Pesquisando por: "Black and white flower" - Fotoarena - Agência de fotojornalismo

alb3642385 Relief depicting rituals and sacred emblems. Dimensions: 26.3.353a: H. 67.5 x W. 102 cm (26 9/16 x 40 3/16 in.)26.3.353b: H. 53.5 x W. 88.5 cm (21 1/16 x 34 13/16 in.). Dynasty: Dynasty 11. Reign: reign of Mentuhotep II, early. Date: ca. 2051-2030 B.C..Neferu was most likely the first queen of Nebhepetre Mentuhotep II, and may also have been his sister. Her plundered tomb, excavated by the Metropolitan Museum of Art between 1923 and 1931, lay outside the king's temple precinct at Deir el Bahri. It was visited as a shrine in the Eighteenth Dynasty, and at some point it was used as a quarry for the fine limestone covering the walls.The decoration of the funerary apartments consisted almost exclusively of ritual scenes and depictions of sacred objects deriving from local Upper Egyptian iconography. The carving of Neferu's surviving reliefs has a captivating otherworldliness, although it is varied in quality. The extenuated proportions of the figures, and the elaborate patterns contrasting with smooth planes, represent the height of the Eleventh Dynasty archaic style. The background was left unpainted, while the figures were either detailed or covered with orange, pink, purple, blue, green, white or black paint. This goal of the scenes illustrated in this group of fragments was to provide a liturgical listing of items that were essential in the proper procedure of funeral rites, rather than to depict actual ritual performances. This accounts for the striking lack of proportion between objects and human figures in these scenesThe following stages in the funeral rites are alluded to by the presence of sacred objects:1. The body of the deceased is prepared.In the top register on the left, four tiny men carry a rectangular object that looks like a canopy but is actually a bracelet (or anklet) that is to be put on the mummy.2. Entry into the underworld.Immediately to the right of the bracelet carriers, a kneeling man lifts up a funerary boat. Boats were thought to be the means by which the deceased entered the realm of the dead.3. The deceased is endowed with supernatural powers.In the middle register, two kneeling men present scepters, possibly to endow the deceased with divine power.4. The deceased is purified.Only the top of the lowest register is preserved. According to parallels (see gallery 107), at right we are seeing the cone-shaped lid of a jar around which flowers have been wrapped, followed by the top of a flail and a mythical double bull. The combination appears to be connected to rites of purification.5. The deceased follows the journey of the sun from dusk to dawn,from death to resurrection.The double bull is a symbol for the setting and rising sun, and the journey through the deep that the sun undergoes between the two points.For other reliefs from the tomb of Neferu, see 31.3.1 and 26.3.353*. Museum: Metropolitan Museum of Art, New York, USA.

alb3672944 Annibale Carracci Introduces Painting to Apollo and Minerva. Artist: After Carlo Maratti (Italian, Camerano 1625-1713 Rome); Pietro Aquila (Italian, Marsala, Sicily 1650-1692/1700 Rome). Dimensions: Sheet (Trimmed to plate): 18 1/8 × 25 1/4 in. (46 × 64.1 cm). Publisher: Giovanni Giacomo De Rossi (Italian, Rome 1627-1691 Rome). Series/Portfolio: Published in Galeria Farnesianae Icones..., 1674. Date: 1674.This print appeared as a frontispiece to a book of etchings depicting the frescoes painted by Annibale Carracci in the Farnese Gallery in Rome. Like the publication of the book itself, this frontispiece was part of a concerted effort to raise the painter, active at the turn of the seventeenth century, to mythical status. Here we see Annibale accompanied by Genius bringing Painting out of a dark cave (symbolic of the obscurity and darkness into which painting was said to have fallen in the late sixteenth century) into that exalted and luminous realm where she could be welcomed by Apollo and Minerva. The idea is very much like that of Pietro Testa's etching, 'The Triumph of Painting on Parnassus', in which Painting is welcomed on Parnassus, and Maratti's design may also have received inspiration from Testa's later and more personal interpretation of the theme, in which the artist is accompanied, as here, by a figure with a flaming torch. The river god nearest Annibale signifies the city of Rome, where Annibale's Farnese Gallery gave the greatest proof of his genius. The other river god stands for Bologna, where Annibale was born and, together with his brother and cousin, founded an influential academy of art.Giovanni Pietro Bellori, the antiquarian and art critic who had organized the publication with de' Rossi and written the accompanying text, had recently published a series of artists' lives that also sought to promote Annibale as the ideal painter whose revival of the tradition of Raphael should be a model for all artists. Carlo Maratti, the successful painter and leader of the Roman Academy who designed this allegory, had been trained in the Carracci tradition, and wished to uphold that tradition in the face of other artistic trends prominent in Rome. The highly skilled Sicilian printmaker Pietro Aquila was a friend of Maratti and frequently collaborated with Bellori. Museum: Metropolitan Museum of Art, New York, USA.

alb3611188 Speculum Romanae Magnificentiae: Flora. Artist: Anonymous, Italian, 16th century; After (?) Battista Franco (Italian, Venice ca. 1510-1561 Venice). Dimensions: sheet: 19 5/16 x 11 7/16 in. (49 x 29 cm)plate: 16 3/8 x 13 9/16 in. (41.6 x 34.5 cm). Former Attribution: Formerly attributed to Enea Vico (Italian, Parma 1523-1567 Ferrara). Printer: Ferrando Bertelli (active Venice, 1561-71). Series/Portfolio: Speculum Romanae Magnificentia. Date: mid-16th century.This print comes from the museum's copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) The Speculum found its origin in the publishing endeavors of Antonio Salamanca and Antonio Lafreri. During their Roman publishing careers, the two foreign publishers - who worked together between 1553 and 1563 - initiated the production of prints recording art works, architecture and city views related to Antique and Modern Rome. The prints could be bought individually by tourists and collectors, but were also purchased in larger groups which were often bound together in an album. In 1573, Lafreri commissioned a title page for this purpose, which is where the title 'Speculum Romanae Magnificentiae' first appears. Lafreri envisioned an ideal arrangement of the prints in 7 different categories, but during his lifetime, never appears to have offered one standard, bound set of prints. Instead, clients composed their own selection from the corpus to be bound, or collected a group of prints over time. When Lafreri died, two-third of the existing copper plates went to the Duchetti family (Claudio and Stefano), while another third was distributed among several publishers. The Duchetti appear to have standardized production, offering a more or less uniform version of the Speculum to their clients. The popularity of the prints also inspired other publishers in Rome to make copies however, and to add new prints to the corpus. The museum's copy of the Speculum entered the collection as a group of 3 albums with inlaid engravings and etchings. The prints have since been removed, but the original place of each print within the album is contained in the accession number: 41.72(volume.place).Originally volume 2, plate 57 in the scrapbook. Museum: Metropolitan Museum of Art, New York, USA. Author: Anonymous, Italian, 16th century. After (?) Battista Franco.