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quinta-feira, 30 de outubro de 2014

Masterpieces from the Philadelphia Museum of Art: Impressionism and Modern Art

This self-portrait casts the twenty-five-year-old painter as a hardy, athletic figure and sets the stage for the legend of Picasso as the artistic champion of the twentieth century. In preparatory drawings the artist included a brush in his right hand, but he removed it in this final version. Its absence attests to the notion that creative genius is not simply manual dexterity but the expression of an inner vision, here symbolized by the artist’s intense, staring eyes.

Additional information:

Masterpieces from the Philadelphia Museum of Art: Impressionism and Modern Art
This portrait is the triumphant manifesto of a twenty-five-year-old artist who, after several years of struggling to channel his innate virtuosity, emerged resoundingly with a unique artistic vision. It is Picasso's first important self-portrait since 1901. In the intervening years, he had appeared in the guise of hungry beggars or circus performers--metaphorical representations of the impoverished, outcast artist. Here Picasso emerges as a proud and determined painter, the palette the only clue to the profession of the tough, athletic figure represented. The artist's power is concentrated in his right arm, with its clenched fist, a massive form that overwhelms the rest of the simply rendered body. The muscular vitality of this arm acts in counterpoint to the stern expression of the face, whose exaggerated eyelids and brows, oval face, and oversized ear give it the aspect of a mask, separated from the body by the pronounced line of the collarbone. In this painting, which reflects the stylistic influences of Picasso's recent encounters with African art and archaic Iberian sculpture, the artist appears as a painter without a brush. Picasso thus confidently and presciently ascribes to himself the "magic" he would continue to discover in pre-modern and non-Western artistic traditions. Michael R. Taylor, fromMasterpieces from the Philadelphia Museum of Art: Impressionism and Modern Art (2007), p. 114.

Twentieth-Century Painting and Sculpture in the Philadelphia Museum of Art

This portrait is the triumphant manifesto of a twenty-five-year-old artist who, after several years of struggle to channel his innate virtuosity, resoundingly emerged with a unique voice. It was Picasso's first explicit self-portrait painting since 1901. In the intervening years, he had placed himself in his canvases only in the guise of hungry beggars or scraggly performers, metaphors for the impoverished painter scorned by bourgeois society. Here, in contrast, Picasso casts himself as a hardy, athletic figure whose carriage suggests that of a boxer or a wrestler. Drawings for the composition place a brush in Picasso s right hand, but in the final painting that hand is clenched in a fist, and a palette offers the only clue to his profession. The artist's power is concentrated in the massive right arm, which overwhelms the rest of the simply rendered body.

This is evidently a self-portrait painted in the third person, since the artist's eyes do not gaze back at a mirror image but look off into an indefinite distance. It is as if the artist wears a mask, much as an athlete or a warrior wears a helmet that signifies his power but gives no indication of his thoughts or feelings. Appearing virtually detachable, the face is separated from the artist's body both by its deep hue and by the firm demarcation of the line of the collarbone. The stylization of the exaggerated eyelids and brows, oval face, and oversized ear draw on various sources, including the inspiration of Gauguin, especially his sculpture. It also evokes the so-called primitive art that Picasso knew well at this time, including archaic Iberian sculptures on display at the Louvre and Romanesque sculptures he had seen in Spain the previous summer. Casting himself as the painter without a brush, Picasso confidently and presciently ascribes to himself the "magic" he would continue to discover and treasure in pre-modern and non-Western art traditions. Twentieth Century Painting and Sculpture in the Philadelphia Museum of Art (2000), p. 21.

* Works in the collection are moved off view for many different reasons. Although gallery locations on the website are updated regularly, there is no guarantee that this object will be on display on the day of your visit.

