1957-58, excavated on behalf of the Joint Expedition to Nippur (Baghdad School of the American Schools of Oriental Research and The Oriental Institute of the University of Chicago); acquired by the Museum in 1958, as a result of its financial contribution to the excavations
Stuttgart: Franz Steiner Verlag, pp. 95-7. Frayne, Douglas. 1997.
However, a crucial aspect of Rembrandt’s development was his intense study of people, objects, and their surroundings “from life.”
like his early self-portraits and the Saint Paul in Prison of 1627 (Staatsgalerie, Stuttgart
Werner Muensterberger, 1959 Object Number: 1978.412.370 Linden Museum, Stuttgart
Stuttgart and Leipzig, 1906, cat. no. pp. 276-307, I-31, ill.
Stuttgart: J. B. Metzler, 1942. pp. 77, 155–56, pl. 167. Wixom, William D.
Since the Renaissance, humanists supported the view that princely magnificence was symbolized best by luxurious displays, public ceremonies, large public projects such as dynastic buildings, and assembling important art collections. Artistic objects in pietre dure—literally, „hard stones“ in Italian—embodied the The Extravagant
Stuttgart and Freiburg-im-Breisgau Two craftsmen stood out among the stoneworkers
Stuttgart, 1988, pp. 53–55, colorpls. 23–24.
A founding member of the Surrealist group in Paris, German-born Max Ernst (1891–1976) was one of the most inventive artists of the twentieth century. His paintings, steeped in Freudian metaphors, private mythology, and childhood memories, are regarded today as icons Ernst’s Other Ernst’s Particularly The Foreboding
In Saint Cecilia (1923, Staatsgalerie, Stuttgart), the patron saint of music and
Catharine H. Roehrig, Curator, Department of Egyptian Art discusses the early representations of the Temple of Dendur by Europeans.
Christian Gau, "Dendur, interior view of the porch," in Antiquités de la Nubie (Stuttgart
Stuttgart: W. Kohlhammer. Stevenson, R. M. (1976).
