BGuthrie Photos: PA -- Philadelphia Museum of Art

BGuthrie Photos: PA -- Philadelphia Museum of Art PA -- Philadelphia Museum of Art:

Bruce Guthrie Photos Home Page: [Click here] to go to Bruce Guthrie Photos home page.

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Copyrights: All pictures were taken by amateur photographer Bruce Guthrie (me!) who retains copyright on them. Free for non-commercial use with attribution. See the [Creative Commons] definition of what this means. "Photos (c) Bruce Guthrie" is fine for attribution. (Commercial use folks including AI scrapers can of course contact me.) Feel free to use in publications and pages with attribution but you don't have permission to sell the photos themselves. A free copy of any printed publication using any photographs is requested. Descriptive text, if any, is from a mixture of sources, quite frequently from signs at the location or from official web sites; copyrights, if any, are retained by their original owners.

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[311] PMA185_100711_0783.JPG Medium (Email) (Bigger?)	[312] PMA185_100711_0785.JPG Medium (Email) (Bigger?)	[313] PMA185_100711_0793.JPG Medium (Email) (Bigger?)	[314] PMA185_100711_0798.JPG Medium (Email) (Bigger?)	[315] PMA185_100711_0803.JPG Medium (Email) (Bigger?)	[316] PMA185_100711_0808.JPG Medium (Email) (Bigger?)	[317] PMA185_100711_0814.JPG Medium (Email) (Bigger?)	[318] PMA185_100711_0819.JPG Medium (Email) (Bigger?)	[319] PMA185_100711_0828.JPG Medium (Email) (Bigger?)	[320] PMA185_100711_0830.JPG Medium (Email) (Bigger?)
[321] PMA185_100711_0835.JPG Medium (Email) (Bigger?)	[322] PMA185_100711_0841.JPG Medium (Email) (Bigger?)	[323] PMA185_100711_0845.JPG Medium (Email) (Bigger?)	[324] PMA185_100711_0850.JPG Medium (Email) (Bigger?)	[325] PMA185_100711_0860.JPG Medium (Email) (Bigger?)	[326] PMA185_100711_0861.JPG Medium (Email) (Bigger?)	[327] PMA185_100711_0871.JPG Medium (Email) (Bigger?)	[328] PMA185_100711_0880.JPG Medium (Email) (Bigger?)	[329] PMA185_100711_0885.JPG Medium (Email) (Bigger?)	[330] PMA185_100711_0892.JPG Medium (Email) (Bigger?)
[331] PMA185_100711_0903.JPG Medium (Email) (Bigger?)	[332] PMA185_100711_0905.JPG Medium (Email) (Bigger?)	[333] PMA185_100711_0914.JPG Medium (Email) (Bigger?)	[334] PMA185_100711_0915.JPG Medium (Email) (Bigger?)	[335] PMA185_100711_0919.JPG Medium (Email) (Bigger?)	[336] PMA185_100711_0923.JPG Medium (Email) (Bigger?)	[337] PMA185_100711_0930.JPG Medium (Email) (Bigger?)	[338] PMA185_100711_0934.JPG Medium (Email) (Bigger?)	[339] PMA185_100711_0944.JPG Medium (Email) (Bigger?)	[340] PMA185_100711_0954.JPG Medium (Email) (Bigger?)
[341] PMA185_100711_0960.JPG Medium (Email) (Bigger?)	[342] PMA185_100711_0964.JPG Medium (Email) (Bigger?)	[343] PMA185_100711_0971.JPG Medium (Email) (Bigger?)	[344] PMA185_100711_0975.JPG Medium (Email) (Bigger?)	[345] PMA185_100711_0982.JPG Medium (Email) (Bigger?)	[346] PMA185_100711_0988.JPG Medium (Email) (Bigger?)	[347] PMA185_100711_0992.JPG Medium (Email) (Bigger?)	[348] PMA185_100711_0999.JPG Medium (Email) (Bigger?)	[349] PMA185_100711_1007.JPG Medium (Email) (Bigger?)	[350] PMA185_100711_1009.JPG Medium (Email) (Bigger?)
[351] PMA185_100711_1017.JPG Medium (Email) (Bigger?)	[352] PMA185_100711_1022.JPG Medium (Email) (Bigger?)	[353] PMA185_100711_1025.JPG Medium (Email) (Bigger?)	[354] PMA185_100711_1029.JPG Medium (Email) (Bigger?)	[355] PMA185_100711_1034.JPG Medium (Email) (Bigger?)	[356] PMA185_100711_1038.JPG Medium (Email) (Bigger?)	[357] PMA185_100711_1044.JPG Medium (Email) (Bigger?)	[358] PMA185_100711_1051.JPG Medium (Email) (Bigger?)	[359] PMA185_100711_1054.JPG Medium (Email) (Bigger?)	[360] PMA185_100711_1058.JPG Medium (Email) (Bigger?)
[361] PMA185_100711_1062.JPG Medium (Email) (Bigger?)	[362] PMA185_100711_1067.JPG Medium (Email) (Bigger?)	[363] PMA185_100711_1071.JPG Medium (Email) (Bigger?)	[364] PMA185_100711_1077.JPG Medium (Email) (Bigger?)	[365] PMA185_100711_1085.JPG Medium (Email) (Bigger?)	[366] PMA185_100711_1090.JPG Medium (Email) (Bigger?)	[367] PMA185_100711_1095.JPG Medium (Email) (Bigger?)	[368] PMA185_100711_1101.JPG Medium (Email) (Bigger?)	[369] PMA185_100711_1104.JPG Medium (Email) (Bigger?)	[370] PMA185_100711_1108.JPG Medium (Email) (Bigger?)
[371] PMA185_100711_1115.JPG Medium (Email) (Bigger?)	[372] PMA185_100711_1118.JPG Medium (Email) (Bigger?)	[373] PMA185_100711_1123.JPG Medium (Email) (Bigger?)	[374] PMA185_100711_1129.JPG Medium (Email) (Bigger?)	[375] PMA185_100711_1140.JPG Medium (Email) (Bigger?)	[376] PMA185_100711_1145.JPG Medium (Email) (Bigger?)	[377] PMA185_100711_1152.JPG Medium (Email) (Bigger?)	[378] PMA185_100711_1158.JPG Medium (Email) (Bigger?)	[379] PMA185_100711_1162.JPG Medium (Email) (Bigger?)	[380] PMA185_100711_1167.JPG Medium (Email) (Bigger?)
[381] PMA185_100711_1172.JPG Medium (Email) (Bigger?)	[382] PMA185_100711_1177.JPG Medium (Email) (Bigger?)	[383] PMA185_100711_1180.JPG Medium (Email) (Bigger?)	[384] PMA185_100711_1186.JPG Medium (Email) (Bigger?)	[385] PMA185_100711_1190.JPG Medium (Email) (Bigger?)	[386] PMA185_100711_1200.JPG Medium (Email) (Bigger?)	[387] PMA185_100711_1206.JPG Medium (Email) (Bigger?)	[388] PMA185_100711_1210.JPG Medium (Email) (Bigger?)	[389] PMA185_100711_1219.JPG Medium (Email) (Bigger?)	[390] PMA185_100711_1224.JPG Medium (Email) (Bigger?)
[391] PMA185_100711_1230.JPG Medium (Email) (Bigger?)	[392] PMA185_100711_1235.JPG Medium (Email) (Bigger?)	[393] PMA185_100711_1241.JPG Medium (Email) (Bigger?)	[394] PMA185_100711_1249.JPG Medium (Email) (Bigger?)	[395] PMA185_100711_1254.JPG Medium (Email) (Bigger?)	[396] PMA185_100711_1259.JPG Medium (Email) (Bigger?)	[397] PMAASI_100711_002.JPG Medium (Email) (Bigger?)	[398] PMAASI_100711_013.JPG Medium (Email) (Bigger?)	[399] PMAASI_100711_018.JPG Medium (Email) (Bigger?)	[400] PMAASI_100711_025.JPG Medium (Email) (Bigger?)
[401] PMAASI_100711_029.JPG Medium (Email) (Bigger?)	[402] PMAASI_100711_036.JPG Medium (Email) (Bigger?)	[403] PMAASI_100711_042.JPG Medium (Email) (Bigger?)	[404] PMAASI_100711_047.JPG Medium (Email) (Bigger?)	[405] PMAASI_100711_059.JPG Medium (Email) (Bigger?)	[406] PMAASI_100711_062.JPG Medium (Email) (Bigger?)	[407] PMAASI_100711_067.JPG Medium (Email) (Bigger?)	[408] PMAASI_100711_072.JPG Medium (Email) (Bigger?)	[409] PMAASI_100711_082.JPG Medium (Email) (Bigger?)	[410] PMAASI_100711_087.JPG Medium (Email) (Bigger?)
[411] PMAASI_100711_092.JPG Medium (Email) (Bigger?)	[412] PMAASI_100711_097.JPG Medium (Email) (Bigger?)	[413] PMAASI_100711_108.JPG Medium (Email) (Bigger?)	[414] PMAASI_100711_115.JPG Medium (Email) (Bigger?)	[415] PMAASI_100711_125.JPG Medium (Email) (Bigger?)	[416] PMAASI_100711_132.JPG Medium (Email) (Bigger?)	[417] PMAASI_100711_136.JPG Medium (Email) (Bigger?)	[418] PMAASI_100711_157.JPG Medium (Email) (Bigger?)	[419] PMAASI_100711_173.JPG Medium (Email) (Bigger?)	[420] PMAASI_100711_179.JPG Medium (Email) (Bigger?)
[421] PMAASI_100711_182.JPG Medium (Email) (Bigger?)	[422] PMAASI_100711_186.JPG Medium (Email) (Bigger?)	[423] PMAASI_100711_191.JPG Medium (Email) (Bigger?)	[424] PMAASI_100711_195.JPG Medium (Email) (Bigger?)	[425] PMAASI_100711_198.JPG Medium (Email) (Bigger?)	[426] PMAASI_100711_203.JPG Medium (Email) (Bigger?)	[427] PMAASI_100711_208.JPG Medium (Email) (Bigger?)	[428] PMAASI_100711_217.JPG Medium (Email) (Bigger?)	[429] PMAASI_100711_221.JPG Medium (Email) (Bigger?)	[430] PMAASI_100711_229.JPG Medium (Email) (Bigger?)
[431] PMAASI_100711_234.JPG Medium (Email) (Bigger?)	[432] PMAASI_100711_239.JPG Medium (Email) (Bigger?)	[433] PMAASI_100711_246.JPG Medium (Email) (Bigger?)	[434] PMAASI_100711_249.JPG Medium (Email) (Bigger?)	[435] PMAASI_100711_254.JPG Medium (Email) (Bigger?)	[436] PMAASI_100711_256.JPG Medium (Email) (Bigger?)	[437] PMAASI_100711_265.JPG Medium (Email) (Bigger?)	[438] PMAASI_100711_269.JPG Medium (Email) (Bigger?)	[439] PMAASI_100711_273.JPG Medium (Email) (Bigger?)	[440] PMAASI_100711_276.JPG Medium (Email) (Bigger?)
[441] PMAASI_100711_280.JPG Medium (Email) (Bigger?)	[442] PMAASI_100711_286.JPG Medium (Email) (Bigger?)	[443] PMAASI_100711_289.JPG Medium (Email) (Bigger?)	[444] PMAASI_100711_297.JPG Medium (Email) (Bigger?)	[445] PMAASI_100711_301.JPG Medium (Email) (Bigger?)	[446] PMAASI_100711_306.JPG Medium (Email) (Bigger?)	[447] PMAASI_100711_311.JPG Medium (Email) (Bigger?)	[448] PMAASI_100711_315.JPG Medium (Email) (Bigger?)	[449] PMAASI_100711_324.JPG Medium (Email) (Bigger?)	[450] PMAASI_100711_327.JPG Medium (Email) (Bigger?)
[451] PMAASI_100711_334.JPG Medium (Email) (Bigger?)	[452] PMAASI_100711_339.JPG Medium (Email) (Bigger?)	[453] PMAASI_100711_344.JPG Medium (Email) (Bigger?)	[454] PMAASI_100711_352.JPG Medium (Email) (Bigger?)	[455] PMAASI_100711_359.JPG Medium (Email) (Bigger?)	[456] PMAASI_100711_369.JPG Medium (Email) (Bigger?)	[457] PMAASI_100711_373.JPG Medium (Email) (Bigger?)	[458] PMAASI_100711_376.JPG Medium (Email) (Bigger?)	[459] PMAASI_100711_382.JPG Medium (Email) (Bigger?)	[460] PMAASI_100711_386.JPG Medium (Email) (Bigger?)