Self-Portrait with Palette
Pablo Ruiz y Picasso, Spanish, 1881 - 1973
Made in Europe
Oil on canvas
36 3/16 x 28 7/8 inches (91.9 x 73.3 cm) Framed: 46 1/2 × 38 5/8 × 4 inches (118.1 × 98.1 × 10.2 cm)
© Estate of Pablo Picasso / Artists Rights Society (ARS), New York
Curatorial Department:
Modern Art
Object Location: Accession Number:
Credit Line:
A. E. Gallatin Collection, 1950

fonte: @edisonmariotti #edisonmariotti

Radiographers carry out CT scans on body parts of 19th century museum mannequins

120-year-old Child from company of Parisian stuffed lay figures among figures to undergo CT scans in Cambridge

A François-Pierre Guillois skeleton from the late 18th century© Fitzwilliam Museum, CambridgeScientists and curators in Cambridge say CT scans on two 19th century mannequins, taken from some of the earliest attempts to recreate the human body, have revealed hidden damage including a fractured left knee joint during a hospital project which could help in the treatment of artificial human body parts.

Child no.98 – a “high quality” 19th century Parisian stuffed lay figure – and an 18th century, largely wood mannequin once owned by Walter Sickert, of Bath Spa University, were examined by radiologists at Addrenbrooke’s Hospital as part of a bid by the Fitzwilliam Museum to delve deeper into the truth behind four conservation stories in the current Silent Partners exhibition.

“The mannequins contain both natural materials and worked metals,” said Dr Tom Turmezei, observing an “interesting human analogue” to the findings.

“Humans are getting more and more artificial metal parts in their bodies – for example in joint replacements, clips and plates.

“When these are scanned with the CT machine it creates a starburst effect in the final image, called an artifact.

“This bright white flare-like trace obscures details in the surrounding tissue. Clinically this can be a big problem as it can make it difficult to perceive both damage to the metal part and any disease in the tissue around it, such as an abscess, blood clot or tumour.

“As we are moving towards more metallic, electronic and even robotic body parts, being able to reduce the artifact in the scan is ever more important.”

Metal Deletion Technique software was used to judge the effectiveness of the algorithm in reducing the artifact.

“Looking at these mannequins you can see the incredible drive to create a more accurate model of the human body and the developments that happened to allow this to take place,” said Dr Turmezei.

“The Bath Spa model is mostly wood. By the time Child no.98 was made they had moved to a wooden skeleton and metal joinery, padded out with horse hair and hessian.

“A great deal of effort was taken to give Child no.98 as accurate anatomy as possible.

“The body has padding inside for flank and abdominal muscles. There is padded material inside the chest to make lungs, a belly button and even glass beads under the chest ‘skin’ for nipples.”

The origins of artist’s mannequins were often overshadowed by their use as tools in creative studios. Previously unnoticed damage was found within the “internal workings” of the figures, with the Bath Spa mannequin suffering a fractured knee joint.

A 68-centimetre tall figure from the Museum of London, once owned by the 18th century sculptor Louis-François Roubiliac, was also found to possess an internal “skeleton" made of iron, bronze and brass, while a 19th century mannequin left by the artist Alan Beeton had tattered fingers and a broken nose.

“The purpose of doing these scans was art historical – to discover their material composition and construction in a non-invasive way and confirm suspicions art historians had about these objects,” said Dr Turmezei.

The story of the four mannequins will be discussed in an event, Mannequins with x-ray Vision, at the museum on October 28. Tickets £6, email to book. Silent Partners: Artist and Mannequin from Function to Fetish is at the Fitzwilliam Museum, Cambridge until January 25 2015.

The mannequins

Lay figure, Child no. 98 (mid-19th century). Unknown maker (French). Photographed in the exhibition Silent Partners© Hamilton Kerr Institute, Fitzwilliam Museum, CambridgeChild no 98 - a mannequin hired by Millais

Child lay figures were very useful for artists, as young sitters could be prone to wriggling and especially difficult to keep still.

For his paintings Sleeping (circa 1865) and Waking (1865), John Everett Millais (1829-1896) used two of his own daughters, Carrie and Mary, as models.

Recent research has revealed that these highly affectionate portraits of his daughters most likely had another child sitter – Child no. 98, a high quality Parisian stuffed mannequin.

From the remaining records of the artists’ supplier, Charles Roberson & Co, we know that Millais hired superior ‘Parisian stuffed’ child lay figures from Roberson’s stock on at least 11 occasions from 1855 to 1895, the year before his death.

