LaurieAnnie's photos with the keyword: icon

Triptych Icon (Primary Title) Unknown (Artist) Date: 1670-1720 Culture: Ethiopian Category: Paintings Medium: Tempera on gesso-covered wood panels Collection: African Art Geography: Ethiopia, Gondar Dimensions: Overall (Left Panel): 15 3/4 × 4 13/16 × 11/16 in. (40.01 × 12.22 × 1.75 cm) Overall (Center Panel): 15 3/4 × 9 3/4 × 13/16 in. (40.01 × 24.77 × 2.06 cm) Overall (Right Panel): 15 13/16 × 4 9/16 × 11 in. (40.16 × 11.59 × 27.94 cm) Object Number: 2015.266 In this icon, the Madonna and Child are flanked by Archangels and surrounded by images of the Crucifixion and Resurrection, apostles, and equestrian images of Saint George (left) and Saint Theodore (right). The work was likely painted in or around the city of Gondar, established as the Ethiopian capital by Emperor Fasilides in the mid-17th century. The icon’s vibrant palette and the prominent and lively eyes are hallmarks of work from what is known as the first Gondar period, roughly 1670-1720. As objects of devotion, icons were constantly touched by the faithful seeking to absorb their mystical power by rubbing, tapping, and even scratching the surface. The loss of paint in certain areas is reveals the use of the icon in this way. The pose of the Madonna and Child follows format of the famous icon in Santa Maria Maggiore in Rome known as the Salus Populi Romani (The Salvation of the Roman People), believed to date from the 6th century and mythically supposed to have been painted from life by the apostle Luke. Prints reproducing that work were brought to Ethiopia in the late 16th century by Portuguese Jesuit missionaries during an “open” phase of the country. Although Fasiledes soon “closed” the borders and banished the Jesuits, the image-type was retained as a model for Ethiopian icon painting. Text from: www.vmfa.museum/piction/6027262-94796295

Triptych Icon (Primary Title) Unknown (Artist) Date: 1670-1720 Culture: Ethiopian Category: Paintings Medium: Tempera on gesso-covered wood panels Collection: African Art Geography: Ethiopia, Gondar Dimensions: Overall (Left Panel): 15 3/4 × 4 13/16 × 11/16 in. (40.01 × 12.22 × 1.75 cm) Overall (Center Panel): 15 3/4 × 9 3/4 × 13/16 in. (40.01 × 24.77 × 2.06 cm) Overall (Right Panel): 15 13/16 × 4 9/16 × 11 in. (40.16 × 11.59 × 27.94 cm) Object Number: 2015.266 In this icon, the Madonna and Child are flanked by Archangels and surrounded by images of the Crucifixion and Resurrection, apostles, and equestrian images of Saint George (left) and Saint Theodore (right). The work was likely painted in or around the city of Gondar, established as the Ethiopian capital by Emperor Fasilides in the mid-17th century. The icon’s vibrant palette and the prominent and lively eyes are hallmarks of work from what is known as the first Gondar period, roughly 1670-1720. As objects of devotion, icons were constantly touched by the faithful seeking to absorb their mystical power by rubbing, tapping, and even scratching the surface. The loss of paint in certain areas is reveals the use of the icon in this way. The pose of the Madonna and Child follows format of the famous icon in Santa Maria Maggiore in Rome known as the Salus Populi Romani (The Salvation of the Roman People), believed to date from the 6th century and mythically supposed to have been painted from life by the apostle Luke. Prints reproducing that work were brought to Ethiopia in the late 16th century by Portuguese Jesuit missionaries during an “open” phase of the country. Although Fasiledes soon “closed” the borders and banished the Jesuits, the image-type was retained as a model for Ethiopian icon painting. Text from: www.vmfa.museum/piction/6027262-94796295

Greek, Post- Byzantine Place made: Crete John the Baptist, 17th century Tempera and gold leaf on wooden panel 35 x 27.2 x 1.7 cm (13 3/4 x 10 11/16 in.) Museum purchase y1951-81 Text from: artmuseum.princeton.edu/collections/objects/24002

Greek, Late Byzantine The Archangel Gabriel, from an Annunciation scene on the King's Door of an iconostasis, second half of the 15th century Tempera and gold ground on panel 76 × 38.8 × 2.7 cm (29 15/16 × 15 1/4 × 1 1/16 in.) Museum purchase, Fowler McCormick, Class of 1921, Fund, and matching funds provided by the Program in Hellenic Studies with the support of the Stanley J. Seeger Hellenic Fund 2006-482 Text from: artmuseum.princeton.edu/collections/objects/51180

Greek , post-Byzantine Place made: Crete Deësis: Christ between Mary and John the Baptist, early 16th century Tempera and gold leaf on wood panel 25.5 x 21 x 2.1 cm (10 1/16 x 8 1/4 x 13/16 in.) Museum purchase y1951-4 Text from: artmuseum.princeton.edu/collections/objects/24014

