quinta-feira, 29 de janeiro de 2015

The Literary museum of A.Pushkin - Lithuanian



The strongest wish and concern of Varvara Pushkina (1855-1935) after her husband Grigiry’s (1835-1905) death was to preserve the present poet A. Pushkin’s relics, and to turn the house of the Markuchiai estate into a centre of cherishing the poet’s memory in Vilnius. She expressed such a will in her testament executed in the year 1935 that became a pretext of establishing the museum.


In the testament, she demised the central farmstead of the Markuchiai estate with its entire inventory to a trusteeship of the Vilnius Russian society and charged the Society to establish and run A. Pushkin’s museum at the farmstead.

Since the whole Markuchiai estate, including the part left to the Vilnius Russian society, was already wallowing in debts even when V. Pushkina was still alive, the executor of the testament was obliged to liquidate indebtedness by selling the remaining parts of the estate and to hand over the part of the estate left to the the Vilnius Russian society to its ownership without any liabilities.
After Markuchiai owner Varvara Pushkin’s death in 1935, Vladimir Nazimov the testament executor, started carrying out the will: solving questions of settling debts and ensuring appearance of other conditions, stipulated by the testator for the establishment of the museum at the central estate house.
However, V.Nazimov had not succeeded in fulfilling the part of Varvara Pushkin’s testament, by which he was entrusted to liquidate the whole Markuchiai estate, to pay off debts and to hand over the bequeathed by the will part to the Vilnius Russian society for the establishment of the museum: a state system and forms of ownership in Lithuania changed, organisations, that were acting till that time terminated their activities - among them the Vilnius Russian society, most of its members were arrested and deported or imprisoned. Landed estates in Lithuania, the Markuchiai estate including, were nationalised.

Later the questions of immortalising the memory of A. Pushkin in Vilnius took over under its care a government of the formed Lithuanian SSR that in the fourth decade established a museum in memory of the poet.

In 1940-1949, the museum worked as one of Culture and Education institutions at the Council of Ministers of the Lithuanian SSR, in 1949-1955, it belonged to Lithuanian SSR Science Academy, in 1955-1984 - to the Ministry of Culture of the Lithuanian SSR. In 1984-1986, the museum, for a period of major repairs was attached to the Culture Administration of the Vilnius City Executive Committee, later, in the yeas 1986-1990, it was reorganised into a sub-unit of Vilnius writers’ memorial museum.

From the year 1990, the museum is an independent culture institution of Vilnius Municipality.

An intensive cultural life is going on in the museum: literary-musical evening parties, concerts, exhibitions and other events are arranged there, memorable dates are commemorated. The museum collaborates with other Lithuanian and foreign museums, education and culture institutions, nongovernmental organisations, carries out enlightening and educating activities.

Exhibitions on Pushkin‘s life and creative work, cherishing his memory, his contemporaries, Markuchiai district are arranged at the museum‘s room from time to time. Catalogues of such exhibitions are issued.

The most famous Lithuanian actors and soloists – V. Jefremov, N.Ambrazaityte, V.Prudnikov, V.Noreika, A.Berba, S.Janchaite, L.Nazarenko, R.Alechnovich, and others, actors from Latvia L.Lencas and S.Vidiakina were on a visit to the museum‘s sitting-room.

Since the year 2001, the Literary museum of A.Pushkin‘s and the Society of Admirers of the Poet A. Pushkin are organising a contest of amateur art activities “My Alexander Pushkin” on the poet‘s personality, episodes of his life, personages of his works, as well as Markuchiai or the Literary museum of A.Pushkin in Vilnius had to be depicted. The aim of the contest is to interest pupils in the creative work and personality of one of the greatest poets of the world, to encourage them to take pride in the fact, that Lithuania, Vilnius is one of non-abundant places related with Pushkin‘s name not only by literary but also by biographical connections. The contest is very popular among Lithuanian pupils. Visitors of the museum are delighted with unlimited children‘s fantasy, inventiveness and talents.

