Aaron Douglas – Window Shopper – The Metropolitan Museum of Art https://www.metmuseum.org/art/collection/search/491341
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The Artist: Castiglione’s artistic sensibility was deeply impacted by Flemish painters active in Genoa, the Italian port city where he was born in 1609. Peter Paul Rubens (1577–1640) worked in Genoa around 1606 and Anthony van Dyck (1599–1641) arrived in 1621, opening a studio that Castiglione quickly joined
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The Artist: One of the leading painters in Rome in the late seventeenth century and the first half of the eighteenth, Trevisani trained in Venice before moving to the papal city, where he worked for Cardinal Flavio Chigi (1631–1693), the nephew of Pope Alexander VII
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Henry II, King of France (until d. 1559); Carl August, Grand Duke of Saxe-Weimar-Eisenach, Residenzschloss, Weimar (by 1804–d. 1828); by descent to Wilhelm Ernst, Grand Duke of Saxe-Weimar-Eisenach, Residenzschloss, Weimar, later Schloss Heinrichau, Lower Silesia, Germany (now Henryków, Poland) (1901–d
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[By 1918, R.D. Messayeh, New York]; [1919, purchased by Joseph Brummer from Messayeh, New York (Brummer inv. no. N315)]; acquired by the Museum in 1947, purchased from the estate of Joseph Brummer, New York
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Hayes described the piece as an image of King Amenemhat I (ca
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Four Folios from the Emperor’s Album (nos. 55.121.10.39, .13, .21,.4r)This celebrated imperial Mughal album (muraqqa‘), known as the Shah Jahan, or Emperors’, Album originally consisted of fifty leaves containing paintings, illuminated pages, and calligraphy
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Bartolomeo Suardi was known as Bramantino after his contemporary in Milan, the great architect Bramante (1443/44–1514); his abiding interest in perspective and architecture, reflected in the background of this rare, private devotional painting, comes from that source
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Beads (1980.456, .457) and pendant (30.95.37)Among the luxury arts that flourished under the Fatimid caliphs, gold jewelry stands out for its innovation and complexity. According to literary sources, prodigious amounts of such jewelry were manufactured for both royal and patrician patrons; most of these items were later melted down for currency or refashioned into newer pieces
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