quinta-feira, 6 de novembro de 2014

Tatyana Franck est la nouvelle directrice du Musée de l'Elysée

L'actuelle directrice des Archives Claude Picasso reprendra la tête du musée cantonal de la photographie le 1er mars 2015.


Tatyana Franck a réalisé plusieurs commissariats d'expositions internationales.
Image: Anne du Chastel

C'est une jeune femme qui s'emparera des rênes du Musée de l'Elysée suite au départ de Sam Stourdzé, désormais à la tête des Rencontres photographiques d'Arles. Un engagement surprise, alors que Stefano Stoll, directeur du festival Images à Vevey, était pressenti depuis plusieurs mois pour occuper ce poste.

Domiciliée à Genève, Tatyana Franck, âgée de 30 ans, prendra la tête de l'institution le 1er mars 2015, comme le souligne le canton de Vaud dans un communiqué. Après l'examen de 29 dossiers et une procédure de mise au concours infructueuse, Anne-Catherine Lyon a proposé «l'engagement de la jeune femme par voie d'appel».

Le choix s'est porté sur Tatyana Franck, titulaire d'un master en droit des affaires et en droit du marché de l'art, car elle «a présenté une vision stratégique claire pour l'avenir du musée, que ce soit en termes de gestion des collections, de leur valorisation, de leur numérisation ou encore sur le développement de l'institution au niveau international», remarque le canton.

fonte: @edisonmariotti #edisonmariotti http://www.24heures.ch/culture/tatyana-franck-nouvelle-directrice-musee-elyee/story/27587911

Ouargla : Le musée saharien enfin ouvert

Inauguré le 1er novembre, le musée saharien de Ouargla a été rénové avec les matériaux locaux pour préserver son authenticité.


Après plusieurs années de travaux de réhabilitation qui ont métamorphosé son aspect extérieur, le musée saharien de Ouargla a rouvert ses portes le 1er novembre dernier. Les travaux qui ont coûté la bagatelle de 50 millions DA ont porté sur la rénovation de la façade extérieur du musée avec Timchemt, le plâtre de Ouargla, mais aussi la rénovation des différentes salles intérieures, la toiture, et le sol. Le musée saharien, jadis très connu des touristes européens, est tombée en désuétude ces vingt dernières années, victime d’agressions, de vols et de dilapidation de son patrimoine cumulé depuis l’ère coloniale.

Cette opération de réhabilitation le rehausse et le blanchit aux sens propre et figuré grâce au suivi d’un architecte spécialisé mandaté par le ministère de la Culture. Ce bijou architectural, construit en 1936, était en fait la résidence du gouverneur militaire durant l’ère coloniale. Il se caractérise par une magnifique architecture néo-soudanaise inspirée de bâti traditionnel de Tombouctou qui paraissait anachronique un siècle plus tôt en se démarquant de l’architecture saharienne ksourienne.

La dégradation du cachet architectural local a toutefois fini par donner aux Ouarglis amoureux du cachet saharien de leur ville une certaine nostalgie de ce style devenu le leur, et repris depuis dans la réalisation de la nouvelle gare routière multimodale et le centre artisanal d’El Khafdji d’un beau rose en rupture avec le jaune avilissant imposé par la DUCH depuis des lustres. Il est à souligner que le bâtiment se compose d’un hall consacré à des reproductions photographiques de sites touristiques et d’artisans au travail choisies en fonction de leurs caractères esthétique et ethnographique.

La salle n°1 rassemble des costumes nuptiaux, de vieux fusils arabes, des casse-têtes d’Afrique Noire, du mobilier taillé dans des troncs de palmiers, de la tapisserie, etc. La salle n°2 s’intéresse à l’ethnographie de la région de Ouargla principalement, tandis que la salle n°3 est consacrée à la préhistoire. Les différentes vitrines montrent le produit de diverses industries préhistoriques du paléolithique au néolithique. Le visiteur accède ensuite à la salle du Pétrole qui dépeint le sud pétrolier.

