Walters Art Museum
| Walters Art Museum | |
 | |
| Information | |
|---|---|
| Plats | Baltimore, Maryland, USA |
| Adress | 600 North Charles Street, Baltimore, MD 21201 |
| Etablerat | 1934 |
| Etablerat av | Henry Walters |
| Antal föremål | 36 000 |
| Webbplats | |
| https://thewalters.org/ | |
Walters Art Gallery (tidigare namn Walkers Art Gallery, kallas vanligen The Walters) är ett konstmuseum i Mount Vernon i Baltimore i Maryland.
Museets konst härrör framför allt från affärsmännen William Thompson Walters (1820–1894) och hans son Henry Walters (1848–1931) samlingar. Den senare testamenterade sin samling som då omfattade 22 000 föremål till staden Baltimore "for the benefit of the public". Tre år efter hans död, 1934, öppnades museet som då kallades Walters Art Gallery. Museet bytte namn till sitt nuvarande namn år 2000 får att markera sin institutionella storlek. Idag (2021) äger museet 36 000 konstföremål.
Samlingen
- Alfabetisk lista över ett urval målningar i samlingen
Walters Art Museums samling sträcker sig över sju årtusenden och innehåller föremål från hela världen. Där finns antika föremål från Mesopotamien, Egypten, Grekland (bland annat skulpturer) och Romerska riket (sarkofager). Museet äger också föremål från förcolumbianska amerikanska kulturer och islamisk medeltidskonst, kinesisk keramik, europeiska illuminerade handskrifter och Art déco-smycken. Europeiskt måleri är rikligt representerat från renässansen fram till 1800-talet. I museets samling finns verk av den italienske målaren Antonio Rotta inklusive målningen "Det hopplösa fallet".
Claricia, bönbok från 1100-talet.
Giorgio Schiavone, Madonna och Jesusbarnet (cirka 1460).
mästare i Florens, Idealstaden (cirka 1484).
Carlo Crivelli, Madonna och Jesusbarnet med helgon och donator (cirka 1490).
Rafael och hans verksatd, Madonna med kandelabrar (cirka 1514).
Jean-Auguste-Dominique Ingres och Jean-Paul Flandrins Odalisk med slav från 1842.
Jean-François Millet, Potatisskörden (1855).
Jean-Léon Gérôme, Duell efter maskeradbalen (1857–1859).
Jean-Auguste-Dominique Ingres, Oidipus och sfinxen (1864).
Jean-François Millet, Såningsmannen (cirka 1865).
Antonio Rotta, Det hopplösa fallet (cirka 1871).
Claude Monet, Vår (1872).
Jean-Léon Gérôme, Caesars död (1859–1867).
Édouard Manet, Café-concert (cirka 1879).
Edgar Degas, Före kapplöpningen (1882–1884).
Jean-Léon Gérôme, En romersk slavmarknad (cirka 1884).
Gattjinaägget från 1901, Fabergéägg som visar Gattjinaslottet.
Källor
Externa länkar
Wikimedia Commons har media som rör Walters Art Museum.
Media som används på denna webbplats
Jean-Léon Gérôme - The Death of Caesar - Walters 37884.jpg
Julius Caesar was assassinated in Rome on the Ides of March (March 15), 44 BC. Characteristically, Gérôme has depicted not the incident itself, but its immediate aftermath. The illusion of reality that Gérôme imparted to his paintings with his smooth, polished technique led one critic to comment, "If photography had existed in Caesar's day, one could believe that the picture was painted from a photograph taken on the spot at the very moment of the catastrophe."
Julius Caesar was assassinated in Rome on the Ides of March (March 15), 44 BC. Characteristically, Gérôme has depicted not the incident itself, but its immediate aftermath. The illusion of reality that Gérôme imparted to his paintings with his smooth, polished technique led one critic to comment, "If photography had existed in Caesar's day, one could believe that the picture was painted from a photograph taken on the spot at the very moment of the catastrophe."
Jean-François Millet - The Potato Harvest - Walters 37115.jpg
After moving from Paris to the village of Barbizon on the edge of the Fontainebleau forest in 1851, Millet devoted himself to portraying the lives of his neighbors. Some critics interpreted his paintings of working farmers as a critique of the injustices inherent in the social conditions of his time. Others have seen his work as a representation of man's harmonious union with nature.
