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This small blue faience head is thought to depict the Roman Emperor Augustus. It follows a Roman prototype for his portrait that was developed in the earlier part of his long reign, but continued in use. Paul Zanker has suggested it might have been created late in Augustus' reign or even in that of Tiberius. Egyptian influence may be present in the suggestion of loose flesh beneath the prominent cheekbones.

The original context of the head is unknown, but it was said to be from Memphis, which is reasonable. A Memphite provenance would reflect the importance of the traditional religious capital in Augustus's political domination of the country. A cult of Augustus existed there, and the High Priest of Ptah of Memphis, the most important official in the country's traditional religious structure, was chosen as its chief officiant, the "prophet of Caesar." This appointment was surely intended to encourage the cooperation of the country.

Egyptian, Roman period, ca. 27 BCE-14 CE, said to be from Memphis. Formerly in the collection of Lord Carnarvon.

H. 7.7 × W. 6 × D. 6.5 cm (3 1/16 × 2 3/8 × 2 9/16 in.)

Met Museum, New York (26.7.1428)

This small blue faience head is thought to depict the Roman Emperor Augustus. It follows a Roman prototype for his portrait that was developed in the earlier part of his long reign, but continued in use. Paul Zanker has suggested it might have been created late in Augustus' reign or even in that of Tiberius. Egyptian influence may be present in the suggestion of loose flesh beneath the prominent cheekbones. The original context of the head is unknown, but it was said to be from Memphis, which is reasonable. A Memphite provenance would reflect the importance of the traditional religious capital in Augustus's political domination of the country. A cult of Augustus existed there, and the High Priest of Ptah of Memphis, the most important official in the country's traditional religious structure, was chosen as its chief officiant, the "prophet of Caesar." This appointment was surely intended to encourage the cooperation of the country. Egyptian, Roman period, ca. 27 BCE-14 CE, said to be from Memphis. Formerly in the collection of Lord Carnarvon. H. 7.7 × W. 6 × D. 6.5 cm (3 1/16 × 2 3/8 × 2 9/16 in.) Met Museum, New York (26.7.1428)

This banged-up blue faience head of the Roman emperor Augustus was said to have been found in Memphis (Egypt), where a cult of Augustus was based. That cult and its High Priest of Ptah, known as the ‘prophet of Caesar’, legitimized Rome’s rule over Egypt. 🏺 #MetMuseum 1/

ca. 27 BCE-14 CE. 📸 me

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Sketch detail version of Jacques Blanchard's “Angelica and Medoro", c. 1630s

Sketch detail version of Jacques Blanchard's “Angelica and Medoro", c. 1630s

Sketch version of Jacques Blanchard's “Angelica and Medoro", c. 1630s

Sketch version of Jacques Blanchard's “Angelica and Medoro", c. 1630s

“Angelica and Medoro"
Blanchard (Jacques Blanchard/Blanchart), c. 1630s
Metropolitan Museum of Art, New York, USA
5 x 8.25 in (12,7 x 21,5 cm)
Ink markers and watercolor on plain 70 G/M² sketchbook paper
06/11/25
#pandemicmasters #Krink #metmuseum #blanchard

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Ceramic Moche stirrup-spout bottle in the form of a frog. Natural red body with a yellow undercarriage, and all of it polished to a high sheen.

Ceramic Moche stirrup-spout bottle in the form of a frog. Natural red body with a yellow undercarriage, and all of it polished to a high sheen.

Agreed - the animal pieces are fantastic. Like this frog, also from the #MetMuseum collection.

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A Moche stirrup-spout bottle with the form of a Tyto alba, the western barn owl. Orangish in color, with faded white stripes on the deep feathered tufting around its eyes, the owl looks down and slightly to its right. Incredibly realistic.

A Moche stirrup-spout bottle with the form of a Tyto alba, the western barn owl. Orangish in color, with faded white stripes on the deep feathered tufting around its eyes, the owl looks down and slightly to its right. Incredibly realistic.

The goddess Athena herself would have coveted this stirrup-spout bottle in the shape of an owl. Created thousands of miles across the ocean from Greece, this bottle is typical of the work of Moche ceramicists of Peru’s North Coast. #MetMuseum 🏺 1/

200-500 CE. 📸 me

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El Greco, The Miracle of Christ Healing the Blind, ca. 1570 1/17/2012 #metmuseum

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#Art #Education #App #Impressionism #Paris #Game #Quiz #Moscow #Hermitage #Museum #iPhone #womenartists #Metmuseum #Louvre #NFT #dopamine #AI
The best guide to Impressionist paintings.
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#Art #Education #App #Paris #Game #Quiz #Moscow #Hermitage #Zurich
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#Art #Education #App #Impressionism #Paris #Game #Quiz #Moscow #Hermitage
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The best guide to Post Impressionism
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My 20 favorite things seen today: 03/13/2026
@METmuseum
#metmuseum
#MyNineFaveThingsHSYee

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This striking ornament made of gilded copper sheet in the shape of the front of a head has inlaid eyes of green and black stone and teeth made from shell. The ears are attached to the face with small tabs, as is a visor above the eyes. Abrasion on the nasal septum suggests that a miniature nose ring was once present. Trapezoidal ornaments with V-shaped incisions are attached to the ears. Remnants of seven thin wires protrude from the front of the visor. These may have once supported dangles, now lost. Four perforations, one below each ear and one on the top and bottom of the head, suggest that it was originally bound to a backing such as a banner.

