BGuthrie Photos: PA -- Philadelphia Museum of Art -- European Art 1100-1500

PA -- Philadelphia Museum of Art -- European Art 1100-1500:

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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: "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.
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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.

Collections:

Each year the Museum puts on 15 to 20 special exhibitions and is visited by 800,000 people. Some of the larger and most famous special exhibitions, which have attracted hundreds of thousands of people from every state and around the world, include shows featuring Paul C�zanne (in 1996, attracting 548,000) and Salvador Dal� (in 2005, attracting 370,000).

Widely regarded as a world-class art institution, the Philadelphia Museum of Art includes not only its iconic Main Building, but also the Rodin Museum (also on the Benjamin Franklin Parkway) and several other historic sites. The recently acquired Perelman Building (across the street from the Main Building) is projected to open in 2007 and will house for public display a few of the Museum's more popular collections.

In the 18th century, Philadelphia was one of the most important cities both before and after the American Revolution and was a center of style and culture. The museum is particularly known for its important collections of Pennsylvania German art, 18th century and 19th century furniture and silver by early Philadelphia and Pennsylvania craftsmen, and works by prominent Philadelphia artist Thomas Eakins. The museum houses the most important Eakins collection in the world.
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