BGuthrie Photos: MD -- Baltimore -- Walters Art Museum -- Exhibit: From Rye to Raphael: The Walters Story

MD -- Baltimore -- Walters Art Museum -- Exhibit: From Rye to Raphael: The Walters Story:

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Description of Pictures: From Rye to Raphael, The Walters Story
From Rye to Raphael: The Walters Story brings together for the first time an extraordinary group of art and artifacts to illustrate the intriguing stories behind the magnificent gift to the City from the Walters family. The dramatic new installation features 200 works chosen for their beauty and craftsmanship as well as never-before-seen Walters family photographs and historic material culled from the museum's archives. At the end of the installation, which celebrates the 80th anniversary of the opening of the Walters Art Museum, visitors are invited to consider the impact of giving on our community today.

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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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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. WALRY1_191103_001.JPG: A Stream in the Adirondacks, 1859 James McDougal Hart
2. WALRY1_191103_007.JPG: Hudson River Landscape, 1858 James McDougal Hart
3. WALRY1_191103_010.JPG: River Scene, 1868 Robert Seldon Duncanson
4. WALRY1_191103_014.JPG: Pot de Creme Set, 1864 Charles Pillvuyt & Cie
5. WALRY1_191103_021.JPG: Bust of Dr. Dio Lewis, 1868 Edmonia Lewis
6. WALRY1_191103_026.JPG: Sponge Dish and Toothbrush Dish, ca 1862, gilded 1867 Sevres Porcelain Manufactory, with WTW Monogram by Pillivuyt
7. WALRY1_191103_033.JPG: First Disappointment, modeled in 1858, carved 1861 Erastus Dow Palmer
8. WALRY1_191103_037.JPG: The Scarlet Letter, 1861 Hugues Merle
9. WALRY1_191103_041.JPG: High Sideboard with Hunting Trophies, 1850s
10. WALRY1_191103_048.JPG: Bust of Henry Walters, 1930 Hans Schuler
11. WALRY1_191103_051.JPG: The Walters Mountain Distilleries Whiskey Bottle, second half of the 19th century Tumbler's with WTW monogram
12. WALRY1_191103_057.JPG: From Rye to Raphael The Walters Story
13. WALRY1_191103_061.JPG: Bust of William T. Walters, probably modeled 1860, carved 1866-67 William Henry Rinehart
14. WALRY1_191103_065.JPG: Bust of Jennie Walters, modeled 1873, completed 1874 William Henry Rinehart
15. WALRY1_191103_078.JPG: Bust of Mrs. William T. Walters (born Ellen Harper), 1862 William Henry Rinehart
16. WALRY1_191103_081.JPG: Bunch of Grapes, 1873 Andrew John Henry Way
17. WALRY1_191103_091.JPG: Marphise, 1852 Eugene Delacroix
18. WALRY1_191103_096.JPG: Christ on the Cross, 1846 Eugene Delacroix
19. WALRY1_191103_101.JPG: Sketch for the Battle of Poitiers, 1829-30 Eugene Delacroix
20. WALRY1_191103_108.JPG: An Arab Sheik, ca 1870 Leon Bonnat
21. WALRY1_191103_113.JPG: Interior of a Mosque at Cordova, 1880 Edwin Lord Weeks
22. WALRY1_191103_132.JPG: Broadening Horizons
23. WALRY1_191103_134.JPG: Hindu Snake Charmer, 1869 Mariano Jose Maria Bernardo Fortuny y Carbo
24. WALRY1_191103_139.JPG: Arab Fantasia, 1867 Mariano Jose Maria Bernardo Fortuny y Carbo
25. WALRY1_191103_147.JPG: Collision of the Moorish Horsemen, 1843-44 Eugene Delacroix
26. WALRY1_191103_156.JPG: Surtout de Table: Tiger Hunt, 1834-36 Antoine-Louis Barye
27. WALRY1_191103_160.JPG: The Slipper Merchant, 1872 Jose Villegas Cordero
28. WALRY1_191103_163.JPG: Two Profile Heads of a Young Woman (Nasleh), before 1878 Leopold Carl Muller
