The Ramayana is an ancient epic that is recounted, visualized, and performed throughout South Asia. Read more and watch videos about the artists, click hereĮncounters In Exile: From the Ramayana (The Journey of Rama) Works by Ming Fay, Tai Xiangzhou, and Wang Mansheng are shown in Gallery 321, while a large installation of ink paintings by Bingyi is featured in the Chinese Reception Hall, Gallery 326, and a series of related interventions is displayed in Gallery 334. Mellon Postdoctoral Curatorial Fellow, shows that we are all connected, that our lives are closely linked with nature and how that impacts our world and environment. Welles Henderson Curator of Chinese Art and Gabrielle Niu, former Andrew W. Oneness: Nature & Connectivity in Chinese Art, which is curated by Hiromi Kinoshita, The Hannah L. All the featured artists embrace and adapt historic Chinese artistic traditions through their chosen materials, process, or themes. This exhibition features the work of four contemporary artists whose practices examine the boundaries between humans and nature from a philosophical, spiritual, and material perspective. The Museum possesses more than three hundred seventeenth-century Dutch paintings, the largest collection of its kind in North America.įor more information please visit philamuseum.Tai Xiangzhou (born 1968), Isle of the Immortals (detail), 2021, 2021-114-1Įxplore the questions of “what is nature?” and “what is the relationship between humans and nature?”. Vermeer’s Young Woman Seated at a Virginal is joined by two additional loans from the Leiden Collection: Frans Hals’s Portrait of Samuel Ampzing and The Coat of Many Colors attributed to Rembrandt’s pupil Gerbrand van den Eeckhout.Īll three paintings are on view in the galleries of European art 1500–1850 on the second floor, in the company of a selection of the Museum’s own paintings from the Dutch Golden Age. It is only her gentle outward glance that bridges the distance between her own psychological space and that of those of us who are lucky enough to encounter her, and this painting. Her silk dress, the lace ribbons in her well-coiffed hair, and the luxurious keyboard instrument at which she sits mark her as a woman of considerable means. In typical Vermeer fashion, the portrayal does not let us know what the woman is thinking or how the depicted moment might fit into a narrative. He stripped the scene to its essence the light that beams in from the left defines the forms and provides volume, but he abstracted the back wall, the woman’s arms, and even her facial features. This rendering of a solitary woman is quintessentially Vermeer. Recent analysis has provided further proof, finding that its canvas is from the same bolt of cloth that Vermeer used for his famous Lacemaker, which today hangs in the Louvre. Scientific and art historical studies undertaken in the 1990s and after, however, have shown Vermeer to be its creator. Scholars have long known about this picture but have disagreed about who made it. It has been almost ten years since a painting by Vermeer has been on view in Philadelphia. It is also the only remaining canvas by this great Dutch master to be in private hands. Vermeer painted less than forty pictures during his career and this one, Young Woman Seated at a Virginal, is believed to be one of his last. Vermeer’s Young Woman Seated at a Virginal and two additional loans from the Leiden Collection are on view at the Philadelphia Museum of Art.
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