[461] PMAASI_100711_390.JPG Medium (Email) (Bigger?)	[462] PMAASI_100711_395.JPG Medium (Email) (Bigger?)	[463] PMAASI_100711_400.JPG Medium (Email) (Bigger?)	[464] PMAASI_100711_408.JPG Medium (Email) (Bigger?)	[465] PMAASI_100711_423.JPG Medium (Email) (Bigger?)	[466] PMAASI_100711_427.JPG Medium (Email) (Bigger?)	[467] PMAASI_100711_434.JPG Medium (Email) (Bigger?)	[468] PMAASI_100711_438.JPG Medium (Email) (Bigger?)	[469] PMAASI_100711_442.JPG Medium (Email) (Bigger?)	[470] PMAASI_100711_446.JPG Medium (Email) (Bigger?)
[471] PMAASI_100711_454.JPG Medium (Email) (Bigger?)	[472] PMAASI_100711_459.JPG Medium (Email) (Bigger?)	[473] PMAASI_100711_463.JPG Medium (Email) (Bigger?)	[474] PMAASI_100711_468.JPG Medium (Email) (Bigger?)	[475] PMAASI_100711_470.JPG Medium (Email) (Bigger?)	[476] PMAASI_100711_475.JPG Medium (Email) (Bigger?)	[477] PMAASI_100711_480.JPG Medium (Email) (Bigger?)	[478] PMAASI_100711_485.JPG Medium (Email) (Bigger?)	[479] PMAASI_100711_489.JPG Medium (Email) (Bigger?)	[480] PMAASI_100711_494.JPG Medium (Email) (Bigger?)
[481] PMAASI_100711_501.JPG Medium (Email) (Bigger?)	[482] PMAASI_100711_505.JPG Medium (Email) (Bigger?)	[483] PMAASI_100711_509.JPG Medium (Email) (Bigger?)	[484] PMAASI_100711_517.JPG Medium (Email) (Bigger?)	[485] PMAASI_100711_523.JPG Medium (Email) (Bigger?)	[486] PMAASI_100711_527.JPG Medium (Email) (Bigger?)	[487] PMAASI_100711_536.JPG Medium (Email) (Bigger?)	[488] PMAASI_100711_543.JPG Medium (Email) (Bigger?)	[489] PMAASI_100711_550.JPG Medium (Email) (Bigger?)	[490] PMAASI_100711_558.JPG Medium (Email) (Bigger?)
[491] PMAASI_100711_562.JPG Medium (Email) (Bigger?)	[492] PMAASI_100711_576.JPG Medium (Email) (Bigger?)	[493] PMAASI_100711_581.JPG Medium (Email) (Bigger?)	[494] PMAASI_100711_586.JPG Medium (Email) (Bigger?)	[495] PMACON_100711_001.JPG Medium (Email) (Bigger?)	[496] PMACON_100711_010.JPG Medium (Email) (Bigger?)	[497] PMACON_100711_015.JPG Medium (Email) (Bigger?)	[498] PMACON_100711_024.JPG Medium (Email) (Bigger?)	[499] PMACON_100711_029.JPG Medium (Email) (Bigger?)	[500] PMACON_100711_033.JPG Medium (Email) (Bigger?)
[501] PMACON_100711_036.JPG Medium (Email) (Bigger?)	[502] PMACON_100711_041.JPG Medium (Email) (Bigger?)	[503] PMACON_100711_045.JPG Medium (Email) (Bigger?)	[504] PMACON_100711_058.JPG Medium (Email) (Bigger?)	[505] PMACON_100711_062.JPG Medium (Email) (Bigger?)	[506] PMACON_100711_074.JPG Medium (Email) (Bigger?)	[507] PMACON_100711_082.JPG Medium (Email) (Bigger?)	[508] PMACON_100711_087.JPG Medium (Email) (Bigger?)	[509] PMACON_100711_091.JPG Medium (Email) (Bigger?)	[510] PMACON_100711_096.JPG Medium (Email) (Bigger?)
[511] PMACON_100711_101.JPG Medium (Email) (Bigger?)	[512] PMACON_100711_105.JPG Medium (Email) (Bigger?)	[513] PMACON_100711_112.JPG Medium (Email) (Bigger?)	[514] PMACON_100711_118.JPG Medium (Email) (Bigger?)	[515] PMACON_100711_124.JPG Medium (Email) (Bigger?)	[516] PMACON_100711_129.JPG Medium (Email) (Bigger?)	[517] PMACON_100711_141.JPG Medium (Email) (Bigger?)	[518] PMACON_100711_152.JPG Medium (Email) (Bigger?)	[519] PMACON_100711_155.JPG Medium (Email) (Bigger?)	[520] PMACON_100711_159.JPG Medium (Email) (Bigger?)
[521] PMACON_100711_164.JPG Medium (Email) (Bigger?)	[522] PMACON_100711_168.JPG Medium (Email) (Bigger?)	[523] PMACON_100711_172.JPG Medium (Email) (Bigger?)	[524] PMACON_100711_180.JPG Medium (Email) (Bigger?)	[525] PMACON_100711_186.JPG Medium (Email) (Bigger?)	[526] PMACON_100711_192.JPG Medium (Email) (Bigger?)	[527] PMACON_100711_197.JPG Medium (Email) (Bigger?)	[528] PMACON_100711_208.JPG Medium (Email) (Bigger?)	[529] PMACON_100711_213.JPG Medium (Email) (Bigger?)	[530] PMACON_100711_216.JPG Medium (Email) (Bigger?)
[531] PMACON_100711_219.JPG Medium (Email) (Bigger?)	[532] PMACON_100711_224.JPG Medium (Email) (Bigger?)	[533] PMACON_100711_228.JPG Medium (Email) (Bigger?)	[534] PMACON_100711_231.JPG Medium (Email) (Bigger?)	[535] PMACON_100711_239.JPG Medium (Email) (Bigger?)	[536] PMACON_100711_241.JPG Medium (Email) (Bigger?)	[537] PMACON_100711_248.JPG Medium (Email) (Bigger?)	[538] PMACON_100711_252.JPG Medium (Email) (Bigger?)	[539] PMACON_100711_257.JPG Medium (Email) (Bigger?)	[540] PMACON_100711_260.JPG Medium (Email) (Bigger?)
[541] PMACON_100711_263.JPG Medium (Email) (Bigger?)	[542] PMACON_100711_266.JPG Medium (Email) (Bigger?)	[543] PMACON_100711_270.JPG Medium (Email) (Bigger?)	[544] PMACON_100711_276.JPG Medium (Email) (Bigger?)	[545] PMACON_100711_279.JPG Medium (Email) (Bigger?)	[546] PMACON_100711_285.JPG Medium (Email) (Bigger?)	[547] PMACON_100711_289.JPG Medium (Email) (Bigger?)	[548] PMACON_100711_292.JPG Medium (Email) (Bigger?)	[549] PMACON_100711_298.JPG Medium (Email) (Bigger?)	[550] PMACON_100711_311.JPG Medium (Email) (Bigger?)
[551] PMACON_100711_318.JPG Medium (Email) (Bigger?)	[552] PMACON_100711_325.JPG Medium (Email) (Bigger?)	[553] PMACON_100711_329.JPG Medium (Email) (Bigger?)	[554] PMACON_100711_334.JPG Medium (Email) (Bigger?)	[555] PMACON_100711_340.JPG Medium (Email) (Bigger?)	[556] PMACON_100711_345.JPG Medium (Email) (Bigger?)	[557] PMACON_100711_354.JPG Medium (Email) (Bigger?)	[558] PMACON_100711_357.JPG Medium (Email) (Bigger?)	[559] PMACON_100711_362.JPG Medium (Email) (Bigger?)	[560] PMACON_100711_371.JPG Medium (Email) (Bigger?)
[561] PMACON_100711_375.JPG Medium (Email) (Bigger?)	[562] PMACON_100711_381.JPG Medium (Email) (Bigger?)	[563] PMACON_100711_385.JPG Medium (Email) (Bigger?)	[564] PMACON_100711_389.JPG Medium (Email) (Bigger?)	[565] PMACON_100711_393.JPG Medium (Email) (Bigger?)	[566] PMACON_100711_406.JPG Medium (Email) (Bigger?)	[567] PMACON_100711_409.JPG Medium (Email) (Bigger?)	[568] PMACON_100711_413.JPG Medium (Email) (Bigger?)	[569] PMACON_100711_416.JPG Medium (Email) (Bigger?)	[570] PMACON_100711_422.JPG Medium (Email) (Bigger?)
[571] PMACON_100711_430.JPG Medium (Email) (Bigger?)	[572] PMACON_100711_436.JPG Medium (Email) (Bigger?)	[573] PMACON_100711_437.JPG Medium (Email) (Bigger?)	[574] PMACON_100711_441.JPG Medium (Email) (Bigger?)	[575] PMACON_100711_445.JPG Medium (Email) (Bigger?)	[576] PMACON_100711_452.JPG Medium (Email) (Bigger?)	[577] PMACON_100711_457.JPG Medium (Email) (Bigger?)	[578] PMACON_100711_461.JPG Medium (Email) (Bigger?)	[579] PMACON_100711_465.JPG Medium (Email) (Bigger?)	[580] PMACON_100711_470.JPG Medium (Email) (Bigger?)
[581] PMACON_100711_476.JPG Medium (Email) (Bigger?)	[582] PMACON_100711_481.JPG Medium (Email) (Bigger?)	[583] PMACON_100711_490.JPG Medium (Email) (Bigger?)	[584] PMACON_100711_493.JPG Medium (Email) (Bigger?)	[585] PMACON_100711_498.JPG Medium (Email) (Bigger?)	[586] PMACON_100711_503.JPG Medium (Email) (Bigger?)	[587] PMACON_100711_512.JPG Medium (Email) (Bigger?)	[588] PMACON_100711_516.JPG Medium (Email) (Bigger?)	[589] PMACON_100711_520.JPG Medium (Email) (Bigger?)	[590] PMACON_100711_526.JPG Medium (Email) (Bigger?)
[591] PMACON_100711_532.JPG Medium (Email) (Bigger?)	[592] PMATAP_100711_01.JPG Medium (Email) (Bigger?)	[593] PMATAP_100711_06.JPG Medium (Email) (Bigger?)	[594] PMATAP_100711_12.JPG Medium (Email) (Bigger?)	[595] PMATAP_100711_15.JPG Medium (Email) (Bigger?)	[596] PMATAP_100711_20.JPG Medium (Email) (Bigger?)	[597] PMATAP_100711_25.JPG Medium (Email) (Bigger?)	[598] PMATAP_100711_28.JPG Medium (Email) (Bigger?)	[599] PMATAP_100711_33.JPG Medium (Email) (Bigger?)	[600] PMA_100711_005.JPG Medium (Email) (Bigger?)
[601] PMA_100711_008.JPG Medium (Email) (Bigger?)	[602] PMA_100711_015.JPG Medium (Email) (Bigger?)	[603] PMA_100711_019.JPG Medium (Email) (Bigger?)	[604] PMA_100711_023.JPG Medium (Email) (Bigger?)	[605] PMA_100711_033.JPG Medium (Email) (Bigger?)	[606] PMA_100711_042.JPG Medium (Email) (Bigger?)	[607] PMA_100711_049.JPG Medium (Email) (Bigger?)	[608] PMA_100711_052.JPG Medium (Email) (Bigger?)	[609] PMA_100711_056.JPG Medium (Email) (Bigger?)	[610] PMA_100711_062.JPG Medium (Email) (Bigger?)
[611] PMA_100711_072.JPG Medium (Email) (Bigger?)	[612] PMA_100711_073.JPG Medium (Email) (Bigger?)	[613] PMA_100711_080.JPG Medium (Email) (Bigger?)	[614] PMA_100711_087.JPG Medium (Email) (Bigger?)	[615] PMA_100711_102.JPG Medium (Email) (Bigger?)	[616] PMA_100711_112.JPG Medium (Email) (Bigger?)	[617] PMA_100711_113.JPG Medium (Email) (Bigger?)	[618] PMA_100711_118.JPG Medium (Email) (Bigger?)	[619] PMA_100711_122.JPG Medium (Email) (Bigger?)	[620] PMA_100711_127.JPG Medium (Email) (Bigger?)
[621] PMA_100711_132.JPG Medium (Email) (Bigger?)	[622] PMA_100711_137.JPG Medium (Email) (Bigger?)	[623] PMA_100711_145.JPG Medium (Email) (Bigger?)	[624] PMA_100711_150.JPG Medium (Email) (Bigger?)	[625] PMA_100711_159.JPG Medium (Email) (Bigger?)	[626] PMA_100711_161.JPG Medium (Email) (Bigger?)	[627] PMA_100711_165.JPG Medium (Email) (Bigger?)	[628] PMA_100711_171.JPG Medium (Email) (Bigger?)	[629] PMA_100711_174.JPG Medium (Email) (Bigger?)	[630] PMA_100711_182.JPG Medium (Email) (Bigger?)
