Workshop of David Roentgen – Clock – German, Neuwied am Rhein – The Metropolitan Museum of Art https://www.metmuseum.org/art/collection/search/211388
The base, enamel dial with bold roman numerals, and steel hand that indicates the
Dein Suchergebnis zum Thema: Hand
Cretien workshop, Vernon (c.1620 – ca. 1690) – Demilune horn "grand cor" – French – The Metropolitan Museum of Art https://www.metmuseum.org/art/collection/search/824263
The maker’s hand is visible in burnishing and hammer marks on the instrument’
Scientific Discoveries in Johannes Vermeer’s Mistress and Maid – The Metropolitan Museum of Art https://www.metmuseum.org/essays/scientific-discoveries-johannes-vermeer
The Met, The Frick Collection, and the Doerner Institut team up to investigate changes to the composition and the discoloration of some paint passages.
suggested that the painting had been finished after Vermeer’s death by another hand
Ken Parker – Archtop guitar – American – The Metropolitan Museum of Art https://www.metmuseum.org/art/collection/search/677213
includes copper, silver, and gold, forming natural layered designs that are cut and hand
Baccio Bandinelli – Cosimo I de‘ Medici (1519–1574), Duke of Florence – Italian, Florence – The Metropolitan Museum of Art https://www.metmuseum.org/art/collection/search/207699?exhibitionId=%7B2c98eb4f-1cd0-43dc-912e-1fd5d5ef9c00%7D&oid=207699&pkgids=689&pg=1&rpp=4&pos=3&ft=*&locale=en
Niccolini Family (probably by 1795) ; Marchese Carlo Niccolini (until d. 1919; by descent to his wife) ; his wife, Marchesa Jennifer Cole-Brook Niccolini , Switzerland (1919–d. 1942) ; the descendents of Marchesa Jennifer Cole-Brook Niccolini (from 1942) ; [ Alain Moatti , until 1987; sold to MMA ]
On the one hand, its style aligns with a classicizing trend.
Private Devotion in Medieval Christianity – The Metropolitan Museum of Art https://www.metmuseum.org/essays/private-devotion-in-medieval-christianity
By the eleventh century, the appearance of icons changed, incorporating more narrative elements and expressing poignant emotions (63.68.1-.13).
description of an icon of the Crucifixion: “But as the [divine] force moved the painter’s hand
Animal Pen with Figures – China – Eastern Han dynasty (25–220) – The Metropolitan Museum of Art https://www.metmuseum.org/art/collection/search/44322
Avenue in Gallery 207 This animal pen is populated with goats, tended to with one hand
Ahmad ibn al-Suhrawardi al-Bakri – Opening Folio of the 26th Volume of the "Anonymous Baghdad Qur’an" – The Metropolitan Museum of Art https://www.metmuseum.org/art/collection/search/451015
Folio from the Anonymous Bagdad Qur’anThis illuminated folio and folio no. 55.44 come from different sections of one of the acknowledged masterpieces of calligraphy and book production in the Islamic world
while Ibn Aibak managed to illuminate only four of them.[3] This folio is the right-hand
Art of the Roman Provinces, 1–500 A.D. – The Metropolitan Museum of Art https://www.metmuseum.org/essays/art-of-the-roman-provinces-1-500-a-d
Art demonstrates both the scope and the limits of Roman influence, for the circulation of materials, methods, objects, and art forms created a certain cultural unity, and yet in each place, the persistence of local customs ensured the survival of cultural diversity.
Romanization went hand in hand with economic prosperity, as the city of Rome looked
Egyptian Faience: Technology and Production – The Metropolitan Museum of Art https://www.metmuseum.org/essays/egyptian-faience-technology-and-production
In ancient Egypt, objects created with faience were considered magical, filled with the undying shimmer of the sun, and imbued with the powers of rebirth.
Small amulets and beads could be formed by hand-modeling, but one of the most common