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Artist unknown, 338, Buddha, bronze with gilding, China; Hebei province, collection of the Asian Art Museum of San Francisco.

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Artist unknown, 338, Buddha, bronze with gilding, China; Hebei province, collection of the Asian Art Museum of San Francisco.

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https://collections.asianart.org/collection/seated-buddha-dated-338/

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He Qi, 2004, Easter Morning I, guache, United States

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Limited Edition Giclee Print made by He Qi himself and will come with Artist’s Signature

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Jean Michel Basquiat. 1982. Profit 1. acrylic on canvas, Private Collection, Switzerland/American.

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Jean Michel Basquiat. 1982. Profit 1. acrylic on canvas, Private Collection, Switzerland/American.

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https://www.jstor.org/stable/community.29471408

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Nick Quijano. 1985. Painting. La Siesta ("Afternoon Nap'').Gouache, San Juan, Collection of Mr. & Mrs. José Enrique Arraras/Puerto Rican.

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Nick Quijano. 1985. Painting. La Siesta ("Afternoon Nap'').Gouache, San Juan, Collection of Mr. & Mrs. José Enrique Arraras/Puerto Rican.

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https://www.jstor.org/stable/community.14765761

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Frida Kahlo. 1940. Self-Portrait with Thorn Necklace and Hummingbird. oil on Masonite, University of Texas at Austin/Mexican. 

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Frida Kahlo. 1940. Self-Portrait with Thorn Necklace and Hummingbird. oil on Masonite, University of Texas at Austin/Mexican. 

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https://www.jstor.org/stable/community.13703478

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Title: No. 61 (Rust and Blue)
Artist: Mark Rothko
Date: 1953
Medium: Oil on canvas
Culture/Context: American Abstract Expressionism
Current location: Tate Modern, London

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Title: The Great Wave off Kanagawa (from Thirty-Six Views of Mount Fuji)
Artist: Katsushika Hokusai
Date: c. 1830–1831
Medium: Woodblock print (nishiki-e)
Culture/Origin: Japan (Edo period)
Current location: Many collections, including The Metropolitan Museum of Art (New York)

https://www.metmuseum.org/art/collection/search/45434

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Houston. Institute for the Fine Arts, Rice University. "Art Nouveau," March 1, 1976-June 30, 1976.

Art Institute of Chicago. "Art Nouveau," August 1, 1976-October 31, 1976.

Sarasota Springs. Skidmore College. "A Survey of Japanese Prints: Moronobu to Nensho," February 14, 1980-March 2, 1980.

London. Royal Academy of Arts. "Katsushika Hokusai," November 15, 1991-February 9, 1992.

Dallas Museum of Art. "Katsushika Hokusai," May 24, 1992-July 19, 1992.

Nagoya City Museum. "Ukiyo-e from the Metropolitan Museum of Art," April 14, 1995-May 28, 1995.

Milan. Palazzo Reale. "Hokusai: Il Vecchio Pazzo per la Pittura," October 1, 1999-January 9, 2000.

New York. The Metropolitan Museum of Art. "A Sense of Place: Landscape in Japanese Art," May 8-September 8, 2002.

New York. The Metropolitan Museum of Art. "Great Waves: Chinese Themes in the Arts of Korea and Japan I," March 1-September 21, 2003.

New York. The Metropolitan Museum of Art. "Poetry and Travel in Japanese Art," December 18, 2008-May 31, 2009.

Washington, DC. Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution. "Hokusai: Thirty-Six Views of Mount Fuji," March 24, 2012-June 17, 2012.

The Metropolitan Museum of Art. "Discovering Japanese Art: American Collectors and the Met," February 14 - September 27, 2015.

New York. The Metropolitan Museum of Art. "Making The Met, 1870-2020," August 29, 2020-January 3, 2021.

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Katsushika Hokusai | Under the Wave off Kanagawa (Kanagawa oki nami ura), also known as The Great Wave, from the series Thirty-six Views of Mount Fuji (Fugaku sanjūrokkei) | Japan | Edo period (1615-1868) | The Metropolitan Museum of Art

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Houston. Institute for the Fine Arts, Rice University. "Art Nouveau," March 1, 1976-June 30, 1976. Art Institute of Chicago. "Art Nouveau," August 1, 1976-October 31, 1976. Sarasota Springs. Skidmore College. "A Survey of Japanese Prints: Moronobu to Nensho," February 14, 1980-March 2, 1980. London. Royal Academy of Arts.

