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PUBLIC SCULPTURE LOCATIONS Introduction to the PHOTOGRAPHY: 17 Daniel Portnoy PUBLIC Public Sculpture Collection Sid Hoeltzell SCULPTURE 18
1 2 3 4 5 6 7 VIRGINIO FERRARI RAFAEL CONSUEGRA UNKNOWN ARTIST DALE CHIHULY THERMAN STATOM WILLIAM DICKEY KING JEAN CLAUDE RIGAUD b. 1937, Verona, Italy b. 1941, Havana, Cuba Bust of José Martí, not dated b. 1941, Tacoma, Washington b. 1953, United States b. 1925, Jacksonville, Florida b. 1945, Haiti Lives and works in Chicago, Illinois Lives and works in Miami, Florida bronze Persian and Horn Chandelier, 2005 Creation Ladder, 1992 Lives and works in East Hampton, New York Lives and works in Miami, Florida Unity, not dated Quito, not dated Collection of the University of Miami glass glass on metal base Up There, ca. 1971 Composition in Circumference, ca. 1981 bronze steel and paint Location: Casa Bacardi Collection of the University of Miami Gift of Carol and Richard S. Fine aluminum steel and paint Collection of the University of Miami Collection of the University of Miami Gift of Mr. and Mrs. Alfred Camner Location: Gumenick Lobby, Newman Alumni Center Collection of the Lowe Art Museum, Collection of the Lowe Art Museum, Location: Casa Bacardi Location: Casa Bacardi Location: Gumenick Lobby, Newman Alumni Center University of Miami University of Miami Gift of Mr. and Mrs. Blake King, 2004.20 Gift of Dr. Maurice Rich, 2003.14 Location: Wellness Center Location: Pentland Tower 8 9 10 11 12 13 14 JANE WASHBURN LEONARDO NIERMAN RALPH HURST LEONARDO NIERMAN LEOPOLDO RICHTER LINDA HOWARD JOEL PERLMAN b. United States b. 1932, Mexico City, Mexico b. 1918, Decatur, Indiana b. 1932, Mexico City, Mexico b. 1896, Großauheim, Germany b. 1934, Evanston, Illinois b. -
Art Museum Digital Impact Evaluation Toolkit
Art Museum Digital Impact Evaluation Toolkit Developed by the Cleveland Museum of Art’s Office of Research & Evaluation in collaboration with Rockman et al thanks to a generous grant from the National Endowment for the Arts. 2018 Content INTRODUCTION ..........................................................2 01 VISITOR CONTEXT .....................................................3 Demographics ............................................................4 Motivations ..............................................................5 Visitation Frequency .......................................................6 02 CONTEXT OF THE DIGITAL EXPERIENCE ...................................7 Prior Digital Engagement ................................................... 8 Timing of Interactive Experience ..........................................9 03 VISITORS’ RELATIONSHIP WITH ART .....................................10 04 ATTITUDES AND IDEAS ABOUT ART MUSEUMS .............................12 Perceptions of the Art Museum ..............................................13 Perceptions of Digital Interactives ............................................14 05 OVERALL EXPERIENCE AND IMPACT ....................................15 06 AREAS FOR FURTHER EXPLORATION .....................................17 ABOUT THE CLEVELAND MUSEUM OF ART ...................................19 Introduction The Art Museum Digital Impact Evaluation Toolkit in which the experience was studied. The final (AMDIET) is intended to provide artmuseums and version of data collection instruments -
In Ancient Egypt
THE ROLE OF THE CHANTRESS ($MW IN ANCIENT EGYPT SUZANNE LYNN ONSTINE A thesis submined in confonnity with the requirements for the degm of Ph.D. Graduate Department of Near and Middle Eastern Civiliations University of Toronto %) Copyright by Suzanne Lynn Onstine (200 1) . ~bsPdhorbasgmadr~ exclusive liceacc aiiowhg the ' Nationai hiof hada to reproduce, loan, distnia sdl copies of this thesis in miaof#m, pspa or elccmnic f-. L'atm criucrve la propri&C du droit d'autear qui protcge cette thtse. Ni la thèse Y des extraits substrrntiets deceMne&iveatetreimprimCs ouraitnmcrtrepoduitssanssoai aut&ntiom The Role of the Chmaes (fm~in Ancient Emt A doctorai dissertacion by Suzanne Lynn On*, submitted to the Department of Near and Middle Eastern Civilizations, University of Toronto, 200 1. The specitic nanire of the tiUe Wytor "cimûes", which occurrPd fcom the Middle Kingdom onwatd is imsiigated thrwgh the use of a dalabase cataloging 861 woinen whheld the title. Sorting the &ta based on a variety of delails has yielded pattern regatding their cbnological and demographical distribution. The changes in rhe social status and numbers of wbmen wbo bore the Weindicale that the Egyptians perceivecl the role and ams of the titk âiffefcntiy thugh tirne. Infomiation an the tities of ihe chantressw' family memkrs bas ailowed the author to make iderences cawming llse social status of the mmen who heu the title "chanms". MiMid Kingdom tifle-holders wverc of modest backgrounds and were quite rare. Eighteenth DMasty women were of the highest ranking families. The number of wamen who held the titk was also comparatively smaii, Nimeenth Dynasty women came [rom more modesi backgrounds and were more nwnennis. -
