Visiter Le Louvre
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Art List by Year
ART LIST BY YEAR Page Period Year Title Medium Artist Location 36 Mesopotamia Sumerian 2600 Standard of Ur Inlaid Box British Museum 36 Mesopotamia Sumerian 2600 Stele of the Vultures (Victory Stele of Eannatum) Limestone Louvre 38 Mesopotamia Sumerian 2600 Bull Headed Harp Harp British Museum 39 Mesopotamia Sumerian 2600 Banquet Scene cylinder seal Lapis Lazoli British Museum 40 Mesopotamia Akkadian 2254 Victory Stele of Narum-Sin Sandstone Louvre 42 Mesopotamia Akkadian 2100 Gudea Seated Diorite Louvre 43 Mesopotamia Akkadian 2100 Gudea Standing Calcite Louvre 44 Mesopotamia Babylonian 1780 Stele of Hammurabi Basalt Louvre 45 Mesopotamia Assyrian 1350 Statue of Queen Napir-Asu Bronze Louvre 46 Mesopotamia Assyrian 750 Lamassu (man headed winged bull 13') Limestone Louvre 48 Mesopotamia Assyrian 640 Ashurbanipal hunting lions Relief Gypsum British Museum 65 Egypt Old Kingdom 2500 Seated Scribe Limestone Louvre 75 Egypt New Kingdom 1400 Nebamun hunting fowl Fresco British Museum 75 Egypt New Kingdom 1400 Nebamun funery banquet Fresco British Museum 80 Egypt New Kingdom 1300 Last Judgement of Hunefer Papyrus Scroll British Museum 81 Egypt First Millenium 680 Taharqo as a sphinx (2') Granite British Museum 110 Ancient Greece Orientalizing 625 Corinthian Black Figure Amphora Vase British Museum 111 Ancient Greece Orientalizing 625 Lady of Auxerre (Kore from Crete) Limestone Louvre 121 Ancient Greece Archaic 540 Achilles & Ajax Vase Execias Vatican 122 Ancient Greece Archaic 510 Herakles wrestling Antaios Vase Louvre 133 Ancient Greece High -
Table of Contents
editorial note index amber 832, 1028 American Dream 753 American Institute of Architects “a major modification of the human organism, 21 Club 601, 697 (AIA) 106, 150, 695, 816, 858, 869, 1066, namely its ability to pay attention, occurred when 3D printing 114, 159, 1449 2159, 2277 a major cultural innovation, domestication, was 9/11 676, 685, 844, 918–919, 1382, 1387, American Restroom Association adopted. … the house … should be viewed as 1760–1761, 2130 641, 695, 1646 Aalto, Alvar 639, 762, 772–773, 859 American Society of Heating a technical and cognitive instrument, a tool for aboriginal 1058, 1430 Refrigeration and Air Conditioning thought as well as a technology of shelter.” Abraj Al-Bait tower, Mecca 703, 786 Engineers 814, 825, 858 absolutism 900–901 American Society of Mechanical — Peter J. Wilson, The Domestication of Abu Dhabi 125, 480, 537, 1047, 1430, Engineers 290, 380, 2041, 2117 1551, 2288 American Standard 785, 1601, 1624, the Human Species (Yale, 1988). Acconci, Vito 59, 63 1673, 1675, 1680, 2279, 2281, 2286 Ackerman, James 898, 2333 American Standards Association 183 When our species domesticated itself – started acoustics 150, 203, 223, 260–261, Americans with Disabilities Act, living in permanent dwellings rather than 264–265, 267–269, 272, 274, 279, 304, 1990 1648, 1721, 1764 temporary encampments – architecture remade 348, 352, 360, 380, 485, 825, 1150 Ammannati, Bartolomeo 1936, 1963 Acropolis 900 amphitheater 1094, 1166, 1247, 2136, our sensory world in a revolution never seen acrylic 813, 842, 949, 1016, 1394 -
The Origins of the Kouros
THE ORIGINS OF THE KOUROS By REBECCA ANN DUNHAM A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2005 Copyright 2005 by Rebecca Ann Dunham This document is dedicated to my mom. TABLE OF CONTENTS page LIST OF FIGURES ........................................................................................................... vi ABSTRACT.........................................................................................................................x CHAPTER 1 DEFINITION OF THE KOUROS TYPE ....................................................................1 Pose...............................................................................................................................2 Size and material...........................................................................................................2 Nudity ...........................................................................................................................3 Body Shape and Treatment of Musculature .................................................................3 Execution ......................................................................................................................4 Function ........................................................................................................................5 Provenances ..................................................................................................................7 -
Marketing at the Museum
FRANCE Marketing at the Museum BY ZOÉ COSSON To celebrate the thirtieth anniversary of the Louvre Pyramid by (recently deceased) archi- tect Ieoh Ming Pei, the museum joined forces with Airbnb for a kind of sweepstake. To- gether they offer a winning couple the chance to drink an aperitif alongside the Mona Lisa and dine before the Venus de Milo before curling up in bed in one of the museum rooms. It’s all part of a new era in experiential marketing. It is nothing new, or rare, to privatize the galleries of the Musée du Louvre, hundreds of movies are shot there each year. However skepticism, even criticism of the Louvre is moun- ting, for instance by other international museums, in a collective questioning of conservation ethics, notably when it comes to the spiritual protection of artworks. Indeed, conservation implies protecting pieces from physical alterations but also from moral ones. In this light, it is valid to analyze the relationships nurtured by public cultural institutions with corporations or private interests. After granting permission for the controversial video shoot Apeshit by Beyoncé and JAY-Z, where the singer can be seen dancing in front of masterpieces, the Louvre also opened its doors to the French televised game show Questions pour un champion in August 2018. The show attracted 1,5 million French viewers, whereas the Apeshit video had over 160 million views. For the biggest museum in the world, it’s an easy calculation: use media to increase visibility, update its image and diversify clientele. Essentially, the former residence of French kings seems ready today to do anything that will draw numbers, abandoning the arts in support of the tourism and cultural industries. -