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Title: The Three Crosses
Artist: Rembrandt van Rijn
Date: 1653 (with later reworkings)
Medium: Etching and drypoint
Culture/Origin: Netherlands (Dutch Golden Age)
Current location: Many collections, including the British Museum and The Met

https://www.metmuseum.org/art/collection/search/359757

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Rembrandt (Rembrandt van Rijn) - Christ Crucified between the Two Thieves: The Three Crosses - The Metropolitan Museum of Art

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The Met presents over 5,000 years of art from around the world for everyone to experience and enjoy.

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Morrisseau, Norval. Artist and Shaman between Two Worlds. 1980. National Gallery of Canada, Ottawa, Canada.

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Morrisseau, Norval. Artist and Shaman between Two Worlds. 1980. National Gallery of Canada, Ottawa, Canada.

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Córdova, James. San Hipólito y las secuelas de la conquista. Created for Cuatro[4]: A Series of Artist Interactions. Denver Art Museum, 2017.

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Córdova, James. San Hipólito y las secuelas de la conquista. Created for Cuatro[4]: A Series of Artist Interactions. Denver Art Museum, 2017.

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Nicolás Enríquez, The Virgin of Guadalupe with the Four Apparitions, 1773, oil on copper, 22 1/4 × 16 1/2 in., The Metropolitan Museum of Art, New York, accession no. 2014.173,

# data[].attributes.subject
Nicolás Enríquez, The Virgin of Guadalupe with the Four Apparitions, 1773, oil on copper, 22 1/4 × 16 1/2 in., The Metropolitan Museum of Art, New York, accession no. 2014.173,

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Artist: Tamil Nadu

Origin: India, located at The Art Institute of Chicago

Media: bronze sculpture

Date: 10/11th century

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Shiva, one of the most important Hindu divinities, is here depicted as the Lord of the Dance ("nataraja"), an iconic image in Indian art. Shiva's cosmic dance sets in motion the rhythm of life and death; it pervades the universe, as symbolized by the ring of fire that is filled with the loose, snakelike locks of the god's hair. One pair of his arms balances the flame of destruction and the hand drum ("damaru") that beats the rhythm of life, while another performs symbolic gestures: the raised right hand means "Fear not," and the left hand ("gajahasta") pointing down toward his raised left foot signifies release from the ignorance that hinders realization of the ultimate reality. Shiva is shown perfectly balanced, with his right leg planted on the demon of darkness ("apasmara"), stamping out ignorance. The tiny figure of the personified river goddess, Ganga, is caught up in his matted flowing locks. Hindus believe that Shiva breaks the fall of the great Ganges River as it descends from the Himalayas by standing beneath the waters, which divide over his hair, becoming the seven holy rivers of India. This classic bronze comes from the Chola period in the south of India. Icons such as this were carried in procession during religious ceremonies.

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Shiva as Lord of the Dance (Nataraja) - India, Tamil Nadu - Google Arts & Culture

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Shiva, one of the most important Hindu divinities, is here depicted as the Lord of the Dance ("nataraja"), an iconic image in Indian art. Shiva's cosmic dance sets in motion the rhythm of life and death; it pervades the universe, as symbolized by the ring of fire that is filled with the loose, snakelike locks of the god's hair.

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Title:Phillis Wheatley Artist:Attributed to Scipio Moorhead (American, active Boston, 1760–75) Publisher:Archibald Bell (British, active 1773) Sitter:Phillis Wheatley (American, Gambia, West Africa ca. 1753–1784 Massachusetts) Date:1773 Medium:Engraving 

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Artist: Titian

Origin: Venice, Italy

Date: about 1514

Media: Oil on canvas

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This is one of the two earliest works by Titian in the Collection.

Christ appears to the Magdalen after the Resurrection to comfort her. At first she thinks he is a gardener; when she recognises him he tells her not to touch him - 'noli me tangere' (let no one touch me) - as told in the Gospels (John 20: 14-18). Elsewhere, the Bible records that Christ will soon ascend to heaven and send the Holy Spirit down to his followers: he does not want them to cling to his physical presence.

X-ray photographs show that Christ was originally painted wearing a gardener's hat and turning away from the Magdalen. The landscape was also drastically altered while the work was in progress.

