Since only the menuisier was obliged to sign his work, the names of the other craftsmen are, unfortunately, rarely known.
Later during the eighteenth century, special chairs known as voyeuses (from the verb voir—”to see”) were
https://www.metmuseum.org/perspectives/ennion-catalogue
Editorial Assistant Rachel High discusses the Museum’s first publication devoted to Ennion with Ennion: Master of Roman Glass curator and author, Christopher Lightfoot.
the decoration, but not the inscriptions, so I’ve listed all the different variations, the changes in verb
https://www.metmuseum.org/essays/cameo-appearances
Cameos were, and still are, especially prized when the artist manipulated the strata of the stone in relation to the design, exploring the stone’s depths to enhance its visual impact.
roughly the fifth century B.C., gems were carved only in sunken relief, or intaglios (from the Italian verb
https://www.metmuseum.org/essays/chinese-painting
Integrating calligraphy, poetry, and painting, scholar-artists for the first time combined the “three perfections” in a single work.
kind of scholar-painting from the work of professional craftsmen, Zhao defined his art by using the verb
Nur Seiten von www.metmuseum.org anzeigen