Although occasionally keeping the lay figures for periods of up to three or four months, Millais more commonly hired for the minimum period of a four weeks.

Four child figures are preserved in the Roberson Archive, among them no. 98, which was hired by Millais in 1866.

Charles Roberson & Co. was one of London's most successful artists’ suppliers and colourmen. The firm was founded in 1820, but by the end of the 19th century the economic boom years in British art were over, and those trading in artists' materials experienced a recession from which they never fully recovered.

Rentals and purchases of lay figures continued to decline, so that by the 1930s only a few figures lingered in the company’s stock, but were neither hired nor sold for the next half century.

At the firm’s liquidation, in 1987, a small group of lay figures remained among the ledgers, recipe books, brushes and paint: one headless adult, four children with two damaged heads between them and three-and-a half stands.

Among them was Child no. 98, over 120 years old: now a dirty, damaged survivor of Roberson's once-splendid company of Parisian stuffed lay figures.

The remaining Roberson archive of lay figures, artists’ supplies and business records was acquired by the Hamilton Kerr Institute for the conservation of easel paintings, a department of the Fitzwilliam Museum, Cambridge.

Unknown maker, Lay figure once owned by Walter Sickert (probably late 18th century)© Bath Spa UniversityWalter Sickert’s (and possibly William Hogarth’s) mannequin

This wooden lay figure and came in to the possession of Walter Sickert in 1929.

Its date of manufacture is uncertain, but both its materials and mode of construction - wooden joints and ball sockets with relatively large metal bolts pinning the joints and two halved of the head - seem to suggest it is of 18th-century design.

Compelling comparison can be made with a group of life-size pattern drawings for a mannequin made by a student from the École de Dessin et Mathématique in Reims: astonishing, and possibly unique survivors that reveal the methods and mode of construction of an 18th century figure .

Sickert believed the figure was once owned by William Hogarth (1697-1764). Although there is nothing to substantiate this hypothetical provenance, Sickert would doubtless have been attracted to the idea of using a figure that belonged to so distinguished a predecessor.

The only paintings for which Sickert is known to have used the mannequin, duly wrapped in a shroud by a local undertaker for the purpose, were three versions of The Raising of Lazarus (1929-32), the subject itself inspired by the sight of the lay figure being delivered to his studio.

The mannequin’s carved head, hollow eyes and traces of red paint marking the slash of the mouth gives it a ghoulish, sepulchral appearance that understandably made it a particularly apt stand-in for its painted role.

Unknown maker, Lay figure once owned by Louis-François Roubiliac (1750–62)© Museum of London

Lay figure once belonging to sculptor Louis-François Roubiliac (1695-1762)

This figure is approximately 68cm tall. Recent X-rays and CT scans have shown that it was constructed on the basis of an internal chassis described as a ‘skeleton’ made of iron and copper, or copper alloy.

Louis-François Roubiliac was a French sculptor working in England during the early part of the 18th century. Although the maker of the mannequin’s body is unknown, the finely carved and painted wooden head is of a quality that suggests the hand of Roubliac himself.

With the addition of the appropriate miniature wig (part of the figure’s relatively extensive surviving wardrobe), the figure could be easily re-gendered, and serve to pose for either sex.

The mannequin was one of the few possessions left in Roubiliac’s studio on his death in 1762 and by 1793 it had passed into the ownership of Richard French, a close friend of Horace Walpole.

In a letter to French in October that year, John Wragg, one of the leading lay figure-makers of his day, described the figure as ‘Exceeding good work’, which was likely to have cost Roubiliac as much as he (Wragg) would then charge for a life-size one.

An indication of the materials and construction used in the fabrication of mid-18th century mannequins is provided by two illustrations in the monumental Encyclopaedie, published by Denis Diderot and d’Alembert in1763, which accompanies the text devoted to ‘Le Dessein’ by Claude-Henri Watelet.

