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Waldemar Januszczak on the Dark Ages
In this landmark 4-part series Waldemar argues that the Dark Ages were a time of great artistic achievement, with new ideas and religions provoking new artistic adventures. He embarks on a fascinating trip across Europe, Africa and Asia, visits the world’s most famous collections and discovers hidden artistic gems, all to prove that the Dark Ages were actually an ‘Age of Light'.
Art  History  Waldemar  Medieval  Middle  Ages 
yesterday by dbourn
Five Inventions that Made Impressionism Possible
1. The paint tube
2. The folding easel
3. Hog bristle brushes and the ferrule
4. Photography
5. The railway

Recalls the BBC 2's production by Waldemar Januszczak of The Impressionists, episode one: https://www.bbc.co.uk/programmes/b012rw4n
Art  History  Paris  Monet  Renoir  Painting  Artists  Impressionists  19th  Century 
18 days ago by dbourn
Meet the ancestors… the two brothers creating lifelike figures of early man
Dutch twins Adrie and Alfons Kennis are showing their uncanny models in museums all over Europe. Adrie discusses how their creations are realised and the extreme reactions they can provoke
Sculpture  Nethernlands  Art  Neanderthals 
19 days ago by dbourn
Leonardo and Raphael art swap marks end of France-Italy spat
Italy and France are set to sign an agreement to exchange works by Leonardo da Vinci and Raphael, burying a spat triggered by Italy’s former populist government.

The deal is expected to be signed in Paris on Tuesday by the recently reappointed Italian culture minister, Dario Franceschini, and his French counterpart, Franck Riester. It will result in Italian museums lending works by Leonardo to the Louvre, in Paris, for an exhibition in October to commemorate the 500th anniversary of the artist’s death. In return, France will lend Italy paintings by Raphael for events marking 500 years since his death next year.
Paris  Roma  Italy  France  Art  Museums  Paintings  Drawings 
24 days ago by dbourn
A Budhapest e Cincinnatti i Libri Giocano Con L'Aqua
Si trova a Budapest, tra la facoltà di legge dell’università Elte e il Petőfi Literary Museum. Non c’era posto migliore per una fontana a forma di libro. La copertina è fatta di marmo color bronzo, ben fissa a terra in piazza Egyetem, mentre le pagine continuano a girare grazie a un gioco d’acqua continuo. Sembra sia in azione una forza sovraumana – che giorno e notte sfoglia l’enorme volume.
L’opera architettonica, a tema H2O misto letteratura, non è però la prima. C’è un precedente, in un altro continente. Nella statunitense Cincinnati, in Ohio, lo scultore Michael Frasca ha realizzato ventisette anni fa la rappresentazione dei flussi di conoscenza trasmessi dalla carta stampata. L’Amelia Valerio Weinberg Memorial Fountain – proprio davanti alla biblioteca pubblica della città – è una cascata formata non da rocce, ma da un ammasso di volumi rilegati in pelle.
Books  Sculptures  Fountains  Budapest  Cincinnatti  OH  Libraries  Public  Art  Italiano 
24 days ago by dbourn
Equestrian Statue of Gattamelata
Sculpture by Italian early Renaissance artist Donatello, dating from 1453, located in the Piazza del Santo in Padua, Italy, today. It portrays the Renaissance condottiero Erasmo da Narni, known as "Gattamelata", who served mostly under the Republic of Venice, which ruled Padua at the time.
The Equestrian statue of Gattamelata is a sharp departure from earlier, post-Classical equestrian statues, such as the Gothic Bamberg Horseman (c. 1230s). While the Bamberg Horseman depicts a German emperor, it lacks the dimension, power, and naturalism of Gattamelata. While that rider is also in fairly realistic proportion to his horse, he lacks the strength of Gattamelata. The latter is portrayed as a real man, his armor a badge of status; this ruler, however, appears almost deflated, lost in the carefully sculpted drapery that covers him. His power is derived solely from his crown, reflecting the differences that Renaissance individualism produced: here, position – the crown – is what matters, whereas in Gattamelata, it is the individual and his character that matter.