[631] PMA_100711_189.JPG Medium (Email) (Bigger?)	[632] PMA_100711_191.JPG Medium (Email) (Bigger?)	[633] PMA_100711_209.JPG Medium (Email) (Bigger?)	[634] PMA_100711_214.JPG Medium (Email) (Bigger?)	[635] PMA110_070923_001.JPG Medium (Email) (Bigger?)	[636] PMA110_070923_003.JPG Medium (Email) (Bigger?)	[637] PMA110_070923_008.JPG Medium (Email) (Bigger?)	[638] PMA110_070923_029.JPG Medium (Email) (Bigger?)	[639] PMA110_070923_033.JPG Medium (Email) (Bigger?)	[640] PMA110_070923_040.JPG Medium (Email) (Bigger?)
[641] PMA110_070923_045.JPG Medium (Email) (Bigger?)	[642] PMA110_070923_049.JPG Medium (Email) (Bigger?)	[643] PMA110_070923_052.JPG Medium (Email) (Bigger?)	[644] PMA110_070923_055.JPG Medium (Email) (Bigger?)	[645] PMA110_070923_061.JPG Medium (Email) (Bigger?)	[646] PMA110_070923_064.JPG Medium (Email) (Bigger?)	[647] PMA110_070923_071.JPG Medium (Email) (Bigger?)	[648] PMA110_070923_078.JPG Medium (Email) (Bigger?)	[649] PMA110_070923_082.JPG Medium (Email) (Bigger?)	[650] PMA110_070923_086.JPG Medium (Email) (Bigger?)
[651] PMA110_070923_090.JPG Medium (Email) (Bigger?)	[652] PMA110_070923_102.JPG Medium (Email) (Bigger?)	[653] PMA110_070923_107.JPG Medium (Email) (Bigger?)	[654] PMA110_070923_111.JPG Medium (Email) (Bigger?)	[655] PMA110_070923_112.JPG Medium (Email) (Bigger?)	[656] PMA110_070923_115.JPG Medium (Email) (Bigger?)	[657] PMA110_070923_152.JPG Medium (Email) (Bigger?)	[658] PMA110_070923_156.JPG Medium (Email) (Bigger?)	[659] PMA110_070923_162.JPG Medium (Email) (Bigger?)	[660] PMA150_070923_013.JPG Medium (Email) (Bigger?)
[661] PMA150_070923_021.JPG Medium (Email) (Bigger?)	[662] PMA150_070923_023.JPG Medium (Email) (Bigger?)	[663] PMA150_070923_025.JPG Medium (Email) (Bigger?)	[664] PMA150_070923_029.JPG Medium (Email) (Bigger?)	[665] PMA150_070923_031.JPG Medium (Email) (Bigger?)	[666] PMA150_070923_034.JPG Medium (Email) (Bigger?)	[667] PMA150_070923_043.JPG Medium (Email) (Bigger?)	[668] PMA150_070923_046.JPG Medium (Email) (Bigger?)	[669] PMA150_070923_054.JPG Medium (Email) (Bigger?)	[670] PMA150_070923_056.JPG Medium (Email) (Bigger?)
[671] PMA150_070923_059.JPG Medium (Email) (Bigger?)	[672] PMA150_070923_062.JPG Medium (Email) (Bigger?)	[673] PMA150_070923_067.JPG Medium (Email) (Bigger?)	[674] PMA150_070923_071.JPG Medium (Email) (Bigger?)	[675] PMA150_070923_075.JPG Medium (Email) (Bigger?)	[676] PMA150_070923_077.JPG Medium (Email) (Bigger?)	[677] PMA150_070923_080.JPG Medium (Email) (Bigger?)	[678] PMA150_070923_083.JPG Medium (Email) (Bigger?)	[679] PMA150_070923_094.JPG Medium (Email) (Bigger?)	[680] PMA150_070923_098.JPG Medium (Email) (Bigger?)
[681] PMA150_070923_103.JPG Medium (Email) (Bigger?)	[682] PMA150_070923_109.JPG Medium (Email) (Bigger?)	[683] PMA150_070923_112.JPG Medium (Email) (Bigger?)	[684] PMA150_070923_118.JPG Medium (Email) (Bigger?)	[685] PMA150_070923_134.JPG Medium (Email) (Bigger?)	[686] PMA150_070923_136.JPG Medium (Email) (Bigger?)	[687] PMA150_070923_141.JPG Medium (Email) (Bigger?)	[688] PMA150_070923_145.JPG Medium (Email) (Bigger?)	[689] PMA150_070923_150.JPG Medium (Email) (Bigger?)	[690] PMA150_070923_152.JPG Medium (Email) (Bigger?)
[691] PMA150_070923_157.JPG Medium (Email) (Bigger?)	[692] PMA150_070923_160.JPG Medium (Email) (Bigger?)	[693] PMA150_070923_163.JPG Medium (Email) (Bigger?)	[694] PMA150_070923_166.JPG Medium (Email) (Bigger?)	[695] PMA150_070923_169.JPG Medium (Email) (Bigger?)	[696] PMA150_070923_174.JPG Medium (Email) (Bigger?)	[697] PMA150_070923_176.JPG Medium (Email) (Bigger?)	[698] PMA150_070923_182.JPG Medium (Email) (Bigger?)	[699] PMA150_070923_204.JPG Medium (Email) (Bigger?)	[700] PMA150_070923_207.JPG Medium (Email) (Bigger?)
[701] PMA150_070923_210.JPG Medium (Email) (Bigger?)	[702] PMA150_070923_215.JPG Medium (Email) (Bigger?)	[703] PMA150_070923_228.JPG Medium (Email) (Bigger?)	[704] PMA150_070923_233.JPG Medium (Email) (Bigger?)	[705] PMA150_070923_238.JPG Medium (Email) (Bigger?)	[706] PMA150_070923_242.JPG Medium (Email) (Bigger?)	[707] PMA150_070923_247.JPG Medium (Email) (Bigger?)	[708] PMA150_070923_249.JPG Medium (Email) (Bigger?)	[709] PMA150_070923_254.JPG Medium (Email) (Bigger?)	[710] PMA150_070923_260.JPG Medium (Email) (Bigger?)
[711] PMA150_070923_265.JPG Medium (Email) (Bigger?)	[712] PMA150_070923_268.JPG Medium (Email) (Bigger?)	[713] PMA150_070923_271.JPG Medium (Email) (Bigger?)	[714] PMA150_070923_276.JPG Medium (Email) (Bigger?)	[715] PMA150_070923_279.JPG Medium (Email) (Bigger?)	[716] PMA150_070923_283.JPG Medium (Email) (Bigger?)	[717] PMA150_070923_287.JPG Medium (Email) (Bigger?)	[718] PMA150_070923_292.JPG Medium (Email) (Bigger?)	[719] PMA150_070923_294.JPG Medium (Email) (Bigger?)	[720] PMA150_070923_297.JPG Medium (Email) (Bigger?)
[721] PMA150_070923_311.JPG Medium (Email) (Bigger?)	[722] PMA150_070923_316.JPG Medium (Email) (Bigger?)	[723] PMA150_070923_318.JPG Medium (Email) (Bigger?)	[724] PMA150_070923_323.JPG Medium (Email) (Bigger?)	[725] PMA150_070923_325.JPG Medium (Email) (Bigger?)	[726] PMA150_070923_336.JPG Medium (Email) (Bigger?)	[727] PMA150_070923_340.JPG Medium (Email) (Bigger?)	[728] PMA150_070923_342.JPG Medium (Email) (Bigger?)	[729] PMA150_070923_349.JPG Medium (Email) (Bigger?)	[730] PMA150_070923_352.JPG Medium (Email) (Bigger?)
[731] PMA150_070923_356.JPG Medium (Email) (Bigger?)	[732] PMA150_070923_359.JPG Medium (Email) (Bigger?)	[733] PMA150_070923_362.JPG Medium (Email) (Bigger?)	[734] PMA150_070923_367.JPG Medium (Email) (Bigger?)	[735] PMA150_070923_370.JPG Medium (Email) (Bigger?)	[736] PMA150_070923_373.JPG Medium (Email) (Bigger?)	[737] PMA150_070923_377.JPG Medium (Email) (Bigger?)	[738] PMA150_070923_381.JPG Medium (Email) (Bigger?)	[739] PMA150_070923_384.JPG Medium (Email) (Bigger?)	[740] PMA150_070923_389.JPG Medium (Email) (Bigger?)
[741] PMA150_070923_400.JPG Medium (Email) (Bigger?)	[742] PMA150_070923_404.JPG Medium (Email) (Bigger?)	[743] PMA150_070923_407.JPG Medium (Email) (Bigger?)	[744] PMA150_070923_425.JPG Medium (Email) (Bigger?)	[745] PMA150_070923_434.JPG Medium (Email) (Bigger?)	[746] PMA150_070923_441.JPG Medium (Email) (Bigger?)	[747] PMA150_070923_450.JPG Medium (Email) (Bigger?)	[748] PMA150_070923_452.JPG Medium (Email) (Bigger?)	[749] PMA150_070923_456.JPG Medium (Email) (Bigger?)	[750] PMA150_070923_462.JPG Medium (Email) (Bigger?)
[751] PMA150_070923_471.JPG Medium (Email) (Bigger?)	[752] PMA150_070923_474.JPG Medium (Email) (Bigger?)	[753] PMA150_070923_478.JPG Medium (Email) (Bigger?)	[754] PMA150_070923_486.JPG Medium (Email) (Bigger?)	[755] PMA150_070923_489.JPG Medium (Email) (Bigger?)	[756] PMA150_070923_492.JPG Medium (Email) (Bigger?)	[757] PMA150_070923_495.JPG Medium (Email) (Bigger?)	[758] PMA150_070923_504.JPG Medium (Email) (Bigger?)	[759] PMA150_070923_507.JPG Medium (Email) (Bigger?)	[760] PMA150_070923_510.JPG Medium (Email) (Bigger?)
[761] PMA150_070923_513.JPG Medium (Email) (Bigger?)	[762] PMA150_070923_515.JPG Medium (Email) (Bigger?)	[763] PMA150_070923_518.JPG Medium (Email) (Bigger?)	[764] PMA150_070923_522.JPG Medium (Email) (Bigger?)	[765] PMA150_070923_526.JPG Medium (Email) (Bigger?)	[766] PMA150_070923_530.JPG Medium (Email) (Bigger?)	[767] PMA150_070923_536.JPG Medium (Email) (Bigger?)	[768] PMA150_070923_537.JPG Medium (Email) (Bigger?)	[769] PMA150_070923_545.JPG Medium (Email) (Bigger?)	[770] PMA150_070923_550.JPG Medium (Email) (Bigger?)
[771] PMA150_070923_551.JPG Medium (Email) (Bigger?)	[772] PMA150_070923_555.JPG Medium (Email) (Bigger?)	[773] PMA150_070923_571.JPG Medium (Email) (Bigger?)	[774] PMA150_070923_572.JPG Medium (Email) (Bigger?)	[775] PMA150_070923_577.JPG Medium (Email) (Bigger?)	[776] PMA150_070923_579.JPG Medium (Email) (Bigger?)	[777] PMA150_070923_585.JPG Medium (Email) (Bigger?)	[778] PMA150_070923_588.JPG Medium (Email) (Bigger?)	[779] PMA150_070923_597.JPG Medium (Email) (Bigger?)	[780] PMA150_070923_600.JPG Medium (Email) (Bigger?)
[781] PMA150_070923_606.JPG Medium (Email) (Bigger?)	[782] PMA150_070923_608.JPG Medium (Email) (Bigger?)	[783] PMA150_070923_611.JPG Medium (Email) (Bigger?)	[784] PMA150_070923_615.JPG Medium (Email) (Bigger?)	[785] PMA150_070923_620.JPG Medium (Email) (Bigger?)	[786] PMA150_070923_624.JPG Medium (Email) (Bigger?)	[787] PMA150_070923_628.JPG Medium (Email) (Bigger?)	[788] PMA150_070923_633.JPG Medium (Email) (Bigger?)	[789] PMA150_070923_636.JPG Medium (Email) (Bigger?)	[790] PMA150_070923_640.JPG Medium (Email) (Bigger?)
[791] PMA185_070923_002.JPG Medium (Email) (Bigger?)	[792] PMA185_070923_004.JPG Medium (Email) (Bigger?)	[793] PMA185_070923_007.JPG Medium (Email) (Bigger?)	[794] PMA185_070923_010.JPG Medium (Email) (Bigger?)	[795] PMA185_070923_013.JPG Medium (Email) (Bigger?)	[796] PMA185_070923_019.JPG Medium (Email) (Bigger?)	[797] PMA185_070923_023.JPG Medium (Email) (Bigger?)	[798] PMA185_070923_029.JPG Medium (Email) (Bigger?)	[799] PMA185_070923_032.JPG Medium (Email) (Bigger?)	[800] PMA185_070923_036.JPG Medium (Email) (Bigger?)