The museum has close contacts of cultural collaboration with A. Pushkin‘s museums in Moscow and Saint Petersburg, the Russian Literary Institute „Pushkinskyj Dom“ of the Academy of Sciences of Russia, the poet‘s museum in Michailovskoje, the Society of Admirers of the Poet A.Pushkin in Vilnius, the Societies of A. Pushkin in Riga and Tallinn, organisations of national minorities in Lithuania, the Embassy of Russian Federation, and other embassies. Great attention is paid to work with companies engaged in developing tourism.

We are waiting for your suggestions for collaboration on the phones (8-5) 2600080, 2600415, fax (8-5) 2600080, E-mail info.puskino@vilniausmuziejai.lt. We will make every effort to realize the most interesting projects.

fonte: @edisonmariotti #edisonmariotti http://www.vilniausmuziejai.lt/a_puskinas/index.htm

Ministério Público investiga obras do Museu Pelé




Inquérito foi aberto para apurar eventual improbidade administrativa na execução do contrato entre a Prefeitura de Santos e a Oscip AMA Brasil




O Museu Pelé está sob a mira do Ministério Público Estadual (MPE). O promotor de Justiça, Eduardo Antonio Taves Romero, não se deu por satisfeito com as respostas da Prefeitura de Santos e a Organização da Sociedade Civil de Interesse Público AMA Brasil, e determinou a instauração de inquérito para apurar irregularidades na reforma e na gestão do empreendimento.

A Promotoria de Justiça Cível de Santos aponta eventual improbidade administrativa decorrente de falhas e superfaturamento na contratação e na execução do contrato entre a AMA Brasil e a Administração Municipal para as obras de recuperação do Casarão do Valongo onde está abrigado o Museu Pelé. A reforma custou R$ 50 milhões.

Romero já notificou o prefeito Paulo Alexandre Barbosa (PSDB) sobre o inquérito e solicitou o cronograma de prestação de contas do contrato para as obras e gerenciamento do Museu Pelé. A denúncia partiu de representação do vereador Antonio Carlos Banha Joaquim (PMDB) ao MPE, baseado em uma reportagem do Diário do Litoral, publicada em setembro de 2014, denunciando um deficit de mais de R$ 70 mil por mês.

O empreendimento contou com grande destinação de verbas do Município, Estado e União, além da doação de empresários e empresas de grande porte para a consecução da reforma e gestão do museu. Na representação, o vereador ressalta que requereu informações à Prefeitura e não obteve resposta.

O MPE acatou as irregularidades apontadas por Banha e questionou a Administração e a Oscip sobre questões como parte da execução da obra assumida pela própria Prefeitura decorrente da aproximação do prazo para entrega da reforma; a isenção de impostos da organização social; e má execução da reforma.

Sobre a ajuda de funcionários da Prefeitura para agilizar as obras e entregar no prazo estabelecido, a Administração Municipal nega. “Em nenhum momento a Oscip se utilizou de funcionários, equipe técnica ou equipamentos da Prefeitura de Santos para realizar obras de restauro e reforma do museu”, explicou ao MPE.

Na representação, Banha também assinala que mesmo diante de tantos recursos públicos e privados, a AMA Brasil atrasou a finalização das obras. Segundo a Oscip respondeu ao MPE, várias dificuldades motivaram o atraso na entrega, como o “solo considerado o pior do Brasil, preocupação com preservação das ruínas durante as obras dificultando a entrada de máquinas e equipamentos, condições climáticas ruins (chuvas excessivas) no período do restauro, mudanças funcionais nos projetos executivos de arquitetura, instalações, estrutura e fundações, demorar na liberação dos recursos”.

Sobre o pagamento de impostos, o vereador alega que a Oscip “é isenta do pagamento de impostos por seu uma entidade sem fins lucrativos”. No entanto, Prefeitura e AMA Brasil se contradizem. Segundo a Administração santista, a organização “não goza de imunidade ou isenção tributária”. Já a Oscip respondeu que “o artigo 150, IV da Constituição Federal veda à administração pública instituir impostos sobre patrimônio, renda ou serviços das entidades sindicais dos trabalhadores, das instituições de educação e de assistência social sem fins lucrativos mediante o cumprimento de requisitos, razão pela qual os tributos não incidem sobre a organização”.

