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This catalog presents 141 Japanese lacquer boxes and inro from one of the world's most prestigious collections. A majority of these pieces was exhibited at the Japan House Gallery in 1972, at the Frederick S. Wright Art Gallery in 1977, and at the Metropolitan Museum of Art in 1980.
The first comprehensive assemblage in the West of paintings on this subject, the Robert H. Ellsworth Collection comprises works in the classical Chinese medium of ink on paper and in the traditional formats of scrolls, album leaves, and fans."--BOOK JACKET.
The Metropolitan Museum of Art houses monumental, majestic, and important works of art from the ancient world. In particular, a group of Assyrian sculptures from the Northwest Palace at Nimrud, which was constructed during the reign of Assurnasirpal II (883-859 B.C.), is remarkable both for its artistic excellence and for its technical skill. Excavated at Nimrud in the mid-nineteenth century by Sir Austen Henry Layard, an English archaeologist, the majority of these impressive, larger-than-life-size reliefs and sculptures came to the Metropolitan Museum in 1932 as gifts of John D. Rockefeller, Jr., one of the Museum's most generous supporters. Other Assyrian pieces were gifts to the Museum in 1917 from J. Pierpont Morgan, another major figure in the Metropolitan's history. An earlier donor, Benjamin Brewster, began the Museum's collection of Assyrian reliefs with a gift in 1884. In 1968, prior to the beginning of construction on the Lila Acheson Wallace Galleries of Egyptian Art, most of the Ancient Near Eastern works were placed in storage. Now, as the first stage in the reinstallation of permanent galleries for the Department of Ancient Near Eastern Art, the Assyrian sculptures may again be enjoyed in a gallery setting that reflects their original placement in the Northwest Palace at Nimrud.
The Irving Collection represents a wide range of styles and techniques from the 13th through the twentieth centuries.
Articles crafted from lacquer, silk, cotton, paper, ceramics, and iron were central to daily life in early modern Japan. They were powerful carriers of knowledge, sociality, and identity, and their facture was a matter of serious concern among makers and consumers alike. In this innovative study, Christine M. E. Guth offers a holistic framework for appreciating the crafts produced in the city and countryside, by celebrity and unknown makers, between the late sixteenth and mid-nineteenth centuries. Her study throws into relief the confluence of often overlooked forces that contributed to Japan’s diverse, dynamic, and aesthetically sophisticated artifactual culture. By bringing into dialogue key issues such as natural resources and their management, media representations, gender and workshop organization, embodied knowledge, and innovation, she invites readers to think about Japanese crafts as emerging from cooperative yet competitive expressive environments involving both human and nonhuman forces. A focus on the material, sociological, physiological, and technical aspects of making practices adds to our understanding of early modern crafts by revealing underlying patterns of thought and action within the wider culture of the times.