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                <text>Gift of Mr. and Mrs. Stephen H. Loeb</text>
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                <text>ca. 1505, 1511 edition</text>
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                <text>Albrecht Durer was the greatest and most innovative printmaker of the Renaissance.  A native of Nuremberg, Germany, he had established an international reputation by the beginning of the sixteenth century with the publication of three woodcut series, including the Life of the Virgin.  In Durer's hands the woodcut came to rival the technique of engraving in its subtle modeling and intricate detail.  The narrative sophistication of his prints repaid extended contemplation on the part of the viewer, and his work was avidly collected by connoisseurs and widely copied by contemporary artists.</text>
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                <text>Prints by Albrecht Durer, Santa Barbara Museum of Art, Santa Barbara, California, May 1-May 25, 1958|
Woodcuts by Albrecht Durer: An Exhibition of Print Connoisseurship, Emory University Museum of Art and Archaeology, April 8 - June 7, 1986|
Invention and Revival: Northern European Prints, Michael C. Carlos Museum, February 12 - May 15, 2005</text>
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                <text>© Michael C. Carlos Museum, Emory University.  Photo by Bruce M. White, 2008.</text>
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                <text>Lent by the Pitts Theology Library, Candler School of Theology</text>
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                <text>Image courtesy of the Pitts Theology Library, Candler School of Theology, Emory University</text>
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                <text>© Michael C. Carlos Museum, Emory University.  Photo by Bruce M. White, 2018.</text>
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                <text>This image is provided by the Michael C. Carlos Museum of Emory University and is made available for limited non-commercial, educational, and personal use only, or for fair use as defined by United States law. For all other uses, please contact the Michael C. Carlos Museum Office of Collections Services at +1(404) 727-4282 or mccm.collections.services@emory.edu. Users must cite the author and source of the image as they would material from any printed work, but not in any way that implies endorsement of the user or the user's use of the image. Users may not remove any copyright, trademark, or other proprietary notices, including without limitation attribution information, credits, and copyright notices that have been placed on or near the image by the Museum. The Museum assumes no responsibility for royalties or fees claimed by the artist or third parties.  The User agrees to indemnify and hold harmless Emory University, its Michael C. Carlos Museum, its agents, employees, faculty members, students and trustees from and against any and all claims, losses, actions, damages, expenses, and all other liabilities, including but not limited to attorney’s fees, directly or indirectly arising out of or resulting from its use of photographic images for which permission is granted hereunder.</text>
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                <text>© Michael C. Carlos Museum, Emory University.  Photo by Bruce M. White, 2015.</text>
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                <text>Lent by Jeff Hartz Gallery</text>
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                  <text>Michael C. Carlos Museum, Emory University</text>
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                  <text>Tell the Whole Story from Beginning to End: Loan Objects</text>
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          <name>Physical Dimensions</name>
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              <text>Sheet: 7 1/2 x 12 1/2 in.</text>
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                <text>The Kidnapping of Sita, Admonishment of Lakshmana</text>
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                <text>19th Century</text>
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                <text>L2015.024.001</text>
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                <text>Courtesy of Harshna and Pyush Patel</text>
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                <text>Watercolor with gilding</text>
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                <text>After his sister is mutilated, Ravana plots revenge in the form an elaborate scheme to kidnap Sita. Ravana’s brother Maricha takes the form of a golden deer and bounds past Rama’s hermitage. Sita requests her prince to kill the deer, so Rama instructs Lakshmana to watch over Sita while he goes hunting. When Rama is gone, Lakshmana hears Maricha, dying from Rama’s arrow, call for help in Rama’s voice, and is fooled into abandoning his post to search for Rama. Ravana seizes the opportunity to abduct Sita.&#13;
 &#13;
Reading the painting from left to right, Ravana carries Sita away from her opulent hermitage in the highly stylized forest while Rama chastises to Lakshmana over the corpses of Maricha and the golden deer.&#13;
 &#13;
The juxtaposition of these two scenes in painting is unusual, and the focus on Lakshmana suggests that a failure of fraternal duty leads to Sita’s abduction as much as the villainy of Ravana. By ignoring his elder brother’s command, Lakshmana ignores his duty. All around, flowers blossom in vibrant colors, contrasting the perfection of nature with the failings of Lakshmana.&#13;
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                <text>India, possibly the Deccan</text>
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