A comparison between the sculpture and that of Marcus Aurelius' equestrian statue shows how closely Donatello looked to classical art and its themes. In this depiction of Marcus Aurelius, the emperor dwarfs his horse, dominating it by size. However, the emperor also has a facial expression of dominance and determination. Marcus Aurelius’s horse is dressed up, and, while the emperor himself is clad in robes, not armor, he appears both the political and military leader. The attention to the horse’s musculature and movement and the realistic depiction of the emperor (forgiving his size) are mirrored in Gattamelata. Also similar is the feeling of grandeur, authority, and power both portraits exude.

Another element that Donatello took from ancient sculpture is the trick of adding a support (a sphere) under the raised front leg of the horse, which appears also in the lost Regisole of Pavia, a bronze equestrian statue from either the late Western Roman Empire, the Ostrogothic Kingdom or the Byzantine Exarchate of Ravenna. In this sculpture a standing dog was used to carry the load under the horseshoe.
Statues  Italy  Padua  Renaissance  Art  History  Horses 
4 weeks ago by dbourn
Saint George and the Dragon (Notke)
Saint George and the Dragon (Swedish: Sankt Göran och draken) is a late medieval wooden sculpture depicting the legend of Saint George and the Dragon, located in Storkyrkan in Stockholm, Sweden. It is attributed to Bernt Notke and was commissioned by the Swedish regent Sten Sture the Elder. It was inaugurated in 1489. It has been described as an artistic high point in the artistic production of Bernt Notke.
Stockholm  Sweden  Renaissance  Sculpture  Art  St.  George  Dragon 
5 weeks ago by dbourn
Emelio Campanella - Art Reviews
Emilio Campanella ci parla di “Mostre a Mestre” che nulla a che vedere con donne bruttissime incontrate in terraferma, ma con arte bellissima, in #pocast… E in esclusiva per Radiogaiaitalia.com.
www.bearwww.com/misterbloom
Venezia  Bears  Italy  Italian  Art  Museums  Painting 
12 weeks ago by dbourn
Art, Food, and Other Gay Things
un diario fatto più di immagini che di parole
Bears  Roma  Italy  Italiano  Art  Arts  Food 
july 2019 by dbourn
Jirka Väätäinen renders Disney cartoon Dads as realistic portraits
From villains to princesses, Finnish artist Jirka Väätäinen has been bringing beloved Disney characters to life, and they all look like someone you’d want to meet. Recently, Jirka has started focusing on the guys a lot of us might have forgotten – fathers. There’s Tarzan’s dad, John, Pocahontas’s dad, Chief Powhatan, and a few others who now look like they’re not only capable of bringing up a child, but taking over Hollywood as well.
Disney  Film  Animation  Painting  Art  Arts  Fatherhood  Bears 
june 2019 by dbourn
Sylvia comic strip
Sylvia was a comic strip by American cartoonist Nicole Hollander that offered commentary on political, social and cultural topics, and on cats, primarily in the voice of its title character, Sylvia. Distributed to newspapers nationally by Tribune Media Services, Sylvia appeared online at Hollander’s blog, Bad Girl Chats, but that domain now redirects to a commercial site. On March 26, 2012, Hollander announced "Sylvia's retirement from the newspaper business."
Comics  Humor  Art  Arts  Feminisms  Chicago 
may 2019 by dbourn
Renoir - La Danse à Bougival
The work depicts two of Renoir's friends, Suzanne Valadon and Paul Lhote. The setting is the French village of Bougival, about 15 km from the center of Paris.
Bears  Paris  Painting  Art  Renoir  Boston 
march 2019 by dbourn
Niklaus Manuel - The Judgement of Paris
Niklaus Manuel Deutsch (Niklaus Manuel, c. 1484 – 28 April 1530), of Bern, was a Swiss artist, writer, mercenary and Reformed politician. https://en.wikipedia.org/wiki/Niklaus_Manuel_Deutsch