​

Details

Title: Noli me Tangere

Date Created: about 1514

Physical Dimensions: 110.5 x 91.9 cm

Type: Painting

School: Italian (Venetian)

More Info: Explore the National Gallery's paintings online

Inventory number: NG270

Artist Dates: active about 1506; died 1576

Artist Biography: Titian was the greatest painter of 16th-century Venice, and the first painter to have a mainly international clientele. During his long career, he experimented with many different styles of painting which embody the development of art during his epoch. Youth and debut Titian (Tiziano Vecellio) was born in Pieve di Cadore, a small town at the foot of the Dolomites on the Venetian side of the Alps. The Vecellios had been based in Cadore since the 14th century. Titian's father, Gregorio, was a military man. His older brother Francesco was also a painter. There is still no documentary evidence of Titian's exact date of birth, but contemporary sources and his early stylistic development suggest that he was born around 1490. When he was about 10 years old, Titian arrived in Venice, then one of the wealthiest and most cosmopolitan cities in the world. Titian started his artistic training in the workshop of the mosaicist Sebastiano Zuccato. He later briefly joined Gentile Bellini's workshop. After Gentile's death in 1507, Titian joined the workshop of Gentile's brother, Giovanni Bellini, which at that time was the most important in Venice. However, it was through contact with Giorgione, who had also previously trained in Giovanni Bellini's workshop, that he mainly developed his early style. The Giorgionesque appearance of Titian's early work, which is characterised by a pastoral mood, is proof of their closeness. In 1508-9 they worked together on the decoration of the external walls of the 'Fondaco dei Tedeschi' in Venice. The parts executed by Titian were greatly praised by contemporaries, much to the annoyance of Giorgione. After Giorgione's death in 1510, and Sebastiano del Piombo's departure to Rome in 1511, Titian launched his independent career in Venice. He was now left without rivals among his generation who could compete at his level. Early local success In 1511 Titian painted his celebrated frescoes in the 'Scuola del Santo' in Padua. His style had now reached maturity, marked by fullness of forms, compositional confidence and chromatic balance. These features made his work fundamental to the development of Venetian - and also European - painting. He became famous as a portraitist (examples in the National Gallery are La Schiavona and Portrait of Gerolamo (?) Barbarigo). He was also known as a painter of various profane subjects. These skills drew the attention of intellectually ambitious Italian dukes and aristocrats. Titian was also commissioned to paint prestigious public religious paintings. His Venetian success was sealed by the execution of the altarpiece for the high altar of the important Franciscan church of Santa Maria Gloriosa dei Frari in Venice. The so-called 'Assunta' (Assumption of the Virgin Mary), which is nearly seven metres high, was displayed in 1518, creating a revolutionary watershed in Venetian altarpiece design. Between 1519 and 1526, he painted the celebrated 'Pala Pesaro' for the same church. This asymmetrical composition strongly influenced Venetian altarpiece painting right up until the 18th century. North Italian courts Early in 1516 Titian started his professional relationship with Alfonso I d'Este, Duke of Ferrara and spent time in Alfonso's castle. The duke wanted to create a private cabinet, which would be known as the 'camerino d'alabastro' (the alabaster cabinet), with mythological scenes derived from classical poetry. The duke employed the painters he considered to be the best at the time. Apart from Titian, the other artists were Raphael, Fra Bartolomeo and Dosso Dossi. Following the deaths of Raphael and Fra Bartolomeo Titian's involvement in the project increased. He then executed his two famous Bacchanals for Alfonso I, today in the Prado, Madrid, along with Bacchus and Ariadne, now in the National Gallery. Titian also worked for the court of Mantua. In 1523 he began painting for the future Duke of Mantua, Federico II Gonzaga the son of Isabella d'Este (who was the sister of Titian's earlier patron Alfonso I). Titian mainly painted portraits for the Mantuan court. In 1532 Titian started to work for the Duke of Urbino, Francesco Maria della Rovere. He would also work for his successor, Guidobaldo II. In the 1530s, he was also in touch with the court of Pope Paolo III Farnese. Worldwide success, family and friends The 1520s were hugely significant for Titian's private life. In 1525 he married Cecilia (who tragically died in 1530). Titian and Cecilia had three children, who were all given the names of famous figures from ancient Rome: Pompeo, Orazio and Lavinia. Titian's meeting with the Holy Roman Emperor Charles V in Bologna in 1530 would be a determining event in his life. On this occasion Titian executed a (now lost) full-length, life-size portrait of the Emperor - an early example of what was still an extremely innovative genre at that time. He rapidly became the principal painter to the imperial court, which gave him immense privileges, honours and even titles. From this moment he was the painter most in demand at courts across Europe. Titian also became the official painter of Charles V's son, Philip II of Spain. Starting in about 1551, he painted the celebrated mythological series of pictures for Philip, which he referred to as 'poesie'. The 'poesie' included Diana and Actaeon and Diana and Callisto, which are now part of the National Gallery's collection, along with The Death of Actaeon, which was originally conceived as part of the series, but in fact remained unfinished in the artist's studio at his death. In 1527 the Florentine sculptor and architect Jacopo Sansovino and the Tuscan man of letters Pietro Aretino arrived in Venice. They became inseparable friends with Titian, stimulating his interest in Mannerism, a style first seen in his paintings from that period. Mannerist aspects in his art increased after his only trip to Rome in 1545-6, where he finally got the opportunity to meet Michelangelo. Late years The last phase of Titian's life coincided with a radical revision of his own style and painting technique. Starting from the late 1550s, Titian developed a much freer use of the brush and a less descriptive representation of reality. In the late 1560s and early 1570s, when Titian was already extremely old, he pushed his art to the edge of abstraction. This later style has been defined as 'magic impressionism'. All of this is well represented by two of his latest works, The Death of Actaeon at the National Gallery, and the 'Pietà', now in the Gallerie dell'Accademia in Venice. The 'Pietà' was originally destined for his own tomb in the church of Santa Maria Gloriosa dei Frari, where Titian was buried after dying of the plague on 27 August 1576.

