DOCSLIB.ORG

MUSE, Volume 42, 2008

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
MUSE, Volume 42, 2008 2008 MVSE VOLUME FORTY- TWO 2008 Annual of the Museum of Art and Archaeology University of Missouri MVSE VOLUME FORTY-TWO 2008 Annual of the Museum of Art and Archaeology University of Missouri I Pickard Hall Columbia, MO 65211 Telephone: (573) 882-3591 Website: http://maa.missouri.edu Jane Biers editor Jeffrey Wilcox assistant editor Nicole Eaton editorial assistant Stephanie Lyons graphic design © 2009 by the Curators of the University of Missouri ISSN 0077-2194 ISBN 0-910501-39-4 The Museum of Art and Archaeology is open from 9:00 a.m. to 4:00 p.m. Tuesday through Friday and from noon to 4:00 p.m. Saturday and Sunday. Admission is free. The museum is closed on Mondays, from December 25 through January I, and on University of Missouri holidays : Martin Luther King Day, Memorial Day, Independence Day, Labor Day, Thanksgiving Day, and the Friday following. Guided tours are available, if sc heduled two weeks in advance. The Museum Store is open from 10:00 a.m. to 4:00 p.m. Tuesday through Friday and from noon to 4:00 p.m. Saturday and Sunday. Back numbers of Muse are available from the Museum of Art and Archaeology. All submitted manuscripts are reviewed. Front cover: Female head, perhaps Demeter or Persephone Greek, South Italy, probably Taranto, fourth century B.C.E. Terracotta, H. I 6.8 cm Weinberg Fund (acc. no. 2008. 169) Back cover: Statuette of a seared transcendental Buddha, probably Amirayus or Amitabha Probably Tibet, Qing dynasty, Qianlong reign, 1770 Gilt bronze with traces of paint, H. 18.5 cm Gifi: ofWilliam A. Scott (acc. no. 2008.180) 2 Eugene Numa Lane 1936-2007 Kt av TITWXLK~ TT]V ~pw;, T] 10etKT] 0£ CT£ yD1.aCT£. 'fam aocp6c; nou eytv£c;, µ£ TOCTTJ n£ipa, ~OT] ea w KUTUAa~£<; OL 10aK£<; n oriµa[vouv. And if you find her poor, Ithaka will not have deceived you. You will have become so wise, with so much experience, That you will understand then what the lthakas mean. -Constantine P. Cavafy, Ithaka Eugene Numa Lane was born on August 13, 1936, in Washington, D.C., and received his B.A. from Princeton University in 1958, his M.A. from Yale University in 1960, and his Ph.D. from Yale in 1962. He was Assistant Professor of Classics at the University of Virginia, Charlottesville, from 1962 until 1966 and moved to the University of Missouri at Columbia, where he served as Associate Professor and then Professor of Classical 3 Studies. He became Professor Emeritus in March of 2000. Gene taught a wide variety of courses throughout his career, ranging from small seminars for upper-level and graduate students to lectures in Classical Mythology for up to 400 students. Most of the courses were language courses, usually in Ancient Greek, a few in Latin; the civilization courses were in English. Gene's connection to the Museum of Art and Archaeology was a close one. He demonstrated a true appreciation of its collection and encouraged students to visit and study the artifacts. He was instrumental in the selection and purchase of coins, statues, and other objects connected with the cults of Men and Sabazios. (His multivolume publications in the Brill Etudes preliminaires aux religions orientales dans /'empire romain series are achievements that continue to be of tremendous value to all researchers on these cults.) Finally, he was a frequent contributor to Muse, and we respectfully dedicate this volume to him and his scholarship, which has advanced our knowledge and understanding of the ancient world. Cathy Callaway Associate Museum Educator 4 Table of Contents Eugene Numa Lane Cathy Callaway 3 Director's Report Alex W. Barker 7 A Funerary Deposit from Early Bronze Age Cyprus Jennifer M. Webb and David Frankel 15 A Bronze Septimius Severus at Saitta, Issued by Charikles An Avatar or Acolyte for the Moon-God Men? In Memory of Eugene Numa Lane Patricia Lawrence 31 Albrecht Diirer's Curls Melchior Lorck's 1550 Engraved Portrait and Its Relationship to Diirer's Self-Fashioned Public Image Joan Stack 43 About the Authors 77 Acquisitions 2008 79 Exhibitions 2008 89 Loans to Other Institutions 2008 94 Museum Activities 2008 95 Staff 2008 103 Docents 2008 105 Museum Advisory Council of Students (MACS) 2008 106 Advisory Committee 2008 107 Director's Report Over the course of 2008, the museum mounted three major and several smaller exhibitions. The year began with Before Columbus: Iconography in the Ancient Americas, an exhibition I curated examining how meanings were constructed in ancient societies and are reconstructed from Precolumbian objects. Visitors were surveyed to assess the effectiveness of the exhibition in conveying the intended take-home messages; 45 percent of visitors indicated that the exhibition had strongly changed (five of five possible Likert­ Scale points) their understanding of iconography and the ways that images convey meanings, and 41 percent strongly felt it had changed and advanced their perceptions