On View

Seated Nyoirin Kannon is a wood sculpture of a deity seated in a relaxed pose, resting on one of his six hands. His other hands hold a jewel, a lotus, and
Seated Nyoirin Kannon
Seated Nyoirin Kannon
Seated Nyoirin Kannon is a wood sculpture of a deity seated in a relaxed pose, resting on one of his six hands. His other hands hold a jewel, a lotus, and

Seated Nyoirin Kannon

Japan
Kamakura period (1185–1333)
c. 1230–50
Wood with traces of gilt and pigment
19 x 18 x 10 in. (48.3 x 45.7 x 25.4 cm)
AP 1985.15
Kannon is the Japanese name for the Indian Buddhist deity Avalokiteshvara, the bodhisattva of compassion. Because of the boundless love he offered to all beings, this was the most popular of all the Buddhist deities throughout Asia.
Seated En No Gyoja with staff and scroll. The eyes are fixed as if in a hypnotic gaze, and the mouth is open to expose the teeth and tongue, as if En no Gyoja were chanting the scriptures or delivering a lecture.
En no Gyoja
En no Gyoja
Seated En No Gyoja with staff and scroll. The eyes are fixed as if in a hypnotic gaze, and the mouth is open to expose the teeth and tongue, as if En no Gyoja were chanting the scriptures or delivering a lecture.

En no Gyoja

Japan
Kamakura period (1185–1333)
c. 1300–1375
Polychromed wood
54 15/16 x 32 x 26 in. (139.6 x 81.3 x 66 cm)
AP 1984.13
En no Gyoja was the legendary founder of the Shugendo sect, which emphasized the practice of religious austerities, and he thus came to represent the archetypical ascetic recluse. He is said to have died in the early eighth century after living a hermetic life in the mountains.
Seated Arhat is a cast iron depiction of monk representing an arhat. His face contrast with the simplified but rhythmical form of the body to produce a portrait of great character and presence.
Seated Arhat
Seated Arhat
Seated Arhat is a cast iron depiction of monk representing an arhat. His face contrast with the simplified but rhythmical form of the body to produce a portrait of great character and presence.

Seated Arhat

China, Shaanxi province
Late Yuan to early Ming dynasty (1279–1368/1368–1644)
c. 1300–1450
Cast iron, traces of pigment
30 11/16 x 19 7/8 x 16 in. (78 x 50.5 x 40.7 cm)
AP 1984.14
This engaging portrait of a monk represents an arhat (in Chinese, lohan), one of a group of “perfected beings” who, in the Buddhist faith, were the original disciples of Shakyamuni Buddha.
The Raising of Lazarus shows the moment when Jesus called Lazarus forth from the tomb in tempera and gold on panel
The Raising of Lazarus
The Raising of Lazarus
The Raising of Lazarus shows the moment when Jesus called Lazarus forth from the tomb in tempera and gold on panel

The Raising of Lazarus

Duccio di Buoninsegna
Italian (active 1278–1318)
14th century
1310–11
Tempera and gold on panel
17 1/8 x 18 1/4 in. (43.5 x 46.4 cm) Framed: 20 7/8 x 22 1/8 x 1 7/8 in. (53 x 56.2 x 4.8 cm)
APx 1975.01
Duccio was the preeminent Sienese painter in the early years of the fourteenth century. He infused the prevailing Byzantine style with a more naturalistic, narrative mode.
Parvati is a bronze standing sculpture representing the divinity as an ideal beauty on a pedestal
Parvati
Parvati
Parvati is a bronze standing sculpture representing the divinity as an ideal beauty on a pedestal

Parvati

India
Vijayanagar period (1336–1565)
15th century
Bronze
35 11/16 x 10 15/16 x 9 5/8 in. (90.7 x 27.8 x 24.5 cm)
AP 1969.13
One of the most striking characteristics of the Hindu religion is the importance of goddesses. Fertility goddesses were an important component of early Indian nature cults and were eventually assimilated into the symbolic repertoire of late Indian religious art.
The Apostle Saint James the Greater Freeing the Magician Hermogenes is made of tempera and gold on panel. Notable is the use of pure pigments, such as vermilion and lapis lazuli and gilded decorative borders of the drapery
The Apostle Saint James the Greater Freeing the Magician Hermogenes
The Apostle Saint James the Greater Freeing the Magician Hermogenes
The Apostle Saint James the Greater Freeing the Magician Hermogenes is made of tempera and gold on panel. Notable is the use of pure pigments, such as vermilion and lapis lazuli and gilded decorative borders of the drapery