[801] PMA185_070923_042.JPG Medium (Email) (Bigger?)	[802] PMA185_070923_044.JPG Medium (Email) (Bigger?)	[803] PMA185_070923_050.JPG Medium (Email) (Bigger?)	[804] PMA185_070923_051.JPG Medium (Email) (Bigger?)	[805] PMA185_070923_055.JPG Medium (Email) (Bigger?)	[806] PMA185_070923_069.JPG Medium (Email) (Bigger?)	[807] PMA185_070923_072.JPG Medium (Email) (Bigger?)	[808] PMA185_070923_075.JPG Medium (Email) (Bigger?)	[809] PMA185_070923_080.JPG Medium (Email) (Bigger?)	[810] PMA185_070923_084.JPG Medium (Email) (Bigger?)
[811] PMA185_070923_088.JPG Medium (Email) (Bigger?)	[812] PMA185_070923_091.JPG Medium (Email) (Bigger?)	[813] PMA185_070923_096.JPG Medium (Email) (Bigger?)	[814] PMA185_070923_107.JPG Medium (Email) (Bigger?)	[815] PMA185_070923_111.JPG Medium (Email) (Bigger?)	[816] PMA185_070923_116.JPG Medium (Email) (Bigger?)	[817] PMA185_070923_120.JPG Medium (Email) (Bigger?)	[818] PMA185_070923_128.JPG Medium (Email) (Bigger?)	[819] PMA185_070923_130.JPG Medium (Email) (Bigger?)	[820] PMA185_070923_133.JPG Medium (Email) (Bigger?)
[821] PMA185_070923_137.JPG Medium (Email) (Bigger?)	[822] PMA185_070923_139.JPG Medium (Email) (Bigger?)	[823] PMA185_070923_142.JPG Medium (Email) (Bigger?)	[824] PMA185_070923_146.JPG Medium (Email) (Bigger?)	[825] PMA185_070923_148.JPG Medium (Email) (Bigger?)	[826] PMA185_070923_153.JPG Medium (Email) (Bigger?)	[827] PMA185_070923_157.JPG Medium (Email) (Bigger?)	[828] PMA185_070923_159.JPG Medium (Email) (Bigger?)	[829] PMA185_070923_163.JPG Medium (Email) (Bigger?)	[830] PMA185_070923_166.JPG Medium (Email) (Bigger?)
[831] PMA185_070923_170.JPG Medium (Email) (Bigger?)	[832] PMA185_070923_174.JPG Medium (Email) (Bigger?)	[833] PMA185_070923_176.JPG Medium (Email) (Bigger?)	[834] PMA185_070923_179.JPG Medium (Email) (Bigger?)	[835] PMA185_070923_181.JPG Medium (Email) (Bigger?)	[836] PMA185_070923_184.JPG Medium (Email) (Bigger?)	[837] PMA185_070923_187.JPG Medium (Email) (Bigger?)	[838] PMA185_070923_192.JPG Medium (Email) (Bigger?)	[839] PMA185_070923_194.JPG Medium (Email) (Bigger?)	[840] PMA185_070923_199.JPG Medium (Email) (Bigger?)
[841] PMA185_070923_201.JPG Medium (Email) (Bigger?)	[842] PMA185_070923_206.JPG Medium (Email) (Bigger?)	[843] PMA185_070923_208.JPG Medium (Email) (Bigger?)	[844] PMA185_070923_216.JPG Medium (Email) (Bigger?)	[845] PMA185_070923_218.JPG Medium (Email) (Bigger?)	[846] PMA185_070923_222.JPG Medium (Email) (Bigger?)	[847] PMA185_070923_226.JPG Medium (Email) (Bigger?)	[848] PMA185_070923_229.JPG Medium (Email) (Bigger?)	[849] PMA185_070923_235.JPG Medium (Email) (Bigger?)	[850] PMA185_070923_237.JPG Medium (Email) (Bigger?)
[851] PMA185_070923_242.JPG Medium (Email) (Bigger?)	[852] PMA185_070923_244.JPG Medium (Email) (Bigger?)	[853] PMA185_070923_250.JPG Medium (Email) (Bigger?)	[854] PMA185_070923_253.JPG Medium (Email) (Bigger?)	[855] PMA185_070923_256.JPG Medium (Email) (Bigger?)	[856] PMA185_070923_259.JPG Medium (Email) (Bigger?)	[857] PMA185_070923_263.JPG Medium (Email) (Bigger?)	[858] PMA185_070923_266.JPG Medium (Email) (Bigger?)	[859] PMA185_070923_269.JPG Medium (Email) (Bigger?)	[860] PMA185_070923_272.JPG Medium (Email) (Bigger?)
[861] PMA185_070923_276.JPG Medium (Email) (Bigger?)	[862] PMA185_070923_279.JPG Medium (Email) (Bigger?)	[863] PMA185_070923_283.JPG Medium (Email) (Bigger?)	[864] PMA185_070923_290.JPG Medium (Email) (Bigger?)	[865] PMA185_070923_295.JPG Medium (Email) (Bigger?)	[866] PMA185_070923_300.JPG Medium (Email) (Bigger?)	[867] PMA185_070923_311.JPG Medium (Email) (Bigger?)	[868] PMA185_070923_314.JPG Medium (Email) (Bigger?)	[869] PMA185_070923_318.JPG Medium (Email) (Bigger?)	[870] PMA185_070923_320.JPG Medium (Email) (Bigger?)
[871] PMA185_070923_328.JPG Medium (Email) (Bigger?)	[872] PMA185_070923_329.JPG Medium (Email) (Bigger?)	[873] PMA185_070923_340.JPG Medium (Email) (Bigger?)	[874] PMA185_070923_343.JPG Medium (Email) (Bigger?)	[875] PMA185_070923_350.JPG Medium (Email) (Bigger?)	[876] PMA185_070923_354.JPG Medium (Email) (Bigger?)	[877] PMA185_070923_359.JPG Medium (Email) (Bigger?)	[878] PMAAA_070923_03.JPG Medium (Email) (Bigger?)	[879] PMAAA_070923_05.JPG Medium (Email) (Bigger?)	[880] PMAAA_070923_12.JPG Medium (Email) (Bigger?)
[881] PMAAA_070923_14.JPG Medium (Email) (Bigger?)	[882] PMAAA_070923_17.JPG Medium (Email) (Bigger?)	[883] PMAAA_070923_18.JPG Medium (Email) (Bigger?)	[884] PMAAA_070923_22.JPG Medium (Email) (Bigger?)	[885] PMAAA_070923_25.JPG Medium (Email) (Bigger?)	[886] PMAAA_070923_27.JPG Medium (Email) (Bigger?)	[887] PMAASI_070923_002.JPG Medium (Email) (Bigger?)	[888] PMAASI_070923_013.JPG Medium (Email) (Bigger?)	[889] PMAASI_070923_017.JPG Medium (Email) (Bigger?)	[890] PMAASI_070923_030.JPG Medium (Email) (Bigger?)
[891] PMAASI_070923_037.JPG Medium (Email) (Bigger?)	[892] PMAASI_070923_040.JPG Medium (Email) (Bigger?)	[893] PMAASI_070923_042.JPG Medium (Email) (Bigger?)	[894] PMAASI_070923_046.JPG Medium (Email) (Bigger?)	[895] PMAASI_070923_049.JPG Medium (Email) (Bigger?)	[896] PMAASI_070923_052.JPG Medium (Email) (Bigger?)	[897] PMAASI_070923_057.JPG Medium (Email) (Bigger?)	[898] PMAASI_070923_062.JPG Medium (Email) (Bigger?)	[899] PMAASI_070923_065.JPG Medium (Email) (Bigger?)	[900] PMAASI_070923_068.JPG Medium (Email) (Bigger?)
[901] PMAASI_070923_071.JPG Medium (Email) (Bigger?)	[902] PMAASI_070923_074.JPG Medium (Email) (Bigger?)	[903] PMAASI_070923_079.JPG Medium (Email) (Bigger?)	[904] PMAASI_070923_087.JPG Medium (Email) (Bigger?)	[905] PMAASI_070923_090.JPG Medium (Email) (Bigger?)	[906] PMAASI_070923_092.JPG Medium (Email) (Bigger?)	[907] PMAASI_070923_096.JPG Medium (Email) (Bigger?)	[908] PMAASI_070923_100.JPG Medium (Email) (Bigger?)	[909] PMAASI_070923_104.JPG Medium (Email) (Bigger?)	[910] PMAASI_070923_106.JPG Medium (Email) (Bigger?)
[911] PMAASI_070923_111.JPG Medium (Email) (Bigger?)	[912] PMAASI_070923_121.JPG Medium (Email) (Bigger?)	[913] PMAASI_070923_123.JPG Medium (Email) (Bigger?)	[914] PMAASI_070923_126.JPG Medium (Email) (Bigger?)	[915] PMAASI_070923_130.JPG Medium (Email) (Bigger?)	[916] PMAASI_070923_133.JPG Medium (Email) (Bigger?)	[917] PMAASI_070923_136.JPG Medium (Email) (Bigger?)	[918] PMAASI_070923_138.JPG Medium (Email) (Bigger?)	[919] PMAASI_070923_143.JPG Medium (Email) (Bigger?)	[920] PMAASI_070923_148.JPG Medium (Email) (Bigger?)
[921] PMAASI_070923_153.JPG Medium (Email) (Bigger?)	[922] PMAASI_070923_155.JPG Medium (Email) (Bigger?)	[923] PMAASI_070923_162.JPG Medium (Email) (Bigger?)	[924] PMAASI_070923_170.JPG Medium (Email) (Bigger?)	[925] PMAASI_070923_172.JPG Medium (Email) (Bigger?)	[926] PMAASI_070923_177.JPG Medium (Email) (Bigger?)	[927] PMAASI_070923_179.JPG Medium (Email) (Bigger?)	[928] PMAASI_070923_195.JPG Medium (Email) (Bigger?)	[929] PMAASI_070923_198.JPG Medium (Email) (Bigger?)	[930] PMAASI_070923_199.JPG Medium (Email) (Bigger?)
[931] PMAASI_070923_204.JPG Medium (Email) (Bigger?)	[932] PMAASI_070923_208.JPG Medium (Email) (Bigger?)	[933] PMAASI_070923_210.JPG Medium (Email) (Bigger?)	[934] PMAASI_070923_237.JPG Medium (Email) (Bigger?)	[935] PMAASI_070923_242.JPG Medium (Email) (Bigger?)	[936] PMAASI_070923_245.JPG Medium (Email) (Bigger?)	[937] PMAASI_070923_248.JPG Medium (Email) (Bigger?)	[938] PMAASI_070923_250.JPG Medium (Email) (Bigger?)	[939] PMAASI_070923_257.JPG Medium (Email) (Bigger?)	[940] PMAASI_070923_267.JPG Medium (Email) (Bigger?)
[941] PMAASI_070923_273.JPG Medium (Email) (Bigger?)	[942] PMAASI_070923_278.JPG Medium (Email) (Bigger?)	[943] PMAASI_070923_281.JPG Medium (Email) (Bigger?)	[944] PMAASI_070923_284.JPG Medium (Email) (Bigger?)	[945] PMAASI_070923_287.JPG Medium (Email) (Bigger?)	[946] PMACON_070923_02.JPG Medium (Email) (Bigger?)	[947] PMACON_070923_06.JPG Medium (Email) (Bigger?)	[948] PMACON_070923_07.JPG Medium (Email) (Bigger?)	[949] PMACON_070923_10.JPG Medium (Email) (Bigger?)	[950] PMACON_070923_15.JPG Medium (Email) (Bigger?)
[951] PMACON_070923_18.JPG Medium (Email) (Bigger?)	[952] PMACON_070923_21.JPG Medium (Email) (Bigger?)	[953] PMACON_070923_24.JPG Medium (Email) (Bigger?)	[954] PMACON_070923_27.JPG Medium (Email) (Bigger?)	[955] PMACON_070923_30.JPG Medium (Email) (Bigger?)	[956] PMACON_070923_34.JPG Medium (Email) (Bigger?)	[957] PMACON_070923_37.JPG Medium (Email) (Bigger?)	[958] PMACON_070923_39.JPG Medium (Email) (Bigger?)	[959] PMACON_070923_43.JPG Medium (Email) (Bigger?)	[960] PMACON_070923_46.JPG Medium (Email) (Bigger?)
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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. PMA110_100711_001.JPG: The following pictures are from the page 2010_PA_PMA_Eur1100 PA -- Philadelphia Museum of Art -- European Art 1100-1500 (163 photos from 2010)
  "Admiral" Heraldic Carpet c. 1429-73 Shortly after the Moors of North Africa introduced the art of making twisted-pile carpets into Spain, the weaving of this armorial carpet was undertaken. It was probably made for the founder of the royal house of Castile, Fadrique Enriquez, who held the titles of Lord of Medina and Admiral of Castile and was the grandfather of King Ferdinand of Spain. His coat of arms, -- an upright lion beneath two triple-towered castles bordered by anchors and ropes -- is repeated three times in the center field. A decorative pattern in the main border at each end, formed by the Arabic inscription La ilah ill Allah (There is no God but Allah), indicates its Moorish workmanship.