Legends of the Nile Featuring Cairo, Luxor, a Nile Cruise & Abu Simbel
ACTIVE TRAVEL for Cultural Explorers RIVER SMALL GROUP JO URNEY Ma xi mum of 24 Travele rs Legends of the Nile featuring Cairo, Luxor, a Nile Cruise & Abu Simbel Inspiring Moments > Discuss what you are most curious about with your Egyptologist while exploring together at ancient sites. > Gaze in wonder at the colossal statues of Ramses II at the Great Temple in INCLUDED FEATURES Abu Simbel. Accommodations (with baggage handling) Itinerary > Stand in awe of towering monuments – 4 nights in Cairo, Egypt, at the deluxe Day 1 Depart gateway city and dazzling treasures in the new Four Seasons Hotel Cairo at Nile Plaza. Day 2 Arrive in Cairo and transfer Grand Egyptian Museum. – 1 night in Luxor at the first-class to hotel > Contemplate the Great Pyramid in Sonesta St. George Luxor Hotel. Day 3 Cairo Giza, the only remaining Wonder of the – 4 nights aboard the deluxe Sonesta Day 4 Sakkara | Giza Ancient World. St. George I. Day 5 Cairo > Revel in the delightful hubbub of Cairo’s – 1 night in Cairo at the first-class Day 6 Cairo | Fly to Luxor old bazaar, where bargaining is elevated InterContinental City Stars Cairo. Day 7 Luxor | Embark ship to sport. Day 8 Karnak | Cruising the Nile > Delight in the natural beauty along Transfers (with baggage handling) – All transfers in the Land | Cruise Program: Day 9 Edfu | Kom Ombo the Nile’s banks, a contrast of fertile flights and deluxe motor coaches. Day 10 Aswan | Fly to Abu Simbel | green valleys and desert beyond. Fly back to Aswan > Experience four UNESCO World Extensive Meal Program Day 11 Disembark ship | Aswan | Heritage sites. -
Patterns of Damage in Egyptian Mummies Ellen Salter-Pedersen Louisiana State University and Agricultural and Mechanical College
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2004 The ym th of eternal preservation: patterns of damage in Egyptian mummies Ellen Salter-Pedersen Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Social and Behavioral Sciences Commons Recommended Citation Salter-Pedersen, Ellen, "The ym th of eternal preservation: patterns of damage in Egyptian mummies" (2004). LSU Master's Theses. 967. https://digitalcommons.lsu.edu/gradschool_theses/967 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. THE MYTH OF ETERNAL PRESERVATION: PATTERNS OF DAMAGE IN EGYPTIAN MUMMIES A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The Department of Geography and Anthropology by Ellen Salter-Pedersen B.Sc., University of Alberta, Edmonton, 1999 B.A., Concordia University College, Edmonton, 1996 May 2004 ACKNOWLEDGEMENTS I would like to thank the members of my committee, Dr. Heather McKillop, Dr. Andrew Curtis and my advisor, Ms. Mary Manhein. Their guidance and encouragement not only helped with my thesis but also in my pursuit of future studies. Working in the LSU FACES laboratory was an amazing learning experience, and I am truly grateful to Mary for sharing her expertise. -
“Conservation Review” Seasonal Publication Volume -0 Nummber 1 (2012) Grand Egyptian Museum Conssrvation Center
“Conservation Review” Seasonal publication Volume -0 Nummber 1 (2012) Grand Egyptian Museum Conssrvation Center Dr. Hussein Bassir General Supervisor of GEM Review in Conservation” is a journal that will be published four times per year by the Grand Egyptian Museum, Conservation Center GEM - CC, Focuses on Osama Abou El-khier conservation and technical study of Egyptian materials, Ececutive manager of GEM CC including material identification, conservation literature deals with their specific problems,technical examination Dr. Hussien Kamal Conservation Treatment, practical treatment, methods Technical manager of GEM CC of documentation, Data management, Standardization, History of materials and techniques, technology and manufacturing processes, Methods of scientific Research, conservation ethics, conservation Management, Science Mohamed AbdelRohman (chemistry, physics, biology, mineralogy, color theory director of Library & scientific up blishing ),Identification and study of deterioration processes, GEM CC preventive conservation and restoration. Design and editing: -Noor Mohamed abdelHamed [email protected] -Ibrahim AbdelFattah Language review: -Karim Salah Cover photo: Bronze Statuettes at the Grand Egyptian Museum, Egypt. dates back to the 3rd intermediat/ late period. Photo By: Ibrahim Abdel-Fattah. s Editorial nt Articles e Susanna Gänsicke’s, “Artifact Conservation and Egyptology”,in nt “Egyptology Today.” Edited by: Richard H. Wilkinson, University of Arizona: Cambridge University Press, 2008. o Reviewed by, Mohamed Abdel -
