"58-44" in Major: abstract calligraphy1958[Hidai Nankoku]Hidai NankokuOil on canvasPaintingshttps://emuseum.cornell.edu/objects/8241/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/86725/full126 Garland Ave., L. A., from the portfolio Los Angeles Documentary Project1980[John Humble]John HumbleSilver dye bleach printPhotographshttps://emuseum.cornell.edu/objects/16319/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/86722/full819 Ozone St., Venice, from the portfolio Los Angeles Documentary Project1980[John Humble]John HumbleSilver dye bleach printPhotographshttps://emuseum.cornell.edu/objects/16317/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/93269/full1939 New York World's Fair Medal, 19391939[Julio Kilenyi, Chester Beach, Robbins & Company, Attleboro]Julio KilenyiBronzePatina: light brown Purpose: commemorative. Obverse: trylon and perisphere / theme center with figure of George Washington among clouds Reverse: yesterday, today and tomorrow -- NY images.Metalworkhttps://emuseum.cornell.edu/objects/27483/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/107646/fullAdam and Eve1519[Hans Baldung]Hans BaldungWoodcutPrintshttps://emuseum.cornell.edu/objects/34877/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/93199/fullAdriana1950-57[Saul Baizerman]Saul BaizermanCopperHammered copper and armatureSculpturehttps://emuseum.cornell.edu/objects/25959/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/106078/fullAfter Huang Gongwang's Dwelling in the Fuchun Mountains1821[Zhang Yingjun]Zhang YingjunHandscroll: ink and colors on paperARTIST’S INSCRIPTION: After the method of Dachi [Huang Gongwang]’s “Dwelling in the Fuchun Mountains.” Written in Hanjiang in the summer of “xinsi” [1821]. Dongyan Zhang Yingjun. Paintingshttps://emuseum.cornell.edu/objects/51482/rdfAfter "Mohammed and the good Muslims"2017[Shahpour Pouyan]Shahpour PouyanArchival print on Japanese paper with hand-applied opaque watercolors and goldPaintingshttps://emuseum.cornell.edu/objects/50378/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/110707/fullAgate Broochca. 189014kt yellow gold settingCostumehttps://emuseum.cornell.edu/objects/48173/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/75374/fullA-he-mah: my boyca. 1880-1900[Unidentified artist]Unidentified artistAlbumen print86.140.366-371 mounted together.Photographshttps://emuseum.cornell.edu/objects/23641/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/70259/fullLes Alarmistes et les Alarmés - On peut aller cetter bande d'hommes armés1848[Honoré Daumier]Honoré DaumierLithograph on newsprintHonoré Daumier Marseille 1808–1879 Valmondois Les Alarmistes et les Alarmés—“Ou peut aller cette bande d’hommes armés!… Rentrons, ma femme, c’est effrayant!” (The Alarmists and the Alarmed—“Where can this band of armed men be going?… Let us go back inside, dear, it’s frightening!”) Published in Le Charivari, April 10, 1848 Lithograph Image: 11 1/4 x 8 1/4 inches (28.6 x 21 cm) Sheet: 11 7/8 x 9 1/2 inches (30.2 x 24.1 cm) Delteil 1762 ii/ii Gift of Robert and Joan Bechhofer 91.079.299 Printshttps://emuseum.cornell.edu/objects/26408/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/86600/fullAlbert Einstein, Princeton, N. J.1938[Lotte Jacobi]Lotte JacobiPalladium printPhotographshttps://emuseum.cornell.edu/objects/15663/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/105082/fullAlbum of Blossoming PlumBetween 1634 and 1708[Gao Jian]Gao JianInk and colors on paperleaf 1: ink plum; leaf 2: red plum and bamboo; leaf 3: ink plum; leaf 4: pine and plum; leaf 5: ink plum; leaf 6: camellia and plum; leaf 7: ink plum; leaf 8: plum and bamboo; leaf 9: yellow plum, roses, and narcissus; leaf 10: plum and bambooPaintingshttps://emuseum.cornell.edu/objects/37703/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/68130/fullAle Porte del Dolo (At the Dolo Locks)ca. 1740–46[Antonio Canaletto]Antonio CanalettoEtching on laid paperPrintshttps://emuseum.cornell.edu/objects/798/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/92629/fullAlfie's Delight1929[Arthur Garfield Dove]Arthur Garfield DoveOil on canvasPaintingshttps://emuseum.cornell.edu/objects/12207/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/100286/fullAl Gore, from the portfolio America: Now + Here2009[Chuck Close]Chuck CloseDigital chromogenic print Edition 70/100Photographshttps://emuseum.cornell.edu/objects/50090/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/97608/fullAlmeh Performing the Sword Dance1875[Jean-Léon Gérôme]Jean-Léon GérômeOil on canvasPaintingshttps://emuseum.cornell.edu/objects/9511/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/77830/fullAltar (Asen)IronCircular iron platform with figures on stake. This iron structure was made to honor a deceased Fon man from Ouidah, a city located near the coast of Benin in West Africa. Although altars similar in structure to this asen are made throughout southern Benin, the construction of this asen is unique to 20th-century Ouidah. Elsewhere, asen contain cast forms and figures, but only those made in Ouidah exclusively feature elements fashioned from cut iron. Ouidah asen are also known for their numerous figures and large, circular platforms. Asen tableaux do not have a single corresponding meaning that is readily understood by a viewer. It is widely believed that only the maker and the family member who commissioned the asen fully comprehend its full significance. One constant, however, lies with the importance of the central, often seated, figure. He represents the deceased. The objects and figures that surround him may reference his occupation, his contributions to society or his family, or may simply be a playful pun of his name. As a motif, the figure who offers a calabash regularly appears on asen. The calabash is the vehicle by which the living make offerings of food and water to the dead. In fact, an asen is best understood as symbolically representing a calabash in form and function. The asen provides a smooth round "stage" upon which the figures act, and an object that serves to mediate communication between the living and the dead. Fon family compounds reserve a space for the planting of many asen which memorialize the deceased. In addition to its otherworld significance, the calabash is often associated with creation. Two halves are joined to make a whole, just as the creator couple Mawu and Lisa, joined to form the universe. The thick vertical column with the forked top represents a guardian spirit. It serves to both thank the dead for his interaction with the living and pray for continued support. Although the Fon of Ouidah have long had communication with Europeans, the cross is not believed to have derived from Christianity. It references Mawu, the female creator figure, to whom the Fon turn for protection. Appearing at first glance to be a rounded archway is the horned rainbow serpent, Dan Aido-huEdo. "Ni", the Fon word for both rainbow and name suggests that the serpent represents a pun. Arched over the deceased, the pun may be interpreted as symbolizing his personal resolve to honor the lineage name. The rainbow serpent may have further layers of significance: Dan connects thunder and the earth, thus transmitting souls to earth; and grants happiness and well-being to individuals. A pig often recalls the proverb, "As long as the pig is free, no grass will grow in front of my father's house." In other words, the progeny of the deceased promise to tend to his altar and perform appropriate ceremonies to honor him. In the past, the pendants that dangle from the rim of the asen often served as the artisan's personal signature. This form of identification is rarely practiced today; the pendants' forms merely replicate a popular motif. The frog in a snake's mouth refers to a Fon proverb in which a frog is saved by an invisible hand. Interpreted broadly, the saying suggests ancestral protection. The paired disk and crescent may suggest the strength of the family: "All things grow large like the moon." The pairing may also refer to dualism and the creator couple, Mawu and Lisa. Suggested reading: Edna G. Bay, Asen: Iron Altars of the Fon People of Benin. Atlanta, GA: Emory University Museum of Art and Archaeology, 1985 Metalworkhttps://emuseum.cornell.edu/objects/18801/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/79033/fullAltar (Asen)IronCircular iron disk with figures atop iron stake. This iron structure was made to honor a deceased Fon man from Ouidah, a city located near the coast of Benin in West Africa. Although altars similar in structure to this asen are made throughout southern