Switzerland  Art  Arts  Painting 
february 2019 by dbourn
Ludovica Rambelli Teatro - I Tableaux Vivants
Ludovica Rambelli Teatro porta i Tableaux Vivant di Caravaggio e Michelangelo in giro per l’Italia e l’Europa. Se per caso capitiamo dalle tue parti, vieni a trovarci.
Italy  Italian  Painting  Dance  Art  Arts  Theater  Bears 
january 2019 by dbourn
Matt Adrian
Matt Adrian's lush acrylic paintings of birds range from the delightfully cute to the decidedly sinister, and their distinctive, often humorous titles juxtapose the purity of nature with the banality of modern human existence. Or something.
His artwork is collected worldwide and has been featured in major magazines, newspapers, books and design blogs and has appeared in numerous feature films and television shows.
Matt  Adrian  Painting  Art  Arts  Humor  Birds 
december 2018 by dbourn
André Kertész - A window on the Quai Voltaire, Paris (1928)
Artist:André Kertész (American (born Hungary), Budapest 1894–1985 New York)
Printer:Igor Bakht
Date:1928, printed ca. 1978
Medium:Gelatin silver print
https://www.metmuseum.org/art/collection/search/262973
André  Kertész  Paris  Provincetown  Photography  1920s  Art  Arts 
december 2018 by dbourn
František Kupka - Meditation
František Kupka (23 September 1871 – 24 June 1957), also known as Frank Kupka or François Kupka, was a Czech painter and graphic artist. He was a pioneer and co-founder of the early phases of the abstract art movement and Orphic Cubism (Orphism). Kupka's abstract works arose from a base of realism, but later evolved into pure abstract art.
Kupka was deeply impressed by the first Futurist Manifesto, published in 1909 in Le Figaro.
Around 1910 he began developing his own color wheels, adapting a format previously explored by Sir Isaac Newton and Hermann von Helmholtz. This work in turn led Kupka to execute a series of paintings he called "Discs of Newton" (1911–12)
František  Kupka  Bears  Mountains  Painting  Art  Arts 
december 2018 by dbourn
Edgar Maxence - Male Model in the Studio
Edgard Maxence (1871–1954), was a French Symbolist painter.
Maxence combined a highly trained technique with a taste for medieval and mythical subjects and for hermetic imagery; he exhibited at the Salon de la Rose+Croix from 1895 to 1897.
Edgar  Maxence  Bears  Painting  Art  Arts  Occult  Magic 
december 2018 by dbourn
Henri de Toulouse-Lautrec Nuit blanche (1893)
HENRI DE TOULOUSE-LAUTREC (1864-1901)
Nuit blanche
lithograph, on simili-Japan paper, 1893, the only state, signed in pencil and numbered N. 4, from the First Edition of one hundred (there was also a song-sheet edition of unknown size), published by E. Kleinmann, Paris, with his blindstamp
https://qualityavenuejellyfish.tumblr.com/post/180601685663/henri-de-toulouse-lautrec-nuit-blanche-1893
Henri  de  Toulouse-Lautrec  Art  Arts  Paris  Painting  Bears 
december 2018 by dbourn
Deceptions in Art, Nature, and Play
Exhibit in 1977 at the Ontario Science Center, showing examples of anamorphic art. Overed in the February 1978 issue of "World"
Art  Painting  Optical  Illusions  Toronto  Canada  Science  Anamorphic 
october 2018 by dbourn
Jamestown Glasshouse
Jamestown was established by the Virginia Company of London in May 1607. Their 1606 charter, granted by King James I, outlined the many purposes and goals of the Company. But like all good companies, its primary duty was to provide a profitable return to the investors.

One of the first English attempts at industrialization and manufacturing in America was glassblowing.The Company hoped glass production might provide the profit that it was looking for. The New World abounded with raw materials -wood for fuel and ash, and sand (silica) for the glass. All that was needed were artisans and various laborers to produce the glass.