Southeastern Reciprocal Membership Program
SOUTHEASTERN RECIPROCAL MEMBERSHIP PROGRAM Upon presentation of your membership card you will receive: Free admission at all times during museum hours. The same discount in the gift shop and café as those offered to members of that museum. The same discount on purchases made on the premises for concert and lecture tickets, as those offered to members of that museum. Reciprocal privileges do not include receiving mailings from any of the participating museums except for the museum with which the member is affiliated. Note: List subject to change without notice. Museums may temporarily suspend reciprocal program during special exhibitions. Some museums do not accept SERM from other local museums. Call before you go. ALABAMA Augusta Museum of History – Augusta Greensboro Birmingham Museum of Art -- Birmingham Bartow History Museum – Cartersville Greenville Museum of Art – Greenville Carnegie Visual Arts Center -- Decatur Columbus Museum – Columbus Hickory Museum of Art -- Hickory Huntsville Museum of Art – Huntsville Georgia Museum of Art – Athens Mint Museum, Randolph -- Charlotte Jule Collins Smith Museum of Fine Art at Auburn -- Marietta Museum of History – Marietta Mint Museum Uptown – Charlotte Auburn Morris Museum of Art – Augusta Waterworks Visual Art Center – Salisbury Mobile Museum of Art – Mobile Museum of Arts & Sciences – Macon Weatherspoon Art Museum – Greensboro Montgomery Museum of Fine Arts – Montgomery Museum of Design Atlanta – Atlanta Reynolda House Museum of American Art – Winston Wiregrass Museum of Art – Dothan -
Art Museums and the Public
ART MUSEUMS AND THE PUBLIC Prepared for the International Art Museums Division Smithsonian Institution October 2001 Smithsonian Institution Office of Policy & Analysis Washington, D.C. 20560-0405 Introduction This is one of a series of papers prepared by the Smithsonian's Office of Policy and Analysis to brief members of the Smithsonian Council in advance of their November, 2001 meeting on Smithsonian art museums. Preparation for this paper included interviews with art museum staff, some from inside the Smithsonian and some from outside the Smithsonian. The Activities of Art Museums The official definition of a museum, according to the grant guidelines for the Institute of Museum and Library Services, is: "an organized and permanent nonprofit institution, essentially educational or aesthetic in purpose, with professional staff, which owns and utilizes tangible objects, cares for them, and exhibits them to the public on some regular schedule." The International Council of Museums (ICOM) defines a museum as: "a nonprofit making, permanent institution in the service of society and of its development, and open to the public, which acquires, conserves, researches, communicates and exhibits, for purposes of study education and enjoyment, material evidence of humans and their environment." The American Association of Museums (AAM), however, has altered its official definition to insist only on the use of objects, not on their ownership. To be a museum, in its definition, is to meet the following requirements: • be a legally organized not-for-profit -
Historical Painting Techniques, Materials, and Studio Practice
Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A. -
Contents Introduction to the Touch Tour
Contents Introduction to the Touch Tour................................2 Description and plan of Room 4 ............................4 1. Seated statue of Amenhotep III .........................6 2. Lion statue of Amenhotep III ..............................8 3. Sarcophagus ...................................................... 10 4. Statue of King Senwosret III ............................11 5. Left arm from a colossal statue of Amenhotep III .......................................................... 13 6. Seated statue of the goddess Sekhmet ........14 7. Block statue of Amenhotep ............................. 16 8. Boat sculpture of Queen Mutemwia ............. 18 9. Colossal scarab beetle .................................... 