Benin, the construction of this asen is unique to 20th-century Ouidah. Elsewhere, asen contain cast forms and figures, but only those made in Ouidah exclusively feature elements fashioned from cut iron. Ouidah asen are also known for their numerous figures and large, circular platforms. Asen tableaux do not have a single corresponding meaning that is readily understood by a viewer. It is widely believed that only maker and the family member who commissioned the asen fully comprehend its full significance. One constant, however, lies with the importance of the central, often seated, figure. He represents the deceased. The objects and figures that surround him may reference his occupation, his contributions to society or his family, or may simply be a playful pun of his name. This asen focuses on a man seated on a stool with a calabash laid before him. As a motif, a calabash regularly appears on asen. The calabash is the vehicle by which the living make offerings of food and water to the dead. In fact, an asen is best understood as symbolically representing a calabash in form and function. The asen provides a smooth round "stage" upon which the figures act, and an object that serves to mediate communication between the living and the dead. Fon family compounds reserve a space for the planting of many asen which memorialize the deceased. In addition to its otherworld significance, the calabash is often associated with creation. Two halves are joined to make a whole, just as the creator couple Mawu and Lisa, joined to form the universe. The thick snake held aloft is the horned rainbow serpent, Dan Aido-huEdo. "Ni", the Fon word for both rainbow and name suggests that the serpent represents a pun. Planted in such a prominent place suggests his personal resolve to honor the lineage name. The rainbow serpent may have further layers of significance: Dan connects thunder and the earth, thus transmitting souls to earth; and grants happiness and well-being to individuals. In the past, the pendants that dangle from the rim of the asen often served as the artisan's personal signature. This form of identification is rarely practiced today; the pendants' forms merely replicate a popular motif. The stalk from which tiny spikes protrude represents millet, a staple food in many parts of West Africa. Suggested reading: Edna G. Bay, Asen: Iron Altars of the Fon People of Benin. Atlanta, GA: Emory University Museum of Art and Archaeology, 1985. Metalworkhttps://emuseum.cornell.edu/objects/39803/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/110891/fullAmber Intagliocollected 2000Costumehttps://emuseum.cornell.edu/objects/48406/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/100291/fullAmerica (Jewel-Joy Stevens, America's Little Yankee Miss), from the portfolio America: Now + Here2003 (image); 2009 (print)[Andres Serrano]Andres SerranoDigital chromogenic print Edition 70/100Photographshttps://emuseum.cornell.edu/objects/50095/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/100284/fullAmerican Flag, from the portfolio America: Now + Here2009[Vik Muniz]Vik MunizDigital chromogenic print Edition 70/100Photographshttps://emuseum.cornell.edu/objects/50088/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/100285/fullAmerican Gothic, from the portfolio America: Now + Here2009[Ralph Gibson]Ralph GibsonDigital chromogenic print Edition 70/100Photographshttps://emuseum.cornell.edu/objects/50089/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/68713/fullAmida Raigo[Unidentified artist]Unidentified artistHanging scroll: ink and colors on silkAmida (also the "Buddha of Infinite Light" and the "Lord of the Western Paradise") is in the scene of raigo, Amida's descent to welcome the soul into the Pure Land. Standing on a cloud, moving down from left to right, Amida has his hands in the mudra of giving and receiving. Nimbus, garments, and drapery are outlined in gold. The sense of the calligraphic line and planar design are indicated in the floral and geometric textile patterns. A dark blue associated with Buddhist images of the time and earlier, surrounds the figure. (HFJ Handbook) The conservation treatment and remounting of this scroll was made possible by a major grant from the Institute of Museum and Library Services, a Federal agency serving the public by strengthening museums and libraries.Paintingshttps://emuseum.cornell.edu/objects/384/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/108706/fullAmitayuslate 19th CenturyThangka: opaque watercolors and gold on cotton clothPaintingshttps://emuseum.cornell.edu/objects/39027/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/88302/fullAnimaux[Pablo Picasso]Pablo Picassopencil on linedDrawingshttps://emuseum.cornell.edu/objects/21005/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/70704/fullAnthropomorphic Jar100 AD- 600ADBlackwareFired blackware, burnished, chipped lip. ___ This burnished blackware Moche human effigy face-neck jar of a man carrying funerary offerings from the north coast of Peru has a flaring spout and rounded vessel body modeled roughly into a human form with arms bent at the elbows. The human figure has finely detailed facial scarification (possbily tattoos), carries a bundle on its back, and holds a stirrup-spout vessel in its right hand, a dipper, possibly in the form of a crookneck squash or gourd, in its left hand, a woven mat (possibly a corn cob) under the right arm, and a kero (flared drinking vessel) under the left arm. The figure wears a cloth headdress with straps tied under the chin and a twisted band across the forehead, a long-sleeved tunic, and a loincloth. The figure also has legs and feet with toes roughly indicated. The crookneck squash or gourd likely belongs to the species Cucurbita moschata, whose remains have been identified from archaeological sites in the region and which has been depicted in other pottery from this culture (Whitaker and Cutler 1967: "Pottery and Cucurbita Species," American Antiquity 32 (2): 225-226). More typically Moche-style red and white stirrup-spout bottles with similar themes of people carrying nearly identical funerary offerings are found in Bourget 2006, p. 59 (figures 1.55 and 1.56). Moche vessels generally have heads which are angled slightly upward and which are larger in proportion to the rest of the vessel body, but this vessel's offerings, clothing, and bundle bindings are typical of Moche bottles. The function of pre-Columbian ceramic vessels is not easy to ascertain. On the one hand, the vessels in the Johnson Museum's collection are lovely pieces of art, often with detailed imagery which makes their appearance of interest apart from any mundane functionality. On the other hand, these lovely vessels were still created as vessels rather than as figures, so presumably their functional aspect was important to the maker. Because these pieces of pottery were deposited in graves, the question also arises as to whether or not similar items were used on a daily basis. Were these vessels made for the dead, fancy grave goods with specific religious or mythical imagery, or were they treasured possessions used in life? Many of the ceramics found in the Johnson Museum are highly decorated, but it should be remembered that in any archaeological site, these fancy vessels are only a small fraction of all the pottery found. Although the vast majority of pottery made in the past was functional ware used to cook, store, or serve foods, more elaborate pieces served the additional purpose of conveying social information. Just as your grandmother might have kept her fancy china on display in a cabinet to show it off to friends and family, it appears that pre-Columbian people may have similarly had special items for display in their homes. According to the earliest chroniclers after the Spanish conquest, people put pottery on display in their homes which reflected what they did to make a living; for example, fishermen displayed pots with sharks in their homes, while hunters displayed pots with deer and other land animals. Perhaps the many pots made in the shape of common fruits and vegetables, such as squash and corn, were displayed in the homes of farmers. Moche pottery depicts a series of recurrent themes, and although each individual vessel may depict only one character, they may have served as mnemonic devices somewhat analogous to that of stained glass windows in a Christian church, where often only a single recognizable character from a familiar story is represented, with the expectation that the viewer will fill in the rest of the story from memory. In the same way, it appears that viewing