Arriving with Captain Christopher Newport on the second resupply in early October 1608, the Virginia Company of London sent eight Dutchmen (Germans) and Poles to produce glass, pitch, tar, and soap ash. By early December, Newport departed for England with "trials of Pitch, Tarre, Glass, Frankincense, Sope ashes, with what Clapboard and Waynscot that could be provided." However, what type or form of glass and how much was actually produced is unknown. This first attempt at a full glass production facility in the New World would not be successful.

The glasshouse may still have been active in 1610 when William Strachey, secretary for the Virginia Company of London wrote from Jamestown that the glasshouse was "a goodly house ... with all offices and furnaces thereto belonging."

Later, in 1622, the Company would again attempt a glass-manufacturing operation with the importation of Italian glassblowers. This attempt also failed.

At "glass point" near Jamestown, the glass furnaces were re-discovered and excavated in 1948. Today, in a reconstructed, interpretive facility, glassblowing is again performed at Jamestown. Modern artisans, in reproductive clothing, produce common glass objects very much as they must have done almost 400 years ago.

Visitors can see the remains of the original furnaces used by those early glassblowers and watch as modern glassblowers produce wine bottles, pitchers, candleholders and various other glass objects. Today's glass furnaces are heated by natural gas, rather than by wood as in 1608. Glassblowers, however, use tools and methods similar to those of the 17th century.

Come witness what was surely one of England's first industries in North America. You will be mesmerized as artisans form glass into useful household products. Many of these treasures can be purchased through our sales outlet at the Glasshouse.
Bears  Carl  Grimm  Public  History  VA  Glass  Art  Colonial  US 
october 2018 by dbourn
Bartholomeus Anglicus, ‘Livre des propriétés des choses’
astronomers

Bartholomeus Anglicus, ‘Livre des propriétés des choses’ (‘De proprietatibus rerum’, French translation of Jean Corbechon), Bruges ca. 1470

BnF, Français 134, fol. 169r
Books  Art  Painting  Illuminated  Manuscripts  Astronomy  Fantasy  Medieval 
october 2018 by dbourn
Petrus Spronk's "Architectural Fragment" - Library art in Australia
Artist/maker: SPRONK, Petrus
Title: Architectural Fragment
Production date: 1992
Medium: Port Fairy bluestone
Dimensions (H x W x D): 250 x 700 cm
Inscriptions: partly inscribed with the word "Library"
Credit line: Commissioned for the Swanston Street Walk Public Art Project, 1992.
City of Melbourne Art and Heritage Collection
Location: corner of Swanston and La Trobe Sts
A triangular pyramid shape constructed of steel onto which Port Fairy bluestone slabs are affixed. The sculpture represents an enlarged fragment of the State Library buried in the pavement. The frieze has been partly inscribed with the word “Library”, gilded with gold leaf. The work is hollow and the weight supported by the existing foundation at the site, no anchoring of the work is present as it is inset into the surrounding bluestone pavers, cut to fit precisely around the work.
Sited outside the State Library of Victoria, the pyramidal, Port Fairy bluestone sculpture represents a fragment of the library emerging from the pavement as an archaeological artefact might. It has been conceived to engage with its environment, visually connecting to its surroundings through both form and material.
Libraries  Sculpture  Australia  Art  Arts 
september 2018 by dbourn
Divine Diversity Tarot, by Joe Phillips.
Divine Diversity Tarot deck. Created by artist and reader Joe Phillips.
Tarot  Bears  Art  Magic  Comics  Queer  Hermit 
august 2018 by dbourn
Review of Donald Hall's 'Carnival of Losses"
Donald Hall, who died on June 23 at 89, was not a particularly nimble poet. His verse had a homely, bucolic, beans-on-the-woodstove quality. He was more cabbage than tulip. To borrow an analogy from baseball, a sport he loved, he was the sort of batter who got on base thanks to walks, bunts, bloopers into right field and a good deal of hustle. He was a plugger.
Hall lived long enough to leave behind two final books, memento mori titled “Essays After Eighty” (2014) and now “A Carnival of Losses: Notes Nearing Ninety.” They’re up there with the best things he did. He apparently managed to sidestep a rendezvous with dementia, and seemed to suffer only mildly at the end from what Christopher Hitchens, quoting a friend, termed CRAFT syndrome, printable here as Can’t Remember a Fizzling Thing. These books have flat-footed gravitas, a vestigial sort of swat that calls to mind Johnny Cash’s stark final records with the producer Rick Rubin.
Which isn’t to say they are not also full of guff. About a third of “A Carnival of Losses” is threadbare and meandering, memories of dead relatives and journeys abroad and anthologies past. But the other two-thirds are good enough to make clear that Hall did not live past his sell-by date as a writer. He brings news from that moment in life when the canoe is already halfway over the waterfall.
“In your eighties you take two naps a day. Nearing ninety you don’t count the number of naps. In your eighties you don’t eat much. Nearing ninety, you remember to eat.”