After moving from Paris to the village of Barbizon on the edge of the Fontainebleau forest in 1851, Millet devoted himself to portraying the lives of his neighbors. Some critics interpreted his paintings of working farmers as a critique of the injustices inherent in the social conditions of his time. Others have seen his work as a representation of man's harmonious union with nature.
Fra Carnevale - The Ideal City - Walters 37677.jpg
This extraordinary panel exemplifies Renaissance ideals of urban planning, respect for Greco-Roman antiquity, and the mastery of central perspective. The imaginary city square features a Roman arch typically erected as a commemoration of military victory at its center. As a whole, the painting offers a model of the architecture and sculpture that would ideally be commissioned by a virtuous ruler who cares for the welfare of the citizenry. The amphitheater is modeled on the Colosseum in Rome. The octagonal structure to the right, covered with colored stone, suggests the medieval Baptistery in Florence, which in the 15th century was thought to be a reused Roman temple. Together they reflect the importance of security, religion, and recreation in a well-regulated city and the value of Roman ideals in urban design. The private residences at either side are also dignified with classical architectural elements. Classicizing elements also appear in the foreground. Statues, set on columns in the Roman style, represent virtues of a good ruler, including Justice with her sword and scales and Liberality (generosity) with a cornucopia. This view and two related paintings (now in Urbino and Berlin) were apparently commissioned for the palace of Duke Federico da Montefeltro of Urbino. Set into the woodwork at shoulder height or higher, "The Ideal City" would have seemed like a window onto another, better world. The illusion of a space that extends out from our own is achieved using a mathematical perspective system developed in Florence. The space is defined in terms of the viewer's own angle of vision: the receding lines establishing spatial relationships converge at a central point in the city gate visible beneath and beyond the Roman arch.
This extraordinary panel exemplifies Renaissance ideals of urban planning, respect for Greco-Roman antiquity, and the mastery of central perspective. The imaginary city square features a Roman arch typically erected as a commemoration of military victory at its center. As a whole, the painting offers a model of the architecture and sculpture that would ideally be commissioned by a virtuous ruler who cares for the welfare of the citizenry. The amphitheater is modeled on the Colosseum in Rome. The octagonal structure to the right, covered with colored stone, suggests the medieval Baptistery in Florence, which in the 15th century was thought to be a reused Roman temple. Together they reflect the importance of security, religion, and recreation in a well-regulated city and the value of Roman ideals in urban design. The private residences at either side are also dignified with classical architectural elements. Classicizing elements also appear in the foreground. Statues, set on columns in the Roman style, represent virtues of a good ruler, including Justice with her sword and scales and Liberality (generosity) with a cornucopia. This view and two related paintings (now in Urbino and Berlin) were apparently commissioned for the palace of Duke Federico da Montefeltro of Urbino. Set into the woodwork at shoulder height or higher, "The Ideal City" would have seemed like a window onto another, better world. The illusion of a space that extends out from our own is achieved using a mathematical perspective system developed in Florence. The space is defined in terms of the viewer's own angle of vision: the receding lines establishing spatial relationships converge at a central point in the city gate visible beneath and beyond the Roman arch.
Jean Leon Gerome Selling Slaves in Rome.jpg
Gérôme painted six slave-market scenes set in either ancient Rome or 19th-century Istanbul. The subject provided him with an opportunity to depict facial expressions and to undertake figurative studies of sensual beauty. He painted another view of the same event--Slave Market in Rome (St. Petersburg, Hermitage Museum)--in which the viewer looks over the heads of the spectators towards the slave.
Gérôme painted six slave-market scenes set in either ancient Rome or 19th-century Istanbul. The subject provided him with an opportunity to depict facial expressions and to undertake figurative studies of sensual beauty. He painted another view of the same event--Slave Market in Rome (St. Petersburg, Hermitage Museum)--in which the viewer looks over the heads of the spectators towards the slave.