The Invisible Museum Workers
28 spring-summer 2020/HesaMag #21 Special report 17/35 The invisible museum workers Museum and gallery visitors may be too focused on the works of art and items on display to take much notice of the almost invisible work of the reception and warding staff, but without them these exhibits would be inaccessible. HesaMag visited one of the most famous galleries in the world, the Louvre, to meet some of the people who keep it running day to day. Fanny Kroener Journalist Photo reportage: Sadak Souici, Agence Le Pictorium See the full photo reportage at www.etui.org Designed by the American architect Leoh Ming Pei, the Louvre Pyramid, unveiled in 1989, very quickly became one of the most striking landmarks in the Parisian landscape. 29 spring-summer 2020/HesaMag #21 Special report 18/35 A floor space of 360 000 square metres, slightly bewildered visitors and point them 650 000 works of art in the collections, one in the right direction. It’s a proactive job, not "The museum’s huge visitor every two seconds: the Louvre breaks like people think." all the records for museums and galleries. It Servane, with her friendly, impish face, visitor numbers make is both the "biggest museum in the world" is dressed in the uniform provided by the mu- and the "most visited", exceeding the sym- seum: a black suit and white shirt. "The thing it tiring for us." bolic threshold of 10 million visitors in 2018. people really notice is the security badge with By comparison, in the same year, 5.8 mil- the orange lanyard. -
Visitor Figures 2016 Exhibition & Museum Attendance Survey
2 THE ART NEWSPAPER REVIEW Number 289, April 2017 SPECIAL REPORT VISITOR FIGURES 2016 EXHIBITION & MUSEUM ATTENDANCE SURVEY Christo helps 1.2 million people to walk on water While the Whitney breaks the hold of New York’s big two hristo’s triumph in Italy, a space in New York to five artists, including Steve Children admiring Louise Bourgeois at Tate Modern: ravenous appetite for French art McQueen, Lucy Dodd and Michael Heizer, for the institution has hung on to its spot as the world’s abroad and a shake-up in New several weeks at a time. On average, more than most popular Modern and contemporary art museum York are the big stories of The 4,000 visitors saw each of the five presentations, Art Newspaper’s 2016 attend- roughly equivalent to the number that visited the FEMALE ARTISTS DRAW BIG CROWDS ance survey. museum’s Frank Stella retrospective. Christo’s Floating Piers (2016) Despite the Whitney’s rapid rise, MoMA and Female artists feature prominently in our survey. on Lake Iseo—the New York-based artist’s first the Met continue to lead the league in New York. At the Guggenheim Bilbao, Louise Bourgeois’s Cells Coutdoor installation since 2005—was the world’s MoMA remains at the top, thanks to staffers who attracted around 4,600 visitors a day. The Japanese most-visited work of art last year. Christo erected performed each afternoon over a long weekend artist Yayoi Kusama, who in 2014 proved a phenom- 3km of fabric-covered pontoons between an island last October in a production directed by the enon in South America and Asia, continued to pull and the shore and invited the public to walk on French choreographer Jérôme Bel. -
The Da Vinci Code
The Da Vinci Code Dan Brown FOR BLYTHE... AGAIN. MORE THAN EVER. Acknowledgments First and foremost, to my friend and editor, Jason Kaufman, for working so hard on this project and for truly understanding what this book is all about. And to the incomparable Heide Lange—tireless champion of The Da Vinci Code, agent extraordinaire, and trusted friend. I cannot fully express my gratitude to the exceptional team at Doubleday, for their generosity, faith, and superb guidance. Thank you especially to Bill Thomas and Steve Rubin, who believed in this book from the start. My thanks also to the initial core of early in-house supporters, headed by Michael Palgon, Suzanne Herz, Janelle Moburg, Jackie Everly, and Adrienne Sparks, as well as to the talented people of Doubleday's sales force. For their generous assistance in the research of the book, I would like to acknowledge the Louvre Museum, the French Ministry of Culture, Project Gutenberg, Bibliothèque Nationale, the Gnostic Society Library, the Department of Paintings Study and Documentation Service at the Louvre, Catholic World News, Royal Observatory Greenwich, London Record Society, the Muniment Collection at Westminster Abbey, John Pike and the Federation of American Scientists, and the five members of Opus Dei (three active, two former) who recounted their stories, both positive and negative, regarding their experiences inside Opus Dei. My gratitude also to Water Street Bookstore for tracking down so many of my research books, my father Richard Brown—mathematics teacher and author—for his assistance with the Divine Proportion and the Fibonacci Sequence, Stan Planton, Sylvie Baudeloque, Peter McGuigan, Francis McInerney, Margie Wachtel, André Vernet, Ken Kelleher at Anchorball Web Media, Cara Sottak, Karyn Popham, Esther Sung, Miriam Abramowitz, William Tunstall-Pedoe, and Griffin Wooden Brown. -
Two Sample Notes on Lady of Auxerre: One Done Correctly, One Not! Can You Tell?