Le musée de Ouargla comporte entre autres richesses inédites un météorite noir exposé à l’entrée du musée avec une inscription concernant sa découverte à Tarout près de Djanet en 1944, sur les vestiges d’un grand cratère creusé il y a des millions d’années, et qui attire particulièrement l’attention de milliers de visiteurs qui font spécialement un crochet par Ouargla pour le voir.

fonte: @edisonmariotti #edisonmariotti http://www.elwatan.com/regions/sud/ouargla/ouargla-le-musee-saharien-enfin-ouvert-05-11-2014-276611_259.php

The mystery of the sculptures - Since 1989, mysterious statues have appeared in Amsterdam.

No one knows the maker, no one knows when they were placed there, they just seem to appear out of nowhere.

Who can be its maker?


Running man with violin case

The statue of a running man holding a violin case was the first statue by a mysterious artist that appeared in Amsterdam.

It was placed in 1982 at Tweede Marnixplantsoen (Marnixstraat).

The Sculpture Running man with violin case in the Amsterdam Marnixstraat is made by an anonymous artist.

People named the statue: Man attempting to catch tram 10. The coated man seems to be in a rush. Though he lacks a head, he does find the time to pleasantly take his hat off to greet someone. Another funny element is the banana peel in front of this foot.

No name was left, no one seemed to know anything. The city council pretended not to know who made the statue.

And then, suddenly, the statue disappeared, only to reappear years later. Remarkably enough, the statue had now been painted blue…


Little man with saw

The statue of a man attempting to sow down a branch of one of the large tree at Leidsebosje was the second mysterious sculpture to appear. The little iron fellow was placed near Leidseplein in 1989, January 30. That is the day before Queen Beatrix’ birthday.

Again, no one knew who made the sculpture. No one claimed the art.

Statue of a man with a saw near Leidseplein, Amsterdam, by anonymous.


The Fiddler (Violist) by an anonymous artist from Amsterdam
The fiddler



The fiddler (de Violist)took in quite a lot of attention when it was moved to the entrance of the Stopera in 1991. Though the Stopera at Waterlooplein is also home to the Amsterdam city hall, the city council still pretended to know nothing about the maker.

The statue was named the Fiddler. It is made of bronze. The musician seems to burst out of the floor, while playing his instrument.

Workers had to make quite an effort to break open the marble floor to place the statue.

According to a little book published in 2004, this statue was first placed ‘in the sea’, in Velsen.

Also, there is a poem that accompanies the statue.




The bronze breast

The bronze breast appeared very appropriately in the heart of Amsterdam’s red light district, just outside of Amsterdam oldest church, the Oude Kerk. This was the fourth work of what many considered to be the same anonymous maker.

A hand groping at one breasts, all in bronze is laid subtly among the cobbled stones.

Neighbours however started to complain. The statue was considered sexist and would make loud noises at night when someone stepped on it. Taking the breasts away, was not a job to take on lightly, as the bronze piece was weighed with a meter large block of cement.

Placing these breasts in the first place was obviously not a one man’s job…



Bronze sculpture of a breast at Oudekerksplein, Amsterdam, by an anonymous artist, placed in 1993.



The city council eventually brought the breast back to the square, soundproof this time and invited the maker to city hall. The city council announced the maker wanted to remain anonymous. All they said that the maker was man, a medical doctor, who in his free time made sculptures.


Harmonica man

Harmonica man appeared on the façade of a house in the Amsterdam Jordaan in 1994. Again, the maker was not known, but it was said this was made by the same maker. Harmonica man appeared on the façade of the house on Anjeliersstraat 175.




Sculpture of a man holding a harmonica, by an unknown artist at Amsterdam Anjelierstraat.



Three men in conversation

A year later, a group of three men, sitting high up on red stools, chatting away appeared in the area of Amsterdam Oud-West. The statue (“Drie heertjes in gesprek“) was made in bronze and iron, obviously our anonymous artist favourite material.

You’ll find it at the market of Ten Kate Markt, in Amsterdam Oud West, Kinkerstraat.

Three men in conversation, at Ten Katestraat, Amsterdam



More sculptures appeared outside Amsterdam. One appeared in Velsen: met de neus in de boeken in 1990. One appeared in Amersfoort in 1999. The violin player had already appeared in Velsen as well.
Who made the anonymous sculptures of Amsterdam?

Conducting my own research, I found Andre Havas, a medical doctor, psycho therapist and sculptress in his free time the most likely artist. His work resembles the autonomous sculptures.

