The factory’s output reflected an ongoing desire for technical innovation as well as a wide embrace of diverse decorative styles that were employed simultaneously.
This tendency is reflected in a pair of vases ( 1992.23.1) for which the model was
Hals’ portraits suggest friendliness, preoccupation, or reserve, without giving away much about the person.
became more inspiring to Realist and Impressionist painters than was the venerable model
Though the earliest references to the term “Hudson River School” in the 1870s were disparagingly aimed, the label has never been supplanted and fairly characterizes the artistic body, its New York headquarters, its landscape subject matter, and often literally its subject.
Durand in both word and practice, outdoor sketching in oils as the foundation of and model
A selection of the artist’s prints candidly portrays the experience of women during periods of political oppression.
Rather than copy the pastels, she restaged the scenes and worked directly from her model
How does contemporary fashion engage with African dress traditions to explore Black identity?
Rather than mimic the sharp lines of Savile Row, Wales Bonner swathes her model in
Aix-en-Provence) 1890–92 Buddha of Medicine Bhaishajyaguru (Yaoshi fo) ca. 1319 Model
Jewish ceremonial objects—collectively referred to as Judaica—that survive from early modern Italy highlight the vibrant Jewish life from that period and region, even if Jews were generally restricted from producing these works.
Torah finials (rimonim) Andrea Zambelli "L’Honnesta" ca. 1740–50 Architectural model
The Met presents over 5,000 years of art from around the world for everyone to experience and enjoy.
We don’t know the name of the Black model who posed for Carpeaux for this piece
This panel and a scene showing the Flagellation of Christ (The Met 2001.216.2) come from a large dismantled retable probably made for the high altar of the former Collegiate Church (Kollegiatstift) of Sankt Maria und Sankt Georg, now the Neustädter Marienkirche, in Bielefeld
Vereins für lübeckische Geschichte 19 (1918), pp. 28–30, 32, postulates a French model
This panel and a scene showing the Crucifixion of Christ (The Met, 43.161) come from a large dismantled retable probably made for the high altar of the former Collegiate Church (Kollegiatstift) of Sankt Maria und Sankt Georg, now the Neustädter Marienkirche, in Bielefeld
Vereins für lübeckische Geschichte 19 (1918), pp. 28–30, 32, postulates a French model