2. PMA110_100711_011.JPG: Tree Carpet 16th and 17th century This carpet is one of the best known and most highly respected examples of the classic era of Persian carpet weaving (the sixteenth and seventeenth centuries). The six column-like cypress trees in varied blue-green shades form a striking symmetrical arrangement. Originally, the carpet was almost forty feet long, twice as long as it now appears. A reconstruction of the complete carpet appears at right. The dark areas indicate the pieces that make up the Museum's fragment.
3. PMA110_100711_032.JPG: Quatrefoil Rug 17th century The design on this carpet is the only known complete example of alternating large quartrefoil medallions and smaller diamonds.
4. PMA110_100711_048.JPG: The Crucifixion, with the Mourning Virgin and Saint John the Evangelist c. 1460 Rogier van der Weyden
5. PMA110_100711_065.JPG: Dragon Rug 17th to 18th century Three pairs of stylized, black-brown dragons are the focus of this bold and striking carpet. The dragon motif originated in China and became widely known from Persian miniature paintings.
6. PMA110_100711_080.JPG: Cradle c. 1750 Upon the birth of an Ottoman prince or princess, a cradle such as this would have been among the gifts carried into the palace in an elaborate procession.
7. PMA110_100711_089.JPG: Illuminated Qur'an Late 18th to early 19th century
8. PMA110_100711_123.JPG: The Mass of Saint Gregory c. 1490 Attributed to Diego de la Cruz A subject popular in Spanish Renaissance painting is this miraculous Mass celebrated by Pope Gregory the Great (died 604), during which a vision of the dead Christ and the symbols of his suffering and death appeared.
9. PMA110_100711_126.JPG: Mamluk Rug 1500-1550 Mamluk carpets are characterized by a central, dominant octagonal medallion surrounded by a great variety of smaller, geometric motifs. They take their name from the Mamluk dynasties that ruled Egypt from 1250 through 1517. Carpets of this design were produced in Cairo, largely for the southern European luxury trade.
10. PMA110_100711_139.JPG: Wing from an altarpiece showing the Adoration of the Magi c. 1504 Attributed to the Master of the Morrison Triptych This large Adoration of the Magi by the Master of the Morrison Triptych was likely completed around 1504, judging from the progress shown by the artist of the construction of the Antwerp Cathedral tower, seen in the background. This scene was probably painted to be the wing of an altarpiece. The original frame is lost but evidence suggested that it included a central element dividing the composition, as seen here.
11. PMA110_100711_155.JPG: Panel from an altarpiece showing the Miracle of Castel Sant'Angelo c. 1500 Artist unknown In an effort to save Rome from a terrible plague, Pope Gregory the Great (died 604) led a procession around the ancient tomb of the Roman emperor Hadrian, which was a large fortress on the Tiber River. The pope carried an image of the Virgin Mary. Saint Michael Archangel appeared miraculously on the battlements and halted the spread of the plague. The fortress, which can be visited today in the center of Rome, was renamed Castel Sant'Angelo after the archangel.
12. PMA110_100711_177.JPG: Reliquary Bust of Saint Benedict of Nursia Late 15th century Artist unknown This bust can be identified as the Abbot Saint Benedict of Nursia (died 547) by the portrait of his sister, Saint Scholastica (died 543), on the back of his cope. A reliquary, it would have contained a piece of the saint's remains. Although the sculptor is unknown, the painting is by the Florentine artist Biagio d'Antonio (documented 1476-1504).
13. PMA110_100711_225.JPG: Altarpiece showing the Virgin and Child, with Saints Apollonia and Sebastian 1490s David Ghirlandaio This is a typical Renaissance altarpiece in which saints and the Virgin and Child appear in a unified space. In Italian, this type of arrangement is called the sacra conversazione (sacred conversation). The painter, David Ghirlandaio, worked in a family enterprise headed by his more famous brother Domenico.
14. PMA110_100711_264.JPG: Panels from an altarpiece showing Saints Paul and Peter, and Saints John the Evangelist (?) and Martin of Tours c. 1427-28 Begun by Masaccio Completed by Masolino These pictures come from a two-sided altarpiece once in the basilica of Santa Maria Maggiore in Rome. It is generally thought that the great Renaissance master Masaccio designed and began painting these panels before he died at age 27. Masolino, with whom Masaccio had collaborated before, finished his colleague's work.
15. PMA110_100711_276.JPG: Processional banner showing Christ Healing a Lunatic and Judas Receiving Thirty Pieces of Silver c. 1425-26 Francesco d'Antonio Early sources suggest that the great Renaissance painter Masaccio worked out the sophisticated perspective of the temple. The design is based, in part, on the plan for the dome of the cathedral of Santa Maria del Fiore in Florence. The haloes of Christ and the apostles contain an emblem with the Greek letters for Christ's name, a symbol Bernardino of Siena promoted for religious devotion. He preached sermons in Florence in 1425 and 1426, and this lightweight canvas banner may relate to that visit.
16. PMA110_100711_301.JPG: Predella panel showing the Funeral of the Virgin and the Virgin Being Received by Christ in Heaven c. 1425 Fra Angelico Mary appears infrequently in the Bible, although later Christian writers set down many details of her life and death. In this painting of her funeral, John the Evangelist (on the right) holds the golden palm that an angel brought to Mary to announce her coming death.
17. PMA110_100711_310.JPG: Predella showing scenes from the Legend of Mary Magdalene; Listening to Christ Preach; Feast in the House of Simon; Appearance of Christ to Mary Magdelene; Mary Magdalene Ascending to Heaven, and Her Last Communion c. 1484-91 Sandro Botticelli These four separate panels were originally painted on one continuous plank of wood, which formed the predella, or base, of an altarpiece. Botticelli carefully developed the perspective of the architecture and landscape and included painted frames resembling windows around each scene. When the altarpiece was disassembled in the 1800s, the plank was sawed into the four units you see here.
18. PMA110_100711_386.JPG: Panels from a small altarpiece showing Saints Peter and John the Baptist c. 1474 Cosimo Tura Tura was the principal painter of the court of the ruling Este family in Ferrara. He undoubtedly met the Netherlandish master Rogier van der Weyden in Ferrara in 1450. The detailed drawings that Tura used in the preparation of this panel and its companions indicate that he may have learned Netherlandish drawing techniques from Van der Weyden.
19. PMA110_100711_400.JPG: Pinnacle from an altarpiece showing the Dead Christ Supported by Two Angels c. 1472 Carlo Crivelli Carlo Crivelli's style is marked by fine craftsmanship and delicate brushwork, combined with a strange, caricatured realism. Here, the detailed depiction of Christ's wounds and his graying skin, along with the angels' tears and anguished expressions, accentuate the horror and sorrow of Christ's suffering and death. This painting was made to be the pinnacle, or crowning element, of an altarpiece.
20. PMA110_100711_414.JPG: Panels from an altarpiece showing the Virgin and Child, with Saints Bonaventure, John the Baptist, Louis of Toulouse, and Francis of Assisi 1481 Vittore Crivelli These are the principal panels of a large altarpiece made for the Euffreducci family's chapel in the church of San Francesco in Fermo, Italy. Originally the altarpiece consisted of several tiers that were placed in a single frame. The present three frames date to the late 1800s. The artist Vittore Crivelli is thought to be the brother of the more famous Carlo Crivelli.
21. PMA110_100711_492.JPG: Panel from an altarpiece showing Saint Nicholas of Tolentino Saving a Shipwreck 1457 Giovanni di Paolo This painting portrays a miraculous salvation of a ship as recorded by the survivors. The artist knew of this written testimony, which described the brackish, dark green water, the hill-like waves, and the flash of light around Nicholas of Tolentino (died 1306). The sea monster at the bottom supposedly caused the storm.
22. PMA110_100711_510.JPG: Panel from an altarpiece showing Saint Cecilia of Rome and Her Husband, Valerian, Being Crowned by an Angel c. 1375-80 Master of the Pesaro Crucifix An angel crowns Cecilia and Valerianus in their bedroom after Velarianus has converted to Christianity and agreed to respect Cecilia's youthful vow of chastity. Although the story took place in ancient Rome, this artist set the scene in a typical fourteenth-century building of his native Venice. Elements of a room from a Venetian palace of similar date are on display in gallery 208.
23. PMA110_100711_530.JPG: Panel from an altarpiece showing Saint Cecilia of Rome and Her Husband, Valerian, Being Crowned by an Angel c. 1375-80 Master of the Pesaro Crucifix An angel crowns Cecilia and Valerianus in their bedroom after Velerianus has converted to Christianity and agreed to respect Cecilia's youthful vow of chastity. Although the story took place in ancient Rome, this artist set the scene in a typical fourteenth-century building of his native Venice. Elements of a room from a Venetian palace of similar date are on display in gallery 208.
24. PMA110_100711_665.JPG: Fountain 1125-50 The imposing Romanesque fountain in the center of this gallery is ornamented with a continuous arcade that mirrors the architectural forms used in cloisters. The rare print shows the fountain as it appeared around 1800, when it stood in the large cloister of the Abbey of Saint-Michel-de-Cuxa in southwestern France. Architectural elements from this cloister were acquired by the Metropolitan Museum of Art in the 1920s and are now in The Cloisters in Fort Tryon Park in New York City. Romanseque Cloister The cloisters, an arcaded walkway surrounding an open courtyard, stood at the heart of the medieval abbey or monastery. This example is based on and includes elements from the cloister at the Abbey of Saint-Genis-des-Fontaines in the Roussillon, a mountainous region in southwestern France fought over by Christians and Muslims for centuries. One door of the cloister opened into the abbey's dining hall; another led to the chapter house, where the abbey was administered; and a third was connected to the church. Only members of the abbey were allowed to enter the cloister, which served varied and carefully regulated functions. The covered walkway was used according to a schedule that included processions, communal readings, religious services, and private prayer. In the center of the cloister, there were often a garden and, as here, a fountain, the latter used for washing clothes, bathing, and shaving. This impressive fountain comes from a cloister at the large monastery of Saint-Michel-de-Cuxa, not far from Saint-Genis.
25. PMA110_100711_754.JPG: Saint Francis of Assisi Receiving the Stigmata 1430-32 Attributed to Jan van Eyck
26. PMA110_100711_800.JPG: Enthroned Virgin and Child, with Angels c. 1490-95 Gerard David Jan van Eyck, founded the Bruges school of painting, of which Gerard David was the last major figure. Although David worked on a much larger scale than Van Eyck (whose Saint Francis of Assisi Receiving the Stigmata is also on view in this gallery), he too was known for the acute observation of details of the natural world and their rendition in glowing, enamel-like oils.
27. PMA110_100711_812.JPG: Lamentation c. 1515-20 Gerard David The Virgin, John the Evangelist, and Mary Magdalene here mourn over the body of Christ on the hilltop of Golgotha. The city of Jerusalem is depicted in the left background, although the landscape shows the fertile green hills and valleys of the Low Countries. This subject was extremely popular among artists in Bruges, and several versions of its exist by David and others.
28. PMA110_100711_824.JPG: Christ and the Virgin c. 1430-35 Robert Campin, also called the Master of Flemalle The gold background of this painting sets the scene in the timeless, eternal space of heaven. The close relationship between the two figures suggests that the Virgin is interceding with her son Christ on behalf of humankind.
29. PMA185_100711_0002.JPG: The following pictures are from the page 2010_PA_PMA_Eur1850 PA -- Philadelphia Museum of Art -- European Art 1850-1900 (233 photos from 2010)
30. PMA185_100711_0041.JPG: Prometheus Vase Designed 1867 Designed by Victor Etienne Simyan Made by Mintons, Ltd. Decoration designed by Silac Rice
31. PMA185_100711_0107.JPG: Bird's-Nesters 1874 Jean-Francois Millet Known for his realistic portrayals of French peasants, Millet produced this painting at the very end of his life. He based the scene on stories from his childhood that told of great flights of wild pigeons. When the birds settled in trees at night, the peasants blinded them with light from torches and then clubbed hundreds to death.
32. PMA185_100711_0137.JPG: Waves 1869 Gustave Courbet
33. PMA185_100711_0147.JPG: The Crucifixion 1880 Thomas Eakins This painting of the Crucifixion, Eakins's only religious work, demonstrates the artist's interest in rendering the human body realistically. Jesus' sagging torso, bent knees, stretched arms, and clenched hands all suggest an actual male body hanging from a cross in the agony of his last moments. To understand the human anatomy i this position, Eakins strapped a model, one of his students, to a cross. Eakins spent most of his life in Philadelphia, but trained in a Paris studio where the study of the nude was considered an essential basis for painting. Additional paintings by Eakins are on view in the galleries of American art.