Is it a coincidence that mr. Havas lives in the Anjelierstraat, just a few houses from the Harmonica man? Moreover, Anjelierstraat seems to be street where more of the anonymous works appear.

In 2008, the work ‘His master’s skeelers’ appeared in the Anjelierstraat, at Madelievenstraat. Unfortunatley, the sculpture in bronze and iron, depicting a little girl on skeelers and her dog was lost when a truck hit it.

Others have named American artist Gene Holt as the master at work, though his work doesn’t resemble the work at all.



Queen Beatrix of The Netherlands is an artist herself.
Or, is it the Queen?

But some are convinced the maker must be someone with great influence, to be able to have his/her statues placed without much hassle in such important spots, like Ouderkerkspein and Stopera.

They say the secret is in the sculptures. The coulours of three of the statues are red, white and blue.

The fiddler in the stopera looks remarkably like Claus the husband of Queen Beatrix….

And so some say, the anonymous maker of the mysterious statues in Amsterdam is Queen Beatrix herself, known to be a talented sculptress…


fonte: @edisonmariotti #edisonmariotti http://whatsupwithamsterdam.com/the-mystery-of-the-sculptures/

A Arqueologia Náutica e Subaquática em Portugal - Ciclo de Debates “Conversas a Bordo”

A exposição “O Tempo Resgatado ao Mar” celebra os trinta anos da Arqueologia Náutica e Subaquática em Portugal com várias iniciativas de dinamização e divulgação deste domínio científico. A interpretação, salvaguarda e a valorização dos testemunhos arqueológicos submersos, são instrumentos de reflexão do Património Cultural Nacional e Europeu, neste momento em que se prevê a extensão da plataforma continental.


O Museu Nacional de Arqueologia e o Centro Nacional de Arqueologia Náutica e Subaquática, da Direção-Geral do Património Cultural, promovem o Ciclo de Debates “Conversas a Bordo”, dedicado a esta ciência e dirigido a todos os especialistas, profissionais e públicos interessados.

Próximo debate: 6 de novembro - Inventário e Carta Arqueológica








Entre 9 de Outubro de 2014 e 29 de Janeiro de 2015, a experiência pessoal de um vasto conjunto de profissionais permitirá enumerar e sistematizar questões prioritárias para um debate aberto, que pretende contribuir com sugestões para traçar perspectivas e novos caminhos para a disciplina. 
Vão ser objecto de debate os temas: “Formação e Ensino”; “Trabalhos arqueológicos preventivos de minimização de impactos”; “Inventário e Carta Arqueológica”; “O novo Património Subaquático”; “Planeamento e condições de realização dos trabalhos arqueológicos”; “Caça ao tesouro ou arqueologia comercial”; “Arquivos e documentação histórica”; “Detector de metais e arqueologia”; “Conservação preventiva”; “Valorização de sítios e parques arqueológicos subaquáticos” e “Passado e Futuro”.

Depois da intervenção dos oradores convidados, o debate é aberto aos participantes.
A entrada é gratuita. 
fonte: @edisonmariotti #edisonmariotti http://www.patrimoniocultural.pt/pt/agenda/meetings-and-conferences/arqueologia-nautica-e-subaquatica-em-portugal-ciclo-de-debates-conversas-bordo-museu-nacional-de-arqueologia/
Organização:
Museu Nacional de Arqueologia / CNANS / DGPC
Local:
Museu Nacional de Arqueologia, Lisboa
Contacto:
Museu Nacional de Arqueologia
Telf(s):
+351 213 620 000
E-mail:
adolfosilveira@mnarqueologia.dgpc.pt e cnans@dgpc.pt
Referências

Museu na Kulturbrauerei - Museum in der Kulturbrauerei



 
Este Museu pertencem a uma fundação, a Haus der Geschichte der Bundesrepublik Deutschland, com espaços em Berlim, Bona e Leipzig. Desde Novembro de 2013, a fundação abriu o Museu na Kulturbraurei, com uma exposição permanente: «Vida Quotidiana na RDA», e exposições temporários, todas sobre o passado da República Democrática.



As omnipresentes fotografias dos dirigentes da RDA





O museu fecha às segundas-feiras e, nos restantes dias, está aberto das 10h00 às 18h00 (às quintas-feiras, o horário é alargado, encerrando apenas às 20h00).

