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Dish with two lovers, ca. 1520–50, Italian, Deruta

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Dish with two lovers, ca. 1520–50, Italian, Deruta. Maiolica (tin-glazed earthenware), lustered. Overall (confirmed): 3 5/8 × 16 5/8 in. (9.2 × 42.2 cm). Purchase, 1884, 84.2.11© 2000–2016 The Metropolitan Museum of Art.

The likely contexts for the display of large dishes are not easily identified. Clues might be found in a dish's subject matter, which was often either amorous—as with this embracing couple—or religious. Both subjects are essentially domestic, lending themselves to the private spaces of a wealthy home. The metallic sheen on this dish, the result of a difficult technique called lustering, would have made it all the more desirable to a Renaissance patron.


Plate with Paris Killing Achilles and arms of the Calini family, Nicolo da Gabriele Sbraghe, ca. 1525, Italian, Urbino

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Plate with Paris Killing Achilles and arms of the Calini family, Nicolo da Gabriele Sbraghe (Italian, active by 1520–37/38), ca. 1525, Italian, Urbino. Maiolica (tin-glazed earthenware). Overall: 1 1/8 × 10 1/2 in. (2.9 × 26.7 cm). Purchase, Funds from various donors, 1884, 84.3.2© 2000–2016 The Metropolitan Museum of Art.

Classical mythology and biblical history are the most popular themes found on Renaissance maiolica. For inspiration, painters looked to widely circulated prints, carefully modifying the rectangular compositions to better suit the round, contoured surfaces of tableware. Here, the artist altered a print by pushing the story’s most important elements—such as Achilles’s vulnerable heel—to the edge of the plate so that they would remain visible regardless of the presence of food.

Pisanello, Portrait medal of Vittorino Rambaldoni da Feltre (obverse); A Pelican (reverse), model 1446–47

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Pisanello (Antonio Pisano) (Italian, Pisa or Verona by 1395–1455), Portrait medal of Vittorino Rambaldoni da Feltre (obverse); A Pelican (reverse), model 1446–47 (possibly cast 15th or 16th century). Bronze (yellowish copper alloy with brown patina and traces of black lacquer or wax). Diam. 6.5 cm, wt. 107.27 g. Robert Lehman Collection, 1975, 1975.1.1302© 2000–2016 The Metropolitan Museum of Art.

Active in Verona and the Italian courts, the celebrated master Pisanello left behind a significant legacy, including a large corpus of drawings and several paintings. He was also the inventor of the commemorative portrait medal. Inspired by Roman coins, with their portraits of rulers and allegorical representations on the reverse, the medals commemorated individuals or events and functioned as gifts and mementoes. 

Vittorino Rambaldoni da Feltre was a celebrated humanist and teacher whom the marquess of Mantua, Gianfrancesco Gonzaga, engaged to educate his children. Ludovico Gonzaga, a former student, probably commissioned the medal to honor his beloved teacher around the time of Vittorino’s death.

On the medal’s reverse is a bird feeding its young. It may represent a pelican, a traditional symbol of Christ’s sacrifice due to the belief that the pelican fed its young from the blood of a self-inflicted wound. The bird has also been identified as a phoenix, which, according to one of Vittorino’s pupils, represented his self-sacrifice as a teacher.

Pisanello, Portrait medal of Cecilia Gonzaga (obverse); Innocence and a Unicorn in a Moonlit Landscape (reverse), model 1447

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Pisanello (Antonio Pisano) (Italian, Pisa or Verona by 1395–1455), Portrait medal of Cecilia Gonzaga (obverse); Innocence and a Unicorn in a Moonlit Landscape (reverse), model 1447 (old aftercast). Bronze (copper alloy with warm brown patina under a worn layer of black wax). Diam. 8.4 cm, wt. 142.55 g. Robert Lehman Collection, 1975, 1975.1.1307© 2000–2016 The Metropolitan Museum of Art.

Active in Verona and the Italian courts, the celebrated master Pisanello left behind a significant legacy, including a large corpus of drawings and several paintings. He was also the inventor of the commemorative portrait medal. Inspired by Roman coins, with their portraits of rulers and allegorical representations on the reverse, the medals commemorated individuals or events and functioned as gifts and mementoes. 

This medal -- the first to portray a woman - depicts Cecilia Gonzaga, the beautiful and learned daughter of Gianfrancesco Gonzaga, Marquess of Mantua. Cecilia was accomplished classical scholar and a pupil in the school founded by Vittorino da Feltre in Mantua. Refusing marriage, she became a Clarissan nun in 1445, just before this medal was produced. Pisanello chose to represent her here in secular court dress, suggesting that he was working from an earlier portrait or a sketch from life.

