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Rococo Revival Parlor | The Metropolitan Museum of Art

https://www.metmuseum.org/about-the-met/collection-areas/the-american-wing/period-rooms/rococo-revival-parlor

The Richard and Gloria Manney John Henry Belter Rococo Revival Parlor presents a sumptuous mid-nineteenth-century parlor characteristic of affluent homes in the United States. It features furniture by one of the most innovative and virtuosic American cabinetmakers of the period in a room whose architectural elements are from the double parlor of a Classical Revival style villa built around 1850 in Astoria, Queens, for a prosperous businessman named Horace Whittemore (1813–1871).
five hundred percent stronger and more durable than furniture made in the ordinary manner

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Master of the Berswordt Altar – The Crucifixion – The Metropolitan Museum of Art

https://www.metmuseum.org/art/collection/search/436997

This panel and a scene showing the Flagellation of Christ (The Met 2001.216.2) come from a large dismantled retable probably made for the high altar of the former Collegiate Church (Kollegiatstift) of Sankt Maria und Sankt Georg, now the Neustädter Marienkirche, in Bielefeld
whose deviations from his more refined style are due to the retention of an older manner

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Master of the Berswordt Altar – The Flagellation – The Metropolitan Museum of Art

https://www.metmuseum.org/art/collection/search/438466

This panel and a scene showing the Crucifixion of Christ (The Met, 43.161) come from a large dismantled retable probably made for the high altar of the former Collegiate Church (Kollegiatstift) of Sankt Maria und Sankt Georg, now the Neustädter Marienkirche, in Bielefeld
whose deviations from his more refined style are due to the retention of an older manner

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Simone Martini – Saint Andrew – The Metropolitan Museum of Art

https://www.metmuseum.org/art/collection/search/437675

The Artist: Simone Martini was one of the greatest and most influential painters of his time. His work combines an astonishing mastery of naturalistically observed details with an exquisite technique, beautifully exemplified in The Met’s painting of Saint Andrew by the description of the hands, the tilted book, and the dangling tassel and the refined tooling of the halo
technique and descriptive powers, evident in the expression of Saint Andrew and the manner

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Joseph Mallord William Turner – Whalers – The Metropolitan Museum of Art

https://www.metmuseum.org/art/collection/search/437854

This picture is one of four whaling subjects by Turner; the other three form part of the artist’s bequest at Tate Britain, London. The Met’s painting and another of the same title were shown at the Royal Academy in 1845, receiving a mixed reception
colour; depicting the peril and excitement of Whale-fishing, in a vague, imaginative manner

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Petrus Christus – Head of Christ (Ecce Homo) – The Metropolitan Museum of Art

https://www.metmuseum.org/art/collection/search/435897

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)
surrounded by the painted trompe l’oeil frame that was rendered in a very sensitive manner

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Michelangelo Buonarroti – Studies for the Libyan Sibyl (recto); Studies for the Libyan Sibyl and a small Sketch for a Seated Figure (verso) – The Metropolitan Museum of Art

https://www.metmuseum.org/art/collection/search/337497

Signature: [On recto, annotated in pen and light brown ink at lower left:] di Michel Angelo bona RotiInscription: On verso, annotated in pen and brown ink at upper right: 58 Annotated by early 16th century hand at lower center, following the same numbering system of the Michelangelo drawings in the Buonarroti family: nº
The manner of the weight-bearing on the toes of the sibyl’s left foot was crucial

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