29. WALRY1_191103_173.JPG: Said Abdullah of the Mayac, Kingdom of the Darfur (Sudan), 1848 African Venus, 1851 Charles-Henri-Joseph Cordier
30. WALRY1_191103_182.JPG: On the Desert, before 1867 Jean-Leon Gerome
31. WALRY1_191103_189.JPG: Odalisque with Slave, 1842 Jean-Auguste-Dominique Ingres
32. WALRY1_191103_195.JPG: When you shall these unlucky deeds relate, Speak of me as I am. Nothing extenuate, Nor set down aught in malice. Then must you speak 360Of one that loved not wisely, but too well. Of one not easily jealous, but being wrought, Perplexed in the extreme. Of one whose hand, Like the base Indian, threw a pearl away Richer than all his tribe. Of one whose subdued eyes, 365Albeit unused to the melting mood, Drop tears as fast as the Arabian trees Their medicinal gum. -- William Shakespeare, Othello, Act 5, scene 2
33. WALRY1_191103_199.JPG: Othello, modeled ca 1868, this version executed ca 1873 Pietro Calvi
34. WALRY1_191103_210.JPG: Collecting French Landscape Paintings
35. WALRY1_191103_216.JPG: The Jungfrau, Switzerland, 1853-55 Alexandre Calame
36. WALRY1_191103_221.JPG: The Storm, 1872 Narcisse Virgile Diaz de la Pena
37. WALRY1_191103_230.JPG: Cattle Drinking, 1851 Constant Troyon
38. WALRY1_191103_235.JPG: Coast Near Villers, 1859 Constant Troyon
39. WALRY1_191103_248.JPG: Ploughing Scene, 1854 Rosa Bonheur
40. WALRY1_191103_252.JPG: Arayori (A Peasant Woman), 1915 Yoshida Homei
41. WALRY1_191103_260.JPG: Surtout de Table: Lion Hunt, 1834-38 Antoine-Louis Barye
42. WALRY1_191103_269.JPG: The Potato Harvest, 1855 Jean-Francois Millet
43. WALRY1_191103_277.JPG: The Close of Day, 1865 Jules Adolphe Aime Louis Breton
44. WALRY1_191103_284.JPG: Hoarfrost, 1845 Theodore Rousseau
45. WALRY1_191103_288.JPG: tag Brought Down by Scottish Hounds, 1840-44 Antoine-Louis Barye
46. WALRY1_191103_292.JPG: Raby Castle, Seat of the Earl of Darlington, 1817 Joseph Mallord William Turner
47. WALRY1_191103_300.JPG: Landscape in Scotland, ca 1878 Gustave Dore
48. WALRY1_191103_313.JPG: Oedipus and the Sphinx, 1864 Jean-Auguste-Dominique Ingres
49. WALRY1_191103_319.JPG: Collecting Academic Painting
50. WALRY1_191103_321.JPG: A Roman Slave Market, ca 1884 Jean-Leon Gerome
51. WALRY1_191103_327.JPG: The Peachbloom Vase (The Morgan Vase), 1710-22 Chinese
52. WALRY1_191103_330.JPG: An Obsession for Collecting
53. WALRY1_191103_332.JPG: The Tulip Folly, 1882 Jean-Leon Gerome
54. WALRY1_191103_338.JPG: The Duel After the Masquerade, 1856-59 Jean-Leon Gerome
55. WALRY1_191103_343.JPG: The Death of Caesar, 1859-67 Jean-Leon Gerome The Death of Caesar From Wikipedia, the free encyclopedia The Death of Caesar (French: La Mort de C�sar) is an 1867 painting by the French artist Jean-L�on G�r�me. It depicts the moment after the assassination of Julius Caesar, when the jubilant conspirators are walking away from Caesar's dead body at the Theatre of Pompey, on the Ides of March (March 15), 44 BC. The painting is kept at the Walters Art Museum in Baltimore, Maryland. Characteristically, G�r�me has depicted not the incident itself, but its immediate aftermath. The illusion of reality that G�r�me imparted to his paintings with his smooth, polished technique led one critic to comment, "If photography had existed in Caesar's day, one could believe that the picture was painted from a photograph taken on the spot at the very moment of the catastrophe." G�r�me's depiction of the aftermath of violence can also be seen in The Execution of Marshal Ney, The Duel After the Masquerade, and Jerusalem.
