Current and Upcoming Museum Exhibits of Interest

At the British Museum:

Female figure sculpted from steatite.  Found at
Grimaldi, Italy, about 20,000 years old.

Ice Age art -- Arrival of the modern mind

7 February – 26 May 2013

About the exhibition

An exhibition 40,000 years
in the making.

Discover masterpieces from the last Ice Age drawn from across Europe in this groundbreaking show. Created by artists with modern minds like our own, this is a unique opportunity to see the world's oldest known sculptures, drawings and portraits.
These exceptional pieces will be presented alongside modern works by Henry Moore, Mondrian and Matisse, illustrating the fundamental human desire to communicate and make art as a way of understanding ourselves and our place in the world.
Ice Age art was created between 40,000 and 10,000 years ago and many of the pieces are made of mammoth ivory and reindeer antler. They show skilful, practised artists experimenting with perspectives, scale, volumes, light and movement, as well as seeking knowledge through imagination, abstraction and illusion.
One of the most beautiful pieces in the exhibition is a 23,000-year-old sculpture of an abstract figure from Lespugue, France. Picasso was fascinated with this figure and it influenced his 1930s sculptural works.
Although an astonishing amount of time divides us from these Ice Age artists, such evocative pieces show that creativity and expression have remained remarkably similar across thousands of years.

At the Metropolitan Museum of Art:

I may have already featured this exhibit, but it's worth reviewing again.

Buddhism Along the Silk Road
5th–8th Century

June 2, 2012–February 10, 2013Gallery 251

Drawing together objects from India, Pakistan, Afghanistan and the western reaches of Central Asia—regions connected in the sixth century A.D. through trade, military conquest, and the diffusion of Buddhism—the exhibition illuminates a remarkable moment of artistic exchange. At the roots of this transnational connection is the empire established the end of the fifth century by the Huns (Hunas or Hephthalites) that extended from Afghanistan to the northern plains of India. Although this political system soon disintegrated into chaos, over the next century trade routes connecting India to the western reaches of the Central Asian Silk Road continued to link these distant communities, facilitating ideological exchange and financing the production of Buddhist imagery of great artistic sophistication.

By the fifth century, Buddhism had been thriving in Gandhara and the Swat Valley (northern Pakistan) for six hundred years, financed by the extensive trade that flowed through the Khyber and Karakorum passes. Trade with the Mediterranean began with an overland route established by Alexander the Great in the fourth century B.C. By 50 B.C. maritime routes allowed merchants to sail down the Red Sea and to take advantage of monsoon winds to cross the Arabian Sea and reach ports along the west coast of India. Trade goods were transported along the Indus River up to Gandhara and then to China via routes passing through Afghanistan or over high Himalayan passes and then through Central Asia.

Between 450 and 520 this trade pattern was disrupted by an invasion of nomadic people from the Central Asian Steppes. They swept through Afghanistan, Gandhara, the Swat Valley, and Kashmir, eventually reaching the plains of north India. The invaders probably comprised several Hun groups known by various names—notably the Hephthalites in Gandhara and the Hunas in India. They ruled briefly in Gandhara and Kashmir and fought battles in north India that destabilized the Gupta Empire. Of great significance, these invasions brought north India in contact with Kashmir, Gandhara, and, ultimately, Afghanistan. As a consequence, the Gupta artistic style of north India pervaded the Buddhist art of Kashmir and the Swat Valley, reaching as far as Afghanistan.

These invasions also appear to have forced Gandharan monks into Afghanistan and western Central Asia, and a corresponding taste for Gandharan classical forms became important at Buddhist centers in these areas. In Central Asia, prosperous Buddhist complexes were established at oases and urban centers that served as way stations for traders crossing the vast deserts. This exhibition focuses on the western regions of Central Asia in the Tarim basin—sites such as Kizil, Turfan, and Khotan—where contact with Afghanistan and, by extension, Gandhara and ultimately north India is evident. The sites around Khotan are especially interesting, as they sit at the mouth of a pass that crossed the high Himalayas to reach Gandhara and the Swat Valley.

The trade systems extending down into India and overland as far as Iran and Iraq affected the lives of nomadic peoples living in the vast expanse of Central Asia. Elite goods such as textiles provide a glimpse into the nature of this trade, and prestige items such as gold ornaments give us a sense of the tastes of these prosperous nomadic communities. These nomads are often overlooked, as they did not build cities or temples, but they were both wealthy and militarily powerful and played an important role in the artistic development of the Central Asian community.