of art. More general impressions of the exhibition were also instructive: 76 percent indicated that the exhibition had exceeded their expectations, and 99 percent would recommend the exhibition to others. The exhibition also attracted new audiences to the museum; only 15 percent indicated they were regular museum visitors. During the summer, the museum presented The Poetry of Nature in Japanese Woodblock Prints, the first Museum of Art and Archaeology major exhibition curated by Dr. Mary Pixley. The exhibition examined both the natural and seasonal referents encoded in Japanese woodblock prints, as well as the complexities of the woodblock process itself. While the intellectual quality of the exhibition was high, what was perhaps most striking was the aesthetic quality of the exhibition as a whole, both in terms of the individual works selected for display and the overall design and installation of the exhibition, reflecting the synergy of Pixley and Museum of Art and Archaeology Chief Preparator Barbara Smith. Through a skillful combination of standardized spacing, matting, mounting, color choice, and lighting, the physical installation of the exhibition recapitulated the serenity and simplicity of line characteristic of woodblock prints. The autumn exhibition, Missouri through Lens and Palette, reflected a collaboration between the Museum of Art and Archaeology and the Missouri Photo Workshop, which has documented daily life in towns across Missouri through photographic essays for more than sixty years. Commemorating the centennial of the University of Missouri School of Journalism, the exhibition juxtaposed outstanding photographic images from the Missouri Photo Workshop with painted works from the museum's permanent collections, supplemented by loans from anonymous private collectors and from the university's Scruggs-Vandervoort-Barney Collection, which the museum has helped curate and conserve for many years. The exhibition explored how quite different kinds of images can be used to establish and develop a sense of place and compared the ways that elements like composition and lighting are used in photojournalism and the visual arts. The opening of the exhibition coincided with the opening of the university's new Reynolds Journalism Institute (RJI), and Barbara Smith designed and constructed special vitrines that echoed the architectural details of the new RJI building. When the exhibition closed, the museum offered these vitrines to the RJI to help the institute continue to interpret the Missouri Photo Workshop's legacy to visitors. The museum also presented a series of smaller temporary exhibitions, including Satirizing the High Life: Hogarth's Marriage a la Mode, which presented the museum's 7 DIRECTOR'S REPORT newly acquired set of Hogarth prints, and Dreams of the Surreal, which examined surrealist art using a combination of two- and three-dimensional works. Other temporary exhibitions in 2008 included The Fine Art of Living: Luxury Objects from the East and West, Daumier's Paris: Life in the Nineteenth-Century City, and an offsite exhibition of photographs from the Songs of My People series at the university's Ellis Library. The museum also reinstalled a display of ancient glass, highlighting the research focus of Dr. Gladys Weinberg, one of the museum's founders. During 2008, the exhibition Work Is Art and Art Is Work: The Art of Hand-Crafted Instruments traveled across the state. This NEA-supported exhibition, created by the Missouri Folk Arts Program, showcased traditional Missouri luthiers. Also in 2008, the Board of Curators of the University of Missouri recognized the museum for its continuing achievements through a special resolution of permanence and value, passed unanimously at their meeting on April 4, 2008. It specifically recognized the unique character and role of the museum as a valued, integral, and lasting part of the university. The Museum of Art and Archaeology continues to expand its collections across diverse areas. In 2008, our Asian collections grew through a generous gift of works, mainly statuettes, from Mr. William A. Scott. These included works from East Asia (2), Central Asia (9), South Asia (5) and Southeast Asia (4); in addition to these objects, Mr. Scott also donated a fifteenth-century Italian manuscript page to the museum's manuscript collection. We are deeply grateful to Mr. Scott for his continuing support of the museum and its mission. Dr. and Mrs. Arthur F. Furman presented the museum with a painting by Bulgarian-born American artist Stephen Sacklarian, as well as a marvelous 2007 porcelain by Jennifer McCurdy. The Andy Warhol Foundation for the Visual Arts Mr. William A. Scott. selected the Museum of Art and Archaeology to receive more than 150 Warhol photographs, including approximately 100 of Warhol's signature polaroids and about fifty silver gelatin prints. Also, Museum Associates, Inc., gave the museum an exquisite set of prints of William Hogarth's 1745 Marriage a la Mode.
