Exhibitions Archives - Page 2 of 2

Theseus and Antiope

December 10, 2021

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**Theseus and Antiope,** sculpture from the West Pediment of the Temple of Apollo Daphnephorus in ancient Eretria, late 6^th century, Marble, 110 cm, Archaeological Museum of Eretria, Greece
https://www.esag.swiss/eretria/museum/

The multiple aspects of the concept of Kallos in the everyday life and the philosophical discourse of ancient Greece are presented in the major, emblematic, archaeological exhibition of the Museum of Cycladic Art, titled ΚΑLLOS. The Ultimate Beauty. Τhis exhibition displays three hundred emblematic antiquities from fifty-two museums, collections, and Ephorates of Antiquities throughout Greece, as well as from Italy, and the Vatican. The overwhelming majority appear for the first time outside of the museums of their provenance. They meet and mingle in the Museum of Cycladic Art, so as to give an integrated picture of the ideal of Kallos, inadequately translated into English as Beauty. On the 6^th of November I presented you one such exhibit… the Kore from Chios today, I will present you a favourite Archaic work of art… Theseus and Antiope! https://cycladic.gr/en/page/kallos-i-ipertati-omorfia

The story of Theseus and Antiope has it all… adventure, strife, love, and devotion! According to Pausanias and his Description of Greece… As one enters the city (of Athens) there is a monument to Antiope the Amazon. This Antiope, Pindar says, was carried off by Peirithous and Theseus, but Hegias of Troezen gives the following account of her. Heracles was besieging Themiscyra on the Thermodon, but could not take it, but Antiope, falling in love with Theseus, who was aiding Heracles in his campaign, surrendered the stronghold. Such is the account of Hegias. But the Athenians assert that when the Amazons came, Antiope was shot by Molpadia, while Molpadia was killed by Theseus. To Molpadia also there is a monument among the Athenians. https://www.perseus.tufts.edu/hopper/text?doc=Paus.%201.2.1&lang=original

***ΚΑLLOS. The Ultimate Beauty*** Exhibition Photo, Museum of Cycladic Art, Athens, Greece
Photo Credit: Paris Tativian, Museum of Cycladic Art, Athens, Greece
https://cycladic.gr/page/kallos-i-ipertati-omorfia?slide=1

The effigy of Theseus and Antiope, temporarily exhibited in the Museum of Cycladic Art in Athens, was originally created for the West Pediment of the Temple of Apollo Daphnephorus in Eretria. Information regarding the Temple of Apollo in Eretria is unfortunately scarce. Eretria, a town in Euboea facing the coast of Attica, was first mentioned in Homer’s Iliad as one of the cities that provided ships against the Trojans. During the 8^th century BC, the citizens of Eretria, a flourishing city during the Geometric and Archaic periods, built an impressive Temple to honour God Apollo, apsidal in architectural form. Soon after, a second, wooden Temple followed on the same site. Finally, around 520- 490 BC, a larger stone Temple was built, the remains of which are still visible today. Unfortunately, the Archaic Temple was badly destroyed during the Persian invasion of 490 BC. https://warwick.ac.uk/fac/arts/classics/intranets/students/modules/greekreligion/database/clunba/

The late Archaic period (510-500 BC) pediment sculpture depicting the abduction of Antiope by Theseus portrays the moment of Theseus stepping onto a chariot’s platform while tightly holding Antiope in his arms… a decisive moment in the development of the story, a key moment in the development of ancient Greek Art. Notice the depicted entwined torsos and think of the evolution accomplished as figural depiction moves from the frontal and immobile Kouros and Kore type of sculpture to the more naturalistic modeling of the classical era. Notice how the psychological drama unfolds, and consider the subtle ways the artist of Theseus and Antiope presents the understated surrender of the elegant Amazon, and the restrained triumph of the victorious hero. Notice how the heads of both figures slightly bend and observe the created interplay of light and shade, shapes and forms. What an accomplishment for the unknown artist. Could he be the famous Athenian sculptor Antenor? https://warwick.ac.uk/fac/arts/classics/intranets/students/modules/greekreligion/database/clunba/

For a PowerPoint on the Theseus and Antiope theme, please… Check HERE!

