Franz Xaver Winterhalter (1805-1873)
“Countess Alexander Nikolaevitch Lamsdorff” (1859)
Oil on canvas
Located in the Metropolitan Museum of Art, New York City, New York, United States
The twenty-four-year-old countess depicted here was the wife of Alexander Nikolaevitch Lamsdorff, a Russian aristocrat and Francophile. The book of English poetry in her lap is thought to be a reference to her father, Ivan Alexandrovitch Beck, a poet and translator. Her choice of a fashionable day dress may have been suggested by Winterhalter, who is known to have advised his sitters on their wardrobe and posed them to their best advantage in his studio.
Shino Teabowl with Bridge and House, known as “Bridge of the Gods” (Shinkyō) by Rekishi no Tabi (back, briefly) Via Flickr: It’s #TeabowlTuesday!
I took this one at New York’s wonderful Metropolitan Museum of Art. It is fine sample of Shino-type Mino ware, dating back to the late 16th century.
According to the MET’s explanation, and I am quoting directly:
“Shino ware, produced at the Mino kilns during the Momoyama period, is characterized by a heavy body and coarse, crackled feldspathic glaze, qualities appreciated by the tea master Sen no Rikyū (1522–1591). This Shino teabowl was produced before the introduction of the improved multi-chambered climbing kiln (noborigama).
It is decorated with a simple, linear design of a bridge and a house, painted in iron oxide under the white glaze. This composition had been depicted on several Mino teabowls and is thought to be either a simplified and somewhat abstract representation of the Sumiyoshi Shrine in Osaka or a reference to the Lady of the Bridge (Hashi-hime), a character from courtly fiction who waited by a bridge at night for her lover to arrive.”
This piece belongs to the Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015.
Jones is best known for his paintings of the flat country of New England and New Jersey. The influence of Frederic Edwin Church and the Hudson River School shows in his handling of light and the precision of his en plein air depictions of nature. He painted the varying landscapes of each season of the year, in peaceful harmony. His subtle Barbizon-style studies drew praise, but his insistence on accuracy in his representation of nature was also criticized. His earlier paintings are lit by a clear, bright light, and sharply detailed, while his later works were more muted and lyrical. In his last decades, Jones’ work became increasingly stale, repeating the same subjects and compositions in an outdated style. Thomas B. Clarke (1848–1931) said of him in 1891;
A native painter of American landscape, who has never been touched by any fashions in art, is H. Bolton Jones. He paints Nature for herself and not for the sake of illustrating any theory as to how she might or should be painted. He studies her form, color and various characteristics, and gives us the result of his investigations in transcripts of familiar scenes that are rich in rural charms. His drawing is careful and correct, his color vivacious and his execution finished… It is by his American landscape that America knows and will remember him.
Jones exhibited at the National Academy of Design between 1867 and 1927. He exhibited at the Paris Salons (1877–81), Pennsylvania Academy of the Fine Arts Annual (1879–85, 1891–1902, 1917–18), Boston Art Club (1881–1909). In 1884 Jones exhibited with the first exhibition of the Society of Painters in Pastels. He also exhibited at the Art Institute of Chicago, Society of American Artists (1902) and the Corcoran Gallery of Art (1907–12). He won prizes for his submissions at the World’s Columbian Exposition (Chicago, 1893), Exposition Universelle (Paris, 1889), Exposition Universelle (Paris, 1900), Louisiana Purchase Exposition (St. Louis, 1904) and Panama–Pacific International Exposition (San Francisco, 1915).
Jones’ paintings are held by the Metropolitan Museum of Art, the Pennsylvania Academy of the Fine Arts, the Corcoran Gallery of Art, the Brooklyn Museum, and the Smithsonian Institution.