Other indignities piled up. His false teeth tended to fly out when he spoke. He backed into his garage door again and again, forgetting to open it, once knocking it out into the front lawn. Finally he lost his driver’s license. When he fell, which was often, the fire department had to come pick him up.
Hall lived in T-shirts and sweatpants because other clothes became too hard to button, zip and pull over the head. Sweats weren’t so bad, he reasoned; they reminded him of baseball pants.
When a dog came into the house, Hall barricaded himself, so as not to get bumped and break a hip. He ate “widower food,” Stouffer’s and Lean Cuisine. He sensed his agent was about to become his executor. He could barely read or write.
It’s not as if he went to his grave a pushover. Hall was proud of his full, curling beard. When, during one of his final hospital stays, a nurse came into his room with electric clippers and tried to cut it, he reports, “I bit his hand.”
Donald  Hall  Aging  Death  Poetry  Art 
august 2018 by dbourn
Luca Longhi (1507 - 1580) - Portrait of Girolamo Rossi
Portrait of Girolamo Rossi, Italian doctor, philosopher and historian (died 1607), by Luca Longhi (1507-1580), painting. Ravenna, Pinacoteca Comunale
Bears  Cranky  Professor  Arts  Art  Painting  Momento  Mori  16th  Century  Historians 
may 2018 by dbourn
Porträttkarikatyren "Bibliotekarien" troligen på forskaren Wolfgang Lazius (1514-1565)
In 1566 Italian painter Giuseppe ArcimboldoOffsite Link, court portraitist to Holy Roman Emperor Ferdinand IOffsite Link at the Habsburg court in Vienna, and later, to Maximilian IIOffsite Link and his son Rudolf IIOffsite Link at the court in Prague, painted The LibrarianOffsite Link as part of a series of portraits in which a collection of objects—in this instance books—form a recognizable likeness in semi-human form of the portrait subject. In The Librarian, Arcimboldo used objects that signified the book culture at that time. Animal tails, which became the beard of the portrait, were used as dusters.

This painting, preserved at Skokloster CastleOffsite Link, Sweden, is, like others from Arcimbaldo's series, often interpretted as an expression of the Renaissance fascination with riddles, puzzles, and the bizarre.