O museu foi inaugurado no dia 15 junho do ano passado, com a presença de Edson Arantes do Nascimento, Pelé, e do vice-presidente da República, Michel Temer, que representou a presidente Dilma Rousseff. Logo após a inauguração surgiram problemas que comprometeram a pintura externa, justificado pela AMA Brasil como fungos das paredes devido ao estado de arruinamento. A Oscip se comprometeu a resolver o problema após a temporada de verão.

Apesar das apurações preliminares, o promotor Romero determinou a instauração do inquérito para se apurar com mais profundidade as alegações das partes envolvidas, a fim de identificar a transparência da execução da obra. O promotor disse que é preciso também apurar a situação regular, ou não, da gestão da AMA Brasil.

Como providências iniciais, além de notificar o prefeito, o promotor requisitou ao Instituto do Patrimônio Histórico e Artístico Nacional (IPHAN) a realização de nova vistoria no museu. E pediu ao Tribunal de Contas do Estado (TCE) informações sobre a verificação na execução do contrato sobre a obra.



Prefeitura e AMA Brasil terão que prestar mais esclarecimentos ao MP (Foto: Matheus Tagé/DL)

Ainda operando no vermelho

Na representação, Banha também cita o caráter privado, tendo em vista a cobrança de ingresso (R$ 18), depois reduzido, lembrando que diversas parcelas da população não tinham como arcar com o valor.

Quanto ao custo do ingresso, AMA Brasil e Prefeitura disseram que não se busca a obtenção de lucro, mas tornar viável a manutenção do museu. Acrescentaram que a cobrança de ingresso não significa que o museu tenha natureza privada. “O que configura como tendo natureza pública é a sua vinculação ao poder público e a elaboração de um plano anual prévio”.

Mesmo assim, o valor arrecadado com os ingressos não está mantendo o empreendimento. Segundo a assessoria da AMA Brasil, em dezembro, o Museu teve um deficit de R$ 97.354,63, parte disso em decorrência de encargos com 13º salário. “Estamos buscando uma solução para equilibrar a relação entre receita e despesa”.

Este deficit já foi destaque nas páginas do Diário do Litoral e resultou na denúncia ao MP-SP. Em setembro, quando a primeira reportagem sobre o assunto foi publicada, a própria Prefeitura afirmou que R$ 200 mil seriam necessários para manter o equipamento funcionando.

As partes se explicam

Questionada sobre a abertura do inquérito pelo MP pela Reportagem do Diário do Litoral, a Prefeitura de Santos explicou que a abertura de inquérito é um procedimento com pedido de informações. “No caso em questão, a Prefeitura já presta esclarecimentos ao Ministério Público”, informa.

A Administração também explica que, pelos instrumentos jurídicos firmados com a AMA Brasil, as receitas auferidas revertem à própria gestão do Museu. “A Prefeitura não recebe nenhum dinheiro e também não é responsável por eventuais resultados negativos. O ganho municipal é a importância do Museu Pelé como atrativo jurídico, que já foi notícia em mais de 45 países e recebeu quase 65 mil visitantes. Toda receita obtida obrigatoriamente é reaplicada no próprio museu”.

O Executivo santista ainda ressalta que tanto o imóvel quanto as instalações do museu são e continuarão sendo patrimônio público municipal. “A Prefeitura não repassa dinheiro para a AMA Brasil. Todos os tributos incidentes na obra municipais incidentes, como o Imposto Sobre Serviços, foram recolhidos pelas empresas contratantes”.
Também questionada, a Oscip informa que já foi notificada sobre a instauração do inquérito civil. “Todos os serviços que foram prestados para a AMA Brasil em relação ao museu e que, por Lei caberia a AMA Brasil a retenção do ISS, foram devidamente retidos e pagos”.

Sobre a destinação do valor arrecadado com os ingressos, a organização explica que o termo de parceria para gestão do museu prevê que a AMA Brasil, a título de taxa administrativa (assessoria jurídica, captação de recursos, contabilidade, administração, entre outros serviços), tem direito a 15% do valor arrecadado na bilheteria. E a título de pagamento dos direitos para a empresa detentora da marca Pelé, outros 15%. O restante é destinado para as despesas operacionais do Museu. “Ressaltando que a referida taxa não leva em consideração nenhum valor destinado à construção e restauração da obra, e sim somente a gestão”.

