The Cloisters from a Distance, Sept. 2007

The Cloisters

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Folder: Metropolitan Museum of Art
The Cloisters—described by Germain Bazin, former director of the Musée du Louvre in Paris, as "the crowning achievement of American museology"—is the branch of the Metropolitan Museum devoted to the art and architecture of medieval Europe. Located on four acres overlooking the Hudson River in northern Manhattan's Fort Tryon Park, the building incorporates elements from five medieval French cloiste…  (read more)

Virgin and Child Statue in the Cloisters, Sept. 20…

01 Sep 2007 409
Virgin and Child Limestone with original paint, gilding, and glass France, Ile-de-France, about 1350. Accession # 37.159 A prime example of Parisian Gothic sculpture, this image depicts the Virgin as both the Mother of Christ and the Queen of Heaven. Her right hand once held a scepter, symbol of her regal status. Mary gazes directly ahead while the Child greets viewers coming from the left. Conceived to be approached from two vantage points, this sculpture was probably installed against a column on the right side of a church nave. Text from the Cloisters label.

Detail of a Virgin and Child Statue in the Cloiste…

01 Sep 2007 351
Virgin and Child Limestone with original paint, gilding, and glass France, Ile-de-France, about 1350. Accession # 37.159 A prime example of Parisian Gothic sculpture, this image depicts the Virgin as both the Mother of Christ and the Queen of Heaven. Her right hand once held a scepter, symbol of her regal status. Mary gazes directly ahead while the Child greets viewers coming from the left. Conceived to be approached from two vantage points, this sculpture was probably installed against a column on the right side of a church nave. Text from the Cloisters label.

Detail of a Virgin and Child Statue in the Cloiste…

01 Sep 2007 355
Virgin and Child Limestone with original paint, gilding, and glass France, Ile-de-France, about 1350. Accession # 37.159 A prime example of Parisian Gothic sculpture, this image depicts the Virgin as both the Mother of Christ and the Queen of Heaven. Her right hand once held a scepter, symbol of her regal status. Mary gazes directly ahead while the Child greets viewers coming from the left. Conceived to be approached from two vantage points, this sculpture was probably installed against a column on the right side of a church nave. Text from the Cloisters label.

Head (Perhaps of an Angel) in the Cloisters, Sept.…

01 Sep 2007 397
Head, perhaps of an Angel Limestone France, Ile-de-France, about 1250 Accession # 1990.132 The angelic smile and playful treatment of the hair distinguish this beautifully executed head as a key Parisian sculpture from the 13th century. Several stylistic and technical features link it with sculpture made for Notre-Dame Cathedral, but its exact origin and function are unknown. Text from the Cloisters label.

Head in the Cloisters, Sept. 2007

01 Sep 2007 363
Head Sandstone Germany (present-day France), Strasbourg, about 1280-1300 Accession # 2004.453 With its curly hair and furrowed brow, this arresting head bears comparison with the prophets on the central portal of the west facade of Strasbourg Cathedral, carved a generation after the Virgin displayed on the right. The red sandstone is typical for that region. Although the head certainly belonged to a column figure, it is unknown whether it was part of the sculptural program of Strasbourg Cathedral or pf another church in that city. Text from the Cloisters label.

Panels from a Tabernacle in the Cloisters, Sept. 2…

01 Sep 2007 437
Disrobing Youths from the Entry into Jerusalem, Flagellation, and Angel at the Sepulchre; Descent from the Cross, Preparation of Christ's Body for His Entombment; Arrest of Christ, Christ in Limbo Tempera on wood Spain, 13th Century Accession Numbers: 1977.94, 55.62 a,b These panels originally formed the wings of a tabernacle that contained a sculpture of the enthroned Virgin and Child similar to the one displayed at the right. The painted side was the exterior. The interior displayed figures in relief, now lost, against a gold ground. The edges of the gabled panel bear the arms of Castilla and Leon. Text from the Cloisters label.

