This recent acquisition is a superb example of a well-known genre of helmet mask of the Makonde people. It is characterized by the realistic imitation of incised angular facial scarification marks, carved renderings of chipped teeth, and insertion of real human hair in asymmetrical patterns on the mask’s skull.
A graduate of the School of the Art Institute of Chicago, Richard Hunt created Hero Construction out of found objects discovered in junkyards and on the street. The modest but impressive stance of the figure recalls both ancient statues and contemporary monuments.
This depiction of Saint Jerome, hailing from the Flemish city and trade center of Antwerp, shows him as both a scholar and a penitent. The exaggerated angle of his head, the gesture of his open hand, the thin application of paint, and the nervous contours all belong to the Master of the Lille Adoration’s signature style.
McMillian’s lungs combines painting and sculpture, organic and inorganic form, and enormity and delicacy to create these lush yet ominous objects. The inherent juxtaposition of the work manifests current political and social tensions through their insistent physicality.
This sculpture represents the 13th petal from Yoko Ono’s installation SKYLANDING, a 12-petal lotus in Chicago’s Jackson Park that rises from the ashes of the Phoenix Pavilion. In contrast to the smooth petals of SKYLANDING, MENDED PETAL has visible seams of repair, symbolically commemorating the ground-healing ceremony held by the artist in June 2015 through which she prepared the site of the lost Phoenix Pavilion for her new work.
The Greek people’s worship of the Olympian deities included the ritual dedication of gifts (votives) at sacred sites. These offerings took a variety of forms, but statuettes of horses had special significance as symbols of affluence. This bronze sculpture is one of the finest such votive statuettes to survive from antiquity.
Sebastiano’s depiction of Christ carrying the cross has dramatic visual impact in the expressions of the figures, in the diagonals lines created by the cross, and the luminous background. This work is a significant addition to the museum’s
holdings of central Italian paintings.
The five vessels in this set would have been the focus of either Buddhist or Confucian spiritual ceremonies. Each vessel is painted with the Eight Buddhist Emblems over a lime green background—a color perhaps inspired by enameled metalwork introduced
to China from Europe.
Yellow and underglaze-blue dishes of this type are among the most treasured Ming dynasty porcelains in China; they are particularly rare, making this example, covered in traditional motifs, an exquisite acquisition for the Art Institute.
Gorham was the first major American silver company to introduce Japanese-inspired designs to their product line, with this particular vessel featuring interpretations of Asian motifs, likely drawn from print sources: giant carp and a turtle thrash in
violent waters, suggesting the movement of the sea.