O espaço de exposição não é grande, mas tranquilo. Não se compara com o movimento e a dinâmica interactiva do DDR Museum, mas tem a vantagem de ser grátis. No interior, verá o habitual: cartazes, recriações do dia-a-dia, lenços dos Pioneiros, estatuária e brinquedos. O Museu da Kulturbrauerei, além de ter mais peças originais, possui um espólio que em nada fica atrás do que o DDR Museum exibe.

O Museu é de fácil acesso, ficando não muito longe da estação ferroviária de Frierichstrasse. Para ir de metro, utilize a linha U2, saindo na estação de Eberwalderstrasse. Uma alternativa é caminhar a pé num percurso que contemple também o Palácio das Lágrimas, não muito distante dali.


Museum in der Kulturbrauerei

"Alltag in der DDR" ist das Thema der Dauerausstellung im Museum in der Kulturbrauerei. Sie zeigt das vielschichtige Spannungsverhältnis zwischen dem Anspruch des politischen Systems und der Lebenswirklichkeit der Menschen in der DDR. Von April bis August 2014 präsentierte das Museum zudem seine erste Wechselausstellung "Dig, Dag, Digedag. DDR-Comic 'Mosaik'".
Das Museum in der Kulturbrauerei ist seit November 2013 für Besucher geöffnet. Es befindet sich im denkmalgeschützten Gebäude der ehemaligen Schultheiss-Brauerei, das die Stiftung Haus der Geschichte der Bundesrepublik Deutschland als modernes Museum erschlossen hat. Einen Blick hinter die Kulissen bietet unser Tagebuch "Zum Museum". Wir freuen uns auf Ihren Besuch im Museum in der Kulturbrauerei!


 

Museu na Kulturbrauerei
Horário: aberto todos os dias, excepto às terças, das 10h00 às 18h00.
Entrada: gratuita.
Endereço: Knaackstrasse, 97
fonte: http://www.hdg.de/berlin/   @edisonmariotti #edisonmariotti http://www.hdg.de/berlin/museum-in-der-kulturbrauerei/

Convento de São Pedro de Alcantâra abre ao público

O Convento de São Pedro de Alcântara abre ao público a partir desta segunda-feira, 3 de novembro, nos dias úteis e ao fim de semana.

- com visitas guiadas todas as semanas em português inglês e francês.





Ocupado nas últimas décadas pela Comunidade Religiosa Feminina da Congregação da Apresentação de Maria, que aqui recolhia jovens carenciadas, este convento é uma belíssima construção do século XVII, feita em homenagem ao santo castelhano São Pedro de Alcântara, com uma arquitetura marcadamente religiosa, dos franciscanos capuchinhos arrábidos.

A sua edificação deve-se ao primeiro marquês de Marialva e conde de Cantanhede que, em 1665, na Batalha de Montes Claros, fez um voto de fundar um convento.

A Igreja do Convento, com pintura barroca joanina, vinda do Convento de Mafra no período posterior ao terramoto merece a visita. No conjunto, sobressaem os altares em talha dourada, a iconografia franciscana, o teto pintado em grissaille e a pintura em marmoreado das paredes.

Aberta aos visitantes estará, também, a Sala do Brasão que ostenta no teto as armas da Misericórdia de Lisboa, e que tem uma exposição de quadros dedicados à Virgem Maria.

O convento guarda, também, outros motivos de interesse como a Roda e o Parlatório, ou as esculturas que relatam a morte de São Francisco de Assis.

De terça a domingo, o Convento (Igreja e Capela dos Lencastres) pode ser visitado entre as 10h00 e as 18h00, sendo que, à segunda-feira, está encerrado de manhã, recebendo visitas entre as 14h00 e as 18h00.