56. WALRY1_191103_353.JPG: The Triumph of Titus: AD 71, The Flavians, 1885 Sir Lawrence Alma-Tadema In this canvas, the artist shows Titus returning to Rome in triumph following his capture of Jerusalem in AD 70. His father, Emperor Vespasian, clad in a white toga, leads the procession. Titus comes next, holding the hand of his daughter, Julia, who turns to address her father's younger brother and successor, Domitian. In the background is the Temple of Jupiter Victor. Among the spoils from Jerusalem is a 7-branched candlestick from the temple. Alma-Tadema depicted these events by drawing on classical sources, like the reliefs on of the Arch of Titus and on the latest 19th-century scholarship regarding everyday life in Rome.
57. WALRY1_191103_358.JPG: My Sister is Not In, 1879 Sir Lawrence Alma-Tadema Alma-Tadema was born in Friesland, the Netherlands, but was trained in Belgium. After the death of his first wife in 1870, he moved to London where he developed a reputation for his seemingly accurate reconstructions of genre scenes set in ancient Rome. Here, a Roman maiden closes a curtain in an unconvincing attempt to conceal her sister from a suitor. Alma-Tadema's wealthy British patrons could readily relate to the individuals he portrays: members of the upper class in an era of affluence.
58. WALRY1_191103_367.JPG: A Roman Emperor: AD 41, 1871 Sir Lawrence Alma-Tadema In AD 41, the debauched Roman emperor Caligula was murdered. Gratus, a member of the Praetorian, draws a curtain aside to reveal the terrified Claudius who is hailed as emperor on the spot. Beneath the herm in the background, lie the bodies of Caligula, his wife Caesonia, their young daughter and a bystander. The blood stains on the herm denote the struggle that has transpired as well as the setting, the Hermaeum, an apartment in the Palace where Claudius had sought refuge. Opus LXXXVIII
59. WALRY1_191103_380.JPG: The Edicts of Charles V, 1861 Jean August Hendrik Leys
60. WALRY1_191103_384.JPG: 1814, 1862 Jean Louis Meissonier
61. WALRY1_191103_390.JPG: The Jovial Trooper, 1865 Jean Louis Ernest Meissonier
62. WALRY1_191103_394.JPG: "Jet Pump" Garden Fountain, ca 1904 Okagaki Sessei
63. WALRY1_191103_399.JPG: Portrait of Henry Walters, 1938 Thomas Cromwell Corner
64. WALRY1_191103_408.JPG: The Attack at Dawn, 1877 Alphonse de Neuville The scene is a French town in the Jura region, near the Swiss border. As a bugler sounds the alarm, French troops (Algerian riflemen and members of the Garde Mobile) rush from an inn to defend themselves from the advancing Prussians. Rather than dwelling on France's defeat in the Franco-Prussian War (1870-1871), de Neuville, a veteran of the war, specialized in works glorifying his country's heroic resistance rather than its military defeat. He took exceptional efforts to re-create the subjects factually, revisiting the battlefields and studying the weapons, uniforms, and other paraphernalia of war.