The reverse of this medal is one of Pisanello’s most poetic and subtle compositions. The half-naked maiden represents innocence and chastity. According to medieval lore, only a woman with these qualities can subdue the fierce and immortal unicorn, a symbol of both Christ and knowledge. The crescent moon, a sign of Diana, the virgin goddess, is a humanist allusion to classical antiquity.

Lord of the Faith-Guarding Deities (Mahakala), Tibet, 1700s

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Lord of the Faith-Guarding Deities (Mahakala), Tibet, 1700s. Brass, height: 14 in, 35.56 cm; width: 4.875 in, 12.38 cm; depth: 12.25 in, 31.11 cm. Walter C. Mead Collection, 1933.14© Denver Art Museum

Mahakala, the Great Black One, is the most popular of the protectors of Tibetan Buddhism, and is often found at the inner entrance of a temple or at his own special shrine.  Here he appears in his six-armed manifestation, clothed in an elephant hide and a tiger pelt, trampling the prone elephant-headed figure of Ganesha.  His fierce countenance is reinforced by his flame-like hair, a crown and a garland of skulls, and the vajra chopper and skull cup that he holds in his middle hands.  Traces remain of a red pigment that once highlighted these features.

Padmasambhava, Tibet, 1400s

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Padmasambhava, Tibet, 1400s. Bronze with silver, copper and turquoise inlay, height: 8.625 in, 21.91 cm; width: 5.25 in, 13.33 cm; diameter: 4 in, 10.16 cm. Gift of Mrs. Florence J. Ruest in memory of her son, Mr. Ralph W. Jacobs, 1980.57© Denver Art Museum

Padmasambhava means “lotus-born” and refers to the legend that he was found on a lotus in a lake in Northwest India. He is greatly revered in Tibet as a founder of the Nyingma (Red Hat) order of Buddhism and the country’s first monastery, Samye. He sits here in his customary position on a lotus blossom, easily recognizable in his eagle-feathered cap and with his traditional attributes of dorje thunderbolt, skull cup, and khatvanga staff. The decoration of the robes and the copper and silver on the eyes and lips dramatize this idealized image.

Table, China, 1500s-1600, Ming dynasty

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Table, China, 1500s-1600, Ming dynasty. Huanghuali wood, height: 33 in, 83.82 cm; width: 64.25 in, 163.19 cm; depth: 19.375 in, 49.21 cm. Gift of Mr. and Mrs. John B. Bunker in memory of Otto and Cile Bach 1991.811© Denver Art Museum

This table illustrates the simplicity of form achieved by Chinese furniture makers during the Ming period (1368-1644). The beautiful grain of the huanghuali wood suited the taste of Chinese scholars, who surrounded themselves with objects made of fine natural materials. The skilled craftsmanship and graceful proportions of the table can be seen in its joinery and elegant silhouette.

Seal Chest, China, 17th century, Ming-Qing dynasties

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Seal Chest, China, 17th century, Ming-Qing dynasties. Huanghuali wood, brass, height: 8.25 in, 20.95 cm; width: 8.375 in, 21.27 cm; depth: 8.25 in, 20.95 cm. Gift of Mr. and Mrs. John B. Bunker 1991.813 © Denver Art Museum.

This chest with lidded compartment and three drawers is made from huanghuali wood, a material admired for its beautiful grain and warm color. It would likely have been used to hold a scholar's implements.


Bowl with Horseman, Iran, Nishapur, 10th century

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Bowl with Horseman, Iran, Nishapur, 10th century. Glazed earthenware,height: 3.5 in, 8.89 cm; diameter: 8.5 in, 21.59 cm. Museum exchange, 1967.93© Denver Art Museum.

Nishapur, in northeastern Persia, was once a thriving cosmopolitan city on the east-west trade rout between China and the Mediterranean. The brown, green, and yellow underglaze on this bowl probably reflects the popularity of Chinese ceramics of the Tang dynasty (618-907), which have been found there. Though Arab Muslims were ruling the area by 900, their prohibition against using images did not interfere with this potter’s splendid depiction of a mounted horseman on a hunting expedition.

Finial in Form of "Master of Animals", Iran, Luristan, 11th century B.C.-7th century B.C., middle to late Iron Age

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Finial in Form of "Master of Animals", Iran, Luristan, 11th century B.C.-7th century B.C., middle to late Iron Age. Bronze; height: 7.25 in, 18.41 cm; width: 2 in, 5.08 cm. Funds from George Berger bequest by exchange, 1963.7© Denver Art Museum.

Animal-adorned finials like this have been unearthed from the sites of both shrines and tombs. They are unique to the Luristan region of western Iran, and, having been made by the lost wax technique, no two are exactly the same. This is a typically decorative example with the two faces on the tube flanked by dragon and cock-like heads.

Pierre Gonnord expose au FRAC Auvergne

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Pierre Gonnord, Maria, 2006, 165 x 125 cm. Photo courtesy FRAC Auvergne.