"The bizarre works of Arcimboldo, especially his multiple images, were rediscovered in the early 20th century by Surrealist artists like Salvador Dalí. The exhibition entitled “The Arcimboldo Effect” at the Palazzo Grassi in Venice (1987) included numerous 'double meaning' paintings. Arcimboldo's influence can also be seen in the work of Shigeo Fukuda, István Orosz, Octavio Ocampo, and Sandro del Prete, as well as the films of Jan Švankmajer" (Wikipedia article on Giuseppe Arcimboldo, accessed 01-02-2011). http://www.historyofinformation.com/expanded.php?id=3183
See : K. C. Elhard, Reopening the Book on Arcimboldo's "Librarian" , Libraries & Culture , Vol. 40, No. 2 (Spring, 2005), pp. 115-127: "The pile of books depicted by Arcimboldo provides typical examples of contemporary book culture and binding practice. The prominent sweeping curtain, serving both as a backdrop and as a transformative device, is like the curtain depicted in renderings of private studies, where it was hung in front of bookshelves to protect them from light and dust. The aspect of protection is also indicated by The Librarian's spectacles, which are book chest keys. The beard is another artifact related to the care of books - a furry duster made of animal tails attached to a handle, shown propped up against the book pile. The pile itself is indicative of the way books were stored; the majority are positioned horizontally, with their fore edges visible. The books have soft vellum bindings or are hardbound, covered with red or white leather. Most are secured with ties or clasps. The gold tooling is characteristic of quality bindings of the time, featuring centerpieces and other decorations. Similar examples of these motifs are common, so the designs do not seem to point to a particular owner. The books are not specified by titles on their spines or fore edges, and they are not arranged in a way that would indicate bibliography, classification, or the profession of librarianship per se. The Librarian could be suggestive of anyone associated with book ownership, anyone with a personal collection."
Books  Libraries  Librarians  Art  Arts  Portraits  Humor  Painting  Arcimboldo 
may 2018 by dbourn
Foreign galleries make move on Italy
When the London-based contemporary art dealer Thomas Dane decided to open a second gallery, he bypassed the more obvious locations of New York or Hong Kong in favour of Naples. Dane, which opens in Naples this week, is one of several international galleries that have opened spaces in Italy in the past year, including London’s Victoria Miro and Paris-based Alberta Pane in Venice, plus Postmasters of New York, which opened a “nomadic branch” in Rome last November.