**Photograph of the actress Katharine Hepburn in the 1932 Broadway production of The Warrior’s Husband,** March 1932
https://commons.wikimedia.org/wiki/File:Katharine_Hepburn_in_The_Warriors_Husband.jpg

The Borghese Dancers

November 13, 2021

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**Nicolas Poussin,** 1594-1665
**A Dance to the Music of Time**, about 1634,
By kind permission of the Trustees of the Wallace Collection, London (P108) © The Trustees of the Wallace Collection
https://www.nationalgallery.org.uk/exhibitions/poussin-and-the-dance/major-loan-announced-for-poussin-and-the-dance
**Relief with Five Dancers before a Portico (The Borghese Dancers),** 2^nd century AD, Marble, 74×186 cm, Musée du Louvre, Paris, France
Photo: Ilya Shurygin 2014 – http://ancientrome.ru/art/artworken/img.htm?id=8452

Thence, fleet as thought, he leaves the earth for Olympos / and goes to the palace of Zeus and the company of the other gods. / Forthwith the immortals take interest in his song and lyre, / and all the Muses, answering with beautiful voices, / hymn the divine gifts of the gods and the hardships / brought upon men by the immortal gods. . Men live an unresourceful and thoughtless life, unable / to find a cure for death and a charm to repel old age. / And the fair-tressed Graces and the kindly Seasons / and Harmonia and Hebe and Aphrodite, the daughter of Zeus, / dance, each holding the other’s wrist. / Among them sings one, neither ugly nor slight of stature / but truly of great size and marvelous aspect, / arrow-pouring Artemis, Apollon’s twin sister. / And with them play Ares and keen-eyed Argeiphontes; / Phoibos Apollon, his step high and stately, / plays the lyre, enveloped in the brilliance / from his glittering feet and well-woven garment. / And Leto of the golden tresses and Zeus the counselor / rejoice in their great souls as they lookupon / their dear son playing among the immortals. This is how the ancient Greek Poet of the Homeric Hymn to Apollo (186-206) describes the fair-tressed Goddesses of Mount Olympus dance… and I can only think of The Borghese Dancers in the Louvre and the Poussin and the Dance Exhibition at the National Gallery (9 October 2021 – 2 January 2022)… and hope I can somehow see them… in London! https://escholarship.org/content/qt1bt36698/qt1bt36698_noSplash_b06fdd7a1448e726a360295a8d2c7f29.pdf and https://www.nationalgallery.org.uk/exhibitions/poussin-and-the-dance

**Relief with Five Dancers before a Portico (The Borghese Dancers),** 2^nd century AD, Marble, 74×186 cm, Musée du Louvre, Paris, France
Photo: Ilya Shurygin 2014 – http://ancientrome.ru/art/artworken/img.htm?id=8452

The Borghese Dancers is named after the Villa Borghese in Rome, where the sculptural piece was originally exhibited above the door of the grand gallery, since the early 17^th century. The celebrated Roman relief displays five female figures in clinging draperies dancing to a gentle but measured step. It is a fine work of art, typical of the Neo-Attic sculptural style of the 2^nd century AD, that emphasizes grace and charm, serenity, and restrained animation. Could the Borghese Dancers be a portrayal of the Dance of the Horae, the Greek Goddesses of the changing Seasons and Time? Could they be just “dancers” holding hands while moving gracefully in front of a wall with a row of Corinthian pilasters? Difficult questions to answer… In 1807, the Roman relief was purchased by Napoleon Bonaparte, brother-in-law of Prince Camillo Borghese. Between 1808 and 1811 it was sent to Paris where in 1820 it was displayed in the Musée du Louvre… where it can still be viewed today. https://wallacelive.wallacecollection.org/eMP/eMuseumPlus?service=ExternalInterface&module=collection&objectId=65841&viewType=detailView and https://www.worldhistory.org/image/10521/borghese-dancers/ and https://www.capronicollection.com/products/borghese-dancers-item-193 and https://collections.louvre.fr/en/ark:/53355/cl010275681

The sculptural relief, known as The Borghese Dancers in the Louvre has been an amazing source of inspiration for many artists, among them the Baroque French artist Nicolas Poussin, whose paintings of revelry, dance, and drama are brought together in this first exhibition dedicated and titled Poussin and the Dance, at the National Gallery, in London (9 October 2021 – 2 January 2022). The Museum experts tell us how… Poussin’s paintings of dance are unique… bringing to life the classical world of gods and mortals with wild and riotous movement. The Exhibition, by bringing together the antique sculpture the artist studied, invites us to trace the evolution of his ideas from marble to paper to paint. A pure Joy… Tambourines shake, wine spills, and half-naked figures whirl across the canvas and teach us …invaluable lessons!https://www.nationalgallery.org.uk/exhibitions/poussin-and-the-dance and https://www.nationalgallery.org.uk/exhibitions/poussin-and-the-dance#VideoPlayer103778

For a Student Activity inspired by The Borghese Dancers, please… Check HERE!