A AMA Brasil acrescenta ainda que “é a responsável pela prestação de contas do que tem sido feito conforme procedimento determinado no Termo de Parceria assinado entre a AMA e Prefeitura de Santos”.


fonte: @edisonmariotti #edisonmariottiMinistério Público investiga obras do Museu Pelé

Musée Angladon, Avignon.






UNE FONDATION POUR CREER ET GERER UN MUSEE





Les derniers héritiers de la collection du mécène Jacques Doucet, son petit neveu Jean Angladon-Dubrujeaud (1906-1979) et son épouse avignonnaise Paulette Martin (1905-1988), souhaitèrent transformer leur demeure d’Avignon en musée.

C’était aussi le souhait de Jean Dubrujeaud qui, depuis la mort de son oncle en 1929, gérait les biens de Jeanne Roger-Doucet très âgée. Malgré des dons et des ventes (un lot de tableaux de Braque et Picasso en 1937) il subsistait dans la famille, à Paris et Neuilly, des œuvres d’artistes de la période 1874-1925, de Van Gogh à Modigliani, mais aussi des meubles et tableaux de la première collection du 18e siècle dont Chardin, Boucher et Hubert Robert.

En 1970, une partie de cet ensemble parvint à Avignon. Sans enfant, le couple voulut organiser la création, au centre d’Avignon, d’un musée qui porterait leur nom.

Paulette Angladon-Dubrujeaud qui survécut neuf ans à son mari, choisit la Fondation de France comme légataire universelle, à charge pour elle d’obtenir le décret d’utilité publique et de remettre la totalité de l’héritage à la Fondation avignonnaise.

Reconnue d’utilité publique – par décret du 9 février 1993 - la Fondation Angladon-Dubrujeaud a organisé les travaux de mise aux normes de l’hôtel particulier des Fondateurs en vue de son ouverture au public. Le musée a ouvert en novembre 1996.





Depuis cette date, un Conseil d’administration gère les biens de la Fondation et donne au Conservateur les moyens d’assurer la sécurité du musée et de développer des animations régulières et des expositions temporaires. A ce jour, ce musée privé n’a reçu aucune aide publique.


Le Musée Angladon

abrite une collection d’oeuvres d’art d’importants artistes des 18e, 19e et 20e siècles, conservées par un couple de peintres et graveurs, Jean et Paulette Angladon-Dubrujeaud, héritiers du célèbre couturier et collectionneur parisien Jacques Doucet.

Grâce aux acquisitions de cette personnalité exceptionnelle, le public peut découvrir des œuvres de Degas, Daumier, Manet, Sisley, Forain, Van Gogh, Cézanne Picasso ou Modigliani.

Selon la volonté des fondateurs avignonnais, leur hôtel particulier a conservé au premier étage, le charme d’un intérieur d’amateurs d’art : salle médiévale et Renaissance, atelier d’artistes, salon chinois et salons du 18e siècle présentant de nombreux tableaux, dessins, meubles estampillés et objets d’art.






Historique

Le musée a ouvert au public en novembre 1996. Les collections proviennent pour l’essentiel d’un grand mécène parisien : le couturier Jacques Doucet (1853-1929) qui fonda deux bibliothèques parisiennes – la Bibliothèque d’art et d’archéologie et la Bibliothèque littéraire- et collectionna les œuvres du 18e siècle avant de choisir l’avant-garde de son temps.

Ses derniers héritiers, Jean Angladon-Dubrujeaud (1906-1979) et son épouse avignonnaise Paulette Martin (1905-1988), sans descendance, organisèrent la création d’un musée dans leur hôtel particulier du centre d’Avignon pour les oeuvres importantes conservées par la famille. Ils firent eux-mêmes quelques acquisitions de tableaux du 16e au 18e et des meubles « haute époque ».


Parcours

Rez-de-chaussée : collections des 19e et 20esiècles et salle de documentation

Un escalier du 18e siècle dessert les deux niveaux consacrés à la visite. Il introduit à la suite de salons gardant l’aspect d’une maison habitée.