Jean-Paul Flandrin - Odalisque with Slave - Walters 37887.jpg
An odalisque (female member of a harem) reclines exposed in the harem listening to a servant's lute music. This painting was commissioned by King Wilhelm I of Württemberg and was executed by Ingres with the assistance of his pupil Paul Flandrin. A version of this subject painted three years earlier shows the odalisque in an enclosed room rather than with the garden vista in the background (Fogg Art Museum, Cambridge, Massachusetts). This exotic composition, which was inspired by a passage from Lady Mary Wortley Montagu's Turkish Letters (1763), may have been conceived by Ingres in response to his rival Eugène Delacroix's success as a painter of Near Eastern subjects.
An odalisque (female member of a harem) reclines exposed in the harem listening to a servant's lute music. This painting was commissioned by King Wilhelm I of Württemberg and was executed by Ingres with the assistance of his pupil Paul Flandrin. A version of this subject painted three years earlier shows the odalisque in an enclosed room rather than with the garden vista in the background (Fogg Art Museum, Cambridge, Massachusetts). This exotic composition, which was inspired by a passage from Lady Mary Wortley Montagu's Turkish Letters (1763), may have been conceived by Ingres in response to his rival Eugène Delacroix's success as a painter of Near Eastern subjects.
Walters-museum-building 1.jpg
Författare/Upphovsman: Dylan k, Licens: CC BY-SA 3.0
Photograph of the Charles Street entrance to the Walters Art Museum, as seen from the south quad of the Mount Vernon Park, in Baltimore, Maryland.
Författare/Upphovsman: Dylan k, Licens: CC BY-SA 3.0
Photograph of the Charles Street entrance to the Walters Art Museum, as seen from the south quad of the Mount Vernon Park, in Baltimore, Maryland.
House of Fabergé - Gatchina Palace Egg - Walters 44500 - Closed.jpg
Fabergé's revival of 18th-century enameling techniques, including the application of multiple layers of translucent enamel over "guilloché," or mechanically engraved gold, is demonstrated in the shell of the egg. When opened, the egg reveals a miniature replica of the Gatchina Palace, the Dowager Empress's principal residence outside St. Petersburg. So meticulously did Fabergé's workmaster, Mikhail Perkhin, execute the palace that one can discern such details as cannons, a flag, a statue of Paul I (1754-1801), and elements of the landscape, including parterres and trees. Continuing a practice initiated by his father, Alexander III, Tsar Nicholas II presented this egg to his mother, the dowager empress Marie Fedorovna, on Easter 1901. The egg opens to reveal as a surprise a miniature gold replica of the palace at Gatchina, located 30 miles southwest of St. Petersburg. Built for Count Grigorii Orlov, the palace was acquired by Tsar Paul I and served as the winter residence for Alexander III and Marie Fedorovna.
Fabergé's revival of 18th-century enameling techniques, including the application of multiple layers of translucent enamel over "guilloché," or mechanically engraved gold, is demonstrated in the shell of the egg. When opened, the egg reveals a miniature replica of the Gatchina Palace, the Dowager Empress's principal residence outside St. Petersburg. So meticulously did Fabergé's workmaster, Mikhail Perkhin, execute the palace that one can discern such details as cannons, a flag, a statue of Paul I (1754-1801), and elements of the landscape, including parterres and trees. Continuing a practice initiated by his father, Alexander III, Tsar Nicholas II presented this egg to his mother, the dowager empress Marie Fedorovna, on Easter 1901. The egg opens to reveal as a surprise a miniature gold replica of the palace at Gatchina, located 30 miles southwest of St. Petersburg. Built for Count Grigorii Orlov, the palace was acquired by Tsar Paul I and served as the winter residence for Alexander III and Marie Fedorovna.
Carlo Crivelli - Madonna and Child with Saints and Donor - Walters 37593.jpg
Mary's crown and the elegance of her dress reinforce the status of the embracing Virgin and Child as Queen and King of Heaven. The unknown donor-the little figure in the lower left corner-belonged to the Franciscan Order founded by St. Francis of Assisi. The initials FBDA might stand for Fra Bernardino da Ancona (Brother Bernardino of Ancona). St. Francis is standing to the left of the Madonna and Child and, on the right, is another Franciscan: St. Bernadino of Siena, holding his attribute, the plaque inscribed with Christ's initials surrounded by the rays of the sun. This altarpiece was almost certainly made for a private oratory, or chapel, in a convent in the Marches (eastern-central Italy) where Crivelli was active. The panel displays Crivelli's original style of employing sharp outlines, splendid surface textures, and striking illusionist effects, such as the cushion on which Christ stands that seems to extend into the viewer's space.