65. WALRY1_191103_420.JPG: Military Courage, modeled 1876 Paul Dubois
66. WALRY1_191103_424.JPG: The River Gods, modeled 1866-67 Antoine-Louis Barye
67. WALRY1_191103_428.JPG: The River Gods, modeled 1866-67 Antoine-Louis Barye
68. WALRY1_191103_439.JPG: The Cherry Picker, 1871 William-Adolphe Bouguerreau
69. WALRY1_191103_443.JPG: View of Saint Mammes, 1880 Alfred Sisley
70. WALRY1_191103_449.JPG: The Church of Eragny, 1884 Camille Pissaro
71. WALRY1_191103_456.JPG: Route to Versailles, Louveciennes, 1869 Camille Pissarro
72. WALRY1_191103_461.JPG: The Jungfrau, Switzerland, 1853-55 Alexander Calame
73. WALRY1_191103_466.JPG: The Storm, 1872 Narcisse Virgile Diaz de la Pena
74. WALRY1_191103_470.JPG: The Coming Storm, 1865-75 Charles Francois Daubigny
75. WALRY1_191103_479.JPG: A Bright Day, ca 1835-40 Jules Dupre
76. WALRY1_191103_484.JPG: Springtime, 1872 Claude Monet
77. WALRY1_191103_489.JPG: The room you are about to enter recreates William T. Walters' picture gallery as recorded in this archival photograph from about 1884.
78. WALRY1_191103_504.JPG: The Health of the King F. Willems
79. WALRY1_191103_505.JPG: Boutique of Figaro, 1875 J. Jiminez Aranda
80. WALRY1_191103_509.JPG: Palm Sunday Alfred Stevens
81. WALRY1_191103_511.JPG: The Approach of the Storm, 1873 E. Van Marcke
82. WALRY1_191103_513.JPG: Sunset on the Coast of France, 1865 C.F. Daubigny
83. WALRY1_191103_514.JPG: An Encampment in the Atlas Mountains E. Fromentin
84. WALRY1_191103_520.JPG: Still Life, 1852 Simon Saint-Jean
85. WALRY1_191103_527.JPG: Still Life, 1852 Simon Saint-Jean
86. WALRY1_191103_530.JPG: Prayer A.E. Plassan
87. WALRY1_191103_537.JPG: Diogenes, 1860 J.L. Gerome
88. WALRY1_191103_540.JPG: The Waning Honeymoon, 1878 G.H. A.R.A. Boughton
89. WALRY1_191103_546.JPG: In the Trenches, 1874 Alphonse de Neuville Members of the Garde Mobile (French expeditionary forces) are huddled in a shallow trench during the Franco-Prussian War of 1870-71. De Neuville has conveyed the general misery and tedium between battles that is associated with trench warfare. The artist complained that his dealer, Alphonse Goupil, wanted more flattering, less disturbing subjects and refused to pay him more than 6,000 francs, a small fee, for this painting. De Neuville entered the naval school at Lorient in 1856, where his artistic instincts began. His work focuses on war, battle scenes, and soldiers. He also illustrated "Twenty Thousand Leagues Under the Sea" and Guizot's "History of France" as well as others. He also studied under Eug�ne Delacroix.
90. WALRY1_191103_555.JPG: Early Morning E. Van Marcke
91. WALRY1_191103_557.JPG: The Artist, By Himself C.L. Elliott
92. WALRY1_191103_561.JPG: Portrait of A.B. Durand, N.A. C.L. Elliott
93. WALRY1_191103_563.JPG: A Portrait, 1873 Geo. A. Baker
94. WALRY1_191103_566.JPG: Clearing Up -- Coast of Sicily, 1847 Andreas Achenbach
95. WALRY1_191103_569.JPG: A Portrait, 1852 Chas. L. Muller
96. WALRY1_191103_574.JPG: Portrait of Napoleon III A. Yvon
97. WALRY1_191103_577.JPG: Power of Music, 1860 Louis Gallait A letter written by the artist to William Walters dated July 20, 1860 illuminates the subject of this painting. It shows a brother and sister resting before an old tomb. The brother is attempting to comfort his sibling by playing the violin, and she has fallen into a deep sleep, "oblivious of all grief, mental and physical." This composition exists in at least one other version, now preserved at the Hermitage Museum in St. Petersburg. A closely related reduced replica was given to the Mus�es royaux des Beaux-Arts de Belgique by a descendant of the artist. The melancholic subject's popularity is attested by its reproduction on a porcelain plaque manufactured by the Royal Porcelain Factory, Berlin.
