Meintest du wird?
The Met presents over 5,000 years of art from around the world for everyone to experience and enjoy.
artists/makers 1977 All ’n All Multiple artists/makers 1977 Best of Earth, Wind
Both Hindustani and Karnatak music use the system of ragas—sets of pitches and small motives for melody construction—and tala for rhythm.
stretched (strings; ( 2008.141.2a,b)), covered (drums; ( 89.4.165)), hollow (wind
Benedetta Cappa Marinetti, Rome (1950–56; sold in November 1956 to Winston); Lydia and Harry Lewis Winston, Birmingham, Mich. (1956–his d. 1966); Lydia Winston Malbin, Detroit and New York (1966–d
The figure’s marching silhouette appears deformed by wind and speed, while its
Greek settlers and the Scythian peoples around them profoundly impacted each other’s culture and art for centuries.
of the Scythians—sometimes referred to as Hyperborea (the land “beyond the North Wind
Art has a unique way of bringing complicated facts to life. What can it tell us about the multiple histories of two continents over several centuries? Visit the American Wing.
on just one roller skate, her outstretched arms balancing her body against the wind
Curators Jayson Kerr Dobney and Bradley Strauchen-Scherer explain how they leveraged The Met’s strengths to tell rich stories about musical instruments in the Museum’s recently opened galleries.
And then there is a songbird on the figure’s shoulder and wind rustling in the leavesâ
Integrating calligraphy, poetry, and painting, scholar-artists for the first time combined the “three perfections” in a single work.
from the life of Wang Xizhi Zhao Mengfu 1310s Fisherman Wu Zhen ca. 1350 Wind
Dutch and Flemish landscape paintings were rarely symbolic but were usually rich in associations, ranging from God and all of nature to national, regional, or local pride, agriculture and commerce, leisure time, and the sheer pleasure of physical sensation.
city life), and the sheer pleasure of physical sensation: fresh air, daylight, wind
These are variants of Wind God and sun-related glyphs, similar to the two glyphs
the artist’s brother, Theo van Gogh, Paris (1889–d. 1891; sent to him by the artist on September 28, 1889); his widow, Johanna van Gogh-Bonger, Amsterdam, in trust for their son, Vincent Willem van Gogh (1891–95; consigned by June 1895 to Lucien Moline (Galerie Laffitte), Paris; sold with six other paintings for fl
„daring“ arabesques to depict the trees‘ wild agitation from the strong mistral wind