Two sample notes on Lady of Auxerre: one done correctly, one not! Can you tell? Ms. Sweeney Period 1 Lady of Auxerre Recent History • discovered in museum storeroom • in Auxerre, central France • early 20th century • currently in the Louvre Origin • Probably from island of Crete o based on limestone it’s made from • Renewal of stone sculpture in Greece in 7th century • Similar to other funerary statues found on Crete o often Archaic sculpture made as funerary sculpture = sculpture used to mark graves o probably placed on a necropolis = ancient cemetery Influences • Looks Egyptian – important source; not naturalistic as later periods • Also see influence of ancient Near Eastern culture o E.g., geometric patterns in sKirt & hair A Closer Look • Only about 2 feet tall • Not naturalistic o Elongated legs & fingers o Disproportion of head to torso and legs • While face is damaged, can recognize sculpture’s Archaic smile o Mouth has slight upturned corners o Appears on faces of most Archaic sculptures § Not only people, but animals as well o Usually found in pieces dating prior to 5th century o Suggests that subject was alive and has a sense of well-being • Use of geometric forms o Series of symbolic forms that represent the hand o Hair bundled up in squares, perhaps braids • Probably once brightly painted • Arms somewhat separated from body o unlike ancient Egyptian art where arms are wedded to body with stone in between • Not proportional: does not correspond in size to a typical body (head, torso, legs don’t match) • While arms are separated, legs are blocK of limestone and not separated at all o A first step towards GreeK sculpture in coming centuries o Sculpture in-the-round = a free-standing sculpture not attached to a flat background o Fully carved from front to bacK Heidi S. -
Geometric & Archaic Greek
GEOMETRIC & ARCHAIC GREEK GEOMETRIC & ARCHAIC GREECE Ancient Greek Art Can be classified into the following categories: Geometric Period ca. 900-700 B.C.E. Orientalizing Period ca. 725-600 B.C.E. Archaic Period ca. 625-480 B.C.E. --- Greeks defeat Persians 480-479 BCE --- Early Classical Period ca. 480-450 B.C.E. High Classical Period ca. 450-400 B.C.E. Late Classical Period ca. 400-330 B.C.E. Hellenistic Period ca. 330-31 B.C.E. GEOMETRIC & ARCHAIC GREECE Ancient Greek Art Mesopotamian = Worship Egyptian = Afterlife Greek = Humanism GEOMETRIC & ARCHAIC GREECE The Geometric Period The beginning of Greek art is found in painted pottery and small scale sculpture. Artists established different categories of shapes of ceramic vessels- most important was the amphora - two- handled vase used to carry wine and oil Around 800 BC, pottery began to move away from purely non-objective designs - ornamental figures. Dipylon Vase was a grave monument - bottom has holes through which liquid offerings filtered down to the dead below- done in remembrance rather than to appease the soul of the dead. Geometric Krater from the Dyplon Cemetery Athens, Greece, ca. 740 BC GEOMETRIC & ARCHAIC GREECE The Geometric Period The vase functions as a grave marker depicting the funeral procession of an obviously well respected individual. The magnitude of his funeral procession speaks to the wealth and position of the deceased family in the community. Contains no reference to an afterlife The nature of the ornamentation of these early works has led art historians to designate these as GEOMETRIC. (all empty spaces are filled with circles and M-shaped ornament. -
UNIVERSITY of ALASKA SOUTHEAST DEPARTMENT of HUMANITIES BACHELOR of ARTS in ART PROGRAM ASSESSMENT PLAN June 1, 2011