Clermont-Ferrand - L’exposition « Pierre Gonnord » présentée au FRAC Auvergne rassemble des photographies de l’artiste qui s’est principalement spécialisé dans les portraits. Des clichés plus anciens côtoient la dernière série du photographe français, réalisée en 2016, autour de l’équipe de rugby l’ASM Clermont Auvergne.

L’exposition offre une sélection variée du répertoire photographique de Pierre Gonnord en présentant ses œuvres reconnues de portraitiste ainsi que quelques-unes de ses photographies de paysages.

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Pierre Gonnord, Zirakashvili, 2016, 147 x 110 cm. Photo,Courtesy Frac Auvergne.

De saisissants portraits de laissés pour compte

On retrouve en particulier les portraits de personnages marginaux auxquels Pierre Gonnord consacre la plus grande partie de son travail. Des photographies d’hommes et de femmes aux traits rudes, marqués par l’usure du travail, par la misère et le temps. Ainsi celles issues de la série Testigos, consacrée à la communauté gitane de Séville, et de la série Terre de Personne, consacrée aux travailleurs de régions rurales et reculées d’Espagne et du Portugal, des mineurs de charbon et des agriculteurs pauvres. Chacun de ces portrait de Pierre Gonnord est une œuvre saisissante dans lequel le sujet, à l’expressivité pourtant souvent minimale, s’affirme avec une force singulière.

Les plus rares photographies de paysage s’inscrivent dans la continuité de la démarche de portraitiste de Pierre Gonnord. Ces clichés sont nés des excursions du photographe hors des zones urbaines pour aller à la rencontre des laissés pour compte, sur leurs propres terres. C’est la correspondance entre les paysages et les personnes qui y vivent qui ont motivé ses prises de vue. La même dureté se lit sur les visages et sur les images des incendies qui ont ravagé des forêts du Portugal et de Galice, de la série Relatos.

Densan: l’artisanat traditionnel du Japon à Maison Wa

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Hisanori Masuda, Bouilloire, 2016. Fonte et bois de noyer. Courtesy Maison Wa.

PARIS - L’exposition « Densan : l’artisanat traditionnel du Japon » illustre parfaitement la volonté affirmée de présenter « l’artisanat japonais à travers son histoire, son raffinement et son originalité, mêlant esthétisme et fonctionnalité», et faire découvrir la permanence d’une tradition artisanale d’excellence adaptée au mode de vie contemporain.

Un lieu entièrement dédiéà la culture du japonaise

Ouverte par Yoshiaki Shiokawa en 2015, la Maison Wa s’offre comme un lieu privilégié pour présenter et diffuser la culture japonaise et, notamment, de nombreuses productions artisanales à la fois originales et grande qualité, auprès du grand public et des professionnels du design.

Après avoir présenté l’an passé l’exposition « The Wonder 500 », la Maison Wa accueille « Densan : l’artisanat traditionnel du Japon », consacrée à une sélection d’une centaine d’objets artisanaux, sous la forme d’un espace Densan exclusif. Label créé par le Ministère de l’Economie, du Commerce et de l’Industrie japonais, Densan est en premier lieu une association créée en 1975, destinée à promouvoir l’artisanat traditionnel au Japon et, désormais, à travers le monde tout en favorisant son expansion économique.

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Toshiyuki Onuma, Boîte, 2016. LaqueCourtesy Maison Wa.

Densan : l’exposition

« Densan : l’artisanat traditionnel du Japon » se présente donc comme une exposition répondant à la volonté du gouvernement japonais de faire connaître toute une partie de la culture artisanale japonaise en constituant une première large sélection de deux cent vingt-deux objets artisanaux reflétant la permanence d’un artisanat ancestral aux caractéristiques régionales fortement marquées. Rigoureuse, une telle sélection obéit à un ensemble de critères définissant tout objet artisanal.

Si tout objet doit être utilisé dans la vie quotidienne, il doit être avant tout fait main selon des techniques de fabrication ayant au moins cent d’âge. De plus, les matériaux employés doivent respecter ce même impératif d’âge et la fabrication comme telle avoir une réelle envergure régionale en impliquant au moins trente personnes. Parmi les objets artisanaux traditionnels choisis par le Ministère de l’Economie, du Commerce et de l’Industrie japonais, une centaine sont aujourd’hui présentés au public à travers l’exposition « Densan : l’artisanat traditionnel du Japon ».

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Hisanori Masuda, Théière, 2016. Fonte. Courtesy Maison Wa.

Céramiques, laques, objets en bambou, bois, verre ou métal, le washi ou papier fait main, tissus, objets et outils destinés àécrire, attestent de la diversité, de la singularité, et de qualité de la production artisanale japonaise.

Maison Wa. Densan: l’artisanat traditionnel du Japon01 Oct - 31 Mar 2017

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Seiichi Kimoto, Vase dans le style Eido Kiriko, 2016. Verre. Courtesy Maison Wa.