Late Byzantine Place made: possibly Constantinople, Turkey The Twelve Apostles, with later gilding and frame, early 14th century Tempera and gold leaf on wood panel 28 x 20.6 x 3.8 cm (11 x 8 1/8 x 1 1/2 in.) Gift of Frank Jewett Mather Jr. y1946-107 Text from: artmuseum.princeton.edu/collections/objects/22782

Icon with Three Church Fathers Date: ca. 1500 or later Culture: Greek Medium: Ivory with dark stain Dimensions: Overall: 2 5/8 x 2 x 1/4 in. (6.7 x 5.1 x 0.6 cm) Classification: Ivories Credit Line: Gift of J. Pierpont Morgan, 1917 Accession Number: 17.190.130 Description: The church fathers identified by inscriptions on this small icon, Saints Basil, John Chrysostom, and Gregory [of Nazianzos], played a critical role in establishing church doctrine during the first centuries of Christianity. Text from: www.metmuseum.org/Collections/search-the-collections/1700...

Title: Fragment of an Icon with Scenes from the Life of Christ Date: 12th century Culture: Byzantine Medium: Steatite Dimensions: Overall: 1 3/4 x 2 11/16 x 1/2 in. (4.4 x 6.9 x 1.2 cm) Classification: Steatites Credit Line: Gift of Mr. and Mrs. Harry Friedman, 1958 Accession Number: 58.142.1 Description: Details on this fragment allow us to identify events from Christ's life. From the left: the Last Supper; the Washing of the Feet; the Agony in the Garden; and the Kiss of Judas and Christ's Arrest by Roman soldiers. Text from: www.metmuseum.org/Works_of_Art/collection_database/mediev...

Icon with the Virgin Eleousa, ca. early 14th century Byzantine (Constantinople) Lazurite, malachite, silver coupons, glass, terracotta, calcite, and various stone tesserae; gilded wood frame, wax substraight; 4 1/8 x 3 3/8 x 1/2 in. (11.2 x 8.6 x 1.3 cm) Gift John C. Weber in honor of Philippe de Montebello, 2008 (2008.352) This image of the Virgin of Compassion, or Virgin Eleousa, is a remarkable addition to the limited number of surviving miniature mosaic icons, a medium first popularized in the Late Byzantine era. The intimate gesture of the Christ Child, his head pressed to his mother's cheek, is one of the most beautiful images in Byzantine art. The poses of the heads and the position of the Christ Child's hand (partially restored) are remarkably similar to a less sophisticated, painted icon of the Virgin and Child in the collection of the Monastery of Saint Catherine at Sinai, where the Christ Child also has light brown hair. Another icon from Sinai, which has five small images of named icons including one labeled the Blachernitissa, echoes the head poses and hand gesture seen in this work. An icon donated to the Church of Santa Maria della Salute, Venice, in the seventeenth century and dated to the late thirteenth or early fourteenth century offers a related pose in its exquisite Virgin with an elaborate halo, although the image of the Christ Child differs, as do elements of the design, including the details of the face. The Venice icon and the fourteenth-century mosaic icon of Saint Theodore Theron in the Vatican also possess inscriptions in Latin identifying the images. Here the inscription identifies the work as the icon that inspired the conversion in the fourth century of Saint Catherine of Alexandria. The saint's vita describes the event: "Then the ascetic gave her an icon on which was depicted the All-holy Theotokos holding the Divine Child in her arms, and said to her . . . take this to your home . . . pray all night . . . the maiden . . . beheld in her vision, the Queen of the angels, just as she was depicted with the Holy child . . . [the maiden] marveling at this vision . . . received from [the ascetic] Holy Baptism." The desire to possess the icon by which the saint was converted attests to the popularity of Saint Catherine in the West in the Middle Ages. Though the image of the Virgin and Child displayed here was of a type that became popular in the Middle Byzantine centuries, the Latin inscription indicates that Westerners tended to believe that such Byzantine images of the Virgin and Child were copies of works of a much earlier age, if not originals from the fourth century. It cannot be determined if this icon came to the West with a pilgrim from Sinai, where mosaic icons survive today. The Man of Sorrows mosaic icon at Sante Croce in Gerusalemme, in Rome, is said to have been brought to Rome from Sinai. The miniature mosaic at Galatina is housed in a church dedicated to Saint Catherine of Alexandria. There was also a church dedicated to Santa Caterina de' Sacchi in Venice, which was established in 1150 and survived in various forms until 1806. It is tempting to think that this work came from the site where Saint Catherine's relics are venerated. Text from www.metmuseum.org/toah/hd/icon/ho_2008.352.htm

Title: Icon with Christ Pantokrator Date: 11th–12th century Culture: Byzantine Medium: Ivory Dimensions: Overall: 3 13/16 x 3 x 3/16 in. (9.7 x 7.6 x 0.4 cm) Classification: Ivories Credit Line: Gift of J. Pierpont Morgan, 1917 Accession Number: 17.190.66 On View Description: The Byzantine image of Christ Pantokrator (Ruler of All) is a frontal, half-length portrait of a bearded Christ holding a Gospel book in his left hand while giving a sign of blessing with his right. Text from: www.metmuseum.org/Works_of_Art/collection_database/mediev...

