Find something that makes your cry this hard out of joy....Call me a nerd all you want but being passionate about a man and his art is a favorite quality of mine. Through the pain and sorrow that he felt in his life time he was able to harness these breath taking images that the world has come to love.
Happy Birthday Vincent van Gogh.....your spirit will keep Gogh(ing). I apologize for the awful pun, I guess I'll just Gogh....even if his name isn't pronounced as "go" but actually as "goff." I love being an art nerd #vangogh#artnerd#starrynight#arthistory
Who knew taking down wallpaper would be just as interesting as putting it up? We discovered a paper-hanger's signature underneath the "Birds of Paradise" paper in the Capt. Elias Davis House that came down to make way for new historically appropriate wallpaper. "H.Friend" (Roscoe Hill Friend), a house painter and interior decorator from Gloucester, signed his name on June 17, 1927, "Circus Day, Sells Floto Show." The circus troop were a combination of the Floto Dog & Pony Show and the Sells Brother Circus based in Indiana. Their season feature for 1927 was Buffalo Bill's Wild West Show, of which Gloucester was their 9th week stop out of a 28 week tour.
Breaking news from #theparlors ! Beautifully designed framed projection canvases by @geoffhowellstudio @detailsdiary were installed in the #eastparlor yesterday. Get ready to immerse yourself in this multimedia experience in the restored rooms where American art began. P.S. what do you think of the new Thomas Cole green walls?
Today is Vincent van Gogh’s birthday - 1853. van Gogh’s work has been a big influence of mine - I have copied a number of his works for learning and fun. This boot, an old Doc Martin, was done for a project I did when I took Art History at Sheridan College (13 years ago, or so!!!).
"Frieze of the Archers", detail, circa 510 BC, Palace of Darius the Great, Susa, glazed bricks, Pergamon Museum, Berlin.
This detail from the larger “Frieze of Archers” depicts royal guards. The frieze was part of the decorative motif in the palace of Darius the Great, 522-486 BC, located in Susa, an important Persian city in the fifth century BC. The multicolored, molded and fired siliceous bricks show an army of men carrying spears, bows, and quivers. This type of brickwork was first developed during the Middle Elamite period, between 1500 and 1100 BC. The archers’ hands are joined together on the shafts of their spears, and hanging from each shoulder is a bow, its end in the form of a duck’s head. The butt of the spear rests on the front foot. The archers wear a long Persian robe, braided and pleated over the leg. The frieze combines low relief and color, with glazes of green, brown, white, and yellow, separated by fine cloisons (wires) to keep the glazed colors from combining. The technique became known as cloisonné and is still widely used today. This decorative frieze was certainly inspired by the Processional Way in Babylon, constructed by Nebuchadnezar II, 604-562 BC, but the technique is different. The Babylonians used clay for their bricks, rather than the siliceous material employed here. The artists who worked for Darius may have revived a technique developed at Susa by the Elamites in the Late Elamite Period at the end of the second millennium. Polychrome brick decoration would have a great future in the architecture of the Islamic age.
#tbt Ming Dynasty Tombs, Beijing. 2008. I spent an entire summer living in China where I ate all the street bao, drank all the bubble tea, watched all the bootlegs, and photographed all the elephants and turtles. All for a gym credit (basically). When I returned home to Vermont, I promptly forgot all the Mandarin that took me two years to learn. #ancienttombs#arthistory#china#studyabroad#travel#worththedebt
She can kill with a smile
She can wound with her eyes
She can ruin your faith with her casual lies
And she only reveals what she wants you to see
She hides like a child
But she's always a woman to me-
She can lead you to love
She can take you or leave you
She can ask for the truth
But she'll never believe
And she'll take what you give her as long as it's free
Yeah, she steals like a thief
But she's always a woman to me-
Billy Joel – She’s always a woman-
Edvard Munch, ‘Madonna’, 1894, National gallery of Norway-
‘My fear of life is necessary to me, as is my illness. Without anxiety and illness, I am a ship without a rudder…... My sufferings are part of my self and my art. They are indistinguishable from me, and their destruction would destroy my art. I want to keep those sufferings’ – Edvard Munch-
Edvard Munch was an innovator who used personal tragedies and sicknesses to feed his creativity, developing a symbolic and expressive style that was intense and psychologically charged. He created even further distance from those that were still trying to capture reality, believing that art should record emotions and experiences.-
Munch’s ‘Madonna’ is an incredibly powerful and raw work, depicting the Virgin Mary in a manner that defied all preceding representations.-
It was original called ‘Loving Woman’ and there are differing interpretations as to its true meaning - some say it symbolized the essential acts of the female life cycle; some an expression of Munch’s worship of his friend (the model) as an ideal of womanhood; others that it portrays the ecstasy and pain in the act of love; or some interpreting her as a femme fatale figure.-
Whatever the interpretation, ‘Madonna’ is an iconic masterpiece by an artist that pushed the boundaries of art.-
#MuseumWorkers We totally don't mind getting down on our hands & knees for a good cause!
Courtesy @harvardartmuseums :
Our late 15th or early 16th-century tapestry, the “Hawking Scene” in the Medieval Art Gallery, room 2440, must come down next year to limit its exposure to light. Here, #curators from our Division of European and American Art investigate another large 16th-century tapestry in our collections, Achilles Among the Daughters of Lycomedes, as a possible candidate to take its place. Our curators are enticed by the rich subject matter. The tapestry depicts a pivotal scene, when Ulysses, disguised as a jewelry merchant discovers that one of Lycomedes' daughters is actually Achilles in disguise. Though he appears to be a woman, Achilles isn’t all that interested in the jewels, but the gauntlet and a small explosive catch his eye.
Our curators also admire the exceptional details and vibrant blue of the nearly 600 year old fabric. Sitting with Cassandra Albinson, the Margaret S. Winthrop Curator of European Art, and Danielle Carrabino, associate research curator in European art, conservator Anne Driesse points out areas that might need treatment to reinforce the tapestry should it be selected to go on view for the first time in forty years. (April 2016) @harvard