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The Artist: For a biography of Petrus Christus, see the Heilbrunn Timeline of Art History.The Painting: This mesmerizing image of Christ derives from the Gospels of Mark (15: 17–18) and John (19: 1–5) wherein Jesus was beaten, crowned with thorns, and dressed in a purple robe, subsequently to be presented by Pilate to the jeering crowd of Jews with the words „Ecce Homo“ (Behold the man)
Thought to have been miraculously created, this group includes two forerunners: the

Superfine: Tailoring Black Style presents a cultural and historical examination of Black style over three hundred years through the concept of dandyism.
Black identity formation in the Atlantic diaspora and the ways Black designers have

The Met presents over 5,000 years of art from around the world for everyone to experience and enjoy.
The profound feelings that the people of Ireland have for their treasures is something

The Met presents over 5,000 years of art from around the world for everyone to experience and enjoy.
contents About the authors Praise Of universal appeal and unique beauty, feathers have

significant presence in Chinese art for thousands of years, but those depicted here have

Byzantines might have thought the peacock an appropriate symbol for the season, because

Her left hand, open with the palm up, may have held an object.

While the vessel’s decoration suggests that it could have been used in a funerary

Bidri Water Pipe BaseOf the small number of known bidri objects that predate the eighteenth century, a majority are huqqa (water pipe) bases. Tobacco arrived in India sometime in the late sixteenth century, brought by the Portuguese from the New World to the port of Goa
Fifth Avenue in Gallery 463 This huqqa base, with irises and other flowers, would have

The Artist: Hugo van der Goes (ca. 1440–1482), born in Ghent, was one of the leading Flemish artists of the second half of the fifteenth century. Initially, Hugo followed in the grand tradition of the illusionism of Jan van Eyck’s paintings, with a palette of richly saturated colors and a clear organization of space that depended on single vanishing-point perspective
of this monumental altarpiece that all other attributions of paintings to Hugo have