Acquisition Credit: Bequeathed by Samuel Rogers, 1856

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Noli me Tangere - Titian - Google Arts & Culture

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This is one of the two earliest works by Titian in the Collection. Christ appears to the Magdalen after the Resurrection to comfort her. At first she thinks he is a gardener; when she recognises him he tells her not to touch him - 'noli me tangere' (let no one touch me) - as told in the Gospels (John 20: 14-18).

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St Mary Magdalene the Penitent lying in a cave

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St Mary Magdalene the Penitent lying in a cave

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Artists: Claude Mellan, Orazio Gentileschi

Date: 1629-1630

Origin: Rome

Media: engraving

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St Mary Magdalene the Penitent lying in a cave - Claude Mellan (artist) | Claude Mellan (engraver) | Orazio Gentileschi (after) - Google Arts & Culture

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Claude Mellan was born in Abbeville in northern France to a family of coppersmiths. By 1619 he was in Paris where he studied engraving and appears also t…

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Title:

Phillis Wheatley

Artist:

Attributed to Scipio Moorhead (American, active Boston, 1760–75)

Publisher:

Archibald Bell (British, active 1773)

Sitter:

Phillis Wheatley (American, Gambia, West Africa ca. 1753–1784 Massachusetts)

Date:

1773

Medium:

Engraving

Current location

https://www.metmuseum.org/art/collection/search/396463

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Title:

Ramesses III and Prince Amenherkhepeshef before Hathor

Artist:

Nina de Garis Davies (1881–1965)

Period:

New Kingdom, Ramesside

Dynasty:

Dynasty 20

Reign:

reign of Ramesses III

Date:

Original ca. 1184–1153 B.C.

Geography:

Original from Egypt, Upper Egypt, Thebes, Valley of the Queens, Tomb of Amenherkhepeshef (QV 55), MMA graphic expedition 1933

Medium:

Paper, tempera paint, ink

Current location

https://www.metmuseum.org/art/collection/search/548357

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Title: The Annunciation

artist(s)/creator(s):Jan van Eyck , Netherlandish, c. 1390 - 1441

media: oil on canvas transferred from panel

place and/or culture of origin: Netherland

date: 1434

Current location: https://www.nga.gov/artworks/46-annunciation

# data[].attributes.body
Title: The Annunciation

artist(s)/creator(s):Jan van Eyck

media: oil on canvas transferred from panel

place and/or culture of origin: Netherland

date:1434

Current location https://www.nga.gov/artworks/46-annunciation