34. PMA185_100711_0165.JPG: Peace 1867 Pierre Puvis de Chavannes This painting is one of a series of four, each representing an aspect of the human condition: Peace, War, Work, and Rest. Here, the state of Peace is shown as an idyllic landscape populated by nude and seminude figures at rest and at play, surrounded by abundant resources. One of the companion canvases, War, hangs at right. This work is reduced version of an allegorical painting that Puvis executed in 1861 for the monumental staircase of the Musee de Picardie in Amiens, France.
35. PMA185_100711_0180.JPG: War 1867 Pierre Puvis de Chavannes This painting is one of a series of four, each representing an aspect of the human condition: Peace, War, Work, and Rest. Here, the state of War is shown as a dark, barren landscape where impoverished and starving people mourn their dead, raising their sorrowing eyes to the skies. One of the companion canvases, Peace, hangs at left. This work is a reduced version of an allegorical painting that Puvis executed in 1861 for the monumental staircase of the Musee de Picardie in Amiens, France.
36. PMA185_100711_0212.JPG: The Thinker Conceived 1880; cast by 1926 Auguste Rodin Rodin originally conceived this figure in 1880 for his monumental work The Gates of Hell. Only in 1889 did he exhibit it as an independent sculpture, entitled The Thinker; The Poet, fragment of a door. Casts of both The Gates and The Thinker in monumental scale can be seen at the Rodin Museum on the Benjamin Franklin Parkway.
37. PMA185_100711_0220.JPG: The Moorish Chief (also called The Harem Guard) 1878 Eduard Chalemont Standing in front of an arch that closely resembled the architecture of the Alhambra in Spain, the Moorish chief exudes power and mystery. This painting was probably shown at the Paris Salon exhibition of 1878 with the title Le Gardien du serail (The Harem Guard). Charlemont was a Viennese artist known primarily for his nudes and portraits. While this subject was unusual for him, it was very popular in Europe at the time.
38. PMA185_100711_0229.JPG: Highway of Combes-la-Ville 1873 Giovanni Boldini
39. PMA185_100711_0244.JPG: In The Luxembourg Gardens 1879 John Singer Sargent
40. PMA185_100711_0268.JPG: The Source of Life 1890 Leon Frederic In the 1890s the Belgian Symbolist artist Leon Frederic created monumental paintings that explored the cycle of life. In this mystical work, a group of energetic, jostling children spill out of an unblemished mountain landscape. Inspired by Beethoven's Pastoral Symphony (No. 6) and its celebration of country life and the beauty of nature, Frederic created a scene that suggests that the children represent a new world emerging from a fertile, life-giving stream. The painting is related to an important triptych by Frederic that was exhibited at the Paris Exposition Universelle in 1900 and is now in the Royal Museums of Fine Arts in Brussels.
41. PMA185_100711_0288.JPG: Faust and Marguerite 1856 Hendrik Jan August Leys This painting shows a moment in Goethe's dramatic poem Faust when Faust, standing with the demonic Mephisopheles behind an iron screen, first spies the chaste Marguerite emerging from a church. Faust demands that Mephistopheles secure Marguerite's love for him. Leys had followed Goethe's description in his depiction of Marguerite as a young woman of modest of lower social standing with red lips, glowing cheeks, and downcast eyes. Like many nineteenth-century artists, Leys was interested in the Middle Ages. here he dresses the characters in medieval costume and sets the scene at a medieval cathedral in Antwerp, Belgium.
42. PMA185_100711_0307.JPG: A Reading from Homer 1885 Sir Lawrence Alma-Tadema Here, a young poet crowned with a laurel wreath reads from Homer to an audience dressed for a festival. The setting is probably Greece toward the end of the seventh century BCE. The Greek letters in the upper right indicate that the place is dedicated to the poet. Through attention to details such as architecture and dress, Alma-Tadema evokes scenes of everyday life in ancient Greece and Rome. However, his pictures are rarely entirely archaeologically correct. For example, while he accurately rendered the ancient musical instrument on the left, a cithara, he also included a type of rose that did not exist before the nineteenth century.
43. PMA185_100711_0321.JPG: Thought Conceived 1895; carved 1901 Auguste Rodin Rodin used the sculptor Camille Claudel, his student and lover, as the model for this personification of thought.
44. PMA185_100711_0363.JPG: At the Moulin Rogue: The dance 1890 Henri de Toulouse-Lautrec Toulouse-Lautrec 's pencil inscription on the back of this canvas identifies the subject as Valetin le Desosse, a well-known cabaret performer called the Boneless Man, shown rehearsing a new dancer at the Moulin Rouge nightclub in Paris. At the same time, early arrivals began to pour into the popular club, looking forward to the evening's entertainment. After it was first exhibited in 1890, the painting was acquired by owners of the Moulin Rouge, where it hung over the bar for several years.
45. PMA185_100711_0388.JPG: Mermaid 1896 Edvard Munch Edward Munch painted Mermaid during an extended stay in Paris in 1896-97, upon receiving a commission for a large-scale decorative work from Axel Heiberg, a Norwegian industrialist. This striking image of a mermaid in the process of transforming into a world reflects the artist's interest in Symbolism (an artistic and literary movement aimed at eliciting emotional responses from the viewer or reader) and in the themes of metamorphosis, desire, and anxiety. Munch devised the picture's unique trapezoidal format in response to Heiberg's intention to hang the mural just below the sloping rafters of a stair hall in his home in Lysaker, New Jersey.
46. PMA185_100711_0422.JPG: The Large Bathers 1884-87 Pierre-Auguste Renoir Although this painting depicts a fleeting moment when one bather playfully threatens to splash a companion, it has a timeless, monumental quality. The sculptural rendering of the figures against a shimmering landscape and the careful application of dry paint reflect the tradition of seventeenth- and eighteenth-century French painting. Renoir -- in an attempt to reconcile this tradition with modern painting -- labored over this work for three years, making numerous preparatory drawings for individual figures and at least two full-scale, multifigure drawings. Faced with criticism of his new style after completing The Large Bathers, an exhausted Renoir never again devoted such painstaking effort to a single work.
47. PMA185_100711_0463.JPG: Portrait of Alexander J. Cassatt and His Son, Robert Kelso Cassatt 1884 Mary Cassatt Cassatt's brother and nephew posed for this double portrait during a visit to the artist in Paris. She not only painted several portraits of her brother, a prominent Philadelphia businessmen, but also advised his art collecting. As a result, he was one of the first in Philadelphia to own works by the French Impressionists.
48. PMA185_100711_0482.JPG: Head of a Woman 1901 Pablo Picasso
49. PMA185_100711_0498.JPG: Course de taureaux (Bullfight Ring) 1901 Pablo Picasso
50. PMA185_100711_0508.JPG: Chrysanthemums 1901 Pablo Picasso
51. PMA185_100711_0523.JPG: Fair on a Sunny Afternoon, Dieppe 1901 Camille Pissarro
52. PMA185_100711_0530.JPG: Winter Landscape, Giverny 1894 Paul Cezanne
53. PMA185_100711_0536.JPG: The Large Bathers 1906 Paul Cezanne
54. PMA185_100711_0549.JPG: Portrait of Madame Augustine Roulin and Baby Marcelle 1888 or 1889 Vincent Van Gogh While living in Arles, France, Vincent van Gogh created portraits of the family of his friend Joseph Roulin, a local postmaster, including this painting of Roulin's wife and infant daughter. A portrait of the family's young son, Camille, is also owned by the Museum, and a portrait of Joseph Roulin himself is in the Barnes Foundation in Merion, Pennsylvania.
55. PMA185_100711_0628.JPG: Le Bon Bock 1873 Edouard Monet Bock is a dark, rich beer made in the spring. This vivid depiction of a drinker recalls the animated portraits by seventeenth-century Dutch masters like Frans Hals that Manet greatly admired.
56. PMA185_100711_0640.JPG: Sunflowers 1888 or 1889 Vincent van Gogh
57. PMA185_100711_0647.JPG: Still Life with a Dessert 1877 or 1879 Paul Cezanne
58. PMA185_100711_0696.JPG: Fireplace Designed c. 1895 Designed by Hector Guimard Made by the firm of Alexandre Bigot
59. PMA185_100711_0746.JPG: Rain 1889 Vincent van Gogh Van Gogh painted a series of canvases of this wheat field, which he viewed from his window at the asylum in Saint-Remy, France.
60. PMA185_100711_0770.JPG: Interior of a Cafe 1892 Santiago Rusinol The artist and writer Rusinol was one of the founders of the turn-of-the-century Spanish "Modernista" movement. He and his colleagues, including the young Pablo Picasso, regularly met for lively discussions in a small Barcelona cafe. The figures populating the cafe in this painting, however, appear silent, solitary, and preoccupied with their own thoughts. The dull colors and enclosed space reinforce a sense of isolation.
61. PMA185_100711_0785.JPG: The Four Seasons 1893 (Spring) 1894 (Summer, Autumn, Winter) Leon Frederic From left to right, the paintings show Spring, Summer, Autumn and Winter.
62. PMA185_100711_0819.JPG: Portrait Bust of Baron Oscar de Mesnil 1885 Vincenzo Gemito
63. PMA185_100711_0861.JPG: Il Saltimbanco 1879 Antonio Mancini Saltimbanco is the Italian word for a street artist, but the performer in this portrait is a young boy in costume surrounded by a trumpet, drum, fanciful hats, and other stage props. His innocence and the elegant setting belie the title and reveal its play on words.
64. PMA185_100711_0885.JPG: Poplars 1891 Claude Monet
65. PMA185_100711_0944.JPG: Little Dancer, Aged Fourteen Executed in wax 1878-81; cast in bronze after 1922 Edgar Degas Degas depicted young ballet dancers -- in performances, at rehearsals, or at moments of exhausted rest -- in numerous paintings, drawings, pastels, and monotypes. In 1878, he added sculpture to his investigation of the theme. A young dancer named Marie van Goethem posed for what would be the only sculpture that Degas exhibited in his lifetime. Originally executed in wax and shown in 1881, the work daringly incorporated real elements such as the dancer's tulle tutu and silk hair ribbon. The sculpture was cast in bronze around 1922, several years after Degas's death.
66. PMA185_100711_0975.JPG: Railroad Bridge, Argenteuil 1874 Claude Monet In the 1860s and 1870s Monet, like his Impressionist colleagues, often depicted industrial France. Here, a train crosses a newly constructed iron bridge on the outskirts of Paris. In his later landscape paintings such evidence of the modern world is almost completely omitted.
67. PMA185_100711_1009.JPG: Secretaire Cabinet c. 1889 Designed by George Washington Jack Made by Morris and Company Morris and Company was founded in 1861 to produce furniture that was simple and honest in its material and construction. By 1885, the firm was also producing richly inlaid cabinets such as this example in the fashionable neo-Georgian style.
68. PMA185_100711_1077.JPG: A Woman and a Girl Driving 1881 Mary Cassatt This painting shows Lydia Gassatt, the artist's sister, on a carriage drive with a young niece of the artist Edgar Degas, accompanied by a groom. Mary Cassatt purchased the horse and carriage in 1879 for her country estate near Paris, and the painting dates from a subsequent visit by her family from Philadelphia.
69. PMA185_100711_1108.JPG: Centerpiece 1860 Designed by Jean-Jacques Feuchere Made by PH-Emile Froment-Meurice This centerpiece -- part of an elaborate silver table service that included candelabra, footed dishes, salt cellars, and platters -- was made for a Spanish nobleman, the sixteenth duke of Medinaceli. It is adorned with aquatic images, including Neptune and Venus, taken from Italian Renaissance sources.
70. PMA185_100711_1140.JPG: Jewelry Cabinet 1867 Probably designed by E Brandely Made by Charles-Guillaume Diehl This jewelry cabinet in the Greek style was considered a masterpiece of the Paris Exposition Universelle of 1867. An elaborate showpiece of marquetry, gilded elements, and clever construction, the cabinet includes a hidden release mechanism by which the door and top open. Inside are drawers for storage and a flat, slanted platform for display. In 1868, one critic described the decoration of the cabinet's surface as its "exterior jewelry," comparable to the elaborate jewels it was made to conceal and protect.
71. PMA185_100711_1190.JPG: Developed to imitate cameos, pate-sur-pate is a technique of building layers of liquid slip into an image in relief. The Parian ware seen here is a type of white porcelain well suited to pate-sur-pate decoration. The pate-sur-pate technique was developed at the French porcelain manufacturer Sevres in 1849. Marc-Louis-Emmanuel Solon, its most famous practitioner, worked at Sevres until 1870 and then at Mintons, Ltd., England. Most of Solon's classically inspired pate-sur-pate designs for Mintons were used only once to create unique objects. Solon's son, Leon-Victor Solon, painted the polychrome sculptural decorations that adorn the exterior of this Museum.