Preparing for the POST I came across and read with great interest Sarah Elizabeth Olsen Dissertation: Beyond Choreia: Dance in Ancient Greek Literature and Culture, whose Abstract begins… The chorus of Euripides’ Bacchae heralds the arrival of the god Dionysus by promising that “right away, the whole world will dance in a chorus” (αὐτίκα γᾶ πᾶσα χορεύσει, 114). Their exuberant claim reflects the enthusiasm for dance generally expressed in early Greek sources. Indeed, it has been well established that dance – specifically choreia (communal song-dance) – played a significant role in archaic and classical Greek social life and was thus accorded a high level of value and esteem in art and literature… https://escholarship.org/content/qt1bt36698/qt1bt36698_noSplash_b06fdd7a1448e726a360295a8d2c7f29.pdf

“Κάλλος” and the Kore from Chios

November 5, 2021

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**The “Kore from Chios,”** c. 510 BC, Marble from the island of Paros, H. 0.545 m, Acropolis Museum, Athens Greece
https://www.theacropolismuseum.gr/en/statue-kore-kore-chios

Kallos, according to the Museum of Cycladic Art experts, is an ideal developed in ancient Greek thinking and was expressed through the verses of the epic (8th century BC) and lyric (7th – 6th century BC) poets, initially as outward beauty. From the sixth century BC onwards, the concept was crystallized gradually through the texts of the philosophers, who referred to Kallos as a combination of physical appearance and virtues of the soul. It is on this dimension of Kallos that the exhibition of the Museum of Cycladic Art concentrates, enhancing the contribution of ancient Greece to defining the notion of beauty that prevails to this day. “Κάλλος” The Ultimate Beauty is a must-see Exhibition in the Museum of Cycladic Art in Athens running from 29/09/2021 until 16/01/2022. “Κάλλος” and the Kore from Chios is my new BLOG POST inspired by this wonderful Exhibition… focusing on a unique exhibit from the Acropolis Museum in Athens. https://cycladic.gr/en/page/kallos-i-ipertati-omorfia and https://www.theacropolismuseum.gr/en/statue-kore-kore-chios

The Kore from Chios is one of the most impressive Kore excavated on the Acropolis of Athens back in the late 19^th century, part of the Perserschutt, the numerous remains of statues vandalized by the Achaemenids during the terrible years of the second Persian invasion… Ten years after the Battle of Marathon (490 BC), the Persians returned to Greece and after their victory at the Battle of Thermopylae, in September of 480 BC, they entered Athens. The small number of Athenians who had barricaded themselves on the Acropolis, hoping that the Wooden Walls of the Delphic Oracle will protect them, were eventually defeated, and Xerxes ordered Athens to be torched. Those Persians who had come up first betook themselves to the gates, which they opened, and slew the suppliants; and when they had laid all the Athenians low, they plundered the temple and burnt the whole of the acropolis. (Herodotus VIII.53). Months later, after the victory at Salamis, and the Battle of Plataea in 479 BC, the Athenians returned to their city… they respectfully buried the mutilated sacred statues of the Archaic period on the Acropolis and proceeded with reorganizing their civic and private lives… waiting for the right time to rebuild their Acropolis. https://www.khanacademy.org/humanities/special-topics-art-history/arches-at-risk-cultural-heritage-education-series/xa0148fd6a60f2ff6:ruins-reconstruction-and-renewal/a/destruction-memory-and-monuments-the-many-lives-of-the-parthenon

In 1886, excavating the Perserschutt deposits, archaeologists discovered the head of the Kore from Chios east of the Parthenon while its body was discovered in 1888 south of the Parthenon temple. The “Chiotissa” as it is affectionately called by the Greeks, is an Archaic period (c. 600-480 BC) Kore, whose artist was most probably from the Aegean island of Chios. Statues of a Kore, plural korai, refer to a type of freestanding effigy of a maiden. Kore is a draped female figure—carved from marble and originally painted—standing erect with feet together or sometimes with one foot, usually the left, slightly advanced. The arms are sometimes down at the sides, but in most cases, one is brought up closely across the front of the body or is extended, holding an offering; the other is lowered, often clasping a fold of drapery. In the earliest korai, the bodies are so blocklike that they hardly seem to represent feminine form… Later, the drapery became more fluid, with a greater variation in the folds gained by having one hand of the kore pull the drapery tightly across thighs and buttocks. The garments worn by the kore figures changed in style as well, displaying a pattern, either on borders or as single ornaments scattered over larger areas. https://www.britannica.com/art/kore-Greek-sculpture, https://www.theacropolismuseum.gr/en/statue-kore-kore-chios. You can also check BLOG POST Daughters of Eleutherna https://www.teachercurator.com/art/daughters-of-eleutherna/