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Densan: l’artisanat traditionnel du JaponCourtesy Maison Wa.

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Densan: l’artisanat traditionnel du JaponCourtesy Maison Wa. 

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Densan: l’artisanat traditionnel du JaponCourtesy Maison Wa. 

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Densan: l’artisanat traditionnel du JaponCourtesy Maison Wa.

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Densan: l’artisanat traditionnel du JaponCourtesy Maison Wa.

Lidded water dropper, Vietnam, 11th century-13th century

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Lidded water dropper, Vietnam, 11th century-13th century, earthenware, glaze, metal; (a-b) 9

Lidded water dropper, Vietnam, 11th century-13th century, earthenware, glaze, metal; (a-b) 9.0 × 8.0 cm diameter (overall). National Gallery of Victoria, Melbourne. Gift of Zorica McCarthy, 2010.

Covered jar, Vietnam, 11th century-13th century

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Covered jar, Vietnam, 11th century-13th century, earthenware, glaze, (a-b) 22

Covered jar, Vietnam, 11th century-13th century, earthenware, glaze, (a-b) 22.0 × 18.5 cm diameter (overall), National Gallery of Victoria, Melbourne, Gift of Zorica McCarthy, 2010, 2010.327.a-b.

Covered jar with lobed sides, strap handles, carved lotus petal band on shoulder and a round knob on lid, cream glaze. Clay from Bat Trang area. The work has had another pot fired inside it. This style of pot used in Japan as a water pot for tea ceremony.

Bowl, Thanh Hoa province, Vietnam, Ly dynasty (1009-1225)

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Bowl, Thanh Hoa province, Vietnam, Ly dynasty (1009-1225), stoneware, 9

Bowl, Thanh Hoa province, Vietnam, Ly dynasty (1009-1225), stoneware, 9.5 × 16.7 cm diameter, National Gallery of Victoria, Melbourne. Purchased, 1989, AS8-1989.

Bulbous, buff clay, yellow/green crackled early celadon glaze, burial-ware type.


Inkstone / stand, Vietnam, 11th century-13th century

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Inkstone stand, Vietnam, 11th century-13th century

Inkstone / stand, Vietnam, 11th century-13th century, earthenware, glaze, 4.0 × 17.0 cm diameter. National Gallery of Victoria, Melbourne. Gift of Zorica McCarthy, 2010, 2010.348.

Unglazed. Molded petal decoration around rim. Pierced base

Inkstone, Vietnam, 11th century-13th century

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Inkstone, Vietnam, 11th century-13th century, earthenware, glaze, 2

Inkstone, Vietnam, 11th century-13th century, earthenware, glaze, 2.0 × 9.5 cm diameter. National Gallery of Victoria, Melbourne. Gift of Zorica McCarthy, 2010, 2010.347.

Lotus petal dish with incised lotus and spiral design on un-glazed upper surface, ivory glaze.

Ewer, Vietnam, 11th century-13th century

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Ewer, Vietnam, 11th century-13th century, earthenware, glaze, 10

Ewer, Vietnam, 11th century-13th century, earthenware, glaze, 10.0 × 15.0 cm diameter. National Gallery of Victoria, Melbourne. Gift of Zorica McCarthy, 2010, 2010.331.

Small ewer with foot ring, ivory glaze and non-functional handle in bird shape.

Falconer on Horseback, China, Late 7th century-early 8th century, Tang dynasty

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Falconer on Horseback, China, Late 7th century-early 8th century, Tang dynasty

Falconer on Horseback, China, Late 7th century-early 8th century, Tang dynasty. earthenware with polychrome lead glaze, height: 16.875 in, 42.86 cm; width: 15 in, 38.1 cm. Denver Art Museum, Charles Bayly Jr. Collection by exchange, 1954.38© Denver Art Museum

From early Chinese history until about 1650, images of humans and animals were frequently placed in burial chambers to honor the deceased. The realistic modeling of this mounted falconer is dramatized by its three-color (sancai) green, brown, and cream glazes, a technical innovation of the Tang dynasty (618-907). Falconry and hunting were two of the many leisure pursuits of the wealthy class. This was a cosmopolitan age and the appearance of the falconer, with his high cheekbones and wide-collared jacket, suggests he may be of Turkic origin.

Camel, China, early 8th century, Tang dynasty

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Camel, China, early 8th century, Tang dynasty

Camel, China, early 8th century, Tang dynasty. Earthenware with tri-color glaze, height: 24.25 in, 61.59 cm; width: 17.25 in, 43.81 cm. Museum purchase with funds from Collectors' Choice 1982, 1983.243© Denver Art Museum

Symbolic of the great desert caravans along the Silk Road, glazed earthenware camels were often placed in the tombs of wealthy Chinese merchants.
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