This striking ornament made of gilded copper sheet in the shape of the front of a head has inlaid eyes of green and black stone and teeth made from shell. The ears are attached to the face with small tabs, as is a visor above the eyes. Abrasion on the nasal septum suggests that a miniature nose ring was once present. Trapezoidal ornaments with V-shaped incisions are attached to the ears. Remnants of seven thin wires protrude from the front of the visor. These may have once supported dangles, now lost. Four perforations, one below each ear and one on the top and bottom of the head, suggest that it was originally bound to a backing such as a banner.

SO very much … Friday mood. Pizza and margaritas incoming. 🍹🍕🏺

Moche gilded copper ornamental mask, Peru, 6th-7th c. CE. #MetMuseum
📸 me

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#Art #Education #App #Paris #Game #Quiz #Moscow #Hermitage #Zurich
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#Art #Education #App #Cubism #Paris #Game #Quiz #Moscow #Hermitage
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The Best Guide to Cubism
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Painted in 1870, this work belongs to American artist Winslow Homer’s early mature period, when he was moving beyond his fame as an illustrator and developing ambitious paintings of modern American life.

Three women stand on a sandy beach under a pale, open sky as waves roll into the seashore. A woman in the center faces slightly away as she bends to wring water from her long hair and heavy bathing dress. The wet fabric clings to her body and drops in dark folds toward her calves. Her skin is bright against the darker garment, and her stance feels steady and private. Nearby, two other women in bathing clothes remain closer to the surf. One sits on the ground adjusting her shoes while he other with her back to us seems to be grabbing her long black skirt. Together they create a sense of a shared outing to Eagle Head at Manchester-by-the-Sea. A small dark dog startles at the dripping water near the women’s feet. Homer places the women between land and sea, with rough stones, shallow foam, and a broad horizon making the air feel cool, salty, and exposed.

After the Civil War, Homer often depicted women in public space, and here leisure is quietly charged with social tension as bathing costumes suggest modesty. Not surprisingly, the scene unsettled some early viewers, who read the women’s wet clothing and physical presence through the lenses of class, decorum, and gender. That unease still animates the picture. The central bather appears absorbed in her own bodily experience, not posed for us, and that inwardness gives the scene its mystery. Rather than idealizing the women, Homer gives them weight, presence, and individuality. The result is both observational and radical for a painting about seaside recreation, but also about modern womanhood, privacy, and the uneasy act of looking.

Painted in 1870, this work belongs to American artist Winslow Homer’s early mature period, when he was moving beyond his fame as an illustrator and developing ambitious paintings of modern American life. Three women stand on a sandy beach under a pale, open sky as waves roll into the seashore. A woman in the center faces slightly away as she bends to wring water from her long hair and heavy bathing dress. The wet fabric clings to her body and drops in dark folds toward her calves. Her skin is bright against the darker garment, and her stance feels steady and private. Nearby, two other women in bathing clothes remain closer to the surf. One sits on the ground adjusting her shoes while he other with her back to us seems to be grabbing her long black skirt. Together they create a sense of a shared outing to Eagle Head at Manchester-by-the-Sea. A small dark dog startles at the dripping water near the women’s feet. Homer places the women between land and sea, with rough stones, shallow foam, and a broad horizon making the air feel cool, salty, and exposed. After the Civil War, Homer often depicted women in public space, and here leisure is quietly charged with social tension as bathing costumes suggest modesty. Not surprisingly, the scene unsettled some early viewers, who read the women’s wet clothing and physical presence through the lenses of class, decorum, and gender. That unease still animates the picture. The central bather appears absorbed in her own bodily experience, not posed for us, and that inwardness gives the scene its mystery. Rather than idealizing the women, Homer gives them weight, presence, and individuality. The result is both observational and radical for a painting about seaside recreation, but also about modern womanhood, privacy, and the uneasy act of looking.

"Eagle Head, Manchester, Massachusetts (High Tide)" by Winslow Homer (American) - Oil on canvas / 1870 - The Metropolitan Museum of Art (New York, New York) #WomenInArt #WinslowHomer #Homer #1870sArt #MetMuseum #TheMET #AmericanArt #BeachArt #art #artText #AmericanArtist #MetropolitanMuseumOfArt

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Sideways mushroom-shaped gold belt buckle, with a hole in the oval portion. It’s composed of two top-bottom mirrored and highly stylized felines (panthers/lions) attacking horned ibexes. Very reminiscent of Scythian gold work.

Sideways mushroom-shaped gold belt buckle, with a hole in the oval portion. It’s composed of two top-bottom mirrored and highly stylized felines (panthers/lions) attacking horned ibexes. Very reminiscent of Scythian gold work.

This beautiful gold belt buckle - with a pair of felines attacking ibexes, mirrored - is clearly from the Eurasian steppes, and resembles Scythian gold work. But it’s from a later period, made by a Xiongnu artist, with Sarmatian influences. Whew! 🏺 1/

3rd-2nd c. BCE. #MetMuseum
📸 me

294 38 5 1
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#Art #Education #App #Impressionism #Paris #Game #Quiz #Moscow #Hermitage #Museum #iPhone #womenartists #Metmuseum #Louvre #NFT #dopamine #AI
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#Art #Education #App #VisionPro #Game #Impressionism
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#Art #Education #App #Impressionism #Paris #Game #Quiz #Moscow #Hermitage
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The best guide to Post Impressionism
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#Art #Education #App #VisionPro #game #renaissance
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The Best guide to Mannerism
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#Art #Education #App #VisionPro #game #Expressionism
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Best guide to Expressionism
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#Art #Education #VisionPro #game #DutchGoldenAge #Hermitage
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Best guide to Dutch Golden Age
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#Art #Education #App #Cubism #Paris #Game #Quiz #Moscow #Hermitage
#Museum #iPhone #womenartists #Metmuseum #Louvre
#dopamine #AI #NFT #VisionPro
The Best Guide to Cubism
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