The Lourve Museum:

Not exactly a temporary exhibit, but the totally revamped Islamic Art section of The Lourve opened in September.  There are several videos at the museum's website but I was not able to embed any of them here.  Worth a look at though! 

The New Department of Islamic Art

The Department of Islamic Art is the newest department in the Musée du Louvre. Created in 2003, its refurbishment has been underway since 2008. From September 2012 it is due to reopen in a completely new, restyled setting, which will provide its collections with a space befitting their prominence within the museum.

 

Beautiful Jade Horse Carving - The Horse Exhibit at British Museum

I just happned to stop by the website for the British Museum tonight and right on the front page was an incredibly beautiful jade horse carving.  It's not a chess piece - but it could be, albeit a little large:

The particulars:

Height: 12.750 cm [1 cm = .39 in. approximately; so this piece is a little over 5 inches tall]
Length: 20.500 cm [approximately a little over 8 inches long]

On loan from a private collection OA 26:20
Room 33b: Chinese jade

Jade figure of a horse

Late Ming or Qing dynasty, 17th century AD

This impressive horse belongs to a small group of carved jade animals, mainly horses and buffaloes, carved on a much larger scale than usual, and all in the same range of green opaque stones. There is no direct evidence to help us define precisely when and for what purpose these large creatures were carved.

The slender and elegantly smooth carving shows the horse lying down, its hind legs tucked under its body. The mane and tail are carefully worked to represent the hair, with the other features - eyes, jaw, limbs, muscles and sinews - shown in fine grooves.

J. Rawson, Chinese jade: from the Neolith (London, The British Museum Press, 1995, reprinted 2002).

Oh, I wish I could see this -- a wonderful exhibit on the horse at the British Museum, time is almost up, it ends on September 30, 2012:

The horse from Arabia to Royal Ascot

24 May – 30 September 2012
Free

Room 35/Open late Fridays

Royal Patron:
HM Queen Elizabeth II

A Diamond Jubilee Celebration

A History of the World - in 100 Objects!?

The BBC and the British Museum have outdone themselves with a new series of shows, only 15 minutes each in length, featuring 100 objects from the Museum's vast collection and, through them, giving the viewers a "history of the world." 

Here is a review of the program from cheeky Miranda Sawyer at the Guardian.co.uk.  Is there really a person named Jim Naughtie?  Mr. Naughtie?  Oh my.

Ultimately a lot more than 100 objects will be available in an online museum, contributed from museums (and regular people) from all across England, Wales and Scotland.  At least, that's what I get out of reading Wales joins world history project and Scots artefacts in digital museum.

Cool! 

New Egyptian Gallery at British Museum

This settles it - dondelion and I are going to London in 2010 and I'll spend the entire time inside the British Museum. (One of the scenes from Nebamun's tomb - with the tabby cat mentioned in the article "floating" in mid-air above the boat!)

From The Times Online January 13, 2009 New Egyptian gallery at the British Museum The new Egyptian gallery at the British Museum offers a fascinating display of scenes from everyday life under the Pharaohs

Rachel Campbell-Johnston Who says accountants are boring? Some of the ancient world's most entrancing paintings celebrate the life of a man who kept tallies for a living. And this month, freshly restored, they at last go on show again for the first time in almost ten years, when the British Museum opens a new gallery.

This will be dedicated to the display of 11 large wall fragments from the tomb chapel of a relatively low-ranking Egyptian official named Nebamun, a grain accountant who, almost three and a half millennia ago, served the great deity Amun, then the official god of the state. A golden age of Egyptian painting unfurls. These preserved images are among the most famous, most fascinating and most artistically fresh of their day.

When we think of the Ancient Egyptians, we tend to think of the rituals of death. Certainly, the hordes of schoolchildren who daily head for the British Museum's Egyptian galleries come to gaze at the eerie solemnity of the elaborate mummy cases; to thrill at the corpses in their horror-movie bandages; to squirm at the stories of brain-extracting hooks. The mummies are to this great historical collection what the dinosaurs are to the Natural History Museum. They are a guaranteed crowd puller - and all the more popular for their gruesome whiff of the grave.

But if you imagine that the visitors who can now wander on from the mummies into the museum's newest gallery will find only more of the same, think again. The paintings might have come from a tomb; but they have far more to do with life than death.