98. WALRY1_191103_580.JPG: Repose C. Troyon
99. WALRY1_191103_584.JPG: Sappho, 1881 L.R.A. Alma-Tadema In 1870, the Dutch-born, Belgian-trained artist Alma-Tadema moved to London, where he found a ready market among the wealthy middle classes for paintings re-creating scenes of domestic life in imperial Roman times. In this work, however, he turns to early Greece to illustrate a passage by the ancient Greek poet Hermesianax (active ca. 330 BC) preserved in Atheneaus, Deipnosophistae, "Banquet of the Learned," book 2, line 598. On the island of Lesbos (Mytilene), in the late 7th century BC, Sappho and her companions listen rapturously as the poet Alcaeus plays a "kithara." Striving for verisimilitude, Alma-Tadema copied the marble seating of the Theater of Dionysos in Athens, although he substituted the names of members of Sappho's sorority for those of the officials incised on the Athenian prototype.
100. WALRY1_191103_594.JPG: Morning Felix Ziem
101. WALRY1_191103_598.JPG: The Old Oak Jules Dupre
102. WALRY1_191103_601.JPG: Evening Felix Ziem
103. WALRY1_191103_605.JPG: The HopelessCase, 1871 Ant. Rotta
104. WALRY1_191103_614.JPG: The Evening Star J.B.C. Corot
105. WALRY1_191103_615.JPG: Interior of a Tavern F. Bonvin
106. WALRY1_191103_617.JPG: A Portrait [William T. Walters], 1883 Leon Bonnat
107. WALRY1_191103_620.JPG: Mud Pies, 1873 I. Prof. Knaus
108. WALRY1_191103_624.JPG: Syria -- The Night Watch, 1880 R.A. Riviere In 1880 this picture, a moonlit scene in which ferocious looking lions stalk among some ancient ruins, met with a favorable reception at the Royal Academy, where it was listed simply as "The Night Watch." The reviewer for "The Art Journal" identified the setting as a temple at Luxor. The rows of columns with bud and papyriform capitals approximate in appearance those at the mortuary temple of Ramesses II at that site. By 1884 the picture had received its present title. Extracts from a letter presumably from the artist to William T. Walters, published in the early catalogues of the collection, associated the painting with Syria and its desolated ancient cities. In 1889 the critic Alfred Mathews observed that the picture was "a sermon- an intense symbolism- of the seeming slow but always swift mutations of time in the affairs of men and nations."
109. WALRY1_191103_636.JPG: The Picket, 1875 E. Detaille
110. WALRY1_191103_639.JPG: Venice, 1878 M. Rico
111. WALRY1_191103_645.JPG: The Martrydom of St. Sebastian, 1853 J.B.C. Corot
112. WALRY1_191103_647.JPG: Lost Illusions Charles Gleyre Gleyre claimed that "Lost Illusions" represented a vision that he had experienced on the evening of March 1, 1835, while sitting on the banks of the Nile River near Abydos, Egypt. An aging poet watches pensively as a mysterious boat carries away his youthful dreams and illusions, personified by music-making maidens and a cupid strewing flowers. Although the figures in the painting wear classical Greek dress, their vessel resembles a "dahabieh," an Egyptian river boat. In 1843, Gleyre succeeded Paul Delaroche as the head of the major private studio in Paris. His pupils included such diverse figures as the Academic artist Jean-L�on G�r�me, the future Impressionists Alfred Sisley and Auguste Renoir (1841-1919), and the American James Abbott McNeill Whistler (1834-1904). This painting, begun by Gleyre's pupil L�on Dussart and reworked by Gleyre himself, replicates Gleyre's masterpiece "Le Soir" (now in the Louvre Museum, Paris). William Walters commissioned this painting from the artist through the Parisian art dealers Goupil & Cie. in 1865. It took two years to complete. Conscious of the delay, the firm wrote to Walters: Mr. Gleyre has finally nearly finished his reproduction of his picture. . . We are happy to be able to tell you that this reproduction is beautifully done. It has taken a long time and has required more trouble from the painter than he thought.
