On View

Meiping Vase is a pale green-blue ceramic vessel with wide shoulders and a small mouth. It has floral decoration and a wide mouth
Meiping Vase
Meiping Vase
Meiping Vase is a pale green-blue ceramic vessel with wide shoulders and a small mouth. It has floral decoration and a wide mouth

Meiping Vase

China
Jiangxi province, Yuan dynasty (1279–1368)
first half of the 14th century
Porcelain with pale greenish blue glaze (Qingbai ware)
H. 12 1/2 in. (31.8 cm); Diam. 7 1/8 in. (18.1 cm)
AP 1968.08
Qingbai wares of the Yuan dynasty continue an earlier tradition of porcelain wares covered with a transparent glaze, which began as early as the tenth century. The name qingbai (bluish white) refers to the faint bluish tint of the glaze in areas where it thickens.
Pink and White Lotus is a hanging scroll of a painted lotus when the blossoms are fully opened and some petals have begun to fall.
Pink and White Lotus
Pink and White Lotus
Pink and White Lotus is a hanging scroll of a painted lotus when the blossoms are fully opened and some petals have begun to fall.

Pink and White Lotus

China
Yuan dynasty (1279–1368)
14th century
Hanging scroll; mineral pigments on silk
53 9/16 x 23 7/8 in. (136 x 60.7 cm)
AP 1984.19
The grandeur of this depiction of lotus blossoms, leaves, and seed pods is eloquent testimony to the considerable position accorded the genre of flower painting in China.
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.
Round Dish with Pommel Scrolls is made of shiny carved black lacquer with red layers
Round Dish with Pommel Scrolls
Round Dish with Pommel Scrolls
Round Dish with Pommel Scrolls is made of shiny carved black lacquer with red layers

Round Dish with Pommel Scrolls

China
Ming dynasty (1368–1644)
15th–16th century
Carved black lacquer with red layers (tixi)
13 7/8 in. diameter (35.2 cm diameter)
AP 1993.03
Carved, “marbled” lacquer (tixi), a variety unique to China, was made from at least the Song dynasty (A.D. 960–1279) onwards.
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 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 Torment of Saint Anthony depicts how the Egyptian hermit-saint, Saint Anthony, had a vision that he levitated into the air and was attacked by demons, whose torments he withstood. He also included a landscape that resembles the Arno River Valley around Florence.
The Torment of Saint Anthony
The Torment of Saint Anthony
The Torment of Saint Anthony depicts how the Egyptian hermit-saint, Saint Anthony, had a vision that he levitated into the air and was attacked by demons, whose torments he withstood. He also included a landscape that resembles the Arno River Valley around Florence.

The Torment of Saint Anthony

Michelangelo Buonarroti
Italian (1475–1564)
15th century
1487
Tempera on panel
18 1/2 x 13 3/4 in. (47 x 34.9 cm) Framed: 27 x 22 3/8 x 2 1/4 in. (68.6 x 56.8 x 5.7 cm)
AP 2009.01
This is the first known painting by Michelangelo, described by his earliest biographers and believed to have been painted when he was twelve or thirteen years old.
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.
Portrait of Jacob Obrecht
Portrait of 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.

Portrait of Jacob Obrecht

Quinten Metsys
Netherlandish (1465/66–1530)
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 Renaissance portraiture identifies the sitter as Jacob Obrecht (1457/58-1505), a renowned choirmaster and one of the greatest composers of his age.
Birds and Flowers of Early Spring is a silk hanging scroll with ink and pigment rocks, water, trees, blossoms, and birds.
Birds and Flowers of Early Spring
Birds and Flowers of Early Spring
Birds and Flowers of Early Spring is a silk hanging scroll with ink and pigment rocks, water, trees, blossoms, and birds.

Birds and Flowers of Early Spring

Yin Hong
Chinese (active c. 1500)
Ming dynasty (1368–1644)
c. 1500
Hanging scroll; ink and mineral pigments on silk
66 7/16 x 40 7/16 in. (168.7 x 102.7 cm)
AP 1982.08
Colorful flower-and-bird paintings were created by courtpainters during the Ming dynasty (1368–1644) to decorate the grand halls of imperial palaces, where they could also serve as metaphors for the emperor and his court.
Bellini’s Christ Blessing vividly portrays the incarnation. The Resurrected Savior faces the worshiper with a level gaze. He raises his right hand in blessing, and with his left grips the bright red staff of the banner of the Resurrection.
Christ Blessing
Christ Blessing
Bellini’s Christ Blessing vividly portrays the incarnation. The Resurrected Savior faces the worshiper with a level gaze. He raises his right hand in blessing, and with his left grips the bright red staff of the banner of the Resurrection.

Christ Blessing

Giovanni Bellini
Italian (c. 1438–1516)
16th century
c. 1500
Tempera, oil, and gold on panel
23 1/4 x 18 1/2 in. (59 x 47 cm) Framed: 31 x 26 x 3 in. (78.7 x 66 x 7.6 cm)
AP 1967.07
Bellini’s Christ Blessing vividly portrays the central mystery of the Christian faith: the incarnation, when Christ––fully human and fully divine––was sent to earth to redeem humankind.
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.

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