Here, in what surely counts among the British Museum's most celebrated treasures, is a virile young Nebamun hunting in the Nile marshes, navigating his slender barque among feathery reeds that teem with birds of all species and fluttering butterflies. His fat tabby cat clearly can't believe its luck: as it seizes one flapping waterfowl in its whiskery jaws, it pins down the two songbirds that have already fallen prey to it with greedy claws. Or here, in three wonderfully preserved fragments, is Nebuman in his role as master of great estates, counting the flocks and the herds that slaves bring for his inspection, the ranks of driven cattle and the thick flocks of jostling geese. And here too, in one of the most seductive images the era, is a luxurious banqueting scene, its richly attired guests entertained by a group of female musicians while sinuous dancing girls, naked but for their jewellery and a girdle so slender that it cannot even cover their pubic growth, entwine with the serpentine grace of a pair of cobras.

These still richly coloured pictures, now displayed all together for the first time, are reunited also with a lively quail-hunting scene on long-term loan from Berlin (there are other fragments in France that for the sake of scholarship should also be lent). And what will strike the first-time viewer most about them is how wonderfully vivid, how exuberantly lifelike they are.

You don't need to have the hieroglyphs translated or to be familiar with the complex mythologies or iconographical conventions of the era to relate to these images on a sensual and emotional level. Look at the charioteer who sits on the back of his vehicle while his horses, still in harness, drop their heads to feed. You can almost imagine his legs swinging idly as he waits. Or notice the way that one of the driven cattle panics and tries to barge its way backwards against the flow, or how delicately a worker folds a fragile gazelle in his encircling arms. You can almost hear the kerfuffle and squabble of the chivvied geese, feel the cold pimpled skin of a freshly plucked fowl, run your fingers through the fur of the cat or smell the pungent ointments of the wealthy banqueters.

Very little is known about these works. No one knows precisely where they came from. The Greek grave robber who sawed them from the walls of a tomb chapel sold them to a British collector, who in turn passed them for what he considered “a miserable sum” to the British Museum in 1821, and fell out with curators to whom his erstwhile treasures were valuable prizes. He died penniless a few minutes' walk from the British Museum, taking the secret of where the paintings had come from to his pauper's grave. No one knows exactly when Nebamun lived or much about his personal life beyond the fact that he was married and had two children, who appear in the paintings, and that he worked as a scribe and accountant for the god from whom his name - meaning “my lord is Amun” - comes. Nor does anyone know who the creator of these magnificent works was, nor why someone so talented should have ended up working for some middle manager. It has been suggested that he may have been moonlighting from a job on a far grander burial site near by.

But what is unquestioned is the calibre of this artist. Curators have nicknamed him the Egyptian Michelangelo. And it is worth investing in a copy of the clearly written and fully illustrated book that accompanies this new gallery to find out why.

Though the delightful narratives and ebullient realism are what will first catch the eye of the spectator, there is much that will not be immediately obvious, from the rigorous conventions that dictate the overall design (compositions are divided into four bands or registers) through the meanings conveyed by even the simplest gestures (a hand held up in front of a mouth means that the character is speaking) to the translations of the hieroglyphs - “shut up and get on with it” seems a more or less colloquial translation of one caption. These scenes would once have been read by Egyptians like cartoon strips.

What becomes increasingly apparent is how skilfully the artist reconciled traditional iconography with his own artistic freedom. Here is someone capable of presenting the most complex narratives. We see him mapping out his designs with underdrawings on plaster and then painting them swiftly - occasionally making changes - with mineral pigments. In a world in which anything from your tummy fat to your toenails has its own precise meaning, he attends to every detail. He renders every living organism from the pied wagtail to the pond weed so that it can be precisely identified. It was important, for instance, that his ancient viewers could tell that that fish was a tilapia, because these creatures were commonly associated with rebirth (because they supposedly harbour their young in their mouth). He carefully renders the patterns and textures that make all these things feel real: the mottled hides of the cattle, the pricked crusts of bread, the fluff of bird's feathers, the plaiting of baskets. The eye of the cat, it has been newly discovered, was overlaid with gilt.

And yet even as he attends to such scrupulous detail he improvises, trying out a radical and very rare full-frontal pose complete with foreshortening, tangling the dancers' fingers with expressive sweeps of the brush, sending the musicians' tumbling plaits shaking to their lively rhythms. Improvisations such as this bring the Ancient Egyptians back to life.

