Terracotta wine amphora – Roman – Republic – The Metropolitan Museum of Art https://www.metmuseum.org/art/collection/search/254781
Gallery 171 The amphora comes from a shipwrecked cargo vessel (Grand Congloué B)
Gallery 171 The amphora comes from a shipwrecked cargo vessel (Grand Congloué B)
Link to the Artist Project Y.Z.
Jean, Duke of Berry d. 1416 (1408/09–d. 1416; item no. 960 in 1413 inventory) ; Yolande, Queen of Sicily and Duchess of Anjou (1417–d.1443) ; Pierre-Gabriel Bourlier, baron d’Ailly (before 1879–sold by 1884) ; Baron Edmond James de Rothschild, Paris (by 1884–d
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Met Fifth Avenue in Gallery 162 This statue and the similar work, 2003.407.8 a, b
Muzzarelli chapel, church of the convent of Sant’Andrea Apostolo, Ferrara (until at least 1787); Prince Eugène de Beauharnais, Herzog von Leuchtenberg, Munich (until d. 1824; cat., 1825, no. 40); Herzogen von Leuchtenberg, Munich and St
collection/search/436443 https://www.metmuseum.org/art/collection/search/436443 Link
The Artist: Simone Martini was one of the greatest and most influential painters of his time. His work combines an astonishing mastery of naturalistically observed details with an exquisite technique, beautifully exemplified in The Met’s painting of Saint Andrew by the description of the hands, the tilted book, and the dangling tassel and the refined tooling of the halo
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Brownlow Cecil, 9th Earl of Exeter, Burghley House, near Stamford, Northamptonshire (by 1847) ; William Alleyne Cecil, 3rd Marquis of Exeter 1825–1895, Burghley House, near Stamford Northamptonshire (until 1888) ; Marquis of Exeter sale, Christie, Manson & Woods, London (June 9, 1888, no
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1962, excavated under the direction of Max Mallowan, on behalf of the British School of Archaeology in Iraq; ceded in the division of finds to the British School of Archaeology in Iraq; acquired by the Museum in 1962, as a result of its financial contribution to the excavations
collection/search/325564 https://www.metmuseum.org/art/collection/search/325564 Link
This arresting portrait of an unidentified young Florentine is dated by most scholars to the 1530s. During that decade Bronzino was often engaged in painting members of a close-knit circle of acquaintances with whom he shared literary interests, and this sitter—who so conspicuously holds open a book—may be from among that group
Here is a link to download the audio instead. Playlist 5102.
collection/search/464300 https://www.metmuseum.org/art/collection/search/464300 Link