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  • Vikki Griffin

Vikki Griffin

•5 min read
Medieval Art / The Met

    This coffret illustrated with scenes from Arthurian and other courtly literature of the Middle Ages is one of the most imposing examples to survive.
    The lid represents the assault on the metaphorical fortress, Castle of Love, with a tournament and knights catapulting roses.
    The left end depicts Tristan and Isolde spied upon by King Mark, and a hunter killing a unicorn trapped by a virgin.
    The right end shows a knight rescuing a lady from the Wildman (Wodehouse), and Galahad receiving the key to the castle of maidens.
    At the back are Lancelot and the lion, Lancelot crossing the sword bridge, Gawain asleep on the magic bed, and the maidens welcoming their deliverer.
    The newly discovered front panel (1988.16), lost since before 1800, is a poignant depiction of the love tragedy of Pyramus and Thisbe (two scenes at right) and Aristotle teaching Alexander the Great and Phyllis riding on the back of Aristotle (two scenes at left).

Queen Henrietta Maria

Flemish, Antwerp 1599–1641 London / The Met

    Henrietta Maria commissioned this painting as a gift for Cardinal Francesco Barberini.
    The painting was destined for a leading patron of the arts in Baroque Rome.

Madame Cézanne (Hortense Fiquet, 1850–1922) in a Red Dress

French, Aix-en-Provence 1839–1906 Aix-en-Provence / The Met

    This is the only one of the four portraits of Madame Cezanne to show her in an elaborately furnished interior.
    Seated in a high-backed yellow chair and wedged between well-placed props that seem to bend to her form and shift to her weight, Madame Cezanne is the lynchpin of a tilting, spatially complex composition.

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From 14th Century To 15th Century

From 14th Century To 15th Century

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