72. PMA185_100711_1200.JPG: The Thorny Path 1873 Thomas Couture The Thorny Path is Couture's satire of decadent French society. A courtesan drives a carriage pulled not by animals but by four male captives who represent different ages and states of society. The naked old man leading the procession is flabby from indulgence; the troubadour following him, a symbol of young love, parodies the medieval ballads popular in nineteenth-century France. The old soldier bends his head in self-reproach, and a young student writes as he walks, symbolizing the educated nobility's ignorance of the realities of daily life. The thistles and thorny plants along the road suggest the painfulness of their journey. The decrepit figure seated at the rear of the carriage with a bottle of wine in her basket foreshadows the courtesan's future. Finally, Couture signed his initials on the stone figure at center, which seems to be laughing at the entourage.
73. PMA185_100711_1210.JPG: Princess Mathilde 1862 Jean-Baptiste Carpeaux A cousin and close friend of the French Emperor Napoleon III, Princess Mathilde was one of the liveliest figures of the Paris cultural and social scene. Her haughty gaze evokes the grand manner of French aristocratic portraiture of previous centuries.
74. PMA185_100711_1219.JPG: Horses at a Fountain 1862 Eugene Delacroix
75. PMAASI_100711_002.JPG: The following pictures are from the page 2010_PA_PMA_Asia PA -- Philadelphia Museum of Art -- Asia (98 photos from 2010)
  Sasanian Hall for Damghan, Persia: In 1931, this Museum and The University Museum of the University of Pennsylvania cosponsored an archaeological expedition to the site of Damghan in Persia (present-day Iran). The excavations brought to light a right deposit of structural remains built during the Sasanian dynasty (226-641 CE). Among the structures uncovered was a hypostyle hall that led to a reception room. Using evidence from known Sasanian structures in other parts of Iran, the portal of this hall, with its great cylindrical columns and the arches they support, was re-erected here to serve as the monumental entrance to the Museum's collections of Asian art. Where decorative stucco elements were missing, reproductions were made from those salvaged. All of the stucco plaques seen here are characteristic of Sasanian decoration. Some show boars' heads in circles of dots; others, female heads in high relief; while others contain conventionalized leaf-floral squares. The drinking-stag plaques are unusual, however, as are the larger lions' heads in the round. The diamond-and-palmette pattern of the great column bases has been similarly used in other parts of Persia, while the treatment of the column capitals and the rope-leaf borders of the arches are wholly Sasanian in character. This portal was initially dated 241-272 CE, but later researches have led scholars to consider it mid-sixth century.
76. PMAASI_100711_036.JPG: Safavid Court from Isfahan, Persia: The striking series of Persian mosaics on view in this gallery were created during the Safavid dynasty (1501-1736). They are said to have come from the Sufi Muslim monastery that was located in the city of Isfahan, then the capital city of Persia (present-day Iran). The panels, with their alternating palmette and star motifs, are composed of myriad pieces of ceramic tile in which mirror-black, mingled with various shades of faun and umber, predominates. They are set into backgrounds of brilliant turquoise, a color for which sixteenth-century Persian tilemakers were renowned.
77. PMAASI_100711_047.JPG: Two Stamps (Chhapa) in the Form of Vishnu's Footprints (Vishnupada) Late 19th or early 20th century As part of their religious practice, devotees of Gaudiya Vaishnavism sometimes adorn themselves with auspicious marks using metal stamps (chhapa) coated with a paste made form sandalwood and water. These two stamps, both in the form of Vishnu's footprints, bear images of sacred symbols associated with the god, such as a conch shell, the disc (a solar weapon), the fish, and the lotus.
78. PMAASI_100711_125.JPG: Nandi, the God Shiva's Bull c. 1200-1250 Nandi (which means rejoicing) is the name of the god Shiva's sacred bull, and is both the vehicle of the god and his complementary image. In every sense, the virile bull "conveys" Shiva, the great ascetic whose power emerges as contained sexual energy. An image of Nandi sits in the hall or porch of temples dedicated to Shiva, facing into the sanctum as the primary devotee. This exquisite sculpture comes from a temple patronized by the Hoyshala dynasty, who ruled around the area of modern Mysore in the southern state of Karnataka during the twelfth to fourteenth centuries.
79. PMAASI_100711_208.JPG: The God Vishnu Lying on the Endless Serpent (Vishnu Anantashayana) c. 17th century This architectural relief from a wooden temple depicts the myth of Vishnu Anantashayana. It is one of the most powerful representations of the cyclical nature of reality, an idea that is fundamental to the indigenous religious traditions of India. The god Vishnu lies dreaming on the undefined ocean of existence, supported by the great snake named Ananta (which means endless). From Vishnu's navel grows a lotus, which opens to reveal the multiheaded god Brahma, who in turn creates the world as we know it. That world proceeds through its preordained stages until Vishnu's dream ends, only to begin again in his next dream, continuing forever in endless cycles. Along the bottom of the relief appear small representations of Vishnu's avatars (earthly incarnations).
80. PMAASI_100711_229.JPG: Jina Seated in Meditation c. 11th century This sculpture depicts one of the jinas, the Jain savior-saints who are perfected beings and enlightened teachers. It is possible that this image represents the jinu Mahavira, the last of the twenty-four junus and the historical founder of Jainism. Jainism is an ethical philosophy that arose around the same time as Buddhism (the sixth century BC) that focuses on the practices of nonviolence an renunciation to reach release from the cycles of rebirth. Seated in a pose of meditation, the monumental simplicity of this image epitomizes the abstract conception of these beings who no longer have bodies -- their sculpted forms are not manifestations of divinity but reminders of perfection attained. The sculpture bears a close resemblance to Jain bronzes from the site of Singanaikuppam if the South Arcot district of Tamil Nadu.
81. PMAASI_100711_256.JPG: Head of a Bodhisattva c. late 2nd to early 3rd century Well before 326BC, when Alexander the Great's Greek army conquered areas north and west of India (parts of Pakistan and Afghanistan), cultural and commercial ties had been established between the Gandhara region of Pakistan-Afghanistan and the ancient Mediterranean world. Communication between these areas flourished throughout the following millennium. This Buddhist sculpture of the Gandhara region shows Greco-Roman influence in a number of characteristics, including the facial features, heavy naturalistic drapery, and ornaments. The hair of the image finds its prototype in a Greco-Roman image of the god Apollo, the so-called Apollo Belvedere-type. This head probably belonged to an over-life-sized standing or seated figure of a Bodhisattva (one who has reached perfection but postpones his own liberation to help others).
82. PMAASI_100711_289.JPG: Ekamukha Shiva Linga (One-Faced Mark of the God Shiva) c. 1st century The linga (literally "mark") indicates the presence of the god Shiva. It is both an abstract column, representing the axis of the world, and Shiva's erect phallus, embodying the god's potency, which is built up by his ascetic discipline that holds his sexual energy at the moment before release. A linga may be sculpted from a variety of materials or be discovered occurring naturally, as in the form of an oval stone. In this early period, before the development of standing stone temples, the linga often appears to have been worshiped outdoors, set within railings on a raised platform under trees. The combination of pillar and emerging face expresses the process of the god's manifestation from invisible to visible, from abstract to human form, so that his devotees may comprehend his magnitude.
83. PMAASI_100711_315.JPG: Avolokiteshvara, Bodhisattva of Compassion c. third quarter of 5th century Avolokiteshvara (the lord who looks down upon the worlds) is believed to see the needs of every living creature and is therefore known as the Bodhisattva of Compassion. Avalokiteshvara can be distinguished by the tiny meditating figure, Amitabha, seated in his hair. Amitabha (which means infinite light) is the highest Buddha and the spiritual father of Avalokiteshvara. The missing left hand was probably raised to hold the stem of the lotus blossom in front of the halo. The facial features (the finely curved brows in a double bow shape, heavily lidded eyes, and small, full lips); the elegant and subtly molded body; and the almost invisible drapery are characteristic of fifth-century sculpture from the Sarnath area created under the rule of the Gupta dynasty (c. 4th to 6th century). The Sarnath Gupta Bodhisattva and Buddha types greatly influenced later Buddhist images across Asia.
84. PMAASI_100711_344.JPG: The Goddess Varahi c. late 5th to early 6th century Varahi is one of a group of seven mother goddesses (saptamatrikas) with benevolent and malevolent powers. There are several possible origins for this set of goddesses, one being that it may have developed from cult images such as the female squatting figures on the opposite wall. The saptamatrikas are also personifications of the energies of the male gods. Varahi is the female counterpart of Varaha, the boar incarnation of the god Vishnu. She is therefore depicted with the head of a wild pig, here modified by a woman's long hair. In addition, the saptamatrikas are considered to be aspects of Durga, the goddess who was created from the collective energies of the gods. Consequently, Varahi is shown accompanied by the buffalo demon whom Durga destroyed.
85. PMAASI_100711_359.JPG: Surya, the Sun God c. 12th century The solar deity Surya probably originated in Iran and was later assimilated into the Hindu pantheon. Consequently, he is depicted as a Central Asian warrior with boots, breastplate, and dagger. The god stands in a chariot pulled by seven horses. In each hand he holds fully opened lotus blossoms, flowers that bloom in the light of the sun. Surya is flanked by his two wives and by the male attendants Pingala (with pen and inkpot) and Dandin (with sword and shield). Above him Ushas, goddess of the Dawn, precedes the sun on his daily ride across the sky while. to either side of her, female archers dispel darkness with their arrows. This image, along with several others, was recovered in 1893 from Sagar Island, West Bengal, although the location of the workshop where it was made remains unidentified.
86. PMAASI_100711_400.JPG: Erotic Couple (Mithuna) c. 13th century The mithuna, an image of an erotically involved couple not actively engaged in sexual intercourse, is an auspicious motif because of its associations with agricultural fertility and with the creative aspect of the universe, as well as with procreation. In this image, the link with vegetal fertility is reinforced by a cluster of leaves crowning each figure. In early temples it is rare to find images as explicit as this one although couples having intertwined are common. By the eleventh century, the increasing popularity of tantric (magical) sexual rites may have contributed to making the overtly erotic couple and couples engaged in active sexual intercourse (maithuna) more frequent occupants of the profusely ornamented exterior walls of temples. In Orissa, from the eleventh century onward, mithunas and maithunas routinely appear on temples in the vertically recessed sections of the upper wall and tower.
87. PMAASI_100711_446.JPG: Water Receptacle c. 11th century of earlier The god Vishnu uses a conch shell as a war trumpet, and it is one of his identifying attributes. Within the rondel on the shell, Vishnu is represented in his martial role as protector of the universe. He flies through the sky on his mount, the bird-man Garuda, holding his weapons -- the shell trumpet, the mace, and the discus. Pierced conch shells are blown as trumpets to beckon the god during worship. This one, however, lacks a mouth-opening on its spiral end and it was probably used to hold and pour sacred water during religious ceremonies. The remarkably naturalistic depiction of playful animals suggests an early date for the carving on the shell.
88. PMAASI_100711_501.JPG: Ceremonial Teahouse: Sunkaraku (Evanescent Joys) Tokyo, c. 1917 This ceremonial teahouse was built in about 1917 by the Japanese architect Ogi Rodo. Designed in the rustic tradition or "artistic style" of the fifteenth-century artist Ogari Sotan, it also incorporates eighteenth-century elements. The Sunkaraku teahouse originally stood on the grounds of Rodo's private residence in Tokyo. He sold it to the Museum in 1928, and in 1957 it was installed at the Museum, making it the only work by Rodo outside Japan. The garden setting you see now was planned by one of Japan's foremost contemporary garden designers, Matsunosuke Tatsui. The apparent artlessness of the teahouse in fact conceals acute attention to detail and to aesthetic pleasure. The architecture of both the waiting room and the tearoom reveals a special delight in natural materials such as cypress shingles (for the roof) and bamboo. Proximity to nature is also emphasized by the garden, visible from both buildings. Everything inside the tearoom has been planned to stimulate the mind and to delight the eye. Rough, unfinished vertical posts remind guests of their imperfections and their oneness with nature; the monochrome scroll of calligraphy admonishes them to "Look to where you stand;" and the tea utensils enhance their sensitivity to natural textures and artistic creativity. The tea ceremony offers a temporary respite from the complexities of daily life. This mood perhaps inspired a famous devotee of the tea cult, Lord Fumai Matsudaira (1750-1818), when he autographed the tablet over the teahouse with the inscription "Sun Ka Raku," or Evanescent Joy.
89. PMAASI_100711_536.JPG: Temple of the Attainment of Happiness (Shofukuji) Nara, Japan 1398 This Buddhist temple of the Nuromachi period (1392-1573) was built in 1398 and extensively repaired in the latter half of the seventeenth century. It stood originally in Katagiri village in Nara Prefecture as a subsidiary part of the great Buddhist temple Horyuji. When the Shojukuji temple building was dismantled in 1928, the Museum acquired its wooden elements. The building as it now stands in the Museum follows the original plan in everything but the roof. It is supported by twelve cypress posts resting on stone bases, with white plaster walls on three sides. The front can be closed off by three wooden latticed doors (shitomi-do), the upper halves of which open horizontally inward and are held open by hooks from the ceiling. There are also two side entrances with sliding wooden doors (ama-do). The hipped roof is covered with pottery tiles and two demon, mask tiles (oni-ita) intended to frighten away evil spirits. The center of the temple holds the main altar (butsudan), where a lacquered and gilded wood statue of Amida Buddha presides. The side niches (tokonoma) are used as subsidiary altar sand also hold figures of buddhas or bodhisattvas. The standing Amida Buddha on the left is a particularly fine example of Kamakura period (1185-1333) sculpture. Before the main altar are Buddhist ritual objects of the esoteric Shingon sect, such as vases of flowers and an altar table with ceremonial utensils.