**Kallos. The Ultimate Beauty Exhibition,** Museum of Cycladic Art – from 29/09/2021 until 16/01/2022 – Photo Credit: Paris Tavitian
https://cycladic.gr/en/page/kallos-i-ipertati-omorfia

**The “Kore from Chios” (in colour),** c. 510 BC, Marble from the island of Paros, H. 0.545 m, Acropolis Museum, Athens Greece
*My life and fortunes are a monstrosity, partly because of Hera, partly because of my beauty. If only I could shed my beauty and assume an uglier aspect, the way you would wipe color off a statue…* by Euripides, Helen, 260-263. (Translated by R.Kannicht, Heidelberg 1969) https://www.theacropolismuseum.gr/en/statue-kore-kore-chios

The Kore from Chios is small in size but impressive in… Κάλλος! Created by a fine Eastern Greek sculptor… maybe the grandson of Archermos of Chios, the fine-looking “Chiotissa,” is depicted stepping slightly forward pulling her skirt to the side with her left arm, creating thus, a fan of fine radiating folds. She wears the Ionian style of dress… a fine, crinkly chiton over which a short himation is draped diagonally. The carving is richly detailed, the paint even more so. The chiton is blue, the himation edged with a red and blue design, the Stephane was decorated with a Maeander, the earrings and a necklace painted, and the hair colored as well. I look at her and remember Eleni, Euripides’s heroine… My life and fortunes are a monstrosity, partly because of Hera, partly because of my beauty. If only I could shed my beauty and assume an uglier aspect, the way you would wipe color off a statue… http://www.perseus.tufts.edu/hopper/artifact?name=Athens%2C+Acropolis+675&object=Sculpture and https://www.greece-is.com/the-colors-of-antiquity/

For a Student Activity on the Kore from Chios, please… Check HERE!

Portrait of a Halberdier

September 21, 2021

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**Jacopo Carucci,** called Pontormo, 1494 – 1557
**Portrait of a Halberdier (Francesco Guardi?),** 1529–1530, Oil (or oil and tempera) on panel transferred to canvas, 95.3 × 73 cm, The J. Paul Getty Museum, CA, USA
http://www.getty.edu/art/collection/objects/824/pontormo-jacopo-carucci-portrait-of-a-halberdier-francesco-guardi-italian-florentine-1529-1530/?dz=0.5000,0.5000,0.62

Reading Vasari’s Life of Jacopo da Pontormo, and preparing for the artist’s Portrait of a Halberdier, I would like to quote three remarks about his extraordinary abilities, by great masters of the time… Jacopo’s first work was, a little Annunciation, Raphael, upon seeing this, he marvelled, and foretold Jacopo’s future success. When Andrea del Sarto saw the figures of Faith and Charity painted by Pontormo for the central arch of the portico of the Basilica della Santissima Annunziata, he is reported saying to Jacopo, …your work is so good that I am sure you could not do better, and as you will have no lack of employment, use these designs (Pontormo wanted the painting changed and had created new designs for the portico) for something else. His work was of such beauty, continues Vasari, that for its new style and the sweetness of the heads of the two women and the charm of the infants it was the finest fresco ever seen till then. Michelangelo, on seeing it, and knowing it to be the work of a youth of nineteen, said… This youth, if he lives and continues to pursue art, will attain to heaven. http://www.artist-biography.info/artist/jacopo_da_fontormo/ and http://www.museumsinflorence.com/musei/Santissima-Annunziata.html

Jacopo Carucci, known as Pontormo, was a Mannerist Florentine artist, the son of Bartolomeo di Jacopo di Martino Carrucci, an artist as well. He was famous for his ambiguous approach to pictorial space and perspective, wherein his figures, spiritual rather than physical, painted in vivid, crisp colours with fluid contoured lines, float in space, twist, swirl, and entwine, defying the forces of gravity. Pontormo was a versatile painter famous for religious scenes, secular compositions, and insightful portraits. His portraits presenting the ruling Medici dynasty in Florence, the educated elite, and his less aristocratic friends, possess a rare psychological dignity that is enhanced by the artist’s fine eye for symbolism (which, in the case of the Medici’s, alluded to their political and economic power). https://www.theartstory.org/artist/pontormo-jacopo-da/

**Jacopo Carucci,** called Pontormo, 1494 – 1557
**Study of Francesco Guardi as a Halberdier,** 1529-30, Red Chalk, 209 x 169 mm, Galleria degli Uffizi, Florence, Italy
https://upload.wikimedia.org/wikipedia/commons/9/98/Jacopo_Pontormo_-_Halberdier_-_WGA18130.jpg