Load more

Recommended publications
  • The First Appearances of Kamares Ware in the Levant
    THE FIRST APPEARANCES OF KAMARES WARE IN THE LEVANT By Robert S. Merrillees Though well known and often cited, the first occur- (BUCHHOLZ and KARAGEORGHIS 1973, 150 No. 1572), rences of pottery exports from Minoan Crete to the by Cadogan to EM III or MM IA (CADOGAN 1983, Bronze Age Levant have never been systematically 513) and by Warren and Hankey to “EM III/early studied, and their contribution to our understand- MM IA” (WARREN and HANKEY 1989, 115). It has a ing of trade relations, history and the relative and smoothed matt buff exterior surface, with matt absolute chronologies of the eastern Mediterranean black, black-brown and brown painted decoration region has largely been taken for granted. An excel- outside and inside the rim. Height to rim: 14.9 cm. lent illustration of this state of affairs, and the most Diameter of rim 15.0 cm. It has been mended and is recent survey of the evidence, is provided by H.-G. almost complete, lacking some sherds which have BUCHHOLZ in his major monograph on Ugarit, Zypern been filled in with plaster. Though customarily und Ägäis. Kulturbeziehungen im zweiten Jahrtausend vor dated to EC IIIB (ÅSTRÖM 1979, 56 ff.; CADOGAN Chr., published in Münster in 1999, 390 ff. The pres- 1983, 513), I have argued, on the evidence of the ent work sets out to bring together all of the relevant pottery types associated with the Cretan import, that material which is scattered in numerous publica- it was deposited in MC I (MERRILLEES 1979, 21 ff.). tions, museums and depots, and to analyse its con- There has been no dispute over the dating in texts with a view to determining synchronisms and Cyprus of the Kamares Ware cup found in Karmi dating horizons and drawing some general histori- Palealona Tomb 11B No.
    [Show full text]
  • 9. Ceramic Arts
    Profile No.: 38 NIC Code: 23933 CEREMIC ARTS 1. INTRODUCTION: Ceramic art is art made from ceramic materials, including clay. It may take forms including art ware, tile, figurines, sculpture, and tableware. Ceramic art is one of the arts, particularly the visual arts. Of these, it is one of the plastic arts. While some ceramics are considered fine art, some are considered to be decorative, industrial or applied art objects. Ceramics may also be considered artifacts in archaeology. Ceramic art can be made by one person or by a group of people. In a pottery or ceramic factory, a group of people design, manufacture and decorate the art ware. Products from a pottery are sometimes referred to as "art pottery".[1] In a one-person pottery studio, ceramists or potters produce studio pottery. Most traditional ceramic products were made from clay (or clay mixed with other materials), shaped and subjected to heat, and tableware and decorative ceramics are generally still made this way. In modern ceramic engineering usage, ceramics is the art and science of making objects from inorganic, non-metallic materials by the action of heat. It excludes glass and mosaic made from glass tesserae. There is a long history of ceramic art in almost all developed cultures, and often ceramic objects are all the artistic evidence left from vanished cultures. Elements of ceramic art, upon which different degrees of emphasis have been placed at different times, are the shape of the object, its decoration by painting, carving and other methods, and the glazing found on most ceramics. 2.