Premier étage : demeure des Fondateurs et collections anciennes, du 16e au 18e siècle

La visite peut être complétée par une vidéo présente en 15 mns l’histoire des collections en plusieurs langues.

PERIODE 1900-1920

Principales œuvres exposées

– La Blouse Rose de Modigliani et plusieurs oeuvres de Picasso : Rêverie, Le Couple, Autoportrait de 1904, Arlequin assis devant un tableau cubiste (1915) et deux Natures mortes de 1919 et 1920

– Fleur dans un vase de Derain, sculpture et estampes de l’artiste

– Autoportrait et portrait de Foujita sur feuilles d’or

– Tabouret « art déco » de Pierre Legrain créateur de nombreux cadres

– Masques africains achetés à Paul Guillaume, grand amateur d’art africain




PERIODE 1850-1890

– Sancho Pançha, superbe étude de Daumier, pour Don Quichotte dans les montagnes

– Paysage de Diaz, illustrant l’Ecole de Barbizon

– Le Lapin de Manet, nature morte évoquant une œuvre de Chardin

- Neige à Louveciennes de Sisley, bel exemple de recherche impressionniste en 1874. Le cadre doré rappelle la présence de ce tableau dans la collection du XVIIIe siècle de Jacques Doucet.

- Nature morte au pot de grès de Cézanne

– Wagons de chemin de fer de Van Gogh, peint à Arles en août 1888

– Danseuses et Repasseuse de Degas

– La Porte entrebâillée de Vuillard, œuvre pointilliste d’un artiste Nabis

Œuvres d’Eugène Carrière, Jean-Louis Forain, Niederhaüsen…



Premier étage
UN INTERIEUR D’AMATEURS D’ART

tel que le souhaitaient les fondateurs, Jean et Paulette Angladon-Dubrujeaud.

Salon rouge : ensemble de peintures du XVIIe siècle acquises par les fondateurs. Buffet sculpté sur le thème des saisons dans un état exceptionnel, Taureau de bronze

Salle médiévale et renaissance : deux sculptures médiévales Vierge (XIIIe s) et Saint Jean-Baptiste (XVe s) parmi un bel ensemble de portraits du 16e siècle

L’atelier des deux artistes : dessins et gravures des années 1930-1960, signés Paulette Martin et Jean Angladon. Les expositions temporaires peuvent modifier la présentation.

Salle Doucet : documents familiaux et tableaux présentant les salons du collectionneur

Bibliothèque présentant des œuvres du 18es, Tempête de Joseph Vernet, célèbre peintre né à Avignon, Marines de Lacroix de Marseille et Galerie en ruines et Maternité œuvres d’Hubert Robert ayant fait partie des collections Doucet. Pour des raisons de conservation, les dessins de Boucher, Lancret et Greuze ne sont pas exposés toute l’année.

Les salons du 18ème siècle : remarquable ensemble de tableaux « souvenirs » de la première collection de Jacques Doucet.
– Portrait de femme de Sir Thomas Lawrence
– Coin d’office de Chardin

Parmi le mobilier estampillé, les sculptures et objets d’art caractéristiques des salons français au 18e siècle: – Duchesse brisée de Tillard – Chaise-voyelle de Lelarge – Sièges de Jacob – Commodes de Schey et de Garnier – Pendule à l’éléphant – Porcelaines anciennes – Miniatures (Autoportrait de Mme de Pompadour).

Salon d’Extrême-Orient : Danseuse de l’époque Tang (7e s), Amida (représentation bouddhique sur soie), porcelaines chinoises des 17-18e siècles

fonte: @edisonmariotti #edisonmariotti http://www.angladon.com/

Vatican mummies are FAKES: Bones inside two of the collection's 'ancient' Egyptian caskets date back to the Middle Ages

Experts claim two of the nine mummies in the collection are forgeries
Resin used on one of the mummified bodies dates to the mid-19th century
While scans revealed male and female bones in the same mummy
One of these bones was a tibia that is thought to date to the Middle Ages
A ‘modern nail’ was also found among the skeletal remains
Experts are due to present their findings at the museum on Thursday
Mummy forgeries have previously been used to scam people out of Money








Experts said resin used on one of the 'mini mummies' (pictured) was made in the 19th century


They may look like the real thing, but at least two of the mummies in the Vatican Museums' collection have been found to be fakes.


