Inner Coffin of Meret-it-es
Late Period to Ptolemaic Period, 30th Dynasty to early Ptolemaic Dynasty,
ca. 380-250 B.C.E.
Wood, pigment, gesso and gilding
Except for her missing mummy, almost everything buried with the noblewoman Meret-it-es is here: this inner coffin, the outer coffin that contained it (to your left), the gold that lay over the mummy (ahead to the right) and 305 statuettes (behind you). Although little is known about Meret-it-es, her funerary equipment reveals much about Egyptian religion.
Remarkably thick and weighing 400 pounds, this coffin was meant to preserve Meret-it-es's mummy so that her spirit could live eternally in the hereafter. In part, to ensure that she would become a divine spirit, she is portrayed as a god with golden flesh and blue hair; her unarticulated body resembles the mummified ruler of the underworld, Osiris.
In the center of the coffin the sky goddess Nut spreads her wings, protecting Meret-it-es. A bit below this, Meret-it-es appears before the ibis-headed god Thoth, having been accepted into the hereafter. High above, on the red plaque, she approaches Osiris: her journey into the next world is complete.
Cabinet, about 1890
Walnut, ebonized wood, parchment, brass, pewter, and glass
This monumental cabinet reflects the range of international architectural and design elements that inspired Carlo Bugatti. The brass roundels and minarets above the doors are based on Moorish designs from Muslim Spain. The central panel is inspired by Japanese ink painting. The extravagance of detail indicates that this cabinet was destined for an elite client. Most likely used as a centerpiece in a room, it probably held books and important documents behind lock and key.
Vincent van Gogh
"This painting comes from a series of 15 canvases that Vincent van Gogh dedicated to the subject of olive trees during his stay at the asylum of Saint-Rémy-de-Provence, where he committed himself after suffering a series of breakdowns. When free to wander the countryside, he explored the region’s olive groves. “The murmur of an olive grove,” he wrote to his brother Theo, “has something very intimate, immensely old about it.” The artist’s animated brushwork and stylized passages of broken color suggest that he painted the scene directly from nature. They communicate the essence of olive trees with their twisting trunks and heavy canopy in the light of southern France."
Castor or Pollux
Mid-2nd century c.e.
Probably Italy, marble.
"This youth is either Castor or Pollux. These two brothers were the offspring of a mortal woman. They had different fathers: Castor was the son of a mortal prince while Pollux was the son of the king of the gods, Jupiter. Thus Castor was mortal and Pollux, immortal. At the death of Castor, Jupiter offered the immortal Pollux a choice. He could remain immortal or he could divide immortality with his slain brother. They could live on alternate days in heaven and the Underworld. Out of love for his brother, Pollux chose to divide his immortality. The youths were associated with the constellation Gemini and thus they are portrayed with a star on their caps. Our figure cradles in his left arm a sheath.
The statue may be an approximate copy of a famous fifth-century B.C.E. sculpture that stood at the entrance of the Acropolis in Athens."
Nine Crow Clowns, 2012
Wendy Red Star
Crow, Montana, born 1981
Pigment prints on satin canvas
Clowns have long been a part of Crow ceremonial life, and here Wendt Red Star celebrates their contemporary incarnation. The painting -- a series of nine photographic pigment prints transferred to canvas -- depicts the mischievous figures against a unifying blue background. Only men portrayed clowns in the past; now, both men and women participate. They costume themselves as elders, wear pillows to distort their bodies, and don masks to hide their faces.
Drug Jar (albarello)
Italy, probably Pesaro
Earthenware, tin glazed (maiolica)
Pharmacies were great patrons of maiolica potteries from the early fifteenth century onward. Usually housed in monastic hospitals or royal residences, pharmacies often commissioned large sets of matching jars which were displayed in rows on shelves around the walls. Each jar was marked with the name of the drug it contained. Spouted jars were used to store and dispense liquid medicine. Early examples were closed by tying parchment over the top.