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Contrary to popular views about precolonial Africa, local manufacturers were at this time creating items of comparable, if not superior, quality to those from preindustrial Europe.
New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd
collection/search/318318 https://www.metmuseum.org/art/collection/search/318318 Link
Prints documented the plight of the oppressed and commemorated the struggles and achievements of social reform.
The link between politics and prints that continued to be a focus of Mexican artists
Cup (no. 65.172.1) and Beaker (no. 1974.45)Inevitably, the immediate models used by Iranian glassmakers following the advent of Islam came from their Sasanian heritage, which in turn had developed from a centuries-long distinctive and individual artistic tradition in the geographical area of Greater Iran
collection/search/452522 https://www.metmuseum.org/art/collection/search/452522 Link
Both kingdoms eventually and simultaneously succumbed to the successors of the Medes, the Persians, whose king Cyrus captured Sardis in 546 B.C.
New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd
The Artist: The Sienese master 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
For a reconstruction of the altarpiece, see http://www.metmuseum.org/collection/the-collection-online
Inspired by the demand for a recognizable product, or “manner,” Antwerp painters developed a repertoire of stock figural motifs, compositions, and themes.
New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd
conservation, Islamic
Presented by Anke Scharrahs http://vimeo.com/47620230 The Syria-Lebanon Room at
Poussin brought a new intellectual rigor to the classical impulse in art, as well as a unique, somewhat reticent poetry.
Cassiano became Poussin’s close friend and patron, as well as a link to other well-placed
The Painting: In his mid-fifties and at the height of his career, Paul Cézanne began a series of paintings, drawings, and watercolors of card players. The unprecedented repetition of the theme of card players and the monumental scale at which he chose to work in two of the later canvases demonstrate the significance of the project for him
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