Bamana numu (blacksmith) – Gwandansu – Bamana – The Metropolitan Museum of Art https://www.metmuseum.org/art/collection/search/312336
Washington, DC: Smithsonian Institution Press, 1986, no. 25, p. 23.
Washington, DC: Smithsonian Institution Press, 1986, no. 25, p. 23.
Inscription: Inscribed (lower center, in printed ink): AIDSGATE / This Political Scandal Must Be Investigated! / 54% of people with AIDS in NYC are Black or Hispanic……..AIDS is the No
demonstration by the grassroots organization ACT UP (AIDS Coalition To Unleash Power) in Washington
While religious themes had dominated Limoges enamels in the Middle Ages and continued to cover the surfaces of Limoges plaques particularly in the first third of the sixteenth century, images of Greek and Roman subjects predominated from the 1530s.
Washington, D.C.: National Gallery of Art, 1996. Blunt, Anthony.
As the custom of building large temple complexes became more widespread, so did the production of images and other objects associated with ritual and worship.
Washington, D.C.: Freer Gallery of Art, 1934. Doshi, Saryu.
Paris, 1891–Paris, 1950
Knoedler) sold Vincent van Gogh’s The Olive Orchard (1899; National Gallery of Art, Washington
As the Safavids set up their capital cities of Tabriz, Qazvin, and finally Isfahan, the textile industry became centralized and was swiftly incorporated into the national economy, creating an expansive revenue stream.
Washington, D.C.: Textile Museum, 1987. Floor, Willem.
Within a short period of time, the Mamluks created the greatest Islamic empire of the later Middle Ages, which included control of the holy cities Mecca and Medina.
Washington, D.C.: Smithsonian Institution Press, 1981.
Washington, 1946, pp. 119, 163, pl. 132 (detail), attributes it to Bernardino Zaganelli
Despite his unconventional training, Watteau was permitted to compete for the Prix de Rome at the Royal Academy of Painting and Sculpture.
Washington, D.C.: The National Gallery of Art, 1984. Posner, Donald.
Newly installed, these sculptures celebrate the role of Maya artists in the creation of iconographies of power.
Washington, Dumbarton Oaks, 2010.