The Apostle Saint James the Greater Freeing the Magician Hermogenes

Fra Angelico (Fra Giovanni da Fiesole)
Italian (c. 1395/1400–1455)
15th century
c. 1426–29
Tempera and gold on panel
10 9/16 x 9 3/8 in. (26.8 x 23.8 cm) Framed: 18 5/8 x 17 7/16 in. (47.3 x 44.3 cm)
AP 1986.03
Born Guido di Piero, the artist known as Fra Angelico acquired his nickname not long after his death, when he was referred to as “Angelicus” by a fellow Dominican monk for his pious life and artworks.
In Four Mandalas of the Vajravali Series, the Thangka depicts four individual mandalas  incorporated into an all-encompassing mandala of the Five Pancharaksha Goddesses
Four Mandalas of the Vajravali Series
Four Mandalas of the Vajravali Series
In Four Mandalas of the Vajravali Series, the Thangka depicts four individual mandalas  incorporated into an all-encompassing mandala of the Five Pancharaksha Goddesses

Four Mandalas of the Vajravali Series

Central Tibet, Tsang (Ngor Monastery), Sakya order
c. 1429–56
Thangka, gouache on cotton
35 x 29 in. (88.9 x 73.7 cm)
AP 2000.01
Most Tibetan art was created in connection with the complex rituals and meditational practices of Vajrayana Buddhism (the Diamond Path), in which mandalas (cosmic diagrams) are employed as visual representations of the sacred realms inhabited by a host of deities.
Virgin and Child (The Borromeo Madonna) is a terracotta relief of the Virgin and Child
Virgin and Child (The Borromeo Madonna)
Virgin and Child (The Borromeo Madonna)
Virgin and Child (The Borromeo Madonna) is a terracotta relief of the Virgin and Child

Virgin and Child (The Borromeo Madonna)

Attributed to Donatello (Donato di Niccolò di Betto Bardi)
Italian (1386/87–1466)
15th century
c. 1450
Terracotta
32 7/8 x 20 1/2 in. (83.5 x 52.1 cm)
AP 2006.01
Celebrated for his powers of invention, range of expression, and technical prowess, Donatello was the preeminent Italian sculptor of the fifteenth century.
The Madonna and Child is a half-length devotional painting of the Madonna and Child. Bellini’s Madonna stands behind a veined marble parapet, in front of a cloth of honor brocaded with pomegranates to symbolize the Resurrection.
The Madonna and Child
The Madonna and Child
The Madonna and Child is a half-length devotional painting of the Madonna and Child. Bellini’s Madonna stands behind a veined marble parapet, in front of a cloth of honor brocaded with pomegranates to symbolize the Resurrection.

The Madonna and Child

Giovanni Bellini
Italian (c. 1438–1516)
15th century
c. 1465
Tempera, possibly oil, and gold on panel
32 1/2 x 23 in. (82.5 x 58.4 cm) Framed: 48 x 39 1/8 x 5 in. (121.9 x 99.4 x 12.7 cm)
AP 1971.06
Giovanni Bellini’s half-length devotional paintings of the Madonna and Child enjoyed great popularity in Venice, and later in his career he employed a large workshop to meet the demand.
The Madonna and Child with Saints Joseph, Elizabeth, and John the Baptist is a devotional painting which places Madonna and Child in the center of the composition
The Madonna and Child with Saints Joseph, Elizabeth, and John the Baptist
The Madonna and Child with Saints Joseph, Elizabeth, and John the Baptist
The Madonna and Child with Saints Joseph, Elizabeth, and John the Baptist is a devotional painting which places Madonna and Child in the center of the composition

The Madonna and Child with Saints Joseph, Elizabeth, and John the Baptist

Andrea Mantegna
Italian (c. 1430/31–1506)
15th century
c. 1485–88
Distemper, oil, and gold on canvas
24 3/4 x 20 3/16 in. (62.9 x 51.3 cm) Framed: 32 3/8 x 28 3/8 x 3 in. (82.2 x 72.1 x 7.6 cm)
AP 1987.04
Trained in the humanist university town of Padua, Andrea Mantegna developed a lifelong passion for antiquity that profoundly informed his work as an artist.
Portia and Brutus is a panel in a series by Ercole de’ Roberti of virtuous women. In the painting, Portia shows Brutus a self-inflicted wound  to confirm that she would be ready to endure death
Portia and Brutus
Portia and Brutus
Portia and Brutus is a panel in a series by Ercole de’ Roberti of virtuous women. In the painting, Portia shows Brutus a self-inflicted wound  to confirm that she would be ready to endure death

Portia and Brutus

Ercole de’ Roberti
Italian (c. 1455/56–1496)
15th century
c. 1486–90
Tempera, possibly oil, and gold on panel
19 3/16 x 13 1/2 in. (48.7 x 34.3 cm) Framed: 25 3/4 x 20 1/2 x 2 1/4 in. (65.4 x 52.1 x 5.7 cm)
AP 1986.05
Ercole de’ Roberti spent the latter half of his career at the court of Ercole I d’Este, Duke of Ferrara, painting altarpieces, small devotional works, portraits, and fresco cycles for the Este residences, as well as decorative projects.
Her hair, the moon, and other details of the sculpture are gilded.
Virgin and Child
Virgin and Child
Her hair, the moon, and other details of the sculpture are gilded.