In the Natural History Museum they have spent thousands of pounds on an animatronic T Rex that tries to do the same thing for their dinosaurs. It amounts to little more than a fairground entertainment. The British Museum, instead, has invested in a highly sophisticated restoration that, lasting almost a decade, is probably the biggest project of its type yet undertaken. It must be commended for this decision. These wall paintings, spaciously displayed among cabinets of artefacts from the same period, bring Ancient Egypt to life far more fascinatingly than any animatronic mummy ever could.

Even poor Nebamun should be pleased about the project. The reason he would have wanted his tomb painted so vividly would have been to attract visitors who, hearing of the marvels on display, would have been tempted to pop in after visiting their own ancestral burial sites. By remembering his name they would ensure his safe afterlife. But when the god Amun was deposed in ancient Egypt, his name was erased from wherever it was written. Nebamun was nearly forgotten.

Now he has a new chapel - far more visited than he could ever have hoped. Remember to say his name aloud. It was the actual pronunciation that mattered. And besides, Nebamun was an accountant: he will certainly be adding up all those mentions.

The new Egyptian gallery opens at the British Museum, WC1 ( 020-7323 8299), on Jan 21

British Museum to Open New Egyptian Gallery

Hmmm, okay, we are definitely going back to London in 2010 just to visit the British Museum. Don and I made a whirlwind visit of only 5 hours or so en route to Madrid in 2002, and we've always wanted to go back. The little bit we were able to see just whetted our appetites for more more more... We gave London a good hard look (a really good hard look), for the 10th anniversary of Goddesschess (May 6, 2009), but weighing relative costs of the dollar versus the euro, we opted to return to New York, which The Goddesschess Four visited for five days in 2005. It wasn't long enough, and so we'll be returning to New York, New York in May, 2009, this time for a full week! We're already making up a list of "must - see" while we're there for our second visit. We're also planning at least one day trip (and possibly two), to Washington, D.C. by Amtrak - we MUST visit all of the national monuments and also the Smithsonian. Library of Congress, the Capitol Library - oh my - two days just isn't going to be long enough... Anyway - back to London - this sounds absolutely fantastic! The original article is from ArtDaily.org: New Egyptian Gallery at the British Museum to Open in Winter Saturday, September 6, 2008 LONDON.- This winter the British Museum will open a new Ancient Egyptian gallery centered round the spectacular painted tomb-chapel of Nebamun. The paintings are some of the most famous images of Egyptian art, and come from the now lost tomb-chapel of Nebamun, an accountant in the Temple of Amun at Karnak who died c. 1350 BC, a generation or so before Tutankhamun. They show him at work and at leisure - surveying his estates and hunting in the marshes. An extensive conservation project – the largest in the Museum’s history – has been undertaken on the eleven large fragments which will go on public display for the first time in nearly ten years. The tomb-paintings were acquired by the Museum in the 1820s and were constantly on display until the late 1990s. Since then, the fragile wall-paintings have been meticulously conserved, securing them for at least the next fifty years. The project has provided numerous new insights into the superb technique of the painters called by one art-historian ‘antiquity’s equivalent to Michelangelo’ - with their exuberant compositions, astonishing depictions of animal life and unparalleled handling of textures. New research and scholarship have enabled new joins to be made between the fragments, allowing a better understanding of their original locations in the tomb. They will now be re-displayed together for the first time in a setting designed to recreate their original aesthetic impact and to evoke their original position in a small intimate chapel. The gallery will include another fragment for the same tomb-chapel on loan from the Egyptian Museum, Berlin. Drawing on the latest research and fieldwork at Luxor, a computer ‘walk-through’ of the reconstructed tomb-chapel will be available in gallery with an interactive version online. Next to the paintings, 150 artefacts show how the tomb-chapel was built, how it remained open for visitors, and also the nature of Egyptian society at the time. Most of the objects are contemporary with Nebamun and reflect those depicted in his paintings. Some, however, contrast with the idealised world-view that is shown on elite monuments like the tomb-chapel and show that most people’s experience of life was not necessarily all about leisure and prestige as in the paintings. Spectacularly luxurious objects, such as a glass perfume bottle in the shape of a fish, are juxtaposed with crude tools of basic survival, such as a fishing net, to suggest that most of what we know of Ancient Egypt is about the small wealthy elite. The gallery is on the upper floor of the Museum next to the galleries of Ancient Egyptian funerary archaeology (the ‘mummy rooms’) which are the most popular galleries in the museum. This gallery will provide a new ‘must-see’ highlight for the Egyptian collections. The gallery is generously supported by the R & S Cohen Foundation.