CT scans of the Roubiliac figure, carried out by curators and conservators of the Museum of London in collaboration with radiologists at the London Eye Hospital, indicate that the mannequin appears to be closely based on the engravings featured in the Encyclopaedia.

fonte: @edisonmariotti #edisonmariotti

Museu do Pico promove exposição "Mestre João Silveira Tavares" - Cultural do Portal Cultur Açores

A Direção Regional da Cultura, através do Museu do Pico, apresenta a partir de sexta-feira, 31 de outubro, no Museu da Indústria Baleeira, em São Roque do Pico, a exposição "Mestre João Silveira Tavares – o bote baleeiro açoriano: uma viagem e um olhar". 

Esta exposição, que foi inaugurada a 19 de agosto no Museu dos Baleeiros, nas Lajes do Pico, insere-se no processo de reabilitação e divulgação do património baleeiro regional, abordando de forma particular o Mestre João Tavares que, pela dimensão, abrangência geográfica e qualidade da sua obra, é considerado um dos grandes construtores de botes baleeiros dos Açores.

A sessão pública de apresentação desta exposição decorre a partir das 21h30, podendo a mostra ser visitada até ao final de novembro, de terça a sexta-feira, das 09h00 às 12h30 e das 13h30 às 17h00, e, aos sábados e domingos, das 13h30 às 17h00.

A Direção Regional da Cultura informa que este e outros eventos estão disponíveis para consulta na Agenda Cultural do Portal Cultura Açores,

fonte: @edisonmariotti #edisonmaiotti GaCS/DRC


“Un amigo es aquel que sabiendo
todo de ti aun te sigue queriendo”.
Elbert Hubbard

Como profesionales de la museología y la museografía, dedicamos mucho tiempo de nuestra vida a visitar y observar lo que ocurre dentro de los museos y también en su entorno, por supuesto. Observando a las personas que acuden a los museos, viendo como deambulan por sus salas y galerías, acuden a nuestra mente preguntas que rozan la dinámica de la teoría filosófica: ¿quiénes son?, ¿de dónde vendrán?, ¿a dónde irán después de la visita?, ¿qué les habrá traído hasta aquí?, ¿estarán pasándolo bien?, ¿estarán aprendiendo algo?… Por otra parte, los museos, por sí mismos, cada vez se preocupan más por conocer al público que reciben. También reflexionan sobre cómo saber más de esas personas, qué datos son precisos y valiosos, todo ello para hacer los cambios necesarios en relación con esos datos y mejorar de cara al visitantes. Se trata de crear y ejecutar las acciones necesarias para que cada vez acudan más visitantes al museo. Sin visitantes, no hay museo; el título de nuestra canción. Pero, ¿cómo es un visitante?

Foto: Rabbit Hoang

La función fundamental del museo, es crear y abrir sus exposiciones a la sociedad para que sean visitadas por ella. Pero existen otros modos de relación entre la sociedad y el museo. Fomentar este tipo de relación implica invariablemente hacer lo que apuntábamos al comienzo: observar, investigar, documentar, promocionar. El listado de preguntas que nos formulamos para tener verdadero conocimiento del visitante es muy larga. Podemos comenzar intentando saber que se cuestiona el propio visitante del museo. Todos los datos que podamos recopilar sin excepción, son fundamentales para trazar los perfiles de los visitantes a los museos. Evidentemente, también debemos conocer el museo hasta el último detalle, incluyendo todo lo relacionado con la aportación del personal del museo para mejorar la experiencia del visitante cuando acude. La información que puede aportar al estudio el personal que está más en contacto con el público, es la más importante.