    [Show full text]
  • Noritake Garden Entrance Exit Fascinating Cycle of Life up Close
    天 Parking Lot Encounter nature at the biotope 1F A biotope is an area in an urban setting that provides oritae uare aoa C a living environment for plants, insects, sh, birds, iestle so Parking Gate and other forms of life. Come experience the General Discover the Culture, Rest in the Forest. Noritake Garden Entrance Exit fascinating cycle of life up close. Information See everything Noritake and Enjoy lunch and dessert served Free Admission (Admission fees apply for the Craft Center and Noritake Museum only) Okura Art China have to offer, on casual Noritake tableware. The Enormous “Six Chimneys” “The Detached Kiln” * All facilities are barrier-free. from elegant daily-use tableware Come and take a break from A monument symbolizing instills visitors with a sense to prestige products. A full lineup shopping or walking. Admission fees for the Craft Center and Noritake Museum of tableware is also available. Noritake’s dream the enthusiasm of its time. Adults/university students 500 yen These are relics from the tunnel This old kiln, nestled amidst a Visitors aged 65 or over 300 yen North Gate Nishi-Yabushita kilns built in 1933 to bake quiet forest, exudes the High school students and younger Free Discover the Culture, Rest in the Forest. Visitors with ID verifying disability Free CRAFT CENTER ceramics. The Noritake dream, a enthusiasm of the soil and Pedestrian access constant beacon of inspiration ames from its time. (Be prepared to present the ID) Noritake Museum * Group discounts available Groups of 30 or more 10% off Noritake Garden The “Red Brick Buildings”, ever since the early Meiji Period, Groups of 100 or more 20% off 4F Admire the grand “Old Noritake” symbolic of Japan’s burns on bright today.
    [Show full text]
  • ASIAN ART REFERENCE BOOKS and SELECTIONS from CT LOO LIBRARY 13 September 2012 New York, Rockefeller Plaza
    ASIAN ART REFERENCE BOOKS AND SELECTIONS FROM CT LOO LIBRARY 13 September 2012 New York, Rockefeller Plaza Lot 801 [LOO, CT, EXHIBITIONS AND SALES] -- ROSTOVTZEFF, M Inlaid Bronzes of The Han Dynasty in the Collection of CT Lo... Price Realized $4,750 Lot 802 [HAN, TANG and SONG DYNASTIES -- EXHIBITION CATALOGUES] -- D'ARDENNE DE TIZAC, H Chinesische Tierplastik und T... Price Realized $1,625 Lot 803 [GERMAN LANGUAGE] -- PERZYNSKI, Friedrich Von Chinas Göttern Reisen in China Munich: Kurt Wolff Verlag, 192... Price Realized $2,500 Lot 804 [SCULPTURE] -- LOEHR, Max Relics of Ancient China from the Collection of Dr Paul Singer New York: The Asia ... Price Realized $1,375 Lot 805 [PAINTINGS] -- WHITE, William Charles Chinese Temple Frescoes A Study of Three Wall-Paintings of the Thirteenth... Price Realized $3,000 Lot 806 [MURALS AND STONE ART] -- WHITE, William Charles Tomb Tile Pictures of Ancient China Toronto: University of... Price Realized $375 Lot 807 [BUDDHIST ART] -- ANESAKI, M Buddhist Art In Its Relation to Buddhist Ideals Boston and New York: Houghton ... Price Realized $56,250 Lot 808 SIRÉN, Osvald Chinese Sculpture from the Fifth to the Fourteenth Century London: Ernest Benn, Limited, 1925 Price Realized $40,000 Lot 809 [OSVALD SIRÉN, WORKS IN FRENCH] -- SIRÉN, Osvald Histoire Des Arts Anciens De La Chine Paris and Brussels: ... Price Realized $30,000 Lot 810 MIZUNO, Seiichi, and Toshio NAGAHIRO Yun-Kang The Buddhist Cave-Temples of the Fifth Century AD in North China<... Price Realized $74,500 Lot 811 [JOURNALS] -- LI, Chi Archaeologia Sinica Number Two Hsiao-T'un (The Yin Shang Site at Anyang, Honan), Volume I..