The Arrest of Christ and Christ in Limbo Panels fr…

01 Sep 2007 388
Arrest of Christ, Christ in Limbo Tempera on wood Spain, 13th Century Accession Numbers: 1977.94, 55.62 a,b These panels originally formed the wings of a tabernacle that contained a sculpture of the enthroned Virgin and Child similar to the one displayed at the right. The painted side was the exterior. The interior displayed figures in relief, now lost, against a gold ground. The edges of the gabled panel bear the arms of Castilla and Leon. Text from the Cloisters label.

Detail of the Preparation of Christ's Body for Ent…

01 Sep 2007 468
Preparation of Christ's Body for His Entombment Tempera on wood Spain, 13th Century Accession Numbers: 1977.94, 55.62 a,b These panels originally formed the wings of a tabernacle that contained a sculpture of the enthroned Virgin and Child similar to the one displayed at the right. The painted side was the exterior. The interior displayed figures in relief, now lost, against a gold ground. The edges of the gabled panel bear the arms of Castilla and Leon. Text from the Cloisters label.

Man of Sorrows Wall Painting in the Cloisters, Sep…

01 Sep 2007 485
Man of Sorrows Fresco transferred to canvas Niccolo di Tommaso (active 1343-76) Italy, Tuscany, Florence, about 1370 Accession # 25.120.241 This impressive devotional image by a follower of Nardo di Cione presumably came from a Florentine monastery. It may originally have been placed above a door, as here, or in a lunette beneath an arch, or possibly in a niche above a tomb. Shown as the Man of Sorrows, at once dead and alive, Christ displays the wounds of his Passion. Text from the Cloisters label.

Relief with Saint Peter Martyr and Three Donors in…

01 Sep 2007 470
Relief with Saint Peter Martyr and Three Donors Giovanni di Balduccio (Italian, active 1318-49) Marble Italy, Lombardy, Milan, about 1340 Accession # 2001.221 This relief, with the standing image of the Dominican saint Peter Martyr (d. 1252) and three kneeling donors, is one of three marble panels to survive from a tomb in the Milanese church of Sant' Eustorgio. The panel was originally to the right of a central panel depicting the Enthroned Virgin and Child between two angels (Castello Sforzesco, Milan). Another relief showing John the Baptist and four kneeling donors, in a composition that mirrors this panel (Sant' Eustorgio, Milan), would have originally appeared on the left side. Text from the Cloisters label.

Saint Hubert and the Stag Relief in the Cloisters,…

01 Sep 2007 359
Saint Hubert and the Stag Limestone with paint Eastern France, early 16th century Accession # 25.120.284 This relief represents the moment of Hubert's conversion, which occurred when he encountered a white stag bearing a crucifix between its antlers while hunting during Holy Week. Renouncing all worldly life, Hubert first became a hermit, was later ordained a priest, and finally became the bishop of Liege. Deeply undercut, the relief depicts the miraculous scene with boldness and rich detail. Text from the Cloisters label.

Figure of a King in the Cloisters, Sept. 2007

01 Sep 2007 291
Figure of a King Oak with paint and gilding South Lowlands, Flanders, about 1300-1325 Accession # 52.82 The identity of this idealized young king is unknown because the attribute he once held in his hands has been lost. He may have represented the youngest of the Three Magi, who enjoyed particular veneration as early witnesses to Christ's divinity. Stylistic similarities with sculptures preserved at Leau and Ypres suggest that the figure was made in the South Lowlands. Text from the Cloisters label.

Detail of a Figure of a King in the Cloisters, Sep…

01 Sep 2007 312
Figure of a King Oak with paint and gilding South Lowlands, Flanders, about 1300-1325 Accession # 52.82 The identity of this idealized young king is unknown because the attribute he once held in his hands has been lost. He may have represented the youngest of the Three Magi, who enjoyed particular veneration as early witnesses to Christ's divinity. Stylistic similarities with sculptures preserved at Leau and Ypres suggest that the figure was made in the South Lowlands. Text from the Cloisters label.