A entrada é livre.
Visitas guiadas
Incluem, para além da Igreja e Capela dos Lencastres, a Sacristia e o Coro-Alto.
Visitas de participação individual, nos seguintes horários, sem marcação prévia - 2,5 €
Sexta-feira  11h30 - Francês | 15h00 - Inglês
Sábado 15h00 - Português | 16h30 - Português

Visitas para grupos organizados, mediante marcação prévia, em português, inglês, francês e espanhol.
Mínimo 10 participantes | Máximo 30 participantes.

fonte: @edisonmariotti #edisonmariotti http://www.museudesaoroque.com/pt/home/convento-de-s%C3%A3o-pedro-de-alc%C3%A2ntara-abre-ao-p%C3%BAblico.aspx

Marcações | Informações
Serviço de Públicos e de Desenvolvimento Cultural
Direção da Cultura da Santa casa da Misericórdia de Lisboa
Tel.: 213 235 233/ 825/ 065
Consulte AQUI o desdobrável informativo sobre o Convento de São Pedro de Alcântara

VIDEO. Abou Dhabi : les premières images du futur Musée du Louvres dévoilées


Toujours en travaux, le bâtiment imaginé par l’architecte Jean Nouvel et installé aux confins du désert doit ouvrir dans un an.



Une presqu’île complètement désertique et, au bout, un dôme géant sorti de terre, 7 000 tonnes d’acier inoxydable. Depuis un an, des milliers d’ouvriers travaillent 24 heures sur 24 sur le chantier du nouveau Musée du Louvre, aux portes d’Abou Dhabi.

La ministre de la Culture Fleur Pellerin est sur place pour découvrir la coupole de 180 mètres de diamètre qui recouvrira presque l’ensemble du musée qui, lui, doit encore être construit. Au total, la coupole est composée de huit couches qui laissent passer les rayons aléatoirement en fonction de la course du soleil. Une pluie de lumière pour une réalisation architecturale sans précédent.
Des travaux évalués à un milliard d’euros.

A l’intérieur même du bâtiment, l’eau sera omniprésente. "On ne perd jamais la sensation qu’on est à Abou Dhabi, avec les vues sur l’eau, sur les paysages. Ce musée est une sorte de fragment de ville et de palais", assure au micro de France 2 l’architecte du projet, Jean Nouvel.

Ce musée est l’aboutissement d’un accord de coopération culturelle signé en 2007 entre la France et Abou Dhabi. Paris va aussi envoyer 300 œuvres pour alimenter les collections du musée. Abou Dhabi s’engage à verser des contreparties au musée français, et notamment à payer les travaux du nouveau Louvre, évalué à un près d’un milliard d’euros.

fonte: @edisonmariotti #edisonmariotti http://www.francetvinfo.fr/culture/expos/video-abu-dhabi-les-premieres-images-du-futur-musee-du-louvres-devoilees_736747.html

Le nouveau musée d'ethnographie de Genève dévoile une collection exceptionnelle


Après 4 ans de travaux, Genève vient de retrouver son musée d'ethnographie. Agrandi et embelli, le MEG présente une sélection de 1 200 pièces (sur 80 000) qui racontent la vie de 1500 cultures sur les cinq continents. Un fonds exceptionnel inauguré en présence des plus grands spécialistes de la muséographie. Yves le Fur, directeur de collections du Quai Branly était présent.



Les collections du musée ethnographique de Genève sont riches de plus de 80 000 objets des arts premiers © France 3 / Culturebox



Le Musée d'ethnographie de Genève (MEG) détient une collection admirable de 80 000 objets du monde entier qui relatent le mode de vie de sociétés proches et lointaines et des nécessités induites par les coutumes et la nature. Ces objets nous parlent de toutes les formes de culture et des manières d'envisager un modèle humain. A l'occasion de l'inauguration samedi 1er novembre le nouveau musée a accueilli 13000 visiteurs tous émus par ces arts premiers si proches.

Parmi eux, Yves le Fur, Directeur des collections du musée du Quai Branly à Paris, avait fait le déplacement. Il se fait notre guide pour nous détailler certains objets exposés. Il reste émerveillé par un manteau en plumes d'Hawaï, un don au musée en 1829 : "Sur le marché on vient de m'en proposer un à trois millions cinq".

Reportage : I. Pernet-Duparc / S. Worreth / L. Di Bin



Deux expositions sont à visiter en ce moment au Musée d'ethnographie de Genève :

Une exposition de référence baptisées "archives de la diversité humaine". L'exposition se décline en sept chapitres : un prologue historique, suivi de la présentation des collections des cinq continents et de la collection ethnomusicologique.