    [Show full text]
  • The Turkish Publication
    Erik Fischer with Ernst Jonas Bencard and Mikael Bøgh Rasmussen and a Contribution by Marco Iuliano Melchior Lorck volume 3: Catalogue Raisonné Part one: The Turkish Publication Translation: Dan Marmorstein The Royal Library Vandkunsten Publishers, Copenhagen Contents volume 1: Biography and Primary Sources Preface A comprehensive survey of the oeuvre The life and works of Melchior Lorck Documents related to the artist and the events of his life Bibliography Credits volume 2: The Turkish Publication, 1626 Edition Facsimile of a Copy in The Royal Library volume 3: Catalogue Raisonné Part one: The Turkish Publication Prefatory remarks 7 The structure of the catalogue 21 Abbreviations 24 Catalogue 25 Concordances 267 Credits 292 volume 4: The Constantinople Prospect Introduction Technique and Inscription Melchior Lorck’s Istanbul in the European context Credits The Constantinople Prospect. A Reproduction of the Original in the Leiden University Library Prefatory remarks to the catalogue On the different editions of The Turkish Publication volume 5: Today, Melchior Lorck’s Turkish Publication des- year catalogue number(s) ignates a collection of 128 woodcuts with Turkish Catalogue Raisonné 1565 1 motives. It seems likely that the woodcuts were 1570 2-14 Part two: Paintings, Drawings, Graphic Works and Architecture originally intended to illustrate a set of books that 1575 15-19 would represent – in words and pictures – the Prefatory remarks 1576 22-31, 33-36, 38-54 day’s Turkish military, clothing, costumes and 1579 55-56 The structure of the catalogue architecture, among other things. The motives 1581 57-77 were gathered on Lorck’s trip to Turkey in 1555- Catalogue 1582 78-110, 112-117, 119-122, 124-125 59; the objective of the publication was clearly Addenda et corrigenda to Vols.
    [Show full text]
  • Before the Odalisque: Renaissance Representations of Elite Ottoman Women Heather Madar
    Early Modern Women: An Interdisciplinary Journal 2011, vol. 6 Before the Odalisque: Renaissance Representations of Elite Ottoman Women Heather Madar he much-mythologized harem of the Ottoman sultans occupied a Tcentral place in European Orientalist thought for centuries.1 The harem, presented as an exotic world of forbidden sexuality inhabited by compliant yet sexually voracious women, appears in literature, art, and travel writing. While the most famous expressions of this harem fixa- tion date from later centuries,2 a focus on the harem as libidinous zone is demonstrably present in written sources from the sixteenth century. Yet an exploration of sixteenth-century European images turns up a surprising dearth of imagery in this vein. While Renaissance art lacks the languid odalisques or detailed views of the physical environment of the sultan’s harem familiar from later works, a series of largely overlooked representa- tions of elite Ottoman women do exist. Dating from the mid-sixteenth century, these images feature imagined portraits of sultanas — elite women such as Ottoman princesses, the sultan’s mother (valide sultan), or the sul- tan’s preferred concubine (haseki).3 Hurrem, the wife of sultan Süleyman, and his daughter Mihrimah appear most frequently in this genre. Yet strik- ing differences are immediately evident between their depiction and later, more familiar, views of the harem and harem women. The women shown in the Renaissance tradition were members of the sultan’s harem, yet they are not shown within a harem setting, nor do the images make reference to it. Although they are visually marked as Other, largely through the atten- tion given to their exotic dress, they are also presented as women who are of interest as individuals, possessing status and political significance.
    [Show full text]
  • LARRY A. SILVER Curriculum Vitae Born
    LARRY A. SILVER Curriculum Vitae Born: 14 October 1947. U. S. Citizen. married, two children. UNDERGRADUATE EDUCATION: University of Chicago, A. B., June 1969 Concentration: Art. Special Honors. General Honors GRADUATE EDUCATION Harvard University, Department of Fine Arts M. A., 1971; Ph. D., 1974 Dissertation: Quinten Massys (Director: Seymour Slive) ACADEMIC POSITIONS U. of California, Berkeley, 1974-1979 Lecturer in History of Art, 1974-1975 Assistant Professor of History of Art, 1975-1979 Northwestern University, 1979-1997 Associate Professor of Art History, 1979-1985 Professor of Art History, 1985-97 Chairman, Dept. of Art History, 1983-1986, 1997 Master, Chapin/Humanities Residential College, 1988-91, 1992-94, 1996-97 Martin J. and Patricia Koldyke Professor of Teaching Excellence, 1996-98 Smith College, Ruth and Clarence Kennedy Professor in the Renaissance, autumn 1994 Semester at Sea (University of Pittsburgh; University of Virginia; Colorado State) Fall 2001; Fall 2006; Summer 2008; Summer 2010; fall 2012; spring 2018 U. of Pennsylvania, 1997--2017 Farquhar Professor of the History of Art, emeritus 2017--present Chair of Graduate Group in History of Art, 1998-2000 Interim Chair, spring, 2005 Bogen Faculty Exchange Professor, The Hebrew University, fall 2007 Member, graduate group, German, 1999-- Member, graduate group, History, 2001— Director, University Scholars, 2010-17 President, Phi Beta Kappa, Delta Chapter, 2010-12 GRANTS and AWARDS: Woodrow Wilson Fellowship, 1969-1970 Danforth Graduate Fellowship, 1969-1974 Kress Foundation