Virgin and Child

South Germany
15th century
15th century
1486
Silver, parcel-gilt, stones (opal, clear and pale sapphires, garnets, and pale emeralds)
21 × 6 3/4 × 6 3/4 in. (53.3 × 17.1 × 17.1 cm)
AP 2002.03
The subject of this rare example of Late Gothic church sculpture can be identified as the Virgin of the Apocalypse, whose imagery—the aureole of the sun, along with the twelve stars in her crown, and the crescent moon beneath her—is derived from the book of Revelation (12:1–5): “And there appeared a
The gilt Gothic inscription on this masterpiece of northern Renaissance portraiture identifies the sitter as Jacob Obrecht (1457/58–1505), a renowned choirmaster and one of the greatest composers of his age.
Jacob Obrecht
Jacob Obrecht
The gilt Gothic inscription on this masterpiece of northern Renaissance portraiture identifies the sitter as Jacob Obrecht (1457/58–1505), a renowned choirmaster and one of the greatest composers of his age.

Jacob Obrecht

Netherlandish or French
15th century
15th century
1496
Tempera, oil, and gold on panel
20 1/4 x 14 1/4 in. (51.4 x 36.2 cm)
AP 1993.02
The gilt Gothic inscription on this masterpiece of northern Renaissance portraiture identifies the sitter as Jacob Obrecht (1457/58–1505), a renowned choirmaster and one of the greatest composers of his age.
Christ the Redeemer is sculpted in mezzo rilievo. The profile view of Christ is deeply undercut, shows twisting tendrils and the crisp patterns of Christ’s beard set against the smooth surface of his skin.
Christ the Redeemer
Christ the Redeemer
Christ the Redeemer is sculpted in mezzo rilievo. The profile view of Christ is deeply undercut, shows twisting tendrils and the crisp patterns of Christ’s beard set against the smooth surface of his skin.

Christ the Redeemer

Attributed to Tullio Lombardo
Italian (c. 1455–1532)
16th century
c. 1500–1520
White marble relief
13 3/16 x 12 3/16 x 3 9/16 in. (33.5 x 31 x 9 cm)
AP 2005.04
This marble relief has recently been attributed to the Venetian sculptor Tullio Lombardo. Tullio was well versed in both ancient art and the work of contemporary artists outside Venice, such as Mantegna and Leonardo da Vinci.
 Portrait of a Woman, Probably Isabella d’Este is a terracotta bust of who we believe to be Marchioness of Mantua. It represents her in a highly flattering way, presenting an ideal, classicized “likeness."
Portrait of a Woman, Probably Isabella d’Este
Portrait of a Woman, Probably Isabella d’Este
 Portrait of a Woman, Probably Isabella d’Este is a terracotta bust of who we believe to be Marchioness of Mantua. It represents her in a highly flattering way, presenting an ideal, classicized “likeness."

Portrait of a Woman, Probably Isabella d’Este

Attributed to Gian Cristoforo Romano
Italian (c. 1465–1512)
16th century
c. 1500
Terracotta, formerly polychromed
21 3/8 x 21 1/2 in. (54.3 x 54.6 cm)
AP 2004.01
This rare terracotta portrait bust probably represents Isabella d’Este, Marchioness of Mantua. The most celebrated woman of her day, Isabella d’Este (1474–1539) cultivated one of the most illustrious courts in Renaissance Italy.
Seated Man, Possibly Huehueteotl is a basalt sculpture of an old macehualli, or man of the people. The bold facial scarification and more subtle, abstract patterns on the kneecaps, shoulder blades, and vertebrae suggest that he also represents the “Old God,” Huehueteotl
Seated Man, Possibly Huehueteotl
Seated Man, Possibly Huehueteotl
Seated Man, Possibly Huehueteotl is a basalt sculpture of an old macehualli, or man of the people. The bold facial scarification and more subtle, abstract patterns on the kneecaps, shoulder blades, and vertebrae suggest that he also represents the “Old God,” Huehueteotl

Seated Man, Possibly Huehueteotl

Mexico, Aztec culture
Postclassic period (900–1521)
c. 1500
Basalt
25 1/4 x 15 1/4 x 12 1/8 in. (64.1 x 38.7 x 30.8 cm)
AP 1969.19
Aztec society was militaristic and regimented, and their art and culture show a pervasive interest in ritual and the symbolism of death.

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