My favourite Pontrormo Portrait, in the Getty Museum, presents a young, fashionably dressed, Florentine foot soldier, holding a roncone or a halberd, a combination spear and battle-axe weapon, standing before a fortress wall. His direct stare and swaggering pose are strikingly poignant, given the smooth unlined face and slim body that betray him as no more than a teenager. According to Vasari, during the siege of Florence in about 1529, Pontormo painted a “most beautiful work, a portrait of young nobleman Francesco Guardi as a soldier.” It was common practice during the 1529 siege, boys too young to fight took up arms and followed their fathers on patrols in defense of the republic. The historian Benedetto Varchi remarked that these Florentine youths offered “the most beautiful sight… because they were as well armed as they were splendidly dressed.” Could the Portrait of the Halberdier portray young Francesco Guardi? I can only imagine how proud his father must have been! http://www.getty.edu/art/collection/objects/824/pontormo-jacopo-carucci-portrait-of-a-halberdier-francesco-guardi-italian-florentine-1529-1530/?dz=0.5000,0.5000,0.62 and https://www.metmuseum.org/art/collection/search/821849?&exhibitionId=%7b2c98eb4f-1cd0-43dc-912e-1fd5d5ef9c00%7d&oid=821849&pkgids=689&pg=0&rpp=20&pos=8&ft=*&offset=20

Pontormo’s Portrait of a Halberdier or young Francesco Guardi is currently exhibited in the Metropolitan Museum in New York, part of the magnificent Exhibition The Medici, Portraits & Politics, 1512-1570 (June 12-October 11, 2021). According to the MET experts… Through an outstanding group of portraits, this major loan exhibition will introduce visitors to the various new and complex ways that artists portrayed the elite of Medicean Florence, representing the sitters’ political and cultural ambitions and conveying the changing sense of what it meant to be a Florentine at this defining moment in the city’s history. The exhibition features over 90 works in a wide range of mediums, from paintings, sculptural busts, medals, and carved gemstones to drawings, etchings, manuscripts, and armor. Included are works by the period’s most celebrated artists, from Raphael, Jacopo Pontormo, and Rosso Fiorentino to Benvenuto Cellini, Agnolo Bronzino, and Francesco Salviati. I wish I could visit… to explore and marvel! https://www.metmuseum.org/exhibitions/listings/2021/medici-portraits-and-politics

For a PowerPoint on Portraits by Pontormo, please… Check HERE!

Early Christian Funerary Paintings

June 4, 2020

by admin with No Comment Art Byzantium Exhibitions Museums Student Activities Travel Worksheets

**Tomb Painting of a Bird (Lark?),** early 5^th century, fresco painting, Museum for Byzantine Culture, Thessaloniki (Photo: Makis Skiatharesis, ΜΒΠ archive)

“A Work of Art which did not begin in Emotion is not Art” Paul Cezanne said… and I think of him every time I visit Room 3, “From the Elysian Fields to the Christian Paradise” in the Museum of Byzantine Culture in Thessaloniki, to admire the exhibited Early Christian Funerary Paintings. http://mbp.gr/en/room-3-elysian-fields-christian-paradise

Museum of Byzantine Culture in Thessaloniki

Visiting the Thessaloniki Museum of Byzantine Culture is a true cultural experience. For years now, I have visited it with my Pinewood students, trying to instil upon them the fine essence of Byzantine art and culture. The actual Museum building comes to my assistance… every time! In 1989, the Museum’s architect, Kyriakos Krokos, wrote: I wanted a space within which movement would create a feeling of freedom, stirring up the senses, and where the exhibit would be a surprise within the movement. Walking through the Museum with my students, one surprise surpasses the other. The floor and wall mosaics in the first Early Christian Period Room, attract everybody’s attention, the Byzantine tunics with their fine embroideries are eye-catching, the icons and the intricately illuminated manuscript in the Middle Byzantine Period Room are definitely noticed. Finally, as we are about to leave, one last surprise: a beautiful Post-Byzantine golden eikonostaasi, one last startling work of art to ponder. After each visit, my students, pencils, notebooks and cameras, in hand, surprised and dazzled, come one step closer to understanding our Byzantine heritage! What more can I ask…

Grade 6 students eploring the Museum of Byzantine Culture in Thessaloniki, photographed by Kostas Papantoniou