113. WALRY1_191103_650.JPG: Gathering Oranges, Toledo, 1878 M. Rico
114. WALRY1_191103_654.JPG: Damascus, 1880 A. Pasini
115. WALRY1_191103_658.JPG: Peace, 1872 Louis Gallait
116. WALRY1_191103_671.JPG: Going to the Well A.A.E. Hebert
117. WALRY1_191103_673.JPG: Christian Martyrs (The Last Prayer), 1863-1883 J.L. Gerome William T. Walters commissioned this painting in 1863, but the artist did not deliver it until 20 years later. In a letter to Walters, G�r�me identified the setting as ancient Rome's racecourse, the Circus Maximus. He noted such details as the goal posts and the chariot tracks in the dirt. The seating, however, more closely resembles that of the Colosseum, Rome's amphitheater, in which gladiatorial combats and other spectacles were held. Similarly, the hill in the background surmounted by a colossal statue and a temple is nearer in appearance to the Athenian Acropolis than it is to Rome's Palatine Hill. The artist also commented on the religious fortitude of the victims who were about to suffer martyrdom either by being devoured by the wild beasts or by being smeared with pitch and set ablaze, which also never took place in the Circus Maximus. In this instance, G�r�me, whose paintings were usually admired for their sense of reality, has subordinated historical accuracy to drama. W. M. Brady & Co, New York, in "Drawings and Oil Sketches 1700-1900," 27 January 2009 - 12 February 2009, No. 21, offers "Study for the 'Death of Caesar," an oil on canvas with pen and ink underdrawing, measuring 7 5/8 x 13 in. (19.5 x 33 cm), which formerly belonged to Maurice Aiccardi, Paris. This sketch may be the one that Theophile Gautier alluded to during a visit to the artist's studio in 1858 (G. Ackerman, Jean-Leon Gerome: Monographie revisee 2000, pp. 240-241).
118. WALRY1_191103_688.JPG: Christ Weeping Over Jerusalem, 1851 Ary Scheffer
119. WALRY1_191103_691.JPG: At Sea Jules Dupre
120. WALRY1_191103_757.JPG: World's Fairs
121. WALRY1_191103_767.JPG: The Dancer, 1900 Sevres Porcelain Manufactory, modeled by Agathon Leonard
122. WALRY1_191103_773.JPG: Gatchina Palace Egg, 1901 Peter Carl Faberge and Mikhail Evlampievich Perkhin, workmaster Continuing a practice initiated by his father, Alexander III, Tsar Nicholas II presented this egg to his mother, the dowager empress Marie Fedorovna, on Easter 1901. The egg opens to reveal as a surprise a miniature gold replica of the palace at Gatchina, located 30 miles southwest of St. Petersburg. Built for Count Grigorii Orlov, the palace was acquired by Tsar Paul I and served as the winter residence for Alexander III and Marie Fedorovna. Faberg�'s revival of 18th-century enameling techniques, including the application of multiple layers of translucent enamel over "guilloch�," or mechanically engraved gold, is demonstrated in the shell of the egg. So meticulously did Faberg�'s workmaster, Mikhail Perkhin, execute the palace that one can discern such details as cannons, a flag, a statue of Paul I (1754-1801), and elements of the landscape, including parterres and trees.
