Arthur Sambon

French, 1867 - 1947

Explore Selected Works

Three women, a man, child, and four winged angels are carved in relief on a panel to occupy a shallow space in this white marble sculpture. The group fills the panel, which is square on the bottom and comes to a triangular point at the top. The people have narrow, almost slitted eyes, straight noses, and thin lips. One of the women, Mary, sits on a throne at the center holding a child, Jesus, who stands one of her knees. Mary wears a crown, and her robes drape to the floor. One hand wraps around Jesus’s torso. He holds something down by his side with one hand and reaches the other up with the first two fingers raised toward a woman, Queen Sancia, who kneels in the lower left corner of the panel. Mary reaches her other arm out to touch Queen Sancia’s head as well. The queen and others in the scene are smaller in scale than Mary. Queen Sancia faces our right in profile as she looks at Jesus with her arms crossed over her chest. She and the woman standing behind her both wear veils that cover their foreheads, chins, and necks. The standing woman touches Queen Sancia’s shoulder with one hand and holds the other to her own chest. A man standing on Mary’s other side, in the lower right corner, wears a hooded robe and holds a book and a cross. He has a beard, and his hair is cut into a ring around his head. Winged angels stand with hands held across their chests behind the man and Queen Sancia. Two more angels hold up a cloth behind Mary and Jesus. The edges of the panel are carved to resemble molding.
Tino di Camaino, Madonna and Child with Queen Sancia, Saints, and Angels, c. 1335, marble, Samuel H. Kress Collection, 1960.5.1

Madonna and Child with Queen Sancia, Saints, and Angels

Tino di Camaino · c. 1335 · marble ·  Accession ID  1960.5.1

A young man wearing only a loincloth kneels at a river’s edge, facing a man holding a bowl over his head with two winged angels nearby in this almost square painting. Three of the people are pale skinned, one is tan, and all have dark hair. Jesus kneels at the bottom center of the composition. Saint John the Baptist, the man to our right, has tanned skin and is wrapped in a tawny brown cloak. He holds a tall staff in one hand and extends the bowl over Jesus’s head with his other. A white dove hovers above in a butter-yellow starburst. The two angels to our left have dark gray wings that barely catch the light in the murky, active landscape. One wearing sand-brown robes kneels and looks toward Jesus. The other wears straw-yellow and looks away, a cloth held up in both hands. The river cuts back and forth across the composition from the background to our left, and it sweeps across the picture and churns off the right side of the painting. Trees tower up along the left edge next to the group, and a grass-covered outcropping thrusts high into the sky behind Jesus and Saint John the Baptist. Pale yellow and cream-white clouds puff across a vivid blue sky across the top of the picture. Brushstrokes are visible throughout, especially in the water and landscape.
Alessandro Magnasco, The Baptism of Christ, c. 1740, oil on canvas, Samuel H. Kress Collection, 1943.4.27

The Baptism of Christ

Alessandro Magnasco · c. 1740 · oil on canvas ·  Accession ID  1943.4.27

Two pale-skinned men face each other across surging waves in a cove surrounded by trees in this horizontal painting. Tall trees to each side have dark, gnarled trunks and small, olive-green leaves. They curve toward each other like parentheses. Swirling sage-green and muted turquoise water kicks up waves highlighted with ivory white. The water heaves in great waves back into the distance where it meets a blue form, which could be a mountain or more water. The men are small in scale within the domineering landscape. One man stands on the shore near the lower left corner. His topaz-blue cloak lifts high in the wind behind him. He is barefoot, has long brown hair, and he holds out one hand toward the second man, who is waist-deep in the water. That second man’s honey-yellow and blue robes whirl around him as he lunges forward, arms spread wide. The narrow band of land spanning the bottom edge of the canvas is strewn with jugs and bits of stone and lumber. A pale ship with a man leaning over our side is barely visible on the right at the mouth of the cove. Above the scene, a robin’s egg-blue sky peeks out from wide streaks of flax-yellow and peanut-brown clouds.
Alessandro Magnasco, Christ at the Sea of Galilee, c. 1740, oil on canvas, Samuel H. Kress Collection, 1943.4.31

Christ at the Sea of Galilee

Alessandro Magnasco · c. 1740 · oil on canvas ·  Accession ID  1943.4.31

Anders Zorn, Mona, 1911, etching on laid paper, Rosenwald Collection, 1943.3.8838

Mona

Anders Zorn · 1911 · etching on laid paper ·  Accession ID  1943.3.8838

Gaspare Diziani, The Sacrifice of Isaac, c. 1755, tip of the brush with gray ink over red chalk, gray wash, strengthened with pen and gray and brown ink, heightened with white gouache, Wolfgang Ratjen Collection, Purchased as the Gift of Diane A. Nixon, 2007.111.68

The Sacrifice of Isaac

Gaspare Diziani · c. 1755 · tip of the brush with gray ink over red chalk, gray wash, strengthened with pen and gray and brown ink, heightened with white gouache ·  Accession ID  2007.111.68

Bibliography

1989

  • Les donateurs du Louvre. Paris, 1989:315