When I visit the Museum of Byzantine Culture alone and am in a mood, I cannot fully describe, my steps take me directly to Room 3: “From the Elysian Fields to the Christian Paradise.” Dimly lit, usually very quiet, full of elusive treasures to discover, this is my place, the Room, I love…

Room 3: “From the Elysian Fields to the Christian Paradise” was the first Exhibition Room in the Museum to open, back on the 29th of March 1997. It was the result of an EU funded Research Program, titled “The Transformation of the Roman World AD 400-900.” As the title of the Exhibition Room connotates, this is an area dedicated to afterlife during Late Antiquity. All exhibited items come from tombs in cemeteries excavated outside the Walls of Thessaloniki. They consist of funerary gifts, inscriptions, and items of worship of the dead. According to the Museum experts “The exhibit is complete with a series of extremely rare and unique funerary paintings. These illustrate in an exceptional way the transition from the Late Antiquity concept of the afterlife into a heavenly place of material prosperity, along with the shift from the funerary customs and decoration of Antiquity that still survives to the final triumph of the Cross with the emergence of the New Religion and the establishment of the belief for the Last Judgment and the Resurrection of the Dead.” http://mbp.gr/en/room-3-elysian-fields-christian-paradise

View of **Room 3: “From the Elysian Fields to the Christian Paradise”** in the Museum of Byzantine Culture in Thessaloniki (Photo: ΜΒΠ archive)

It is these unique funerary paintings I seek out every time I visit my favourite Museum in Thessaloniki. They carry Hellenistic Naturalism and Roman Verism, traditional Late Antique or novel Christian subject matter, higher or poorer quality craftsmanship… all together, these amazing frescoes transfer me to an exciting world of unwavering changes and exciting cultural developments… the world of the Early Christian period and the artistic milieu of Thessaloniki, a city worth visiting!

Articles you might find interesting about Early Christian Funerary Paintings in Thessaloniki: https://www.academia.edu/24852527/Iconographic_Programs_of_the_Early_Christian_Tombs_of_Thessaloniki_in_the_Context_of_the_Contemporary_Traditions_of_the_Funerary_Art_English_translation_ and https://bookonlime.ru/lecture/8-early-christian-funerary-painting-thessaloniki-macedonian-and-roman-traditions and https://www.didaktorika.gr/eadd/handle/10442/13516

For a Student Activity on Early Christian Funerary Painting, please… Click HERE!

Van Eyck – An Optical Revolution

February 12, 2020

by admin with No Comment Art Exhibitions News Powerpoints Renaissance Travel

**Ghent Museum of Fine Arts Exhibition: February 1 – April 30, 2020**
https://www.mskgent.be/en/exhibitions/van-eyck

Who can really resist an Exhibition, titled Van Eyck – An Optical Revolution? Particularly when over half of Jan van Eyck’s artistic oeuvre will be on display? Paintings from all over the world will travel to the Museum of Fine Arts (MSK) in Ghent “to contextualize the optical revolution he inspired.” Painting by Van Eyck, his workshop and from “his most talented peers from Germany, France, Italy and Spain” are placed side by side. This is an opportunity to study, compare and draw conclusions!

“Hubrecht van Eyck, the most famous painter ever known, started this work of art; his brother Jan, who was second in the art, finished the task at the request of Joos Vijd. With this verse the donor consigns the work to your charge on May 6th 1432. Admire what they have done for you”.

The main focus of the Ghent Exhibition is to present the recently restored outer panels of The Adoration of the Mystic Lamb or as it is widely known as the Ghent Altarpiece. According to the experts of Saint Bavo’s Cathedral “This painting by Hubrecht and Jan van Eyck is the principal work of the Flemish school in the 15th century. The main theme is the glorification or the heavenly apotheosis of man’s salvation and sanctification by the sacrifice of Christ. The subject is treated in a more visionary than narrative or dramatic manner. It is painted on oak panels; the paint consists of mineral pigments in a cement of drying oil.” https://vaneyck2020.be/en/van-eyck-from-home/

The outer panels of the Ghent Altarpiece, beautifully restored and exhibited at MSK, are divided into three registers. The upper register “lunettes” show prophets and Sibyls looking down on the middle register, the Annunciation scene. The four lower-register panels are divided into two pairs, the central sculptural paintings are in grisaille, presenting St John the Baptist and St John the Evangelist, while the two outer panels, in astonishing naturalism, stage the donor portraits of Joost Vijdt and his wife Lysbette Borluut.

Jan van Eyck was a revolutionary, ground-breaking artist and the Ghent Exhibition is a learning experience!

He perfected the Oil Technique by adding siccatives. With oil paints, he created rich, deep, lustrous colours, flawless golden tones, and amazing life-like textures.

