This is a personally edited and coloured design, based on the original made by Paul Ranson (1862–1909) he used curving, wavelike forms to depict a stylized tiger in this lithograph. The artist was influenced by the calligraphic forms and heavy outlines that characterized Japanese prints, adopting these qualities in his own work. The print was created for L'Estampe Originale, a publication issued during the 1890s that presented a curated selection of original prints by contemporary artists to collectors.
Tags:
abstract, animal, big cats, jungle, tiger art
An edited work of Odilon Redon, (French, 1840–1916)
Like many artists of the time, Odilon Redon drew inspiration from 19th-century German composer Richard Wagner and explored his music throughout various media. Here, Redon depicted Parsifal, the heroic knight after whom Wagner titled an 1882 opera centered on a search for the Holy Grail. The print’s murky tones combine with Parsifal’s vacant stare to create an aura of mystery. The print was the first given to the museum by Ralph King, a founding trustee and a Redon enthusiast known among New York City gallerists in the 1920s for his tendency to purchase their entire inventories of the artist’s work.
The French King made war on the King of Feuereisen in his realm and how the King of Feuereisen died in the battle.
The Battle of Nancy on January 7, 1477, between the forces of the king of France (Louis XI) and the king of Feuereisen (Charles the Bold, Duke of Burgundy) involved early artillery, visible in the distant background. The heavily armored cavalry fight with lances and swords. Of particular interest is the unarmored infantry's use of the pike, a long, small-headed spear, as a lethal hedge against cavalry charges.
Hans Burgkmair
(German, 1473–1531)
Known as "the last knight," Maximilian was an enthusiast of tournaments and hunting; here he wears the type of fluted armor that later would be named for him.
Presented in full profile, the Holy Roman Emperor Maximilian I (reigned 1486–1519) and his mount emulate a classical equestrian portrait statue. The Latin abbreviations inscribed at the top of the page describe him as “August Emperor Caesar Maximilian,” a title conceptually equating him with the leaders of the ancient Roman Empire. The two-headed eagle on the banner is the emblem of his dynastic family, the Hapsburgs.
The depicted painting’s refined and ornate style reflects the courtly aesthetic that appealed to royal and aristocratic patrons in the decades around 1400. On the panel’s richly tooled reverse (not visible) are the arms of the house of Hainault quartered with those of Bavaria. While this coat of arms is certainly that of the work’s patron, probably a member of the united dynasties of Hainault and Bavaria, their identity remains elusive.
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