The Angel Annunciate
Date: ca. 1290–1300 Geography: Made in Altenberg-an-der-Lahn, Hesse Culture: German Medium: Pot-metal glass and vitreous paint
The Metropolitan Museum of Art
Gospel Book (so-called “Small Bernward Gospel”), Hildesheim, c. 1000 CE. Courtesy of the Met.
Tournament Shield (Targe). Date: ca. 1500 Culture: German.
Equestrian plaque, made in Limoges, France, c.1220 (source).
Spanish Music Hall
Everett Shin (1902) Oil on canvasboard
Aquamanile in the form of Aristotle and Phyllis, Southern Netherlands, c. late 14th-early 15th Century
An aquamanile is a vessel for pouring water used in the ritual of washing hands in both religious and secular contexts—by the priest before Mass and in a private household before a meal. The subject of this celebrated example is the moralizing legend of Aristotle and Phyllis, which achieved popularity in the late Middle Ages. Aristotle, the Greek philosopher and tutor of Alexander the Great, allowed himself to be humiliated by the seductive Phyllis as a lesson to the young ruler, who had succumbed to her wiles and neglected the affairs of state. Encouraging Alexander to witness his folly, Aristotle explained that if he, an old man, could be so easily deceived, the potential consequences for a young man were even more perilous. The ribald subject indicates that this aquamanile was made for a domestic setting, where it would have doubled as an object of entertainment for guests at the table.
Jan. 5, 1954: Pierre Auguste Cot’s “The Storm” was hung at the Metropolitan Museum, one of several hundred works that went on display in newly renovated galleries that grouped paintings by time period rather than nationality — an arrangement that the museum director Francis Henry Taylor hoped would “bring order out of chaos.” Photo: Eddie Hausner/The New York Times
In his photoseries, “The Golden Shadow,” the photographer Carlos Duque enacts Jacques Derrida’s concept of the Parergon, in which Derrida formulates that the frame becomes the essential aspect of a work. Similarly, Duque captures masterpieces from the Louvre and the Metropolitan Museum of Art from unconventional perspectives, thus raising questions regarding convention, vision and the very process of art appraisal.