The move makes some sense. Despite a fluctuating economy, Italy has a strong collecting tradition. François Chantala, a partner at Thomas Dane, says: “The scene in Italy has always been discreet, established and savvy—not dissimilar to Germany, Holland and Belgium in the 1960s and 70s.” But with little evidence the domestic market is expanding, does Italy have the critical mass of high-level collectors required to sustain these galleries, or is their arrival merely a symptom of the enduring appeal of la dolce vita?
Italy  Arts  Galleries  Art  Napoli  Roma  Venezia 
january 2018 by dbourn
Revealing the African Presence in Renaissance Europe
Revealing the African Presence in Renaissance Europe invites visitors to explore the varied roles and societal contributions of Africans and their descendents in Renaissance Europe as revealed in compelling paintings, drawings, sculpture, and printed books of the period. The story of the
Renaissance with its renewed focus on the individual is often told, but this project seeks a different perspective, to understand the period in terms of individuals of African ancestry, whom we encounter in arresting portrayals from life, testifying to the Renaissance adage that portraiture magically makes the absent present. We begin with slaves, moving up the social ladder to farmers, artisans, aristocrats, scholars, diplomats, and rulers from different parts of the African continent. While many individuals can be identified, the names of most slaves and freed men and women are lost. Recognizing the traces of their existence in the art of the time and, where possible, their achievements is one way of restoring their identities.
Africa  Blacks  Race  Racial  Formation  Racism  Renaissance  Italy  Arts  Baltimore  Museums  Walters  Art  Gallery 
january 2018 by dbourn
Manifesto, by Julian Rosefeldt
Manifesto is a 2015 Australian-German multi-screen film installation written, produced and directed by Julian Rosefeldt. It features Cate Blanchett in 13 different roles performing various manifestos. The film was shot over 12 days in December 2014 in locations in and around Berlin.
Manifesto  Cate  Blanchett  Film  Julian  Rosfeldt  Manifestos  Art  Arts  Berlin  Germany 
december 2017 by dbourn
The Eventuality of Destiny by Giorgio de Chirico (1927)
In the years following World War I, artists across Europe sought to put the disruptions of war behind them. Searching for a new artistic vocabulary, they moved away from the fragmented forms of prewar Cubism and looked to the classical tradition, forging what was known as the “return to order.” This new style had many sources of inspiration, including the art of ancient Greece and Rome, the Renaissance, and even later Neoclassical revivals. Giorgio de Chirico was likewise attracted to the idea of classicism; his The Eventuality of Destiny is in part the result of his study of the works and techniques of the Old Masters.
Giorgio  de  Chirico  Painting  Arts  Chicago  Italy  1920s  WWI  Cubism  Art 
december 2017 by dbourn
Queer Art Deco at the Victoria & Albert Museum
Join the V&A’s LGBTQ Working Group for an illustrated one hour talk in the Prints and Drawings Study Room looking at queer aesthetics in original prints, drawings, and designs in the V&A collection by visual artists from the Art Deco period, particularly stage and costume designers George Barbier, Leon Bakst, and Erté, as well as photographers Cecil Beaton and Paul Tanqueray, and performers including revered actress Alla Nazimova, ballet dancer Vaslav Nijinsky, and actor Rudolph Valentino.
The group will then be escorted over to a 45 minute (approx) screening of specially curated clips in the British Galleries cinema featuring excerpts from filmed productions of the era including stunning Natacha Rambova designs in the 1921 Rudolph Valentino film, ‘Camille’; costumes by George Barbier for another Valentino vehicle of 1924 entitled ‘Monsieur Beaucaire’ of 1924; and Erté’s art direction for The Hollywood Revue of 1929.
Queer  White  Art  Deco  Arts  Drawing  London  Museums 
october 2017 by dbourn
Peter Deligdisch (a.k.a. “Peter Draws“) - glow in the dark drawing with a glass pen and special UV ink
Wilmington, North Carolina artist Peter Deligdisch (a.k.a. “Peter Draws“) has released a soothing new video where he creates a mesmerizing glow in the dark drawing with a glass pen and special UV ink.
Peter  Deligdisch  Draws  Arts  Calligraphy  Drawing  Art 
september 2017 by dbourn
Marble Helped Scholars Whitewash Ancient History
Polychromy in ancient statues and the whiteness of marble without paint has made both the Roman and Greek antiquity seem like they were all white. This was done on purpose by scholars in the 18th and 19th century who purposefully whitewashed those periods and pointed to the whiteness of the marble as proof that those worlds, which had people from all "races" (the term wasn't really relevant back then) were also white. VICE News Tonight walks through the Art Institute with polychromy expert Sarah Bond of the University of Iowa.
Arts  Statues  Art  History  Polychromy  Sarah  Bond  Race  Racism  Whites 
september 2017 by dbourn
POC in European Art History
The focus of this blog is to showcase works of art from European history that feature People of Color. All too often, these works go unseen in museums, Art History classes, online galleries, and other venues because of retroactive whitewashing of Medieval Europe, Scandinavia, and Asia. Sometimes it’s just about really looking at artworks you’ve seen many times before, with a fresh perspective.

Although the focus is toward art dating from the fall of the Roman Empire until about 1650, it will also include Baroque and/or Early Modern pieces, as well as works from places other than Europe, Scandinavia and Asia. Ancient Greek, Egyptian and Celtic works featuring People of Color are also fair game.

My purpose in creating this blog is to address common misconceptions that People of Color did not exist in Europe before the Enlightenment, and to emphasize the cognitive dissonance in the way this is reflected in media produced today.
Arts  Art  History  POC  Europe  European  Art 
april 2017 by dbourn
Francesco Maria Guazzo on Wikipedia
Compendium Maleficarum which was published in 1608 and was widely regarded among his contemporaries as the authoritative manuscript on Witchcraft. Within his text, Guazzo discusses witches’ pacts with the devil, detailed descriptions of witches’ powers and poisons and also prepared his classification of the demons based on a previous work by Michael Psellus.

In this work, Guazzo was greatly influenced by Duke Charles III of Lorraine’s leading lawyer and demonologist, Nicholas Remy (Remy produced one of the most important early works on demonology and witchcraft in 1595, Daemonolatreiae libri tres, and claimed to have sentenced to death over 900 people during witch trials between 1582–1592).
Francesco  Maria  Guazzo  Guazzo  Witches  Witchcraft  Art  17th  Century  Italy 
october 2016 by dbourn
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