Observation of reality is key to Jan’s Art. His portraits are lifelike in the minutest detail. His depictions of nature and natural phenomena are credible and authentic. He is so good at creating reality, his art seems like it is competing with reality itself!

Observing and Painting Optical Light Phenomena shows an artist deeply interested “in the painting of light, so crucial to his optical revolution.” Scholars believe that Jan van Eyck “not only gathers practical but also theoretical knowledge in order to reproduce the effects of light.” https://vaneyck2020.be/en/the-optical-revolution/

Artworks presented in the PowerPoint were put together, thanks to an MSK Catalogue… HERE! and HERE!

Troy: Myth and Reality

January 26, 2020

by admin with No Comment Art Exhibitions Museums News Travel

**Filippo Albacini,** 1777–1858
**Wounded Achilles,** 1825, marble, commissioned for the sculpture gallery at Chatsworth House, Achilles © The Devonshire Collections, Chatsworth. Reproduced by permission of Chatsworth Settlement Trustees
https://www.britishmuseum.org/exhibitions/troy-myth-and-reality

This is an Exhibition I wish I could take my students to visit, explore and marvel! Troy: Myth and Reality is as intriguing or rather “tantalizing,” to use an adjective the British Museum does, as its title insinuates.

Created thousands of years ago, Trojan Myths tell us epic stories, adventures of heroes and Gods, tales of love, loyalty, betrayal, friendship, bravery… they show that the gods, very much like ordinary humans, men and women alike, can be right or wrong, fail or succeed, love or hate… they also present the extraordinary deeds of the Trojan War protagonists, displayed on every form of art, from pottery to statues, paintings, music, and poetry! Trojan Archaeology, on the other hand, touches upon reality in its quest to discover the truth behind the story and reality behind the fiction.

My Grade 3 students love the stories of the Trojan War and the adventures of its heroes. Every week for 1 class period we read about, and discuss, the fascinating events presented in the Iliad and the Odyssey. We explore how artists from antiquity to modern times depicted the many events of the story. At the same time, we explore Trojan archaeology and learn about its protagonists and the historical evidence it unearths. My students’ favorite hero is Achilles, and their preferred Activity is to imagine and… reconstruct his Shield… commissioned by his mother Thetis and made by God Hephaestus himself! (For student work, please… Click HERE!)

Grade 4 Student Works on the Shield of Achilles

The British Museum Troy: Myth and Reality is a blockbuster exhibition, that directs visitors’ attention on the myths’ ‘human truth’, rather than their historical fact. The Exhibition is divided into 4 sections, Introduction. Troy: the myth, Troy: the archaeology, Troy: enduring stories, and presents well known as well as rare artifacts. The British Museum’s Exhibition site is a “treasure” to explore as well. The BLOG articles are worth your time to read. The Teachers’ Resources are fantastic, rich with information, Lesson Plans, and Activities. The Museum’s Trailer for the Exhibition is simply… fantastic!

The British Museum asks us to “tread the line between myth and reality in this phenomenal new exhibition” and watch this: https://www.youtube.com/watch?v=BntZ-34PCWY

Who can really resist such well-presented… drama!

Forgotten Masters: Indian Painting for the East India Company

January 8, 2020

by admin with No Comment Art Exhibitions News Powerpoints Travel

https://www.wallacecollection.org/forgotten-masters-indian-painting-east-india-company/

A very unique Exhibition takes place in London these days. The Wallace Collection presents Forgotten Masters: Indian Painting for the East India Company honours historically overlooked Indian artists like Shaikh Zain ud-Din, Bhawani Das, Shaikh Mohammad Amir of Karriah, Sita Ram and Ghulam Ali Khan and brings to life a forgotten moment in Anglo-Indian history. Another unique Exhibition highlight is the guest curator of the Exhibition, William Dalrymple, Scottish renowned historian and writer, art historian and curator, as well as an award-winning broadcaster and critic.