    [Show full text]
  • New Zealand Potter Volume 20 Number 2 Spring 1978
    newzealdndpotter vol 90/? spring 1978 Contents Potting in Auckland Lindsay Bedogni, Grant Campbell Waybe Farm Pottery John and Diane Anderson Nicholas Stather Andrew and Gennie Van der Puten ©OOO\>$>UJI\J Sally Vinson 10 Glenn Beattie 12 Beverley Luxton 13 Olive Jones, pioneer potter 14 Native Gardens 15 Glazes —— improving predictability 16 In pursuit of a glaze 18 Levi Borgstrom — wood carver 19 Cry your eyes out Betty Crocker 20 Fear not the flame 26 Pottery in Australia 28 Kiln — keeping a low profile 30 Refractories for potters’ kilns 33 Kiln for fast firing stoneware 34 New Zealand Potter is a non-pro fit making magazine published twice annually. Circulation is 6,500. The annual subscription is $NZ4.00, for Australia $A4.70, Canada and the United States, $U.S.5.40, Britain £2.70 postage included. New Subscriptions should include name and address ofsubscriber and the issues required. Please mark correspondence ”Subscriptions". Receipts will not be sent unless asked for. A renewal form is included in the second issue each year. This should be used without delay. It is the only indication that the magazine is still required. Advertising rates Full page 180mm wide X 250mm high $126 Half page 180mm x 122mm high S75 Quarter page 88mm wide x 122mm high $45 Spot 88mm wide x 58mm high $27 Offset printing. Unless finished art work ready for camera is supplied by advertiser, then 10% will be added to the above rates. Correspondence marked ”Advertising”, to editor. Two young Auckland potters whose work shows different ap— a proaches to their craft.
    [Show full text]
  • Painting with Overglazes
    There is nothing more difficult for a truly creative painter than to paint 5 a rose, because before he can do so he has to first forget all the roses that were Chapter ever painted. —Henri Matisse (1869–1954) Painting with Overglazes Many artists come to china painting with extensive experience in other art forms, particularly oil and watercolor painting. A few come from a ceramic background, seeking a more painterly approach. MOverglazing is a special art form in several ways, and occupies a distinctive niche in the con- tinuum from painting to glazing. Painters will enjoy the depth, luminosity, and permanence of china painting. Potters will delight in a medium that is more like painting than any other ceramic technique, and offers a full range of colors. Both groups will appreciate the fact that the raw colors are almost identical to the fired colors. What makes china painting truly unique is its application onto a glossy surface. This creates spe- cial challenges, but also special possibilities. The material is a powder suspended in a medium, and as such, is adaptable to any of the techniques used with any form of paint or ink. It may even be used dry, like metal enamels. As in all art forms, there is no right or wrong way to use china paint. There are only those meth- ods that work for you. What to Paint On Any fired ceramic object may be decorated with china paint. Whether it’s high- or low-fired, glazed or unglazed, you can china paint it some- how.
    [Show full text]
  • John Alexander Pope Papers
    John Alexander Pope Papers Dr. Elizabeth Graves 2015 Freer Gallery of Art and Arthur M. Sackler Gallery Archives Washington, D.C. 20013 [email protected] https://www.freersackler.si.edu/research/archives/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical/Historical note.............................................................................................. 2 Arrangement note............................................................................................................ 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Biographic Material................................................................................... 5 Series 2: John A. Pope Asian Ceramics and Art Collection................................... 15 Series 3: Published and Unpublished Materials.................................................... 19 Series 4: Research Materials: Subject Files.......................................................... 31 Series 5: Travel...................................................................................................... 85 Series 6: Correspondence.....................................................................................