01 1 UNIVERSITY OF ALASKA SOUTHEAST DEPARTMENT OF HUMANITIES BACHELOR OF ARTS IN ART PROGRAM ASSESSMENT PLAN June 1, 2011 DRAFT Program Faculty Jane Terzis, MA, Associate Professor of Art Jeremy Kane, MFA, Assistant Professor of Art Pedar Dalthorp, MFA, Assistant Professor of Art 01 2 Table of Contents Degree Title 3 The Fine Art Program at UAS 3 Faculty 3 Purpose 4 Target UAS Competencies 5 Goals and Competencies Table 6 Student Learning Goals and Outcomes 7 Curriculum Map 8-9 Student Assessment Methods and Measures 10-11 Program Assessment Methods 12 Conclusion 12 Appendix A. BA Art Declaration Survey 13 Appendix B. Grading Scale 15 Appendix C. BA Art Assessment Panel Evaluation Form 17 Appendix D. Alumni Evaluation Form 19 Appendix D. Sample Syllabi 21-49 01 3 Degree Title Bachelor of Arts in Art, University of Alaska Southeast The Fine Art Program at UAS At the University of Alaska Southeast we have created an atmosphere in which learning and creativity work together. Art students at UAS are provided with a close working relationship with experienced and committed faculty members and studio facilities for a variety of two and three- dimensional disciplines and a full complement of art history courses. The pairing of focused arts education with the liberal arts offers all our students a unique type of intellectual and cultural stimulation. We believe that this is a special asset for student artists, which helps to encourage a more confident and personal artistic vision. The UAS art curriculum offers a concentrated education in fine art leading to the Bachelor of Arts in Art degree. -
Transformation of a Goddess by David Sugimoto
Orbis Biblicus et Orientalis 263 David T. Sugimoto (ed.) Transformation of a Goddess Ishtar – Astarte – Aphrodite Academic Press Fribourg Vandenhoeck & Ruprecht Göttingen Bibliografische Information der Deutschen Bibliothek Die Deutsche Bibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. Publiziert mit freundlicher Unterstützung der PublicationSchweizerischen subsidized Akademie by theder SwissGeistes- Academy und Sozialwissenschaften of Humanities and Social Sciences InternetGesamtkatalog general aufcatalogue: Internet: Academic Press Fribourg: www.paulusedition.ch Vandenhoeck & Ruprecht, Göttingen: www.v-r.de Camera-readyText und Abbildungen text prepared wurden by vomMarcia Autor Bodenmann (University of Zurich). als formatierte PDF-Daten zur Verfügung gestellt. © 2014 by Academic Press Fribourg, Fribourg Switzerland © Vandenhoeck2014 by Academic & Ruprecht Press Fribourg Göttingen Vandenhoeck & Ruprecht Göttingen ISBN: 978-3-7278-1748-9 (Academic Press Fribourg) ISBN:ISBN: 978-3-525-54388-7978-3-7278-1749-6 (Vandenhoeck(Academic Press & Ruprecht)Fribourg) ISSN:ISBN: 1015-1850978-3-525-54389-4 (Orb. biblicus (Vandenhoeck orient.) & Ruprecht) ISSN: 1015-1850 (Orb. biblicus orient.) Contents David T. Sugimoto Preface .................................................................................................... VII List of Contributors ................................................................................ X -
Chapter 1 Multiple Choice 1. an Important Series of Caves With
Chapter 1 Multiple Choice 1. An important series of caves with paintings from the Paleolithic period is located in ________. a. Italy b. England c. Germany d. France Answer: d 2. Which of the following describes the Venus of Willendorf? a. It is a large Neolithic tomb figure of a woman b. It is a small Paleolithic engraving of a woman c. It is a large Paleolithic rockcut relief of a woman d. It is a small Paleolithic figurine of a woman Answer: d 3. Which of the following animals appears less frequently in the Lascaux cave paintings? a. bison b. horse c. bull d. bear Answer: d 4. In style and concept the mural of the Deer Hunt from Çatal Höyük is a world apart from the wall paintings of the Paleolithic period. Which of the following statements best supports this assertion? a. the domesticated animals depicted b. the subject of the hunt itself c. the regular appearance of the human figure and the coherent groupings d. the combination of men and women depicted Answer: c 5. Which of the following works of art was created first? a. Venus of Willendorf b. Animal frieze at Lascaux c. Apollo 11 Cave plaque d. Chauvet Cave Answer: d 6. One of the suggested purposes for the cave paintings at Altamira is thought to have been: a. decoration for the cave b. insurance for the survival of the herd c. the creation myth of the tribal chief d. a record of the previous season’s kills Answer: b 7. The convention of representing animals' horns in twisted perspective in cave paintings or allowing the viewer to see the head in profile and the horns from the front is termed __________.