Coffret, Metropolitan Museum of Art: Medieval Art
Rogers Fund,1925 Metropolitan Museum of Art, New York, NY Medium: Walnut, carved & lined with glass (some colored)
http://www.metmuseum.org/art/collection/search/466625
Three Goblin Art
Not today Justin
occasionally subtle

Origami Around
wallacepolsom

oozey mess
Xuebing Du

if i look back, i am lost
Show & Tell

roma★

★
ojovivo

blake kathryn
Monterey Bay Aquarium
dirt enthusiast

Andulka
Sade Olutola
One Nice Bug Per Day
I'd rather be in outer space 🛸

@theartofmadeline

seen from Türkiye

seen from South Korea

seen from Malaysia

seen from Türkiye

seen from Spain

seen from Germany

seen from Finland

seen from United States

seen from Germany

seen from Malaysia
seen from United States
seen from Puerto Rico

seen from Germany
seen from Bangladesh

seen from Indonesia

seen from Malaysia

seen from Malaysia
seen from United States

seen from Malaysia

seen from United States
@academicfieldnotebook
Coffret, Metropolitan Museum of Art: Medieval Art
Rogers Fund,1925 Metropolitan Museum of Art, New York, NY Medium: Walnut, carved & lined with glass (some colored)
http://www.metmuseum.org/art/collection/search/466625
Florentines rescuing a painting, as David watches over the Piazza della Signoria.
Over the night of November 4th to 5th, 1966, Florence flooded. The river Arno rose as high as 6.7 meters (about 22 feet) in some places, over 100 people were killed, and many paintings and documents were destroyed by the floodwaters. Young people, arriving from across the Continent, immediately began showing up to help. They became known to the Florentines as ‘gli angeli del fango,’ or ‘the Mud Angels’. The Mud Angels were not recruited, and they were not organized, but over the winter they cleaned mud out of the Basilica di Santa Croce, carried priceless paintings out of the Uffizi galleries and brought food and fresh water to the elderly Florentines trapped in their upper-floor apartments.
@museenkuss
Didrachm with head of Hercules (obverse) and she-wolf suckling Romulus and Remus (reverse)
Roman, Republican Period, 269-266 B.C.
silver
British Museum
Statues of Mt Nemrut ~ Turkey by Stephanie Borcard & Nicolas Metraux ⧗ Decapitated by earthquakes, reassembled by archaeologists
From last year
Greek bronze helmet with a ram's head, due to its size, probably used for ceremonial purposes
525 - 500 BCE
St. Louis Art Museum 282:1949.1
segmentum, egypt, umayyad period c. 700s-900s.
Etruscan votive offering in form of upper part of human face
Late Etruscan period
British Museum 1974,1204.31
silver gilt and jade buckle and brass buckle, overall: 7.4 cm; china c. 1900s.
Silver brooch, part of the Galloway hoard, a Viking age treasure hoard uncovered in Scotland, dated circa 900 AD
from The National Museum of Scotland
Gold geese earrings, Greece, 3rd-1st century AD
from The Museum of Fine Arts, Houston
Mosaic depicting Poseidon/Neptune and Amphitrite in a wedding chariot pulled by Tritons. From building IX.2.27, Pompeii; now in the National Archaeological Museum, Naples.
Unknown Wild Boar late 6th century BCE Greek Leaded bronze Cast, lost-wax process 8.7 x 14.1 x 3.5 cm (3 7/16 x 5 9/16 x 1 3/8 in.)
Observations: The patina is primarily exposed underlying red with some areas of green surviving. The exposed red and the deep pitting is probably the result of a partial electrolytic stripping of the original corrosion products. In spite of this, considerable surface detail has survived. The right rear foot and lower leg are lost. The three surviving legs are broken off and repaired. All three of the reattached feet are consistent in appearance with the rest of the bronze. A small amount of green paint appears to have been added to the proper left side, presumably to even out the red color resulting from the cleaning process. The weight of the bronze indicates it is a solid cast. Although there is a line along the ridge on the back that could be taken for a mold line, it is incised rather than raised and appears to be anatomical or design-related rather than a mold line that would have indicated casting using the indirect lost-wax process. The slightly soft and irregular features in the head and elsewhere point to a direct lost-wax technique. The vertical lines in the ridge of bristles are slightly soft in their contours and appear to have been incised in the wax. The condition of the surface makes it difficult to judge, but there is probably some cold-work finishing in the face, feet, and tail.
Someday this Boar will grow up to guard Chernobyl
The remains of a mid-16th century church known as the Temple of Santiago is visible Friday from the surface of the Grijalva River due to the lack of rain near the town of Nueva Quechula, in Chiapas state, Mexico.
The sculpture in the image is the Winged Victory of Samothrace, also known as the Nike of Samothrace or Vitória de Samotrácia.
Here are some key details about the sculpture:
Subject: It represents the Greek goddess Nike, the personification of victory.
Creation Date: The sculpture was created around the 2nd century BCE, likely between 200 and 190 BCE.
Purpose: It was created to commemorate a naval victory.
Discovery: The statue was found in fragments on the island of Samothrace in 1863.
Current Location: The Winged Victory of Samothrace is one of the most famous works of Hellenistic art and is prominently displayed at the Louvre Museum in Paris, France.
Lapis lazuli ornamental plate, Achaemenid Empire, 500-400 BC
Unknown, Olmec. Pendant. 1200 BCE-400 CE. Image and data from Justin Kerr.