specific images from the Moche "presentation theme" or warrior saga (also known as the sacrifice theme) may have reminded viewers of a specific story whose details are depicted (rarely) as a whole or (more usually) only in part on Moche pottery and textiles. Bottles of either the stirrup-spout type, straight-spout type, or double-spout-and-bridge type may have been used to carry and serve liquids, since the narrow-necked bottle shape would have reduced losses from accidental spills and evaporation. Although water is vital in desert environments such as those found in many parts of the Andes, alcoholic beverages such as beer are universally popular. Recent analyses of residues from Peruvian bottles and jars suggest that these vessels were used to serve corn (maize) beer or chicha. Chicha was both an everyday beverage, made in households for family consumption, and an essential element in ritual and social interactions. Alcoholic beverages may be made from a wide variety of starchy foods, but pre-Columbian beer was most frequently made from corn or maize (Zea mays). The traditional method of making beer involves spitting into a large vat or olla of starchy corn and water mixture, after which the enzyme amylase (found in human saliva) begins converting the starch in the corn into sugars, some of which subsequently ferment into alcohol. Beer was an important part of rituals in the Andes at European contact, and is still used by traditional people to make offerings to the mother earth spirit or Pachamama. Beer was undoubtedly served in wooden, ceramic, or gourd cups or beakers, but may also have been put into stirrup-spout (and other) bottles, especially when carried any distance, since the narrow-necked bottle shape would have reduced losses from accidental spills and evaporation. Moche (200 BC to AD 700) Arguably one of the finest technological manifestations of the pre-Columbian potter's art, Moche ceramics have charmed generations of archaeologists and collectors with their finely executed painting and exquisite sculptural forms. Moche (formerly known as Mochica) pottery is characterized by red painting executed on a white or cream-colored slip ground. Moche stirrup-spout bottles represent a wide variety of sculptural forms, including human portaits, animal effigies, domestic scenes, or graphic human sexuality. The core area of Moche cultural influence extended from Lambayeque in the north to Nepeña in the south, and likely reflects militaristic conquest and political control by a state-level polity centered in the Moche Valley. The Moche united many coastal groups, built and controlled extensive irrigation networks, and produced ceramic vessels using molds, a technological innovation which enabled the production of vast numbers of highly detailed ceramics, including portrait head vessels so finely detailed that individual faces can be recognized. Fineline paintings depict detailed, elaborate scenes now thought to be part of the "warrior sacrifice" or "presentation theme" story central to the Moche religion. Moche metalwork also achieved remarkable levels of sophistication, with precious stones inlaid in ornaments made of copper, silver, and gold alloys. Suggestions for further reading about Moche: Bankes, George (1980): “Moche Pottery from Peru.” British Museum: London. Short, pamphlet-length booklet in English with excellent discussion of Moche pottery technology and vessel forms. Bawden, Garth (1996): “The Moche.” Blackwell: Cambridge, MA. Bourget, Steve (2006): “Sex, Death, and Sacrifice in Moche Religion and Visual Culture.” University of Texas Press: Austin. Ceramicshttps://emuseum.cornell.edu/objects/219/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/104447/fullApollo and Marsyas, with the Judgment of Midas1581[Melchior Meier]Melchior MeierEngravingPrintshttps://emuseum.cornell.edu/objects/51386/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/75567/fullArchery Contest in the Changchunyuanca. 1750[Lang Shining (Giuseppe Castiglione)]Lang Shining (Giuseppe Castiglione)Handscroll: ink and colors on silkExecuted in a combination of Chinese and Western styles, this painting is set at the imperial court, located in the Changchun Yuan, or the Garden of Everlasting Spring. There are two seals and the signature of the artist appearing on the painting. In addition, eight imperial seals and eight seals of the officials who wrote the colophons also accompany the image.Paintingshttps://emuseum.cornell.edu/objects/23939/rdfAn aristocratic Balinese woman, from the series Relatives / Kerabat2006[Tino Djumini]Tino DjuminiGelatin silver printPhotographshttps://emuseum.cornell.edu/objects/49358/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/109367/fullArjuna Wiwaha2004[Ngurah Arya Arnawa]Ngurah Arya ArnawaOil on canvasPaintingshttps://emuseum.cornell.edu/objects/51511/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/91913/fullArtificial leg1944 (negative), 1970s (print)[Frederick Sommer]Frederick SommerGelatin silver printPhotographshttps://emuseum.cornell.edu/objects/44294/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/92641/fullThe Artist's Show, Washington Square, New York1946[Thomas Hart Benton]Thomas Hart BentonOil and tempera on canvasPaintingshttps://emuseum.cornell.edu/objects/31571/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/92038/fullAt the Ballet1938[Duncan Grant]Duncan GrantLithographPrintshttps://emuseum.cornell.edu/objects/45234/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/73347/fullAutumn Insects1962[Ansei Uchima]Ansei UchimaColor woodblock print Edition 89/150Printshttps://emuseum.cornell.edu/objects/16445/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/71446/fullBall player figureca. AD 250–550CeramicHuastec standing ball player wearing star-shaped earrings, necklace, and loincloth, with hair coiled high on top of head. Remains of white and black paint decoration. Right arm and left foot broken and reattached, otherwise in good condition. ________ The ball game was extremely important throughout Mesoamerica. Successful ball players won great acclaim, while the defeated faced severe punishment and even death. This figure may have been made to represent an especially skilled athlete, to commemorate a special victory, or to serve as a good luck talisman. Stone yokes similar to the one worn around the waist by this ballplayer figure have also been found, but it is not certain that players would have worn heavy stone yokes or protective gear made of something lighter and more flexible. The tall hairstyle is typical of these slender, graceful Huastec figures. Figurine Function The original function of archaeological figurines found in museum collections is uncertain. When objects are excavated by archaeologists, then information about the associations between artifacts and the circumstances of their burial are carefully recorded, and we can draw many conclusions about object function. Very few of the archaeological objects found in museums today were excavated in a careful, scientific manner, so we have fewer clues about their past associations and function. A wide range of people and objects are shown in pre-Columbian pottery vessels. From burials, we know that the variety of head shapes, jewelry, and clothing styles reflect the actual appearance of many of these prehistoric people. Variations in human head shapes may be produced as the result of intentional cranial deformation; head shapes were an obvious (and permanent) way to mark one's group affiliation. In a time and place where television and newspapers were unknown, highly decorated pottery was used as one vehicle of information exchange, simultaneously conveying what was socially acceptable by documenting different aspects of real life (models OF society), and what people were expected to do (models FOR behaviors, actions, or appearance). Because figurines represent many life stages and ordinary human activities, they probably served to exemplify the usual norms of behavior, to serve as guidelines or rules to help socialize people and integrate them into society. Although obviously decorative, figurines could also have been used to make offerings to supernatural powers, to serve as good luck charms, or to accompany the dead as grave goods. The Huastec culture was centered in northern Veracruz, along the Gulf coast area of what is now Mexico. The Huastecs flourished during the Early Postclassic Period, succeeding the earlier Maya and preceding the later Aztecs. The Huastecs are noted for constructing round buildings dedicated to the god Quetzalcoatl. There are about 80,000 modern