Mary's crown and the elegance of her dress reinforce the status of the embracing Virgin and Child as Queen and King of Heaven. The unknown donor-the little figure in the lower left corner-belonged to the Franciscan Order founded by St. Francis of Assisi. The initials FBDA might stand for Fra Bernardino da Ancona (Brother Bernardino of Ancona). St. Francis is standing to the left of the Madonna and Child and, on the right, is another Franciscan: St. Bernadino of Siena, holding his attribute, the plaque inscribed with Christ's initials surrounded by the rays of the sun. This altarpiece was almost certainly made for a private oratory, or chapel, in a convent in the Marches (eastern-central Italy) where Crivelli was active. The panel displays Crivelli's original style of employing sharp outlines, splendid surface textures, and striking illusionist effects, such as the cushion on which Christ stands that seems to extend into the viewer's space.
Jean-Auguste-Dominique Ingres - Oedipus and the Sphinx - Walters 379.jpg
The Sphinx, a mythical creature-part lion, part woman-grimaces in horror as Oedipus solves her riddle: "What is that which has one voice and yet becomes four-footed, two-footed, and three-footed?" Oedipus replies, "Man, for as a babe he is four-footed, as an adult he is two-footed, and as an old man he gets a third support, a cane," and the Sphinx hurls herself onto the rocks below, which are strewn with the bones of her victims. Ingres, who frequently repeated the subjects of his paintings, first depicted this story at the beginning of his career and returned to it several times, making variations in the composition, such as reversing the direction in which the figures faced.
The Sphinx, a mythical creature-part lion, part woman-grimaces in horror as Oedipus solves her riddle: "What is that which has one voice and yet becomes four-footed, two-footed, and three-footed?" Oedipus replies, "Man, for as a babe he is four-footed, as an adult he is two-footed, and as an old man he gets a third support, a cane," and the Sphinx hurls herself onto the rocks below, which are strewn with the bones of her victims. Ingres, who frequently repeated the subjects of his paintings, first depicted this story at the beginning of his career and returned to it several times, making variations in the composition, such as reversing the direction in which the figures faced.
Giorgio di Tomaso Schiavone - Madonna and Child with Angels - Walters 371026.jpg
In this altarpiece, the Virgin Mary wears gold brocade with pearls, and the Christ Child, with his necklace of red coral, stands on a tasseled cushion. Through these precious materials, the painter has communicated the divinity of the figures. On the parapet at the bottom of the painting is a carnation. Its Greek name, dianthus, means "flower of God." Schiavone was born in Dalmatia (present-day Croatia) and immigrated to northern Italy, where he studied with Francesco Squarcione of Padua. On the cartellino (little paper) in the foreground, he proudly identifies himself as the disciple of this master. Like his contemporaries, Schiavone was concerned with reviving the arts of antiquity, as seen by the garlands at the top that imitate Roman sarcophagus reliefs.
In this altarpiece, the Virgin Mary wears gold brocade with pearls, and the Christ Child, with his necklace of red coral, stands on a tasseled cushion. Through these precious materials, the painter has communicated the divinity of the figures. On the parapet at the bottom of the painting is a carnation. Its Greek name, dianthus, means "flower of God." Schiavone was born in Dalmatia (present-day Croatia) and immigrated to northern Italy, where he studied with Francesco Squarcione of Padua. On the cartellino (little paper) in the foreground, he proudly identifies himself as the disciple of this master. Like his contemporaries, Schiavone was concerned with reviving the arts of antiquity, as seen by the garlands at the top that imitate Roman sarcophagus reliefs.
