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Art of the First Cities in the Third Millennium B.C. – The Metropolitan Museum of Art

https://www.metmuseum.org/essays/art-of-the-first-cities-in-the-third-millennium-b-c

The art of the third millennium B.C. reflects not only the extraordinary developments in the cities of the Near Eastern heartland but also their interaction with contemporary civilizations to the east and west.
In their own language, Sumerian, they call themselves sag giga, or “black-headed

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Prince Lu – Guqin (å�¤ç�´ ) – Chinese – Ming Dynasty – The Metropolitan Museum of Art

https://www.metmuseum.org/art/collection/search/503523

Inscription: Inside soundhole, circular inscription: „Manufactured by the [prince of the] state of Lu in the year guiyou of the Chongzhen reign of the great Ming; #18.“Marking: 1) (on back at head) the title „honghe“(Capital Peace); 2) (on back below title) the seal „Luguo shi quan“ (Heirloom of the Lu State); 3) (below seal) 22-character poem that reads: The moonlight is being reflected by the river Yangtze, A light breeze is blowing over clear dewdrops, Only in a tranquil place Can one comprehend the feeling of eternity
significance and empowered to communicate the deepest feelings, the qin, beloved of sages

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Velázquez (Diego Rodríguez de Silva y Velázquez) – Juan de Pareja (ca. 1608–1670) – The Metropolitan Museum of Art

https://www.metmuseum.org/art/collection/search/437869

The Background: Between 1649 and 1651, Velázquez travelled to Italy for the second and last time in his life. The main purpose of the trip was to buy paintings and sculptures for King Philip IV of Spain, and while he was in Rome, the painter also received the prestigious commission to portray Pope Innocent X (the canvas is now in the Galleria Doria Pamphilj, Rome)
Walter de Sager. "20 Millionen DM für Velazquez!."

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