descendants of the pre-Colombian Huastecs, who live today in Mexico in Veracruz and in San Luis Potosí, concentrated along the route of the Pánuco River. This figure is similar to ballplayer figures in plates 325 and 326, page 225, in Precolumbian Art of Mexico and Central America, by Hasso Von Winning. It is also similar to figures on page 78 in Rediscovered Masterpieces of Mesoamerica (1985), by Gerald Berjonneau and Jean-Louis Sonnery, Editions Arts: Boulogne. Similar to 97.017.001. Ceramicshttps://emuseum.cornell.edu/objects/7269/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/110828/fullBaltic Amber0.6 gramsCostumehttps://emuseum.cornell.edu/objects/48153/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/110833/fullBaltic Amber7.7 gramsCostumehttps://emuseum.cornell.edu/objects/48158/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/73229/fullBamboo18th century[Zheng Xie]Zheng XieHanging scroll: ink on paperInk monochrome bamboo; artist's inscription at lower left.Paintingshttps://emuseum.cornell.edu/objects/99/rdfBamboo2005[He Lishan (Jim Hardesty)]He Lishan (Jim Hardesty)Hanging scroll: ink on paperCalligraphyhttps://emuseum.cornell.edu/objects/39089/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/72862/fullBamboo and Rock1843[Zhang Xin]Zhang XinHanging scroll: ink monochrome on paperA favorite subject among the literati-painters since the late eleventh century, the combination of bamboo and rock has traditionally symbolized a learned man's rectitude and humility, among other Confucian virtues. A small cluster of tall, slender bamboo rises perpendicularly next a rock. Stem and leaves of the bamboo are depicted with precise, single brushstrokes, while the moss-covered garden rock follows a spontaneous, ink wash style with thick, broken contours and broad ink washes of varying tonality. The use of the light and dark ink creates a sense of depth, volume, light and shadow. Artist's inscription, signature and seals on right side.Paintingshttps://emuseum.cornell.edu/objects/37661/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/93980/fullBamboo with Rocksca. 1920[Kim Gyu-jin]Kim Gyu-jinHanging scroll: ink on satinPaintingshttps://emuseum.cornell.edu/objects/40802/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/79652/fullBando Mitsugoro III Pounding New Year Rice Cakescommissioned for New Year 1821[Shungyosai]ShungyosaiColor woodblock printSurimonoPrintshttps://emuseum.cornell.edu/objects/44641/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/89082/fullBasilica di S. Pietro [Saint Peter's Basilica], plate 1 from "Roma"1880s[James Anderson]James AndersonAlbumen printPart of a series of 35 prints. ______ James Anderson Blencarn, England 1813–1877 Rome Roma, Basilica di San Pietro (Rome, Basilica of St. Peter), from the photographic album Roma After 1857 Albumen print Image: 4 5/16 x 6 3/8 inches (11 x 16.2 cm) Book: 6 5/8 x 9 1/8 x 1 1/8 inches (16.8 x 23.2 x 2.9 cm) Gift of Mr. and Mrs. Clark Worswick 86.139.105.001aPhotographshttps://emuseum.cornell.edu/objects/32596/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/92766/fullBasket1979[John McQueen]John McQueenForked sticks on willow baseCylindrical basket made of woven sticks. The weaving becomes more open and tangled at the bottom of the vessel as if the basket is coming apart.Decorative Artshttps://emuseum.cornell.edu/objects/13352/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/85365/fullBass1911–12[Georges Braque]Georges BraqueEtching and drypoint Edition 40/50In this early Cubist print, Braque uses a rich drypoint line, scratched, hatched, and reworked to add to the lush qualities of his surface. As in his collages, he plays with textures, mimicking wood grain and paint strokes alike, in imitation of his canvases. Although the plate was made before World War I, it languished in his studio, along with several others, until the late 1904s when William Lieberman found them and encouraged the artist to have them printed. In 1950 Bass was printed by George Visat in an edition of fifty for the publisher Galerie Maeght. —NGPrintshttps://emuseum.cornell.edu/objects/11500/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/112375/fullBat-god urn250 - 550 A.D.CeramicZapotec bat-god urn; Firing crack at the loin cloth, one under the crest an one across one ear. Fire burn on elbow, chips on rim of urn and one side of loin cloth. Temper very poor. The construction is typical for the figure is frontal and the urn is an integrated part of the piece. Eyeholes are completely pierced. Zoomorphic (animal) motifs were commonly employed on a wide range of Pre-Columbian artifacts, including pottery, textiles, and metalwork. Pre-Colombian works of art depict both wild and domesticated animals, creatures commonly encountered in everyday life, and creatures found rarely--or not at all--in the natural world. Aspects of many different animals can be found in Pre-Colombian art, often mixed with human attributes in what may appear to us to be startling fantasy combinations. Many artworks feature animals such as the great cats (jaguars or pumas), said to be full of spiritual power, which were key elements of Pre-Colombian religious traditions. Bats are symbolic of divine mediation, as incarnate nocturnal "monsters:" improbable, near-fantasy combination animals which fly like birds, suckle their young at paired breasts like humans, and have pronounced fangs like jaguars and other cats. Like birds, bats are creatures of the air and may symbolize the spiritual flights taken by shamans during vision quests. ________ Zoomorphic (animal) motifs were commonly employed on a wide range of Pre-Columbian artifacts, including pottery, textiles, and metalwork. Pre-Colombian works of art depict both wild and domesticated animals, creatures commonly encountered in everyday life, and creatures found rarely--or not at all--in the natural world. Aspects of many different animals can be found in Pre-Colombian art, often mixed with human attributes in what may appear to us to be startling fantasy combinations. Many artworks feature animals such as the great cats (jaguars or pumas), said to be full of spiritual power, which were key elements of Pre-Colombian religious traditions. Bats are symbolic of divine mediation, as incarnate nocturnal "monsters:" improbable, near-fantasy combination animals which fly like birds, suckle their young at paired breasts like humans, and have pronounced fangs like jaguars and other cats. Like birds, bats are creatures of the air and may symbolize the spiritual flights taken by shamans during vision quests.Ceramicshttps://emuseum.cornell.edu/objects/30062/rdfBeginning Form—Met Spiral 06 L-12006[Satoru Hoshino]Satoru HoshinoCarbon impregnated stonewareCeramicshttps://emuseum.cornell.edu/objects/43495/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/90974/fullThe beginning of the Krajina War, a church ransacked by the retreating Serb forces, near Knin, Krajina, Croatia1995[Gilles Peress]Gilles PeressGelatin silver print12 prints in portfolio Flashpoints, Selected Images of Gilles Peress. From the second Bosnia Project.Photographshttps://emuseum.cornell.edu/objects/36336/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/92741/fullBend in a Riverca. 1898[Arthur Wesley Dow]Arthur Wesley DowColor woodcutPrintshttps://emuseum.cornell.edu/objects/26825/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/74033/fullThe Birth of the Virgin1751-55[Corrado Giaquinto]Corrado GiaquintoOil on canvasPaintingshttps://emuseum.cornell.edu/objects/33656/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/73338/fullBlack monkey maskWood and encrustationUnlike most other Dogon masqueraders, the wearer of the black monkey mask does not dance. Rather, he sits alongside the performance area and makes lewd gestures. The black monkey thus contrasts with the civilized, orderly conduct expected of all Dogon members of the community. It is perhaps no surprise that he is understood as masculine-and a gluttonous and vulgar village outcast. The monkey was likely chosen as the animal to best represent this behavior not only because he is close to mankind without civility, but monkeys are hated for their theft of cultivated crops. Suggested reading: Barbara DeMott, Dogon Masks: A Structural Study of Form and Meaning. Ann Arbor: UMI Research Press, 1982. Costumehttps://emuseum.cornell.edu/objects/16400/rdfBlind Animal II1962[Jack Squier]Jack SquierWoodSculpturehttps://emuseum.cornell.edu/objects/47428/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/91492/fullBlinder1923[Otto Dix]Otto DixLithographPrintshttps://emuseum.cornell.edu/objects/41572/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/76063/fullBlossoming plum and crocus[Tomioka Tessai, Tessai, Tomiokaêtessai]Tomioka TessaiHanging scroll: ink and light colors on paperOvoid vase with a branch of blossoming plum next to a planter containing crocus. Artist's inscription along the left side of the painting.Paintingshttps://emuseum.cornell.edu/objects/24876/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/91911/fullBlowing bubblesca. 