Robert Andrew Frevert in memory of Branson Frevert, Gift of the Estate of the Honorable Frank Landwehr, Gift of Jay Landesman, Gift of Mr. Elsie Sansbury, Gift of Berthoud Clifford Boulton, Gift of Silas Bent McKinley, Gift of Mrs. Louis Bauman (Maude Sterne), Gift of David A. Milton Greenfield in memory of Miss Blanche Sterne and Mrs. Made by Gustav Stickley, American, 1858–1942 and by Gustav Stickley's Craftsman Workshops, Eastwood, New York, active 1900–1916 Music Stand, 1903–04 oak, poplar, copper, pewter, and wood inlay 50 x 24 x 15 inches Saint Louis Art Museum, Friends Fund Endowment, Marjorie Wyman Endowment Fund Museum Purchase, by exchange the Richard Brumbaugh Trust in memory of Richard Irving Brumbaugh and Grace Lischer Brumbaugh, Funds given by Victor Porter Smith, the Mary Elizabeth Rosborough Decorative Arts Fund and Funds given by the Decorative Arts Society, Gift of Mrs. Gütschow revels in this push and pull between the believability of the illusion and the artifice of its construction. She even goes so far as to engage the margins around the image by including the registration marks and the printing information from the large-format printer she uses. Indeed, many of the figures in LS #17 look disconnected from or awkwardly situated within the bucolic countryside.Īll of these subtle inconsistencies reveal the traces of Gütschow’s process for constructing her picture. Further, she includes city dwellers-people engaged in mundane urban activities. She chose to photograph in urban centers, public parks, even construction sites, recombining the elements to appear as if we are looking at untouched wilderness. Rather unexpectedly, the sources for the individual elements in this composition are far from the natural environment it suggests. Gütschow used advanced visual software-digitally stitching the image together from dozens of different negatives that she had taken on her travels. For example, the shadows do not match up throughout the image, and there are elements that are disruptive to a harmony of the overall scene, such as patches of dirt, discarded shipping palettes, and the oddly small scale of the main tree. The artifice is apparent only after sustained and close viewing. Yet what we are seeing is not a window onto an actual place but a meticulous simulation. A low, flat horizon is dominated by a vast sky, and lounging figures by a river are enjoying the scenery. Gütschow composes what looks like a panoramic view of a northern European countryside, very reminiscent of Dutch 17th-century paintings. We are looking here at the large-scale photograph by the contemporary artist Beate Gütschow entitled LS #17. Hello, this is Eric Lutz, associate curator of prints, drawings, and photographs. Stephen’s name.Īssociate Curator of Prints, Drawings, and Photographs Symeon Stylites the Younger in Syria offered relics of that saint to a church or monastery bearing St. Stephen,” suggesting that the monastery of St. A more intriguing translation of the inscription might be “Offering of the Tiberine Dioconate to St. That the box actually weighs less than indicated by the inscription poses some interesting questions about whether that was the weight for a reliquary set, of which this is just one piece, or whether that was the weight before some of the box’s contents were removed. Stephen.” The bottom has a graffito, or an inscription scratched into the silver, that repeats the first word of the lid inscription: “Offering: two pounds, two ounces, four grams.” Within the band is a punched Greek inscription that could be translated, “Offering of TIBERINE, the deaconess, to St. Lathe-cut grooves define the flutes, or parallel channels, on the body and concentric grooves frame the rosette on top, creating a wide rim band. This model is all that remains of the mural, as the room was eventually dismantled and the paintings based on this study were destroyed in World War II (1939–1945).Ī rare example of Byzantine church silver, this reliquary, or container for holy objects, has a fluted body and a large rosette decorating the lid. He sought to create a Gesamtkunstwerk, a total work of art that unified architecture, painting, sculpture, and ornament into a cohesive whole. It was Klinger’s first such project, and he was given almost free rein in decorating the space with wall paintings and sculptures. This study was part of a decorative commission for the vestibule of a villa belonging to the Austrian jurist Julius Albers. Klinger incorporated architectural elements like gold columns and the decorative frieze to frame these scenes and enhance his overall scheme. The centaurs reappear in the right portion, where the figures almost disappear into the arid, rocky landscape. In the left portion, two centaurs, hybrid creatures who were part human and part horse, battle fiercely in a grassy plain. In this drawing, Max Klinger presented two sun-drenched ancient landscapes.
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