/1917.1058/1917.1058_web.jpg", "width": "1028", "height": "893", "filesize": "125065", "filename": "1917.1058_web.jpg" } }, "alternate_images": [], "creditline": "Gift of the John Huntington Art and Polytechnic Trust", "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 97492, "creators": [], "legal_status": "accessioned", "accession_date": "1917-07-06T00:00:00", "sortable_date": 400, "date_text": "400s CE", "is_highlight": false, "updated_at": "2024-02-09 18:02:38.679000", "legacy": [] } ] }