1900[Clarence Husdon White]Clarence Husdon WhiteCyanotypePhotographshttps://emuseum.cornell.edu/objects/44290/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/100296/fullBlow up II (Armory), detail, from the portfolio America: Now + Here2005 (image); 2009 (print)[Lyle Ashton Harris]Lyle Ashton HarrisDigital chromogenic print Edition 70/100Photographshttps://emuseum.cornell.edu/objects/50100/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/95628/fullBodhisattvaca. 3rd century[Unidentified artist]Unidentified artistGray schistStanding on a high rectangular plinth (section missing in center). Dressed in 3/4 length robes which fall in stylized folds. He holds one of his scarves and folds in his raised right hand while the left one is at his side. Wearing beaded necklaces and hair bands. Round halo behind his head. Piece missing out of left shoulder and halo. (HFJ Handbook)Sculpturehttps://emuseum.cornell.edu/objects/15137/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/84217/fullBooster1967[Robert Rauschenberg]Robert RauschenbergColor lithographIn the early 1960s Rauschenberg began his long experimentation with the lithographic process. Never hindered by tradition, he was wildly inventive in his use of disparate methods and processes. The result is that many of his prints read as collages, with overlapping transparent areas creating a shifting, fluid space. In 1967 Rauschenberg took these ideas even further in a series of images entitled Booster and 7 Studies. Booster is made up on an X-ray self-portrait laid over with a time chart of 1967, revealing the artist as “Inner Man,” an idea he would use again the next year in his Autobiography. To this he adds other simple images and further enhances these with blue, red, and black. The ghostlike skeleton of the artist serves as a memento mori, a reminder of the temporality of life. —NGPrintshttps://emuseum.cornell.edu/objects/6522/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/90972/fullBosnian Muslim refugees from Banja Luca, arriving at a dispatching center, Travnick, Bosnia1993[Gilles Peress]Gilles PeressGelatin silver print12 prints in portfolio Flashpoints, Selected Images of Gilles Peress. From the book Farewell to Bosnia.Photographshttps://emuseum.cornell.edu/objects/26522/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/114522/fullBottle with seated male400–850 CERedware, polychromeStirrup-spout Moche portrait vessel in the form of a seated man with arms folded across shoulders, large ear spools, and small bag or chuspa over right shoulder. Redware with white slip paint. Spout is broken. _______________ This stirrup-spout Moche portrait vessel is in the form of a seated man whose arms are folded across his shoulders. He wears large ear spools (a sign of high status), and a small bag or "chuspa" (often used to hold coca leaves) over his right shoulder. The white-painted lines probably indicate textile designs on the figure's tunic; stripes were a common weaving motif What was this used for? The function of pre-Columbian ceramic vessels is not easy to ascertain. On the one hand, the vessels in the Johnson Museum's collection are lovely pieces of art, often with detailed imagery which makes their appearance of interest apart from any mundane functionality. On the other hand, these lovely vessels were still created as vessels rather than as figures, so presumably their functional aspect was important to the maker. Because these pieces of pottery were deposited in graves, the question also arises as to whether or not similar items were used on a daily basis. Were these vessels made for the dead, fancy grave goods with specific religious or mythical imagery, or were they treasured possessions used in life? Moche Vessel Function-Pottery Tells A Story Moche pottery depicts a series of recurrent themes, and although each individual vessel may depict only one character, they may have served as mnemonic devices somewhat analogous to that of stained glass windows in a Christian church, where often only a single recognizable character from a familiar story is represented, with the expectation that the viewer will fill in the rest of the story from memory. When a viewer in our culture sees an image of Darth Vader, the Star Wars story will come to mind. In the same way, it appears that viewing specific images from the Moche "presentation theme" or warrior saga (also known as the sacrifice theme) may have reminded viewers of a specific story whose details are depicted (rarely) as a whole or (more usually) only in part on Moche pottery and textiles. Bottles of either the stirrup-spout type, straight-spout type, or double-spout-and-bridge type may have been used to carry and serve liquids, since the narrow-necked bottle shape would have reduced losses from accidental spills and evaporation. Although water is vital in desert environments such as those found in many parts of the Andes, alcoholic beverages such as beer are universally popular. Recent analyses of residues from Peruvian bottles and jars suggest that these vessels were used to serve corn (maize) beer or chicha. Chicha was both an everyday beverage, made in households for family consumption, and an essential element in ritual and social interactions. Pre-Columbian Drinks-Beer Alcoholic beverages may be made from a wide variety of starchy foods, but pre-Columbian beer was most frequently made from corn or maize (Zea mays). The traditional method of making beer involves spitting into a large vat or olla of starchy corn and water mixture, after which the enzyme amylase (found in human saliva) begins converting the starch in the corn into sugars, some of which subsequently ferment into alcohol. Beer was an important part of rituals in the Andes at European contact, and is still used by traditional people to make offerings to the mother earth spirit or Pachamama. Beer was undoubtedly served in wooden, ceramic, or gourd cups or beakers, but may also have been put into stirrup-spout (and other) bottles, especially when carried any distance, since the narrow-necked bottle shape would have reduced losses from accidental spills and evaporation. Moche (200 BC- AD 700) Arguably one of the finest technological manifestations of the pre-Columbian potter's art, Moche ceramics have charmed generations of archaeologists and collectors with their finely executed painting and exquisite sculptural forms. Moche (formerly known as Mochica) pottery is characterized by red painting executed on a white or cream-colored slip ground. Moche stirrup-spout bottles represent a wide variety of sculptural forms, including human portaits, animal effigies, domestic scenes, or graphic human sexuality. The core area of Moche cultural influence extended from Lambayeque in the north to Nepeña in the south, and likely reflects militaristic conquest and political control by a state-level polity centered in the Moche Valley. The Moche united many coastal groups, built and controlled extensive irrigation networks, and produced ceramic vessels using molds, a technological innovation which enabled the production of vast numbers of highly detailed ceramics, including portrait head vessels so finely detailed that individual faces can be recognized. Fineline paintings depict detailed, elaborate scenes now thought to be part of the "warrior sacrifice" or "presentation theme" story central to the Moche religion. Moche metalwork also achieved remarkable levels of sophistication, with precious stones inlaid in ornaments made of copper, silver, and gold alloys. Suggestions for Further Reading about Moche: Bankes, George (1980): Moche Pottery from Peru. British Museum : London. Short, pamphlet-length booklet in English with excellent discussion of Moche pottery technology and vessel forms. Bawden, Garth (1996): The Moche. Blackwell: Cambridge, Mass. Bourget, Steve (2006) Sex, Death, and Sacrifice in Moche Religion and Visual Culture, University of Texas Press: Austin Donnan, Christopher B. (2004): Moche Portraits from Ancient Peru. University of Texas Press: Austin. Donnan, Christopher B., and Donna McClelland (2000): Moche Fineline Painting: Its Evolution and Its Artists. UCLA Fowler Museum of Cultural History: Los Angeles. Excellent reference with spout shapes by phase on p. 21, instructions for making stirrup-spout vessels on pp. 44-45, and attributions of various vessels to work by specific painters. Ceramicshttps://emuseum.cornell.edu/objects/644/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/90980/fullBottom of William Street one minute before the British First Parachute Regiment opened fire, killing thirteen civilians—an event known as Bloody Sunday, Derry, Ireland1972[Gilles Peress]Gilles PeressGelatin silver print12 prints in portfolio Flashpoints, Selected Images of Gilles Peress. From the Northern Ireland Project.Photographshttps://emuseum.cornell.edu/objects/36341/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/107885/fullLa bouche en croissant (Smiling Face)1948[Jean Dubuffet]Jean DubuffetOil and sand on canvasPaintingshttps://emuseum.cornell.edu/objects/341/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/93817/full"Boule" Teapotca. 