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Paintings of Love and Marriage in the Italian Renaissance – The Metropolitan Museum of Art

https://www.metmuseum.org/essays/paintings-of-love-and-marriage-in-the-italian-renaissance

Numerous contemporary authors wrote about the efficacy of such images in stimulating married couples hoping for children, as well as about the belief that visual beauty before a couple’s eyes could influence the appearance of their offspring.
A consortium of painters led by Andrea del Sarto, alongside Jacopo Pontormo, Francesco

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ÃŒgbèsànmwà (ivory- and wood- carving guild) artists – Pendant mask of ÃŒyá»�Ì�bà Idià – Edo – The Metropolitan Museum of Art

https://www.metmuseum.org/Collections/search-the-collections/318622

Commissioned by Ẹsìgie (r. ca. 1517–50), Benin City; by descent to Òvá»�Ì�nránmwẹ̀ (r. 1889–97); removed from the Royal Palace by Sir Ralph Moor, 1897; Sir Ralph Moor and his wife, Adrienne Moor, London, 1897–1909; John Sparks, London, 1909; Prof
This access to an influx of brass led to an explosion of creativity by court artists

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ÃŒgbèsànmwà (ivory- and wood- carving guild) artists – Pendant mask of ÃŒyá»�Ì�bà Idià – Edo – The Metropolitan Museum of Art

https://www.metmuseum.org/art/collection/search/318622

Commissioned by Ẹsìgie (r. ca. 1517–50), Benin City; by descent to Òvá»�Ì�nránmwẹ̀ (r. 1889–97); removed from the Royal Palace by Sir Ralph Moor, 1897; Sir Ralph Moor and his wife, Adrienne Moor, London, 1897–1909; John Sparks, London, 1909; Prof
This access to an influx of brass led to an explosion of creativity by court artists

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Abraham Bloemaert – Moses Striking the Rock – The Metropolitan Museum of Art

https://www.metmuseum.org/art/collection/search/435680

In Bloemaert’s version of the Old Testament subject (Exod. 17:1–6), the children of Israel march out of Egypt either naked or provocatively dressed, and weighed down with earthenware pots, copper-lined cookware, and, in the arms of the young woman at center, a silver-gilt ewer dating from the late sixteenth century
That graceful figure’s prominence led Broos (1990) to suggest that the artist’s subject

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