LaurieAnnie's photos with the keyword: panel

Wooden Panel with Winged Figures Painted in encaustic Byzantine Painted 400-500, in Egypt Accession # 39.158.1 The pair of naturalistically rendered winged figures, possibly angels, are rendered in encaustic, or melted colored wax, the medium used for the earliest surviving icons. Text from the Metropolitan Museum of Art label.

Wooden Panel with Winged Figures Painted in encaustic Byzantine Painted 400-500, in Egypt Accession # 39.158.1 The pair of naturalistically rendered winged figures, possibly angels, are rendered in encaustic, or melted colored wax, the medium used for the earliest surviving icons. Text from the Metropolitan Museum of Art label.

Wooden Panel with Winged Figures Painted in encaustic Byzantine Painted 400-500, in Egypt Accession # 39.158.1 The pair of naturalistically rendered winged figures, possibly angels, are rendered in encaustic, or melted colored wax, the medium used for the earliest surviving icons. Text from the Metropolitan Museum of Art label.

Back Panels of Choir Stalls From choir stalls made by the cabinetmaker Johann Justus Schacht with the help of twenty-one assistants for the church of the Carthusian monastery in Mainz. Panels: oak veneered with walnut, boxwood, rosewood, ebony, maple, and other woods, ivory, green-stained horn, and pewter. Figures: carved and painted limewood Mainz, 1723-26, with additions from 1787 Accession # 52.120 After the secularization of the monastery in 1787 the choir stalls were sold to the cathedral in Trier. Marquetry panels with scenes of the lives of the Carthusians were replaced by nonfigurative marquetry panels, and the carved figures were added at that time. The choir stalls remained at Trier until 1890, when part of the paneling was sold following the restoration of the cathedral. Text from the Metropolitan Museum of Art label.

Back Panels of Choir Stalls From choir stalls made by the cabinetmaker Johann Justus Schacht with the help of twenty-one assistants for the church of the Carthusian monastery in Mainz. Panels: oak veneered with walnut, boxwood, rosewood, ebony, maple, and other woods, ivory, green-stained horn, and pewter. Figures: carved and painted limewood Mainz, 1723-26, with additions from 1787 Accession # 52.120 After the secularization of the monastery in 1787 the choir stalls were sold to the cathedral in Trier. Marquetry panels with scenes of the lives of the Carthusians were replaced by nonfigurative marquetry panels, and the carved figures were added at that time. The choir stalls remained at Trier until 1890, when part of the paneling was sold following the restoration of the cathedral. Text from the Metropolitan Museum of Art label.

Elderly Man Flanked by Egyptian Gods ca. 250 AD Tempera on sycamore Accession # 44.2.2 This old man is painted in tempera on a fairly thick wooden panel. Drawn in black ink above his left shoulder is the falcon god Horus before a horned altar. Above his right shoulder is a ram wearing the composite atef crown. The ram represents a deity of the underworld (either the ba, or soul, of the sun god Re by night or the god Khnum) and is juxtaposed with Horus, a sky god. Tempera portraits are matte and lack the relief effect caused by encaustic paints. The tempera technique has long roots in Egyptian tradition. Because the medium does not cover well, wood panels were usually covered first with white gesso to enhance the colors. Because colors dry quickly and do not blend as encaustic does, tones were achieved by overpainting thin layers of color. Judging from its thickness and the five holes, this panel was tied onto a mummy or coffin rather than inserted within wrappings. Text from the Metropolitan Museum of Art label.

Wall Panel with an Athletic Trainer Unknown Etruscan, 520 - 510 B.C. Terracotta 34 5/8 x 20 11/16 x 1 3/4 in. 96.AD.140 A youth holding a staff looks back over his shoulder on this Etruscan terracotta panel. The distinctive form of the staff--crooked with a forked top--distinguishes it as the emblem of a special office. It is similar to the staffs held by athletic trainers and officials frequently depicted on Greek vases. The fact that the youth turns to look behind him indicates that this panel was part of a larger scene, as does the truncated design of the palmette and ivy leaf chain border. This panel was probably one in a series depicting an athletic competition, a fitting decoration for an Etruscan tomb since funeral games honoring the dead were an integral part of Etruscan funerary ritual. Etruscan public buildings and tombs were frequently elaborated with wall painting. In some instances, however, rather than being placed directly on the wall of a building, the painted decoration was applied to terracotta panels, which were then hung on the building. Such panels were frequently used at the city of Caere. Text from: www.getty.edu/art/gettyguide/artObjectDetails?artobj=35566