Using CT scans, X-rays and carbon dating, experts said the resin used on one of the ‘Ancient Egyptian’ mummified bodies was actually made during the mid-19th century.


While a scan of another revealed a mixture of male and female bones, as well as a ‘modern nail.’


The experts, led by Alessia Amenta, are due to present their findings at the museum on Thursday.


The Department of Antiquities of Egypt and the Near East of the Vatican Museums set up the Vatican Mummy Project in 2007 with the aim of cataloguing, studying and restoring its collection of mummies.


The Vatican collection holds nine complete Egyptian mummies, and eighteen body parts made up of heads, hands and feet.


Led by Ms Amenta, the team used X-rays and electron microscopes to study chemical elements in the bandages, as well as CT scans to create 3D images of the contents inside.


This involved carbon dating the mummies to determine their age, plus infrared and ultraviolet scans to show markings that would traditionally be hidden to the naked eye.







The two so-called ‘mini mummies’ were originally believed to date back to Ancient Egypt, and contain a child or animal.


During the tests, the researchers discovered that the wrappings around the 23-inch (60cm) long mummies were from approximately 3,000 BC, which suggested they could be real, but the bones found inside were from the Middle Ages.





The two so-called ‘mini mummies’ were originally believed to date back to Ancient Egypt, and contain a child or animal. During tests, the researchers discovered the wrappings around the 23-inch (60cm) long mummies were from 3,000 BC, which suggested they could be real, but bones found inside were from the Middle Ages





There was a mix of male and female bones, as well as various body parts, including an adult tibia and fibula (shown in right scan), foot bones and a vertebrae (shown left). A ‘modern nail’ was also found in the contents


There was a mixture of male and female bones, as well as various body parts, including an adult tibia and fibula, foot bones and a vertebrae.

EMBALMING IN ANCIENT EGYPT


Embalming was practiced for more than 2,000 years and was an important after life ritual in Ancient Egypt.


The earliest mummies were said to have been embalmed in around 2,600BC, but recent evidence suggests it may have started earlier.


Religious ceremonies accompanied the preparation of the body for the afterlife.


Priests wrapped the mummy with linen strips containing resin, placed the internal organs in the specially prepared canopic jars and blessed the entrance of the mummy’s tomb at the funeral.


The mummified remains remain in good condition because the process successfully removed moisture from the body to slow down the process of decay.


The Ancient Egyptians believed the body was the house of the soul so even after death the spirit could only live on if the body was preserved forever. If the body decayed, so too did the soul.


In Ancient Egyptian religion, the soul was made of the ka, which remained in the tomb, the ba, which was free to fly outside the tomb and the akh which travelled to the underworld for judgement.


A ‘modern nail’ was also found among the contents.


‘What a disappointment to find that the mummy in question was only a tangle of bandages arranged to simulate an ancient artefact,’
said Ms Amenta.


‘The mummy is an important witness to this phenomenon of forgery that was able to masterfully deceive collectors and often scholars.


‘Scientific investigations, carried out under the direction of Ulderico Santamaria and his assistant Fabio Morresi, have allowed us to reconstruct the manufacturing technique and probably the area and the period in which these forgers have operated.


‘Scattered in a dozen museums, there are forty examples of this particular type of mummies that Egyptologists have commonly referred to as ‘mummies child’ or animal mummies.’


Following further tests, the cartonnage - painted plaster and linen surrounding the mummified remains - was found to contain a resin that was typically used on antiques during the mid-19th century in Europe.


In particular, traces of zinc and tin were found in the paints that included pigments that wouldn’t have been used at the time.


Previous studies also found that a mummy in the collection identified as a female on the sarcophagus contained the remains of a male.


There have been a number of fake mummies found in collections globally, but the reasons for the forgeries are not known.


During the 18th and 19th century, Napoleon’s expeditions to Egypt caused a so-called ‘mummy mania’, in Europe in which people became fixated on the process.