1950[Lino Sabattini, Italian (1925-?), Christofle of France]Lino Sabattini, Italian (1925-?)Silver plateOvoid shaped silver plate teapot with short spout emerging from the from and curving silver plate handle attached towards the back by hooks. The lid for the pot is small and round is seen located along the curving side of the pot, featuring a shallow handle that emerges from the lid. The opening for the lid is small and round, keeping with the bulbous shape of the entire vessel. Made for Christofle of France.Metalworkhttps://emuseum.cornell.edu/objects/23931/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/70740/fullBound Captive Effigy Jarca. 100-700RedwareRedware Moche face-neck jar depicting a bound captive. Figure has rope around neck, legs tied together above ankles, and hands bound above the wrists behind the back. Vessel is in poor condition, broken and restored but still not complete, with pieces missing. Donnan believes that vessels such as this one represent one element or scene from the "presentation theme," a story of warfare and sacrifice which dominated Moche art and society. Note that the captive's hands are bound behind his back. _________________ This redware Moche face-neck human effigy jar is in the shape of a bound captive. The naked figure has a rope around his neck, legs tied together above the ankles, and hands bound above the wrists behind his back. The captive warrior's nakedness is symbolic of his degradation. Christopher Donnan believes that vessels such as this one represent one elelement or scene from the "presentation theme," (also knowns as the sacrifice theme) a story of warfare and sacrifice which dominated Moche art and society. Note that the captive's hands are bound behind his back. It has been argued that many of these vessels are recognizable portraits of a single powerful ruler who rose to prominence but who was sacrificed after losing some kind of battle or contest when he was middle-aged. Moche Vessel Function-Pottery Tells A Story Moche pottery depicts a series of recurrent themes, and although each individual vessel may depict only one character, they may have served as mnemonic devices somewhat analogous to that of stained glass windows in a Christian church, where often only a single recognizable character from a familiar story is represented, with the expectation that the viewer will fill in the rest of the story from memory. When a viewer in our culture sees an image of Darth Vader, the Star Wars story will come to mind. In the same way, it appears that viewing specific images from the Moche "presentation theme" or warrior saga (also known as the sacrifice theme) may have reminded viewers of a specific story whose details are depicted (rarely) as a whole or (more usually) only in part on Moche pottery and textiles. Bottles of either the stirrup-spout type, straight-spout type, or double-spout-and-bridge type may have been used to carry and serve liquids, since the narrow-necked bottle shape would have reduced losses from accidental spills and evaporation. Although water is vital in desert environments such as those found in many parts of the Andes, alcoholic beverages such as beer are universally popular. Recent analyses of residues from Peruvian bottles and jars suggest that these vessels were used to serve corn (maize) beer or chicha. Chicha was both an everyday beverage, made in households for family consumption, and an essential element in ritual and social interactions. Pre-Columbian Drinks-Beer Alcoholic beverages may be made from a wide variety of starchy foods, but pre-Columbian beer was most frequently made from corn or maize (Zea mays). The traditional method of making beer involves spitting into a large vat or olla of starchy corn and water mixture, after which the enzyme amylase (found in human saliva) begins converting the starch in the corn into sugars, some of which subsequently ferment into alcohol. Beer was an important part of rituals in the Andes at European contact, and is still used by traditional people to make offerings to the mother earth spirit or Pachamama. Beer was undoubtedly served in wooden, ceramic, or gourd cups or beakers, but may also have been put into stirrup-spout (and other) bottles, especially when carried any distance, since the narrow-necked bottle shape would have reduced losses from accidental spills and evaporation. Moche (200 BC- AD 700) Arguably one of the finest technological manifestations of the pre-Columbian potter's art, Moche ceramics have charmed generations of archaeologists and collectors with their finely executed painting and exquisite sculptural forms. Moche (formerly known as Mochica) pottery is characterized by red painting executed on a white or cream-colored slip ground. Moche stirrup-spout bottles represent a wide variety of sculptural forms, including human portaits, animal effigies, domestic scenes, or graphic human sexuality. The core area of Moche cultural influence extended from Lambayeque in the north to Nepeña in the south, and likely reflects militaristic conquest and political control by a state-level polity centered in the Moche Valley. The Moche united many coastal groups, built and controlled extensive irrigation networks, and produced ceramic vessels using molds, a technological innovation which enabled the production of vast numbers of highly detailed ceramics, including portrait head vessels so finely detailed that individual faces can be recognized. Fineline paintings depict detailed, elaborate scenes now thought to be part of the "warrior sacrifice" or "presentation theme" story central to the Moche religion. Moche metalwork also achieved remarkable levels of sophistication, with precious stones inlaid in ornaments made of copper, silver, and gold alloys. Suggestions for Further Reading about Moche: Bankes, George (1980): Moche Pottery from Peru. British Museum : London. Short, pamphlet-length booklet in English with excellent discussion of Moche pottery technology and vessel forms. Bawden, Garth (1996): The Moche. Blackwell: Cambridge, Mass. Bourget, Steve (2006) Sex, Death, and Sacrifice in Moche Religion and Visual Culture, University of Texas Press: Austin Donnan, Christopher B. (2004): Moche Portraits from Ancient Peru. University of Texas Press: Austin. Donnan, Christopher B., and Donna McClelland (2000): Moche Fineline Painting: Its Evolution and Its Artists. UCLA Fowler Museum of Cultural History: Los Angeles. Excellent reference with spout shapes by phase on p. 21, instructions for making stirrup-spout vessels on pp. 44-45, and attributions of various vessels to work by specific painters.Ceramicshttps://emuseum.cornell.edu/objects/689/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/92784/fullBowl1925–43[Maria Montoya Martinez, Julian Martinez]Maria Montoya MartinezCeramicThis exceptionally well-made blackware bowl has a flat base and gently curving, rounded sides ending in an incurved rim. The bowl is burnished to a mirror shine except for a band of geometric designs around the widest part of the vessel body, which are matte. Labeled "Marie and Julian" on the base, in cursive. Maria Martinez (1887-1980) is one of the most famous potters from the San Ildefonso Pueblo, located north of Santa Fe along the Rio Grande near Bandelier National Monument. The potters at San Ildefonso are best known for their incredible black on black pottery style that was first created by Maria & Julian Martinez in the 1920's. Julian was Maria's husband, and this vessel is labeled "Marie and Julian" on the base, in cursive. Basing her initial creations on a request to reproduce archaeological pottery, Maria Martinez created a sensation in the art world. _______ Burnishing is the process of producing ceramics with a shiny surface without using a glaze. To produce burnished surfaces, potters must wait until the ceramics are nearly dry, and then must rub the surface to align the surface clay particles with a smooth object, usually a round, flat-sided stone. Sometimes only certain areas of a pot or a figure are burnished, since the contrast between glossy burnished surfaces and matte unburnished areas can produce a variety of decorative effects. For more information, please see: http://www.mariajulianpottery.com/Ceramicshttps://emuseum.cornell.edu/objects/14625/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/108002/fullBowl, Blue Lustre, Fine Crackleca. 