Agate Cameo of the Virgin and Child Byzantine (cameo) Carved about 1050-1100, probably in Constantinople Inscribed in Greek: [initials for] "Mother of God" Gold setting made about 1800 by Adrien Jean Vachette in Paris, France On loan to the Metropolitan Museum of Art from John C. Weber, Accession # L.1998.35 This delicately carved cameo shows the Virgin with her arms upraised in an orant pose and a medallion of the Christ child over her chest. This icon type is often called the Blachernitissa after a famous icon at the Blachernai monastery in Constantinople. The elegant setting crafted about 1800 by Adrien Jean Vachette, a leading goldsmith of his day, testifies to the appeal of Byzantine luxury goods in Napoleonic France. Text from the Metropolitan Museum of Art label.

Ivory Icon with the Crucifixion Byzantine Carved mid-900s, probably in Constantinople Accession # 17.190.44 This unique icon shows Christ on the cross flanked by the mourning figures of the Virgin and Saint John. Below Christ's feet, in a scene bearing a Greek inscription, "The Division of the Cloak" are several Roman soldiers drawing lots for Christ's garment. A reclining figure pierced by the base of the cross- the only such image known- is identified by another inscription, "The cross implanted in the stomach of Hades." The inclusion of the figure of Hades emphasizes the Christian belief that through his suffering on the cross, Christ won a victory over death for all people. Text from the Metropolitan Museum of Art label.

Ivory Icon with the Koimesis of the Virgin Mary Byzantine Carved late 900s, probably in Constantinople Inscribed in Greek: "The Koimesis" Accession # 17.190.132 Images of the Koimesis, the "falling asleep" in death of the Virgin, show her lying on a bier while her soul, represented as a baby, is offered by Christ to attendant angels who will take it to heaven. The apostles, led by Saint Paul on the left and Saint Peter on the right, stand witness. The Koimesis first appears in Byzantine art in the 900s. Its celebration is a principal holy feast day in the Orthodox Church calendar. Text from the Metropolitan Museum of Art label.

Ivory Panel with a Saint Byzantine; said to be from the Abbey of Mettlach (now in southern Germany) Carved 500-600, probably in Egypt Accession # 41.100.156 This unidentified figure holding a book in his left arm while gesturing in speech with his right hand might be an evangelist, an author of one of the Gospels. On the other hand, his short curly beard is a feature frequently associated with Saint Peter. Text from the Metropolitan Museum of Art label.

Ivory icon with Saint Demetrios Byzantine Carved about 950-1000 Inscribed in Greek: Saint Demetrios The Cloisters Collection, Accession # 1970.324.3 Demetrios, patron saint of Thessalonike, the second city of the Byzantine Empire, was one of the most popular saints. An early Christian martyr, Demetrios is shown here in the military attire typical for Middle Byzantine representations of him. Text from the Metropolitan Museum of Art label.

Icon with the Virgin and Child, carved mid-10th–11th century Byzantine; Probably made in Constantinople Ivory; 9 3/16 x 2 3/4 x 1/2 in. (23.4 x 7 x 1.3 cm) Gift of J. Pierpont Morgan, 1917 (17.190.103) This statue follows a very widespread Byzantine image type called the Virgin Hodegetria ("she who guides"), in which the Virgin holds the Christ Child on her left arm. It is named after an icon from the Hodegon Monastery in Constantinople that was the original model for the type. The Virgin Hodegetria was an icon attributed to the brush of the Apostle Luke. Guides at the Hodegon Monastery were trained to assist the blind to use a miraculous spring that was believed to restore sight. This ivory portrays the iconography of its famous prototype: the Virgin holds Christ in her right hand while making a gesture toward him, indicating that he is the "way" to salvation. The Virgin's gesture makes her our "guide" to salvation and explains the appellation. Christ appears in a chiton and himation, while holding a rotulus, attributes of a classical philosopher that were adopted from Hellenistic art. Christ is represented not as an infant, but rather as the Logos, the eternal Word. The carving emphasizes the elongated proportions of the figures and is overall restrained and refined. Over time, some ivory icons experienced wear and tear, subsequently leading to their reconfiguration. Because Byzantine ivory carvers cut deeply into the panels to create images in high relief, the background area is thin and prone to breakage. In the case of the icon illustrated here, the image was excised from the panel to create a statuette; part of the original background can still be seen in the area between the head of Christ and his mother's left shoulder. This object served a double function: an indentation on the back indicates that it was also used as a reliquary. It is not certain whether it served this purpose from the time it was carved or only after it was detached from its ivory matrix. Text from: www.metmuseum.org/toah/hd/ivor/ho_17.190.103.htm