Tomb Effigy of Ermengol VII in the Cloisters, Sept…

01 Sep 2007 1 890
Tomb Effigy of Ermengol VII, 1320–1340 Spanish; From the Church of Santa María de Bellpuiq de las Avellanes, Catalonia Limestone, polychromy; H. 120 in. (305 cm), L. 80 in. (203 cm) The Cloisters Collection, 1928 (28.95) Elaborate tombs honored the deceased and their family and invited prayers for their souls. This was one of a group of tombs made for the counts of Urgell in the Church of Santa María de Bellpuiq de las Avellanes. Mourners gather behind the effigy of Count Ermengol VII of Urgell (d. 1194). The relief above shows a priest conducting the funeral service, and still higher the soul of the deceased is borne heavenward by angels. The effigy rests on an elaborate sarcophagus with depictions of Christ and the apostles carried by three lions. Traces of the original paint remain. The tomb comprises fragments from different monuments; for example, the effigy slab is too large for the sarcophagus, which was originally made to be inset into a wall. Text from: www.metmuseum.org/toah/ho/07/eusi/ho_28.95.htm

Sepulchral Monument of Ermengol X in the Cloisters…

01 Sep 2007 366
Sepulchral Monument of Ermengol X, Count of Urgell Limestone and traces of polychromy Spain, Catalunya (Cataluna), Lleida (Lerida), ca. 1300-1350 From the monastery chapel of Santa Maria de Bellpuig de les Avellanes, near Lleida Accession # 48.140.2 a-d In his will Ermengol X ordered a fine tomb to be installed in the chapel of the monstery church of Santa Maria de Bellpuig de les Avellanes. The earliest surviving descriptions correspond with this effigy in mail and plate armor. The sarcophagus is probably an 18th century replacement made during the restoration of the church. Text from the Cloisters label.

Detail of the Sepulchral Monument of Ermengol X in…

01 Sep 2007 513
Sepulchral Monument of Ermengol X, Count of Urgell Limestone and traces of polychromy Spain, Catalunya (Cataluna), Lleida (Lerida), ca. 1300-1350 From the monastery chapel of Santa Maria de Bellpuig de les Avellanes, near Lleida Accession # 48.140.2 a-d In his will Ermengol X ordered a fine tomb to be installed in the chapel of the monstery church of Santa Maria de Bellpuig de les Avellanes. The earliest surviving descriptions correspond with this effigy in mail and plate armor. The sarcophagus is probably an 18th century replacement made during the restoration of the church. Text from the Cloisters label.

Detail of the Sepulchral Monument of Ermengol X in…

01 Sep 2007 335
Sepulchral Monument of Ermengol X, Count of Urgell Limestone and traces of polychromy Spain, Catalunya (Cataluna), Lleida (Lerida), ca. 1300-1350 From the monastery chapel of Santa Maria de Bellpuig de les Avellanes, near Lleida Accession # 48.140.2 a-d In his will Ermengol X ordered a fine tomb to be installed in the chapel of the monstery church of Santa Maria de Bellpuig de les Avellanes. The earliest surviving descriptions correspond with this effigy in mail and plate armor. The sarcophagus is probably an 18th century replacement made during the restoration of the church. Text from the Cloisters label.

Effigies of Alvaro Rodrigo de Cabrera and Cecilia…

01 Apr 2007 1 523
Double Tomb of Don Àlvar Rodrigo de Cabrera, Count of Urgell and His Wife Cecília of Foix Date: ca. 1300–1350 Culture: Catalan Medium: Limestone, traces of paint Dimensions: a: 19 x 82 7/8 x 28 1/4 in. b: 21 x 74 3/4 x 26 in. c: 16 x 74 x 29 in. d: 24 3/4 x 66 3/8 x 24 3/4 in. Classification: Sculpture Credit Line: The Cloisters Collection, 1948 Accession Number: 48.140.1a–d Description: Documentary evidence suggests that this tomb ensemble was made for Àlvar Rodrigo de Cabrera and his wife, Cecília of Foix, the parents of Ermengol X. The monastery of Bellpuig de les Avellanes was abandoned and badly damaged during the Wars of Succession that began around 1700. When the monastery was reinhabited in the 18th century, the church with its burial chapel was reconstructed. The sarcophagi with the arms of the counts of Urgell and Foix were probably made at that time to fit the original effigies. Text from: www.metmuseum.org/collection/the-collection-online/search/471320

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