Kim Joon, “People tattooed porcelaines”

La dirección del museo debe demostrar su capacidad de gestión para obtener información sobre el uso del museo, y de los recursos que pone a disposición del público. Por mucha información que gestionemos, si la dirección del museo no dispone de las herramientas necesarias para el personal que está en contacto con el visitante con el objetivo dea mejorar la experiencia en el museo, todo ese saber será inútil. No se puede tener éxito de cara al visitante si la gestión desconoce al propio visitante. Para poder trabajar sobre seguro, no hay más salida que hacer un buen número de investigaciones en la medida de lo posible y con la profundidad a la que cada museo pueda llegar. Hay que hacerlo, no hay otra. El grado de satisfacción del visitante, una vez realizada la visita al museo, es uno de los datos más importantes entre otros también importantes. Pero hay mucho más, tanto es así que organismos como Museum and Galleries Comission en Inglaterra, ha redactado planes de conocimiento y seguimiento del visitante como modelos que puedan ser aplicados a todo tipo de museos para ayudarles en su investigación particular y que no tengan que pensar en cómo generar esa información.
Victoria & Albert Museum

Otro dato importante, es que el tipo de visitante que acude a los museos debe compararse con la población existente dentro del área de influencia del propio museo. Por ejemplo, si se trata de un museo situado en una población de 250.000 habitantes, una ciudad de provincia tipo, la zona de influencia del museo englobaría una primera área que sería la del núcleo urbano – el meollo -, una secundaria que es el ámbito comarcal – el concejo -, y la tercera zona sería la más difusa que tiene que ver con el exterior provincial. Las características de la población del núcleo urbano que acude al museo son comparables con el perfil demográfico de la población y de la comarca. Si un museo se orienta a este grupo de visitantes, le resultará mucho más sencillo adaptarse a las necesidades de la población local porque es relativamente fácil hacerse con información ya casi conocida; sin embargo, esto no es aplicable para nada al museo nacional. En ese ámbito hay que hacer un gran esfuerzo de investigación y análisis, y no digamos ya para los museos de ámbito internacional. Eso ya es de nota.

Eugène Delacroix, souvenir du Maroc au Musée Delacroix

Le Musée Delacroix met en avant les souvenirs d'Eugène Delacroix, venus du Maroc, lors d'une exposition du 5 novembre 2014 au 2 février 2015. Cette exposition est l'occasion d'évoquer l'oeuvre orientaliste de Delacroix à travers les objets qu'il a rapporté de son voyage en Afrique du Nord en 1832.

Alors que le Musée du Louvre met en avant l'art dans le Maroc Médiéval, le Musée Delacroix a souhaité questionner le côté orientaliste de Delacroux, à travers la présentation d'objets immortalisés dans les tableaux du maître.

On découvre alors deux portraits de Delacroix : le voyageur et l'amoureux de l'Orient. Delacroix l'orientaliste a souhaité recréer l'ambiance du Maroc, fantasmée, rêvée, dans des tableaux réalisés à Paris grâce à des accessoires achetés à des brocanteurs, tandis que Delacroix le voyageur a conçu plus d'une centaine de croquis et d'aquarelles sur le vif lors de son voyage au Maroc en 1832, figeant l'instant vécu.

Ces deux portraits rendent compte de la part réaliste et de la part fantasmée de l'oeuvre orientaliste de Delacroix...Si les objets qu'il a rapporté de son voyage au Maroc l'ont inspiré dans ses tableaux, il a su nourrir sa vision idéalisée du Maroc à travers la littérature et la musique.

Les objets exposés ont été légués par Delacroix au peintre Charles Cournault, puis offerts au Musée Delacroix en 1952. Cette exposition illustre l'attrait des artistes français pour les cultures orientales au XIXe siècle, à l'aube de la période coloniale.

Informations pratiques:
Exposition souvenir du Maroc au Musée Delacroix,
Du 5 novembre 2014 au 2 février 2015
Lieu : Musée Delacroix, 6 rue de Fürstanberg, 75006 Paris 

Horaires: 9h30-17h30 tous les jours, sauf les mardis
Tarifs : 7,5€ - gratuit -26ans UE, RSA, handicapés

fonte: @edisonmariotti #edisonmariotti

Figueres : le musée Dali fête ses 40 ans avec l'une des plus célèbres toiles du peintre

C'est l'une des huiles les plus représentatives de la première période du peintre. La jeune à la fenêtre est visible au musée de Figueres jusqu'en décembre.