1921[Louis Comfort Tiffany]Louis Comfort TiffanyGlassBowl made of opaque, iridescent silver/blue glass with fine crackle effect on inside and outside of the rim.Decorative Artshttps://emuseum.cornell.edu/objects/1086/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/92331/fullBowl With Blue Crackle and Butterfly Design1925[Louis Comfort Tiffany]Louis Comfort TiffanyGlassRound glass bowl of blue and white favrile glass. The bowl features a wide lip of blue glass with an iridized, crackled surface that fades into the pearlized white of the bowl. Within the bowl is a feathered or web-like pattern while to one side of the bowl, a buttefly has been created with what appears to be a cameo glass technique.Decorative Artshttps://emuseum.cornell.edu/objects/9347/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/70572/fullBradamante Falls into the Pitca. 1780s[Jean-Honoré Fragonard]Jean-Honoré FragonardBlack chalk with brown and gray washDrawingshttps://emuseum.cornell.edu/objects/38677/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/106269/fullBrazilian Landscape1665[Frans Post]Frans PostOil on canvas adhered to fabric and attached to wood stretcher Representational; Brazil; sky; view; water, river; road; plantation; building; house; church; flora; jungle; palm tree; plant; fauna; tapir; human; man; woman; child; slave ___________ In the seventeenth century, the newly independent nation of the Netherlands created a far-flung network of trading posts and settlements, from Nieuw Amsterdam (now New York) to Brazil, western Africa, India, and Indonesia. One of the most carefully documented of these colonies was the short-lived expedition to Brazil from 1637 to 1644, when the Dutch, under the leadership of Prince Maurits of Nassau, attempted to establish a thriving sugar industry, as well as a capital city. Prince Johan Maurits brought with him a group of artists, map makers, and scientists to record this new world. Frans Post, the artist who executed this painting, went to Brazil and saw these exotic landscapes firsthand; this work, like most of his paintings, was executed after he returned to his native Haarlem. His simple, almost naive organization of the recession into the background, ending in distant blue, and the generalized stick figures are typical of him. He often added armadillos, tapirs, anteaters, and other such exotic animals (see the lower left corner of this painting), as a kind of Òsignature;Ó he even would include an armadillo, for example, in a traditional subject from the Old Testament. This particular view of the various buildings and slaves of a sugar plantation was probably not meant to document a specific place but rather to suggest a typical establishment of this kind. (From “A Handbook of the Collection: Herbert F. Johnson Museum of Art," 1998) Frans Post Dutch, 1612–1680 Brazilian Landscape, 1665 Oil on canvas 18 x 24 inches Gift of Louis V. Keeler, Class of 1911, and Mrs. Keeler 59.093Paintingshttps://emuseum.cornell.edu/objects/1627/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/98455/fullBrews, from the porfolio News, Mews, Pews, Brews, Stews & Dues1970[Ed Ruscha]Ed RuschaOrganic dye serigraph Edition 54/125Printshttps://emuseum.cornell.edu/objects/49390/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/92759/fullBridge at Cagnes1908–09[Arthur Garfield Dove]Arthur Garfield DoveOil on canvasPaintingshttps://emuseum.cornell.edu/objects/13241/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/94627/fullBroad2000[Nagakura Kenichi]Nagakura KenichiInterwoven light brown bamboo strips in the form of a large, rectangular pocketNatural bamboo pocket-shaped flower basket woven in irregular jumping mat plait with stacked and twisted components. Attached to the higher back is a large bamboo root section inserted horizontally and secured with twisted bindings and knots. The whole lacquered and treated with Nagakura's signature mud finish. This basket is not signed. Accompanied by paper box with signed paper insert.Decorative Artshttps://emuseum.cornell.edu/objects/45354/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/95145/fullBuddha2nd or 3rd century[Unidentified artist]Unidentified artistGray schistThe Buddha stands on a rectangular plinth decorated with carved rosettes in low relief. A large, round, undecorated halo surrounds his head. A prominent ushnisha atop his head is indicated in small stylized forms, while the rest of his hair is carved in wavy patterns. He wears a long toga-like robe falling in deep folds to just above the ankles. His left arm is bent with the hand just in front of his leg. The right arm is raised, but the hand, presumably originally showing the abhaya "fear not" mudra, is missing. Style is heavily influenced by Roman stone sculpture, hence the term "Romano-Buddhist".Sculpturehttps://emuseum.cornell.edu/objects/9202/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/72766/fullThe Buddha preaches in Indra’s Heaven and descends to earthlate 19th century[Unidentified artist]Unidentified artistOpaque watercolors and gold on clothPainted scroll; upper register: Buddha preaching to his mother in the Tavatism Heaven; Above: The Buddha's Decent from Tavatism Heaven; Below: The Buddha recieved on earth by the King and Queen.Paintingshttps://emuseum.cornell.edu/objects/12857/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/95621/fullBuddha Seated under the Nagaca. 13th–14th century[Lopburi Style]Lopburi StyleRed sandstoneHFJ Handbook: Lopburi is a region in northeastern Thailand bordering Cambodia; it's a sculptural style inspired by Khmer models. Statue of Buddha seated on and protected from the elements by the spread hoods of the Naga, which is a water snake associated with Hinduism. The Buddha is seated one leg over the other, one hand on top of the other and both palms facing up. He wears armlets, a necklace, and a robe covering left shoulder. His hair is simply striated, and does not have curls or a finial on top.Sculpturehttps://emuseum.cornell.edu/objects/37482/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/78645/fullBust of a boyca. 140 A.D.[Unidentified artist]Unidentified artistMarbleSculpturehttps://emuseum.cornell.edu/objects/38299/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/69988/fullBust of a Man Wearing a High Cap, Three-Quarters Right: The Artist's Father (?)1630[Rembrandt van Rijn]Rembrandt van RijnEtching and drypoint on laid paperPrintshttps://emuseum.cornell.edu/objects/18471/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/72412/fullButterflies and crickets1941[Yu Feian]Yu FeianHanging scroll: ink and colors on paperTwo colorful butterflies hover above a sprawling melon plant. Two crickets are next to one of the two white melons in the foreground. According to the inscription, the artist is imitating the style of Qian Xuan (ca. 1235 - before 1307). One of a pair (cf. 75.058.016).Paintingshttps://emuseum.cornell.edu/objects/11194/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/80837/fullLe Buveur d'absinthe1860[Édouard Manet]Édouard ManetEtching and aquatintPrintshttps://emuseum.cornell.edu/objects/2235/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/109014/fullCaius Julius Caesar denarius coin46-45 B.C.SilverObverse: diademed head of Venus right, small cupid at shoulder, all in circle of dots. Reverse: male and female Gaulish captives flanking a trophy. In ex: CAESAR. All in circle of dots.Metalworkhttps://emuseum.cornell.edu/objects/30806/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/71688/fullCalligraphyearly 17th century[Zhang Ruitu]Zhang RuituHanging scroll: ink on paperPoetry in 4 lines, each line contains 5 characters. Signature and seal of artist.Calligraphyhttps://emuseum.cornell.edu/objects/9229/rdfCalligraphy2005[He Lishan (Jim Hardesty)]He Lishan (Jim Hardesty)Hanging scroll: inkCalligraphyhttps://emuseum.cornell.edu/objects/41616/rdfCalligraphy couplet of five-character lines, one of pairlate 17th century[Gong Xian]Gong XianHanging scroll: ink on paperInscription translated as: "The fish jumps, penetrating the clear surface. The oriole calls, deeping the dense greenery." (Gallery label)Calligraphyhttps://emuseum.cornell.edu/objects/16152/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/106405/fullCalling Me Home, from the series As Immense as the Sky2019[Meryl McMaster]Meryl McMasterChromogenic print mounted on aluminum panel Edition 3/5 + 2 APPhotographshttps://emuseum.cornell.edu/objects/51503/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/86241/fullCampbell's Soup Can1962[Andy Warhol]Andy WarholGraphite on wove paperDrawingshttps://emuseum.cornell.edu/objects/14414/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/107466/fullCañon of the Colorado River, near the mouth of the San Juan River, Arizona1873[Timothy H. O'Sullivan]Timothy H. O'SullivanAlbumen printAlbumen print from wet collodion on glass negativePhotographshttps://emuseum.cornell.edu/objects/25570/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/110700/fullCarnelianTumbled stoneCostumehttps://emuseum.cornell.edu/objects/48119/rdfCelui qui croit en moi, fût-il mort, vivra (He that believeth in me, though he were dead, yet shall he live)1926[Georges Rouault]Georges RouaultEtching and aquatintPrintshttps://emuseum.cornell.edu/objects/8126/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/76183/fullCeremonial swordIron and woodCeremonial sword with complex openwork iron blade with bird, snake and geometric forms, and wood haft composed of two orbs with geometric carving. Despite the impressive size of the blade, swords of this type have long been strictly ceremonial in Ghana. Both chiefs (omanhene) and the king (asantehene) control through their offices a considerable amount of cast gold and gold-covered regalia. Swords are held by boys or young men who serve as sword bearers who grasp the swords by the ornamental, but fairly dull, iron blades. Holding them thus allows the handle or hilt to be free of dirt, oils, and wear. Although a carver competently fashioned this hilt, it split at some point. This may explain why the hilt lacks gold leaf. Asante ceremonial sword hilts typically receive a covering of gold. Until recently, goldsmiths attached the gold leaf with staples after skillfully hammering out a gram of gold into a sheet several inches square. Now, Asante craftstmen use industrially produced gold leaf and affix the gold with glue. Artifactshttps://emuseum.cornell.edu/objects/25251/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/109333/fullCeremony by the Seaca. 1968[Ida Bagus Madé Poleng]Ida Bagus Madé PolengTempera on canvasPaintingshttps://emuseum.cornell.edu/objects/50292/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/73448/fullCermonial knifeIron and woodCeremonial knife with incised blade and decorative handleArtifactshttps://emuseum.cornell.edu/objects/17277/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/71649/fullChaak deity plateA.D. 550-950Polychrome ceramicMaya plate decorated with long-nose deity figure; Fired clay with polychrome decoration. ______ Food and Beverage Serving Vessels The bowls, plates, cups, and other food and beverage serving vessels found in the museum's collection are generally decorated rather than plain wares, but for everyday use, most serving ware would have been made of plain ceramics, dried gourds (for cups and bowls), carved wood, or basketry. Since most of the fancier pieces have been found in graves, we have to use clues from each item to determine its original function. An object's condition can give important clues as to whether or not it was used before being buried; scrape marks or chips (called use-wear) in the finish of the vessel interior are good indicators of use. If it is likely that a vessel was used to serve foods and/or drinks, sophisticated chemical analyses of microscopic residues left on the vessel interiors may possibly yield information about what the vessel contained. Because such analyses are expensive, destructive, and not likely to produce good results with pottery which has been carefully washed after excavation, we lack such detailed information for most of the prehistoric pottery objects in the museum's collection. Although we don't always know specific recipes, we do know what foods were consumed. Maize (corn) was the staple crop in the Maya world, but a wide variety of fruits and vegetables were eaten, including beans, squash, peppers, and tomatoes. While we may be able to make educated guesses about what was served, except for contact-period ceramics and for some grave goods, it is very difficult to determine who used any given piece of pottery, and under what circumstances. Were some vessels reserved for special guests, or for use by high-status elders? Were they used during special religious ceremonies or rituals? Was their use avoided by certain classes of people, such as children and/or menstruating women? As we venture farther back into the past, answering questions such as these becomes increasingly difficult. Although it is tempting to draw on information from modern traditional societies and from contact-period chronicles, inferences drawn from such sources must be used with care, especially when used to interpret objects distant in both space and time. Maya (AD 250-850) The Maya civilization was one of the premier civilizations in the New World, achieving great masterpieces of art and architecture, a sophisticated calendrical system, and a formal system of writing which has only been deciphered in the past several decades. The decipherment of Maya writing enables us to have a much more detailed view of the political machinations of this series of city-states located in the Yucatan Peninsula of Mexico, Belize, and adjacent areas of Guatemala and Honduras than had hitherto been possible. Although the exact details of the Maya collapse in the 800's are still controversial, it appears that excessive warfare and violence, coupled with environmental degradation and the stress of a large population, led to demise of this once-vibrant culture. Populations crashed, with survivors of the urban centers dispersing to more rural areas. Suggestions for further reading about the Maya: Henderson, John S. (1997): The World of the Ancient Maya. Cornell University Press: Ithaca. Schele, Linda and David A. Freidel (1990): A Forest of Kings: the Untold Story of the Ancient Maya. William Morrow:New York Sharer, Robert J. with Loa P. Traxler (2006): The Ancient Maya, sixth edition. Stanford University: Stanford. Ceramicshttps://emuseum.cornell.edu/objects/9142/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/108063/fullLes champs au mois de juin (Fields in the Month of June)1874[Charles François Daubigny]Charles François DaubignyOil on canvasPaintingshttps://emuseum.cornell.edu/objects/1624/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/89648/fullChapel, Westminster Abbey1906[Frederick Henry Evans]Frederick Henry EvansPlatinum printFrom dry plate negative, printed on heavy wove paperPhotographshttps://emuseum.cornell.edu/objects/25194/rdfChapter XII (Part two) from Captain F. Brinkley’s Japan: Described and Illustrated by the Japanese 1898[J.B. Millet Company]J.B. Millet CompanyAlbum containing albumen prints with applied color Edition 19/250Large format with folded leaves, embroidered silk and padded covers, each volume with tipped in hand-tinted photographs.Photographshttps://emuseum.cornell.edu/objects/44891/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/92631/fullCharade1948[Yasuo Kuniyoshi]Yasuo KuniyoshiCasein on hardboardPaintingshttps://emuseum.cornell.edu/objects/12206/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/74660/full[Cherry blossoms]1897[Kazumasa Ogawa]Kazumasa OgawaCollotype print with applied colorPhotographshttps://emuseum.cornell.edu/objects/19923/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/112297/fullChicago Fire Medal, 18721872[William E. Barber, United States Mint]William E. BarberBronzeRound bronze medal with high-level relief decoration on the front and back. The obverse featurese the image of an angel, with sword in her right hand, and flaming torch in left, flying over burning ruins of the city of Chicago. The reverse features the image of phoenix rising from a blazing fire with smoke billowing from behind.Metalworkhttps://emuseum.cornell.edu/objects/27653/rdfChinese Blacksmith1976[Muli Tang]Muli TangOil on canvasPaintingshttps://emuseum.cornell.edu/objects/38761/rdf