Masque heaume à quatre faces ñgontang. Gabon, Moyen-Ogooué Fang, sous-groupe Betsi. 19e - début du 20e siècle Bois, pigments, kaolin. H 39 cm - Acquis en 1944 du pasteur Fernand Grébert, missionnaire au Gabon de 1913 à 1931 © MEG
L' exposition temporaire consacrée aux Rois Mochica. Divinité et pouvoir dans le Pérou ancien jusqu'au 3 mai 2015. Le MEG présente en première mondiale l'extraordinaire trésor d'une tombe royale de culture mochica ou moché, mise au jour en 2008 sur le site archéologique de Huaca El Pueblo, sur la côte nord du Pérou.

Masque funéraire Pérou, côte nord, site de Dos Cabezas, tombe 2 Mochica. Moché Moyen, 6e-7e siècle / Cuivre, cuivre doré, coquillage, résine, pierre, H 20 cm © MEG, J. Watts / Ministerio de Cultura del Perú, Lima
Musée d'Ethnographie de Genève
Boulevard Carl-Vogt 65-67
CH - 1205 Genève
Tél. +41 (0)22 418 45 50

Ouvert du mardi au dimanche de 11h à 18h.
Tarifs : Gratuit pour l'exposition permanente, 15 FCH pour l'exposition temporaire (
Entrée libre chaque premier dimanche du mois)
fonte: @edisonmariotti #edisonmariotti http://culturebox.francetvinfo.fr/expositions/patrimoine/le-nouveau-musee-dethnographie-de-geneve-devoile-une-collection-exceptionnelle-200243 

Third meeting of the mentoring Project France-Portugal-Spain at the Muséum National d’Histoire Naturelle, Paris

The Portuguese Node of GBIF participated at last 14-16 October at the Muséum National d’Histoire Naturelle in Paris in the third and final meeting of the mentoring project between France, Portugal and Spain, with the aim of exchanging experiences and expertise among the different nodes.







The main themes developed and discussed in this meeting were: 

Creating a website and building a community of citizen science in order to transcribe the information provided on the labels of herbarium collections, using as platform, "Les Herbonautes" design by the French Node of GBIF, translating and adapting their features for Portuguese and Spanish.
Visualization of data through GBIF APIs.
Analysis of GBIF-accessed data with statistic tools
Detailed presentation of the code and functionalities the Atlas of Living Australia's ALA-portal, which will be available for France and Portugal, having Spain already made ​​public a version of the portal.
Discussion about persistent identifiers and their specificities depending on the type of data involved (occurrence, data set, data base, data paper ...)


This last meeting was the culmination of a rich and constructive exchange of experiences and knowledge between teams from Spain, France and Portugal, which led to an improvement in capacity, and opened the opportunity for an ongoing and lasting collaboration between the involved nodes, and will also benefit to other members of the GBIF community on the covered topics with new or improved tools, documents, manuals and practical knowledge.

The program and presentations of the third meeting of the mentoring project can be found here as well as the action points to be followed by participants in the future. You can also find information on the other two meetings (Spain and Portugal) here.
 
 
fonte: @edisonmariotti #edisonmariotti http://www.gbif.pt/node/206?language=en

Museum holds diaries of emperor’s trips to the East

Brazil’s Dom Pedro II travelled to Egypt, Lebanon, Syria and Palestine and wrote down his impressions in pads. They are kept by the Imperial Museum and their contents are available online.







http://www.museuimperial.gov.br/component/content/article/134-arquivo-historico-pt/4349-instrumentos-de-pesquisa.html (in Portuguese)




São Paulo – The collection of Museu Imperial (the Imperial Museum), in the city of Petrópolis, Rio de Janeiro, includes precious keepsakes of Brazil’s ties with the Arab world in its empire days: the diaries of emperor Dom Pedro II's travels through Brazil and the world, including Arab countries. The notepads contain accounts of the monarch’s trips to Egypt, in 1871, and then to Lebanon, Syria, Palestine and Egypt again, in 1876.







M. Delie & E. Bechard - Back to Light


Dom Pedro II (3rd, right to left) travelled to Egypt

“He is fascinated with Egypt. He made that clear in his writings on several occasions,” says the Imperial Museum‘s director Maurício Vicente Ferreira Júnior. He also highlights Dom Pedro II's enthusiasm about the trip to Palestine. Júnior lists characteristics of the emperor that show through in his diaries – he was curious, easily moved and sarcastic, which becomes evident from his critical, light-hearted remarks about things.