123. WALRY1_191103_782.JPG: Bowl with Chrysanthemum Blossonms, 1900 Namikawa Sosuke
124. WALRY1_191103_786.JPG: Model of a Pagoda with Famous Scenes, 1915 Komai Metal Studio
125. WALRY1_191103_794.JPG: Rose Trellis Egg, 1907 Peter Carl Faberge and Henrik Emanuel Wigstrom, workmaster On April 22, 1907, Tsar Nicholas II presented this egg to his wife, Alexandra Fedorovna, to commemorate the birth of the tsarevich, Alexei Nicholaievich, three years earlier. Because of the Russo-Japanese War in 1904, no Imperial Easter eggs had been produced for two years. The egg contained as a surprise a diamond necklace and an ivory miniature portrait of the tsarevich framed in diamonds (now lost). Faberg�'s invoice, dated April 21, 1907, listed the egg at 8,300 rubles.
126. WALRY1_191103_798.JPG: Sketch for a Large Picture in Progress, Representing Allegorically the Great Industrial Meeting of All Nations, A.D. 1851 Sir John Tenniel
127. WALRY1_191103_807.JPG: The Jewelry of Rene Lalique at World's Fairs
128. WALRY1_191103_811.JPG: Tiger Necklace, ca 1903 Rene Lalique
129. WALRY1_191103_819.JPG: Amphitrite, ca 19000 Christofle et Cie, carved by Emile-Philippe Scalliet The statuette of this goddess of the sea was designed by the sculptor Marius-Jean-Antonin Merci� to be cast in silver as the centerpiece for a table of the Duke of Santonia in 1878. Subsequently, Christolf et Cie., a silver company, had several ivory statuettes carved by Emile-Philippe Scalliet based on Merci�'s model. This example was exhibited at the Exposition Universelle held in Paris in 1900. The figure is made from three pieces of carved ivory joined together. The two arms are separate sections, with the joins concealed by metal adornments at the mid-upper arms. A pearl is attached to the figure's chest, and two more can be found on the metal base. Four porpoises decorate each corner of the jasper base.
130. WALRY2_191103_001.JPG: The Hemicycle, 1853 Delaroche (Paul Hippolyte) This painting replicates Delaroche's most famous work, a mural in oils and wax (1836-41) in the auditorium of the �cole des Beaux-Arts in Paris, France's most prestigious art school. Delaroche's pupil, Charles B�ranger, is thought to have begun this replica in 1841, but the master completed it following his pupil's death in 1853. It provided a basis for L.-P. Henriquel-Dupont's engraving reproducing the composition. Represented are great artists of the past who appear to preside over the awards ceremonies held in the auditorium. Enthroned in the center are the three masters of antiquity-Ictinus the architect, Apelles the painter, and Phidias the sculptor-flanked by personifications of Greek and Gothic art (on the left) and Roman and Renaissance art (on the right). Below, the semi-nude figure of Fame leans forward to distribute laurel wreaths to the recipients of the coveted Grand Prix de Rome, who were entitled to spend 4 to 5 years studying in Rome at the expense of the State. Those European artists from the 13th through the 17th centuries whom Delaroche ranked as the most important are included in his great assembly. To the left are 14 sculptors and a gathering of painters known as colorists and naturalists and, to the right, 13 architects, 2 engravers, and 19 painters distinguished for their drawing. Although many of their names are familiar today, among them Titian, Rembrandt, and Rubens on the left, and Raphael, Michelangelo, and Poussin on the right, others are less so. Notably absent are Botticelli, El Greco, and Vermeer, whose paintings were not rediscovered until later in the century. According to the accounts of the dealer Adolphe Goupil the exceptionally elaborate frame cost 5,000 French francs, or $1,000, a remarkable sum in 1853.