    [Show full text]
  • 1130输出文件画册最终版.Indd 1 15-11-30 下午8:58
    1130输出文件 画册最终版.indd 1 15-11-30 下午8:58 亚洲时间——首届亚洲双年展暨第五届广州三年展 第五届广州三年展办公室 ASIA TIME: THE 1st ASIA BIENNIAL AND THE 5th GUANGZHOU TRIENNIAL FIFTH GUANGZHOU TRIENNIAL OFFICE 业务指导：中华人民共和国文化部艺术司、外联局 广东省文化厅 项目统筹：张 芬 胡宇清 吕子华 Operation administrators: Project Managers: ZHANG Fen / HU Yuqing / Lyu Zihua The Art Department and Bureau for External Cultural Relations, Project Coordinators: HUANG Hairong / YUAN Zhao / Yaya Hu / JIANG Cui 主 办：广东美术馆 项目协调：黄海蓉 袁 钊 胡 也 蒋 翠 Ministry of Culture, the People’s Republic of China LIN Wei / ZHANG Fan / FENG Bi /ZHOU Shanyi/ LIAO Shani / 协 办：广东省立中山图书馆 林 薇 张 帆 廖沙泥 李若然 冯 碧 Department of Culture of Guangdong Province LI Ruoran / FENG Bi 行政助理：何 璐 刘苑婷 赵婉君 何惠玲 Administrative Assistants: HE Lu / LIU Wanting / ZHAO Wanjun / HE Huiling 总策展人：罗一平 推广协调：李姗姗 叶小青 刘丹妮 李诗媛 Organizer: Guangdong Museum of Art Media Coordinators: LI Shanshan / YE Xiaoqing / LIU Danni / LI Shiyuan 主策展人：张 晴 汉克·斯拉格 Co-organizer: Sun Yat-sen Library of Guangdong Province 策 展 人：金弘姬 乌特·梅塔·鲍尔 莎拉·威尔逊 主 编：罗一平 学术主持：孙 歌 副 主 编 ： 陈 建 宁 江 郁 之 邵 珊 Chairman: LUO Yiping Chief Editor: LUO Yiping 论坛主持：孙 歌 莎拉·威尔逊 执行编辑：胡宇清 廖沙泥 Chief Curators: ZHANG Qing / Henk SLAGER Vice Editors: CHEN Jianning/JIANG Yuzhi/SHAO Shan Curators: Hong-hee KIM / Ute Meta BAUER / Sarah WILSON Excutive Editors: HU Yuqing / LIAO Shani 策展研究员：吕子华 王佩琴 洪利知 编辑团队： 张 芬 吕子华 黄海蓉 袁 钊 胡 也 Academic Conductor: SUN Ge Editing Team: ZHANG Fen / Lyu Zihua / HUANG Hairong / YUAN Zhao 开幕时间：2015 年 12 月 11 日 蒋 翠 林 薇 张 帆 冯 碧 周善怡 蔡舒婷 Forum Moderators: Sun Ge / Sarah WILSON Yaya Hu / JIANG Cui / ZHANG Fan / CAI Shuting
    [Show full text]
  • What the Renaissance Knew Piero Scaruffi Copyright 2018 "I Know That I Exist
    A History of Knowledge Oldest Knowledge What the Jews knew What the Sumerians knew What the Christians knew What the Babylonians knew Tang & Sung China What the Hittites knew What the Japanese knew What the Persians knew What the Muslims knew What the Egyptians knew The Middle Ages What the Indians knew Ming & Manchu China What the Chinese knew The Renaissance What the Greeks knew The Industrial Age What the Phoenicians knew The Victorian Age What the Romans knew The Modern World What the Barbarians knew 1 What the Renaissance knew Piero Scaruffi Copyright 2018 http://www.scaruffi.com/know "I know that I exist. But what is this I that I know?" (Descartes) “The Army causes Taxes; Taxes cause Discontents; and Discontents make an Army necessary” (Lord Bath, 1749) To do is to be - Descartes To be is to do - Voltaire Do be do be do - Frank Sinatra (Men’w Restrooms, Greasewood Flats, Scottsdale) I play the notes, in order, as they are written. It is God who makes the music. 2 (Johan Sebastian Bach) What the Renaissance knew • Bibliography – Paul Kennedy: The Rise and Fall of the Great Powers (1987) – Henry Kamen: Empire (2002) – Gregory Freeze: Russia (1997) – Geoffrey Hosking: Russia and the Russians (2001) – Simon Schama: "A History of Britain" (2000) – John Crow: “The Epic of Latin America” (1980) – Mary Beth Norton: A People And A Nation (1986) – Daniel Hall: "A History of Southeast Asia" (1955) – Robert Jones Shafer: “A History of Latin America” (1978) – Peter Burke: Culture and Society in Renaissance Italy (1987) – Peter Wilson: “The
    [Show full text]