“After sitting a mass at the Franciscanos church, which can only be reached by foot because of these streets akin to ant galleries, I went to the Pyramids of Giza. The path is almost entirely flanked by Acacias, a very many of which intertwine their crowns of the most splendid green, a worthy locale to such venerable monuments,” wrote Pedro II during his first trip to Egypt.

The accounts of his first trip to Egypt are basically about visits to landmark sites, interspersed with a few alternately endearing and high-spirited remarks about the people he met and the places he saw.

The museum’s director notes that the emperor’s Middle East travels were personal affairs rather than official missions. Proof of this is the fact that Dom Pedro II made a point of checking in at hotels as Pedro de Alcântara, and not as the Brazilian emperor. Júnior explains that the monarch took his first trip abroad in 1871, already a middle-aged man who had read a lot about different countries and studied different languages.

“At close to ¼ past 7 I was in Al- Eizariya (Bethany). Not many Arabs there. I crossed the village to go to Lazarus grave, where I arrived after almost lying down flat on my stomach to go through a hole that opens up to the hall from whence one walks down 5 steps, after having walked down another 27,” the emperor described on November 27th, 1876, already in his second trip to the Arab world, about his visit to the grave site of Lazarus, a biblical character who supposedly resurrected. The grave is located in what is now the occupied West Bank.

In the diaries from his second trip to Arab countries, the emperor takes his time to write about the landmarks he visits, displaying vast knowledge about them and making remarks at times analytical and at others funny. “Since I started sailing the Nile, above and near Aswan, I have heard nothing but the exclamation – look, a crocodile! – a beast I was unable to see and could only glimpse at, on three occasions, stuffed,” he writes of his second time in Egypt, in 1876.

The Museum’s archive holds a total of 47 notepads. Some of them also contain sketches, such as the one written in Egypt; The written material is not on display at the Museum to prevent wear and tear on the paper, but the contents are available online (see the link below). The travel logs have been the subject of a book and a CD produced by Museu Imperial in the 1990s, which are out of print, and were also featured in exhibitions. One of them was titled “O Imperador Viajante” (The Travelling Emperor) and travelled to 12 localities throughout Brazil that were visited by emperor Dom Pedro II.

Júnior explains that within the next two years, new materials based on the travel logs are set to be published, and that the museum is planning another exhibition. The items on showcase at the museum include a few keepsakes, but these are mostly from the emperor’s trip through Brazil, integrated into different rooms within the house, with no labelling to connect them to specific trips.








Press Release


The Imperial Museum houses items from the monarchy period

Museu Imperial was founded in 1940, in emperor Dom Pedro II’s former summer palace. The site was formerly a farm named Fazenda do Córrego (Creek’s Farm), which Dom Pedro I purchased to create a shorter route from Rio to Minas Gerais, bypassing São Paulo. Dom Pedro I dreamed of building a summer retreat there and name it Palácio da Concórdia (the Palace of Concord), but never did. After receiving the farm as inheritance, Dom Pedro II proceeded to fulfil his father’s dream by building the villa.

Afterwards, the city of Petrópolis was erected around the palace. After the Proclamation of the Republic, the estate was bought by government and converted into a school. During his administration, president Getúlio Vargas worked for the appreciation of all things national, therefore the villa was converted into a museum to hold items dating back from the monarchy period. Some of the items came from various organizations, but most are from the personal collection of Pedro de Orléans e Bragança, Dom Pedro II’s grandson.

The body of documentation of the emperor’s travels through Brazil and the world was nominated last year for the International Register of the Memory of the World Program of the United Nations Educational, Scientific and Cultural Organization (Unesco).

All quotes from: Museu Imperial/Ibram/Brazilian Ministry of Culture

Service:

Dom Pedro II Travel Diaries
Access the Museu Imperial archives
http://www.museuimperial.gov.br/component/content/article/134-arquivo-historico-pt/4349-instrumentos-de-pesquisa.html (in Portuguese)

fonte: @edisonmariotti #edisonmariotti