I went to an exhibition on Friday that I won’t bother to take the class to see. It wasn’t nearly as interesting as it could have been. Looking at this ivory up close (and taking a photo!) was worth the price of admission for me, though.
An apotheosis – perhaps the apotheosis of Quintus Aurelius Symmachus, late 4th/early 5th C. British Museum, London. M&ME 1857,10-13,1. 30.1×11.3 cm. Really something to see. Symmachus was one of the last great pagans – an opponent of Ambrose and Theodosius. The organizers of the show wanted to suggest that it was an emperor – but at the very least it’s a deeply nostalgic pagan senator recalling imperial funerals and apotheoses – or just apotheosizing himself. Hence, Symmachus.
A priest in England picked up an old portrait in an antique store for £400. He took it to a Roadshow where someone suspected it might be a Van Dyke. Lots of study later and it is – and worth about £400,000. He’s going to sell it and buy bells. My parents and I were watching the PBS of Roadshow last night – someone had a student work by Chuck Close. They told her at auction it might go for $100,000. So there are treasures out there!
I hate linking to things at the Wall Street Journal – articles appear and disappear from behind the pay-wall for reasons I never understand – but Google News found this for me: Pérez Art Museum Miami: Where the Art Will (Hopefully) Come Later. Go read it quick, before it goes away!
Build it, and they will give. Or promise to give. Or lend for the long term. Or something. Those seem to be the operating hopes at the just-opened Pérez Art Museum Miami, ensconced in a building, designed by the Swiss architectural firm Herzog & de Meuron, that gracefully takes advantage of the view and the climate of Biscayne Bay.
The situation is odd, to say the least. PAMM—a museum of modern and contemporary art in the fifth-largest metropolitan area in the country, with five million inhabitants—makes its debut with a paltry collection: only about 1,800 works of art, almost 300 of those just recently bestowed on it from a single private collection. There’s scarcely a showstopper in the trove. By comparison, the Modern Art Museum of Fort Worth (only the fifth-largest city in Texas) has about 2,600 objects, with some instructively important works by the likes of Francis Bacon, Vija Celmins and Martin Puryear among them. Or consider the Walker Art Center in Minneapolis, which has more than 10,000 works, including just about the snappiest gathering of recent sculpture anywhere.
The story gets worse.
That’s your loyal, if lately somewhat irregular, author leaning against a column at the Great Church in 2009.
This really is one of the highlights of any semester for me – the building is such a perfect contrast to the Pantheon, which we studied just a few weeks ago. They exemplify very different approaches to architecture – both their structural systems and their handling of space. We really don’t know what the Pantheon was for, but Hagia Sophia is a really interesting synthesis of basilica and rotunda. I think the Great Church may have been the perfect vessel for the imperial liturgy – goodness knows it worked for 900 years. I can even understand it working as a preaching space, something I’m never so convinced about for basilicas of a similar scale before artificial amplification.
Wow – this is a find – an 18th C illlustrated Haggadah. No one in the family could have known what it was. Estimates start at £100,000.
One of my happy places – and I understand it so much better now after this spring!
George Herbert + Ralph Vaughan Williams + the Order of Preachers = this!
Come, my Way, my Truth, my Life:
Such a way as gives us breath;
Such a truth as ends all strife,
Such a life as killeth death.
Come, my Light, my Feast, my Strength:
Such a light as shows a feast,
Such a feast as mends in length,
Such a strength as makes his guest.
Come, my Joy, my Love, my Heart:
Such a joy as none can move,
Such a love as none can part,
Such a heart as joys in love.
from Herbert’s “The Call,” published in The Temple. Set by Vaughan Williams in 1911.
via Fr. Philip Neri Powell, O.P.
Normal Park Upper School.
Virginia Postrel explains. And I’m convinced – the works the city paid for are probably fair game! Quick excerpt:
In 1931, the man who built the collection, director William Valentiner, argued for continued city funding by citing how much the works’ value had appreciated. “The Brueghel painting we purchased for $38,000 is valued at more than $150,000,” he said. “If the city were to sell, piece by piece, the objects of art it has purchased, they would realize more than five times the amount paid for them.” Valentiner certainly wasn’t advocating such sales, but his statement demonstrates that they weren’t inconceivable.
Acquire with city funds, go down with the sinking ship. Maybe the van Gogh self portrait would keep some fire stations open for another year?
I was especially taken with the realization than in the midst of these abstract shapes of mudejar quadrilobes were lions and castles – and that shield. Leon, Castile – and what? But still, Peter the Cruel (r 1334-1369) wanted ALL his subjects to understand his palace facade.
The Alcazar Palace is really something – I think it would be very comfortable in the summer time, for Seville!
I remember the tilework from an old PBS show, “Connections.” I can’t think of the presenter’s name, but it was a history of science across time kind of thing – made an impression on me!
Well, the reconstructed Barcelona Pavilion. The original was a temporary construction to serve as the German Pavilion for an International Exhibition and was taken down in 1930. Barcelona recreated it in the 1980s. It’s a beautiful building – Modernism before Less became a Bore.