40 ans déjà que le musée Dali a été inauguré à Figueres en Catalogne du sud.
Pour célébrer comme il se doit cet anniversaire, le musée s'est enrichi d'une nouvelle toile prêtée, pour l'occasion, par le musée de la reine Sophia de Madrid.
Il s'agit de la célèbre "jeune fille à la fenêtre", on y voit la sœur du peintre, que Dalí représente fréquemment dans les années 20.
Anna Maria sera le modèle de l'artiste jusqu'en 1929, année où il fait la connaissance de Gala et où la relation avec sa sœur prend un autre tour.

Une oeuvre susceptible d'attirer encore plus de monde à Figueres, en 2013 le musée enregistrait déjà plus d'un million de visiteurs.

La toile est visible au musée Dali jusqu'en décembre
Reportage : Aude Cheron et Céline Llambrich 

La jeune fille contemple la mer de Cadaquès, cette petite ville de Catalogne du sud accompagnera Dali toute sa vie. 

fonte: @edisonmariotti #edisonmariotti

The buildings that currently house the Museum Berggruen and Sammlung Scharf-Gerstenberg were originally commissioned by King Friedrich Wilhelm IV. They took eight years to build and were completed in 1859.

Sammlung Scharf-Gerstenberg 

Die Sammlung Scharf-Gerstenberg | © Staatliche Museen zu Berlin, Maximilian Meisse

The Sammlung Scharf-Gerstenberg traces common threads that weave through the evolution of the art of the fantastic, starting with works by Giovanni Battista Piranesi and Francisco de Goya, and culminating in the museum’s largest suite of works: the Surrealist art of such giants of 20th-century painting as Max Ernst and René Magritte. Like the Museum Berggruen situated across from it, the museum owes its existence to the efforts of private individuals and their passion for collecting art. Situated in Berlin-Charlottenburg in the west of the city, both exhibition venues belong to the Nationalgalerie and are joined by its other entities the Alte Nationalgalerie, Neue Nationalgalerie, Hamburger Bahnhof – Museum für Gegenwart – Berlin, and Friedrichswerdersche Kirche to form an organizational whole.

The buildings that currently house the Museum Berggruen and Sammlung Scharf-Gerstenberg were originally commissioned by King Friedrich Wilhelm IV. They took eight years to build and were completed in 1859. Their architect, Friedrich August Stüler, later went on to design the Alte Nationalgalerie. The twin buildings were designed in the Neoclassical style and were each crowned with a large cupola. They were conceived as a structural counterpoint to Schloß Charlottenburg on the opposite side of the road and flank the entrance to Schloßstraße. In 1855 Friedrich Wilhelm IV ordered the garrison building inspector Wilhelm Drewitz to erect, on the building’s eastern side, a single-storey wing for stables with a square-shaped house attached at the end and a coach house. These former stables now also serve as an exhibition space for the collection.

Both buildings originally served a function that was as practical as it was aesthetic: They housed the officer barracks of the Gardes du Corps while at the same time diverting the view from the stables. In the 1920s, the eastern Stülerbau was used by the police. After suffering structural damage in the Second World War, the building was renovated by the chief state conservator and former Bauhaus student, Hinnerk Scheper, in a process that lasted until 1955. In 1960 it was put to use as a police station.

After being converted by the architect Wils Ebert, the Egyptian Museum moved into the premises in 1967. Ebert joined the separate buildings of the eastern Stülerbau and stables by constructing a connecting corridor between them and it is here that the gate from the Temple of Kalabsha stands today, which was salvaged from its original site in Egypt before the filling of the Aswan Dam. The pillars from the Temple of Sahure are also preserved here, in the room of the same name. After the return of the Egyptian Museum to the Museumsinsel Berlin in 2005, the building was once again converted by the architectural practice Sunder-Plassmann. As well as exposing the original brickwork in the Stülerbau, former stables, and Sahure room, Sunder-Plassmann created a glass entrance hall. The Sammlung Scharf-Gerstenberg opened its doors to the public in summer 2008, featuring an exhibition consisting in a long-term group loan, lent for an agreed period of ten years.

fonte: @edisonmariotti #edisonmariotti[filterMuseum]=19&cHash=ab56c78a71439ae2c82634e91cc8a55b