Jean-Léon Gérôme - The Duel After the Masquerade - Walters 3751.jpg
In this painting, showing the outcome of a duel after a costume ball, Gérôme replicates, with slight variations, a composition he had executed for the Duc d'Aumale in 1857. It is dawn on a wintry day in the Bois de Boulogne, Paris, and Pierrot succumbs in the arms of the Duc de Guise. A Venetian doge examines Pierrot's wound while Domino clasps his head in despair. To the right, the victorious American Indian departs, accompanied by Harlequin.
In this painting, showing the outcome of a duel after a costume ball, Gérôme replicates, with slight variations, a composition he had executed for the Duc d'Aumale in 1857. It is dawn on a wintry day in the Bois de Boulogne, Paris, and Pierrot succumbs in the arms of the Duc de Guise. A Venetian doge examines Pierrot's wound while Domino clasps his head in despair. To the right, the victorious American Indian departs, accompanied by Harlequin.
Antonio Rotta - The Hopeless Case - Walters 37182.jpg
A young girl wearing a typical Venetian shawl listens stoically as the shoemaker reports upon the hopeless condition of her boot. The artist has depicted this cluttered interior with characteristic detail.
A young girl wearing a typical Venetian shawl listens stoically as the shoemaker reports upon the hopeless condition of her boot. The artist has depicted this cluttered interior with characteristic detail.
Edgar Degas - Before the Race - Walters 37850.jpg
Throughout the latter part of his career, Degas was obsessed with the restless beauty of the thoroughbred racehorse. Horse racing, which drew together throngs of people from many levels of society, was a singularly appropriate subject for representing modern life. Degas typically painted several versions of a composition, making slight variations in each. Here, riders and horses are shown in quiet and agitated movement. By the 1880s, Degas was making good use of recently published, stop-action photographs, which captured movement too fleeting to be perceived by the naked eye and which increased the artist's understanding of the horse in motion.
Throughout the latter part of his career, Degas was obsessed with the restless beauty of the thoroughbred racehorse. Horse racing, which drew together throngs of people from many levels of society, was a singularly appropriate subject for representing modern life. Degas typically painted several versions of a composition, making slight variations in each. Here, riders and horses are shown in quiet and agitated movement. By the 1880s, Degas was making good use of recently published, stop-action photographs, which captured movement too fleeting to be perceived by the naked eye and which increased the artist's understanding of the horse in motion.
Jean-François Millet - The Sower - Walters 37905.jpg
Millet first gained widespread notoriety with his iconic image of a sower shown at the 1850/51 Paris Salon. In this pastel version, he integrates the sower into the landscape around Barbizon with a harrower, a flock of crows, and the tower of Chailly visible in the distance. Millet built up his composition with a network of black chalk lines before adding his pastels.
Millet first gained widespread notoriety with his iconic image of a sower shown at the 1850/51 Paris Salon. In this pastel version, he integrates the sower into the landscape around Barbizon with a harrower, a flock of crows, and the tower of Chailly visible in the distance. Millet built up his composition with a network of black chalk lines before adding his pastels.
Workshop of Raphael - Madonna of the Candelabra - Walters 37484.jpg
Painted in Rome, this tondo (circular painting) of the Virgin and Child employs a rare motif of flanking candelabra that was derived from representations of ancient Roman emperors. Through this reference to the rulers of antiquity, Raphael alludes to Christ's and Mary's roles as the king and queen of Heaven. Raphael was famed for his graceful style. which combined the study of classical sculpture and nature. The chiaroscuro effects (modeling in light and shade) and gentle coloring give the figures a soft, delicate appearance. The painting relies heavily on the participation of Raphael's workshop, and the two angels certainly were done by his assistants. This was the first Madonna painted by Raphael to enter a North American collection.
Painted in Rome, this tondo (circular painting) of the Virgin and Child employs a rare motif of flanking candelabra that was derived from representations of ancient Roman emperors. Through this reference to the rulers of antiquity, Raphael alludes to Christ's and Mary's roles as the king and queen of Heaven. Raphael was famed for his graceful style. which combined the study of classical sculpture and nature. The chiaroscuro effects (modeling in light and shade) and gentle coloring give the figures a soft, delicate appearance. The painting relies heavily on the participation of Raphael's workshop, and the two angels certainly were done by his assistants. This was the first Madonna painted by Raphael to enter a North American collection.