90. PMACON_100711_001.JPG: The following pictures are from the page 2010_PA_PMA_Contemp PA -- Philadelphia Museum of Art -- Modern and Contemporary Art (97 photos from 2010)
  Jasper Johns Flag 1983
91. PMACON_100711_015.JPG: Salvador Dali Soft Construction with Boiled Beans (Premonition of Civil War) 1936 Dali's gruesome allegory of the Spanish Civil War depicts his homeland as a deformed body tearing itself apart. It was painted shortly before General Franco's nationalist forces revolted against the democratic government of the Spanish Republic. Dali later described the painting as "a vast human body breaking out into monstrous excrescences of arms and legs tearing at one another in a delirium of autostrangulation."
92. PMACON_100711_058.JPG: Rene Magritte The Six Elements 1929 Magritte's title calls to mind the basic elements of the universe -- air, water, fire, and earth -- although the connection between these and the images in the painting remains mysterious. Painted at the end of three-year stay in Paris, during which Magritte became a full-fledged Surrealist, The Six Elements exemplifies the artist's ability to lure viewers into questioning the relationship between language and image, the rational and the irrational.
93. PMACON_100711_074.JPG: Sol LeWitt On a Blue Ceiling Eight Geometric Figures: Circle, Trapezoid, Parallelogram, Rectangle, Square, Triangle, Right Triangle, X (Wall Drawing No. 351) 1981
94. PMACON_100711_129.JPG: Marcel Duchamp Nude Descending a Staircase (No. 2) 1912 This landmark painting sparked a storm of controversy when it was exhibited at the 1913 Armory Show in New York. The work became the butt of jokes and caricatures, as viewers struggled to find the naked woman coming down the stairs amidst the jumble of jagged lines. When Duchamp learned of the scandal, he was delighted, and the widespread notoriety that the painting brought him encouraged the French artist to move to New York two years later.
95. PMACON_100711_172.JPG: Giorgio de Chirico The Soothsayer's Recompense 1913 This painting is one of a series of melancholic cityscapes that de Chirico painted featuring a lone statue in a deserted Italian piazza. The antique statue represents the sleeping Ariadne, who according to Greek mythology was abandoned by her lover on the desert island of Naxos. The confrontation of the classical world with a modern steam engine in the distance creates an uneasy ambiguity of time and space.
96. PMACON_100711_180.JPG: Pablo Picasso Bullfight 1934
97. PMACON_100711_197.JPG: Cy Twombly Fifty Days at Iliam 1978 Cy Twombly Cy Twombly's Fifty Days of Iliam translates Homer's epic recitation of the fall of Troy into what the artist calls a "painting in ten parts." Elegantly fusing painting and writing, the series evokes the key characters and events recounted in the ancient story of the brutal war fought between the Greeks (Achaeans) and the Trojans (Ilians) after the abduction of the Greek Helen by the Trojan prince Paris. The sequence of the war begins on the left wall and continues around the room through the elegiac Shades of Eternal Night. The artist creates a confrontation between the turbulent character of the Greeks (left wall) and the more cerebral spirit of the Trojans (right wall). The two paintings flanking the doorway chronicle the names of gods and warriors, while the large central painting salutes the war's three fallen heroes. Whirls of paint suggest the passions that rouse men to violence and, at the same time, articulate processes of thought and art-making.
98. PMACON_100711_248.JPG: Constantin Brancusi The work of Constantin Brancusi redefined sculpture for a new century. Born in Romania but living in Paris after 1904, Brancusi thought to develop a sculptural idiom that looked absolutely modern. His work moved beyond the verisimilitude and melodrama exemplified by the vastly popular sculpture of Auguste Rodin. Brancusi sought inspiration in ancient, folk, and exotic traditions of sculpture. This brought the artist to simplified forms, reduction of details, and hand carving of materials. The Kiss, for example, presents a symbolic rendering of a male and female body merging into one. The anatomical forms of the couple are subordinated to the contours of the block of stone. But it is inaccurate to echo the artist in calling his sculptures simple. Nothing could be more complicated that the dramatic contrasts between the rough-hewn wooden bases and the elegant marble or bronze sculptures atop them, the calculated effects of the reflections of light, and the subtle nuances in carving the evoke facial features and other characteristics.
99. PMACON_100711_292.JPG: Piet Mondrian Composition with White and Red 1936
100. PMACON_100711_298.JPG: Marcel Duchamp Sonata 1911
101. PMACON_100711_311.JPG: Marcel Duchamp Portrait (Dulcinea) 1911
102. PMACON_100711_318.JPG: Marcel Duchamp Why Not Sneeze, Rose Selavy? 1921
103. PMACON_100711_334.JPG: Marcel Duchamp Fountain 1950 (replica of 1917 original)
104. PMACON_100711_345.JPG: Marcel Duchamp The Bride Stripped Bare by Her Bachelors, Even (The Large Glass) 1915-23 The Large Glass: Arguably twentieth-century art's greatest iconoclast, Marcel Duchamp devote his entire career to debunking pre-existing ideas about art, which he believed should appeal to the intellect rather than the senses. The most visually and conceptually challenging of Duchamp's works remains The Bride Stripped Bare by Her Bachelors, Even (The Large Glass) of 1915-23. A work of art to be looked both through and at, the artist called this towering glass construction a "hilarious picture," but took it seriously enough to devote over a decade to its making. As described in the meticulous notes that Duchamp began preparing in 1912, the work's elaborate iconography chronicles an allegorical drama of frustrated desire involving the blossoming mechanical bride in the upper panel and her circle of nine uniformed bachelors below. The Large Glass made its debut in 1926 at the Brooklyn Museum, after which the two glass panels were shattered in transit. Duchamp laboriously glued them back together ten years later, securing the original glass between new panes and housing the "definitively unfinished" work in a metal frame.
105. PMACON_100711_362.JPG: Marcel Duchamp The Bride Stripped Bare by Her Bachelors, Even (The Green Box) 1934 The Green Box, published in 1934 in an edition of 300, presents the notations and diagrams Duchamp made between 1912 and 1917 in preparation for his masterwork The Bridge Stripped Bare by Her Bachelors, Even (The Large Glass). Duchamp compared the collection of ninety-four meticulous facsimiles houses in a green cardboard box to a "Sears Roebuck" catalogue that would provide an indispensable guide to understanding The Large Glass.
106. PMACON_100711_422.JPG: Pablo Picasso Three Musicians 1921 The three masked musicians in this painting represent comic figures from the tradition of popular theater in Italy. This Cubist concert features Harlequin playing a violin, Pierrot with a recorder, and a Franciscan friar holding an accordion. The painting has been interpreted as a nostalgic elegy to a trio of friends: the recently deceased poet and critic Guillaume Apollinaire (Pierrot), the poet Max Jacob (the friar), and Picasso himself as the Harlequin.
107. PMACON_100711_445.JPG: Fernand Leger The City 1919 This painting captures the staccato rhythms of a modern urban environment, and the broad panorama of its buildings, scaffolding, and bridges. These architectural elements are punctuated by such signs of city life as shop window mannequins, rounded plumes of smoke, and a telephone pole, all rendered in bold, vibrant colors. Leger even included his own initials, "F.L.", among the array of stenciled letters, evoking the colorful billboard posters of the time.
108. PMACON_100711_470.JPG: Marc Chagall Half Past Three (The Poet) 1911 This painting provides an ode to the poet's late-night muses: a coffee cup, a feline temptress, and a tipped wine bottle. The Russian poet's colorful notebook also suggests a palette, implying a sly self-portrait. Indeed, in his first years in Paris, Chagall, who was friends with many writers, was criticized for being too "poetic."
109. PMACON_100711_481.JPG: Pablo Picasso Glass of Absinthe 1914 This sculpture is one of six bronze casts, each of which includes an actual absinthe spoon and a uniquely painted surface. Absinthe, a highly addictive alcoholic beverage made from distilled wormwood, was thought to lead to madness, but was nevertheless a popular drink in Parisian cafes. Due to its bitter taste, the green-tinted liquid is usually poured into a glass of water over a sugar cube resting on a slotted spoon.
110. PMACON_100711_503.JPG: Jasper Johns Painted Bronze 1960 As the title states, this object is not in fact a coffee can filled with paint brushes but a sculpture. What interested Johns was "the possibility that one might take the one for the other." Inverting Duchamp's notion of the ready-made, Johns has used traditional artistic processes of casting and painting to recreate ordinary objects in the painter's studio, and takes his place in a long tradition of art about art.
111. PMATAP_100711_01.JPG: The following pictures are from the page 2010_PA_PMA_Tapestry PA -- Philadelphia Museum of Art -- Great Hall Tapestries (8 photos from 2010)
112. PMA_100711_005.JPG: The following pictures are from the page 2010_PA_PMA_Main PA -- Philadelphia Museum of Art -- Miscellaneous (35 photos from 2010)
113. PMA110_070923_001.JPG: The following pictures are from the page 2007_PA_PMA_Eur1100 PA -- Philadelphia Museum of Art -- European Art 1100-1500 (25 photos from 2007)
114. PMA150_070923_013.JPG: The following pictures are from the page 2007_PA_PMA_Eur1500 PA -- Philadelphia Museum of Art -- European Art 1500-1850 (131 photos from 2007)
115. PMA185_070923_002.JPG: The following pictures are from the page 2007_PA_PMA_Eur1850 PA -- Philadelphia Museum of Art -- European Art 1850-1900 (87 photos from 2007)
116. PMAAA_070923_03.JPG: The following pictures are from the page 2007_PA_PMA_Armor PA -- Philadelphia Museum of Art -- Arms and Armor (9 photos from 2007)
117. PMAASI_070923_002.JPG: The following pictures are from the page 2007_PA_PMA_Asia PA -- Philadelphia Museum of Art -- Asia (59 photos from 2007)
118. PMACON_070923_02.JPG: The following pictures are from the page 2007_PA_PMA_Contemp PA -- Philadelphia Museum of Art -- Modern and Contemporary (29 photos from 2007)
119. PMATAP_070923_02.JPG: The following pictures are from the page 2007_PA_PMA_Tapestry PA -- Philadelphia Museum of Art -- Great Hall Tapestries (4 photos from 2007)
120. PMAUS_070923_013.JPG: The following pictures are from the page 2007_PA_PMA_Amer PA -- Philadelphia Museum of Art -- American Art (88 photos from 2007)
121. PMA_070923_06.JPG: The following pictures are from the page 2007_PA_PMA_Main PA -- Philadelphia Museum of Art -- Miscellaneous (15 photos from 2007)
122. PMA_560019_02.JPG: The following pictures are from the page 1956_PA_PMA PA -- Philadelphia Museum of Art (2 photos from 1956)
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Wikipedia Description: Philadelphia Museum of Art
From Wikipedia, the free encyclopedia

The Philadelphia Museum of Art, located at the west end of the Benjamin Franklin Parkway in Philadelphia's Fairmount Park, was established in 1876 in conjunction with the Centennial Exposition of the same year and is now among the largest and most important art museums in the United States. Originally the Pennsylvania Museum and School of Industrial Art, its founding was inspired by the South Kensington Museum (now the Victoria and Albert Museum) in London, which grew out of the Great Exhibition of 1851. It is known locally and colloquially as "The Art Museum." The museum opened its doors to the public on May 10, 1877, originally housed in Memorial Hall. While the location was adequate, it was isolated from the bulk of the city.

Construction of the current building began in 1919 with Mayor Thomas B. Smith laying the corner stone in a Masonic ceremony on the former reservoir land of the decommissioned Fairmount Water Works covering ten acres of ground. The first section was completed in the spring of 1928. The quasi-Greek Revival design was produced by Horace Trumbauer and the firm of Zantzinger, Borie and Medary. The fa�ade of the building is made of Minnesota dolomite. The side facing the parkway is adorned with sculptures depicting Greek gods and goddesses. There is also a collection of griffins, which were adopted as the symbol of the museum in the 1970s.

For the better part of a century the McIlhenny family held an important relationship with the museum. Henry P. McIlhenny was involved for almost half a century, first as curator from 1939 - 1964, then as chairman of the board in 1976 until his death in 1986, when he left the bulk of his estate to the museum.

The institution describes itself as being "one of the largest museums in the United States", and its collections include more than 225,000 objects, although the institution has no galleries devoted to Greek, Roman or Egyptian art ...More...
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