Forgotten Masters: Indian Painting for the East India Company introduced me to the work of Shaikh Zain ud-Din, a Bengali Muslim artist whose work blends Mughal and Western painting techniques, creating “…incredibly precise and beautifully observant” works of art, as Xavier Bray, director of London’s Wallace Collection comments on the Smithsonian Magazine. https://www.smithsonianmag.com/arts-culture/awe-inspiring-wildlife-drawings-shaikh-zain-uddin-180973502/

Shaikh Zain ud-Din worked for Sir Elijah first Chief Justice of the Supreme Court at Fort William, Calcutta, and his wife, the natural historian Mary Impey. The Impeys moved to India in 1773 and soon fell under the spell of the subcontinent, establishing a menagerie of Indian and South-East Asian birds and animals in the extensive grounds of their estate. It was only natural for Mary to commission in 1777, a small group of artists, eminent among them Shaikh Zain ud-din, to paint her exotic flora and fauna. The result of this “brilliant” decision was a collection of paintings, 362 in number, known as the Impey Album. “These paintings,” Xavier Bray, director of London’s Wallace Collection says, “were made into albums to be leafed through back home, on a rainy day, drinking Earl Grey tea.” https://coromandelart.wordpress.com/

Shaikh Zain ud-Din’s paintings, although rendered in European materials, capture India’s natural history in a way that only a local could. They are an unprecedented hybrid of East and West. They “emulate, on a greatly enlarged scale, the refinement of 17th century Mughal natural history paintings,” and, believed to have been painted from life, they also exhibit the artist’s ability to assimilate European conventions. The 2012 Ashmolean Lady Impey’s Indian Bird Paintings Exhibition was the first major presentation of Shaikh Zain ud-Din’s oeuvre to the public, the current London Exhibition will further establish his work as a fine moment in the history of Indian Art. http://jameelcentre.ashmolean.org/collection/6980/10198

An unlikely ‘collaboration’ is a very interesting, worth reading Interview with the Exhibition’s curator, award-winning historian, writer and curator William Dalrymple, by Mark Rappolt, for the ArtReviewAsia. https://artreview.com/features/ara_winter_2019_feature_interview_william_dalrymple/

For a PowerPoint on the Wallace Collection Exhibition, please… check HERE!

Last Supper in Pompeii

December 11, 2019

by admin with No Comment Exhibitions Powerpoints Roman Art Student Activities Travel

If your Christmas “walking shoes” take you to Oxford, England, go the Ashmolean Museum of Art and Archaeology to see Last Supper in Pompeii, a wonderful Exhibition on the Roman love affair with food and wine! Inspiration for this Exhibition comes from Pompeii, this amazing time capsule of 79 AD Roman life. Dr Paul Roberts, Head of the Ashmolean Department of Antiquities and exhibition curator, says: ‘The evocative names given to the excavations (the Villa of the Mysteries; the House of the Tragic Poet) have inspired everything from Victorian exhibitions, swords-and-sandals romances to countless scholarly works. Our fascination with the doomed people of Pompeii and their everyday lives has never waned. What better connection can we make with them as ordinary people than through their food and drink?’

Last Supper in Pompeii displays 300 objects related to the culinary arts and the role they played in Roman history and culture. Exquisite floor mosaics from the villas of the affluent Pompeiians, frescoes depicting banquets, and statues, fountains or furnishings that decorated famous triclinia, are all present. Precious or humble dining sets and utensils, simple cooking pots and carbonised food that was on the Pompeiian tables when the volcano erupted tell us interesting stories or Roman culinary voyages and cultural connections.

Useful sources: https://www.ashmolean.org/pompeii and https://www.ashmolean.org/article/last-supper-in-pompeii and https://www.smithsonianmag.com/smart-news/exhibit-spotlights-roman-delicacies-baked-dormouse-carbonized-bread-180972731/

My favourite Exhibition fresco is titled Distribution of Bread (AD 40–79) and comes from the House of the Baker in Pompeii. It shows a man behind a wooden counter handing a loaf of bread to a man, while a young boy reaches up eagerly. The shelves are heaped with loaves of the typical round Pompeiian bread, archaeologists even found carbonized one in its entirety. Scholars today believe that the fresco represents a politician’s free distribution of bread (annona) rather than a baker selling his loaves from a food stall.

The Distribution of Bread is a fascinating Pompeian fresco. I like the artist’s ability to create a sense of depth and space through a diagonal composition, his choice of earthy colours with touches of white and aubergine purple to accentuate the depicted figures. I also like the anecdotal details… the well-crafted wooden stall, the herringbone woven basket painted on the left side of the fresco, the abundance of displayed bread loaves… most of all, I like the human touch, the boy, impatient and eager to get his part of the Distributed Bread!

Bibliography of the House of Baker and the Distribution of Bread fresco: https://www.pompeiiinpictures.com/pompeiiinpictures/R6/6%2003%2003.htm and http://www.bbc.co.uk/history/ancient/romans/daily_life_gallery_02.shtml and https://www.ancient.eu/image/10622/sale-of-bread-fresco-pompeii/

An Activity students will enjoy is… HERE!

For a powerpoint prepared for the Exhibition, please… click HERE!

Teacher Curator

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