131. WALRY2_191103_176.JPG: Poultry Market, Tangiers, before 1881 Jose Villegas Cordero
132. WALRY2_191103_180.JPG: Toreros at Prayer before Entering the Arena, ca 1870 Jehan Georges Vibert
133. WALRY2_191103_186.JPG: Coming Out of Church, before 1875 Raimundo de Madrazo y Garreta
134. WALRY2_191103_193.JPG: The Ecole des Beaux-Arts
135. WALRY2_191103_195.JPG: The Musician, 1884 Pascal Adolphe Jean Dagnan-Bouveret
136. WALRY2_191103_201.JPG: Napoleon III, ca 1865 Alexandre Cabanel
137. WALRY2_191103_205.JPG: The End of the Game of Cards, 1865 Jean Louis Ernest Meissonier
138. WALRY2_191103_210.JPG: Woman with a Lap Dog, ca 1575-1600 Italian
139. WALRY2_191103_214.JPG: Allegory of the Element Earth, ca 1580 Leondro da Ponte, called Leandro Bassano
140. WALRY2_191103_225.JPG: Countess Livia da Porto Thiene and Her Daughter Deidamia, 1552 Paolo Caliari
141. WALRY2_191103_229.JPG: Maria Salviati with Giulia de' Medici, ca 1539 Jacopo Carucci, called Jacopo da Pontormo
142. WALRY2_191103_234.JPG: Madonna and Child with the Young Saint John the Baptist, 1522-24 Giulio Romano
143. WALRY2_191103_239.JPG: Portrait of Pope Pius V, ca 1566 Bartolomeo Passerotti
144. WALRY2_191103_243.JPG: The Madonna and Child Enthroned with Saints Peter and Mark and Three Donors, 1510 Giovanni Bellini and workship
145. WALRY2_191103_245.JPG: Saint Helena, ca 1575 Francesco Morandini, called Il Poppi
146. WALRY2_191103_249.JPG: The Madonna of the Candelabra, ca 1513 Raffaello Sanzio, called Raphael, and workshop
147. WALRY2_191103_254.JPG: Growing the Collection
148. WALRY2_191103_257.JPG: New Acquisition Giovanni Boldini's Lady with a Guitar
149. WALRY2_191103_260.JPG: Lady with a Guitar, ca 1873 Giovanni Boldini A woman enjoys a moment of quiet reflection, resting her guitar on her thigh. Her brilliantly embroidered bolero -- a short jacket associated with bullfighting -- is lined with red satin, and her pink dress traces the outline of her body. The monogram in the upper right is formed of the letters "L" and "V," but the woman's identity is unknown. The painting evokes the sights and sounds of Spain, and we may imagine that its subject is a flamenco performer. Flamenco -- a folkloric music tradition comprising singing and dancing -- is associated with southern Spain. Boldini and other 19th-century European artists were fascinated by Spain, particularly the southern region, whose culture was shaped by Muslim Arabs; many Europeans viewed it as an exotic locale. In the 1870s, following his relocation to Paris, Boldini painted scenes of Spain on several occasions, inspired by the Spanish painter Mariano Fortuny (1838–74), who worked with free brushstrokes in vibrant color.
150. WALRY2_191103_267.JPG: Anti-Establishment
151. WALRY2_191103_269.JPG: Paris Kiosk, 1880-84 Jean Beraud
152. WALRY2_191103_273.JPG: The Terrace at Saint-Germain, 1875 Alfred Sisley
153. WALRY2_191103_277.JPG: Before the Race, 1882-84 Edgar Degas
154. WALRY2_191103_283.JPG: George A. Lucas, 1886 James McNeill Whistler
155. WALRY2_191103_288.JPG: Mariano Fortuny and His Followers
156. WALRY2_191103_294.JPG: An Ecclesiastic, ca 1874 Mariano Jose Maria Bernardo Fortuny y Carbo
157. WALRY2_191103_299.JPG: Politics in an Oyster House, 1848 Richard Caton Woodville
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