20 1 Introduction to the Touch Tour This tour of the Egyptian Sculpture Gallery is a specially designed Touch Tour for visitors with sight difficulties. This guide gives you information about nine highlight objects in Room 4 that you are able to explore by touch. The Touch Tour is also available to download as an audio guide from the Museum’s website: britishmuseum.org/egyptiantouchtour If you require assistance, please ask the staff on the Information Desk in the Great Court to accompany you to the start of the tour. The sculptures are arranged broadly chronologically, and if you follow the tour sequentially, you will work your way gradually from one end of the gallery to the other moving through time. Each sculpture on your tour has a Touch Tour symbol beside it and a number. 2 Some of the sculptures are very large so it may be possible only to feel part of them and/or you may have to move around the sculpture to feel more of it. If you have any questions or problems, do not hesitate to ask a member of staff. -
The Native American Fine Art Movement: a Resource Guide by Margaret Archuleta Michelle Meyers Susan Shaffer Nahmias Jo Ann Woodsum Jonathan Yorba
2301 North Central Avenue, Phoenix, Arizona 85004-1323 www.heard.org The Native American Fine Art Movement: A Resource Guide By Margaret Archuleta Michelle Meyers Susan Shaffer Nahmias Jo Ann Woodsum Jonathan Yorba HEARD MUSEUM PHOENIX, ARIZONA ©1994 Development of this resource guide was funded by the Nathan Cummings Foundation. This resource guide focuses on painting and sculpture produced by Native Americans in the continental United States since 1900. The emphasis on artists from the Southwest and Oklahoma is an indication of the importance of those regions to the on-going development of Native American art in this century and the reality of academic study. TABLE OF CONTENTS ● Acknowledgements and Credits ● A Note to Educators ● Introduction ● Chapter One: Early Narrative Genre Painting ● Chapter Two: San Ildefonso Watercolor Movement ● Chapter Three: Painting in the Southwest: "The Studio" ● Chapter Four: Native American Art in Oklahoma: The Kiowa and Bacone Artists ● Chapter Five: Five Civilized Tribes ● Chapter Six: Recent Narrative Genre Painting ● Chapter Seven: New Indian Painting ● Chapter Eight: Recent Native American Art ● Conclusion ● Native American History Timeline ● Key Points ● Review and Study Questions ● Discussion Questions and Activities ● Glossary of Art History Terms ● Annotated Suggested Reading ● Illustrations ● Looking at the Artworks: Points to Highlight or Recall Acknowledgements and Credits Authors: Margaret Archuleta Michelle Meyers Susan Shaffer Nahmias Jo Ann Woodsum Jonathan Yorba Special thanks to: Ann Marshall, Director of Research Lisa MacCollum, Exhibits and Graphics Coordinator Angelina Holmes, Curatorial Administrative Assistant Tatiana Slock, Intern Carrie Heinonen, Research Associate Funding for development provided by the Nathan Cummings Foundation. Copyright Notice All artworks reproduced with permission. -
A Social and Religious Analysis of New Kingdom Votive Stelae from Asyut
UNIVERSITY OF CALIFORNIA Los Angeles Display and Devotion: A Social and Religious Analysis of New Kingdom Votive Stelae from Asyut A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Near Eastern Languages and Cultures by Eric Ryan Wells 2014 © Copyright by Eric Ryan Wells ABSTRACT OF THE DISSERTATION Display and Devotion: A Social and Religious Analysis of New Kingdom Votive Stelae from Asyut by Eric Ryan Wells Doctor of Philosophy in Near Eastern Languages and Cultures University of California, Los Angeles, 2014 Professor Jacco Dieleman, Chair This dissertation is a case study and analysis of provincial religious decorum at New Kingdom Asyut. Decorum was a social force that restricted and defined the ways in which individuals could engage in material displays of identity and religious practice. Four-hundred and ninety-four votive stelae were examined in an attempt to identify trends and patters on self- display and religious practice. Each iconographic and textual element depicted on the stelae was treated as a variable which was entered into a database and statistically analyzed to search for trends of self-display. The analysis of the stelae revealed the presence of multiple social groups at Asyut. By examining the forms of capital displayed, it was possible to identify these social groups and reconstruct the social hierarchy of the site. This analysis demonstrated how the religious system was largely appropriated by elite men as a stage to engage in individual competitive displays of identity and capital as a means of reinforcing their profession and position in society and the II patronage structure.