Embalming was practiced for more than 2,000 years in Ancient Egypt. The earliest mummies were said to have been embalmed in around 2,600BC, but recent evidence suggests it may have started 1,500 years earlier. Traces of embalming agents were found in linen used to wrap bodies in Egyptian cemeteries (pictured)


This caused a rise in fake mummies being created and put on display, and in some cases, criminals would publicly ‘unwrap’ these forgeries to a group of tourists who would pay large sums to see it.

THE VATICAN MUSEUMS


The Vatican Museums were set up by Pope Julius II in the 16th century to promote knowledge of art history and culture.


The Etruscan Museum was established in 1837 and added archaeological finds discovered during excavations carried out from 1828 onwards in southern Etruria.


Two years later, the Egyptian Museum was opened that houses ancient artefacts from explorations in Egypt, together with other pieces already conserved in the Vatican and in the Museo Capitolino.


In the year 2000, the Vatican Museums opened a new large entrance that provides visitor information and other services, and on display are many new artworks, two of which were specially created for this hall.


The Department of Antiquities of Egypt and the Near East of the Vatican Museums set up the Vatican Mummy Project in 2007 with the aim of cataloguing, studying and restoring its collection of mummies.


The Vatican collection holds nine complete Egyptian mummies, and eighteen body parts made up of heads, hands and feet.


Ms Amenta told the
Catholic New Service that 'mummies were in high demand from the Middle Ages up to the Renaissance because they were burned and used as a powder in apothecary potions for various ailments.'


She said that two pounds of 'mummy dust' would be equivalent to $17,000 (£11,270) today. Mummified bodies were also used to create brown oil paints.


Embalming was practiced for more than 2,000 years and was an important after life ritual in Ancient Egypt.


The earliest mummies were said to have been embalmed in around 2,600BC, but recent evidence suggests it may have started earlier.


In August last year, traces of complex embalming agents were found in linen used to wrap bodies that were placed in tombs in one of the earliest recorded ancient Egyptian cemeteries.


The formula used to treat the cloth predates the earliest scientific evidence of embalming in the area of northern Egypt by more than a millennium.


Experts identified a pine resin, an aromatic plant extract, a plant gum, a natural petroleum source and a plant oil or animal fat in the funerary wrappings in unopened tombs at Mostagedda, in the region of Upper Egypt.


This suggests the practice began around 1,500 years earlier than first thought.
 


fonte: @edisonmariotti #edisonmariotti  http://www.dailymail.co.uk/sciencetech/article-2928091/Vatican-mummies-FAKE-Bones-inside-two-collection-s-ancient-Egyptian-caskets-date-Middle-Ages.html#ixzz3QFT2Lst3

 

Why is the V&A hiding a picture of Mohammed from its website?


The V&A has recently decided to remove an historic image of the Prophet Mohammed from its website. The image remains in the collection and will be made available to scholars and researchers by appointment.



A 16th-century Turkish image of Mohammed welcoming Jacob, from the ‘Zubdet ut Tevarih’ by Lokman (1583) - a separate picture to the one in the V&A collection


I am not sure it is a very uplifting example, this censorship of the past, but they are certainly not alone in doing this. Indeed over the last generation, a slow but efficient iconoclasm has been at work in Britain pruning images of the Prophet from published books, not just about the life of the Prophet but also illustrated surveys of Islamic Art. It is extraordinary how successful this campaign has been, based not on any physical threat but on a deluge of orchestrated complaints by telephone and email. And if you are the publisher of an Islamic interest book, receiving hundreds if not thousands of messages from your target audience telling you that this book would have been bought, except for the inclusion of an ‘offensive’ illustration – well this message certainly gets through to the marketing department.

Last week, an art scholar friend of mine, who is incidentally a Muslim, told me that things are getting worse. He has been doing valuable work for many years, teaching the basic principles of Islamic design to young craftsmen who are keen to reconstruct in carved wood, plaster and painted tile their own Islamic heritage, which has been destroyed by war and revolution. You would have to say that he stands on the side of the angels in this work, for which he is paid only travel expenses. He packs in centuries of artistic development in an accessible three-day or week-long course of lectures, which is also a wonderful testament to his travels and taste, for they are beautifully illustrated by the slides he has taken over the years. You might have thought he would be honoured, but after one of these recent lectures he was arrested by the police of his host-nation and told that he had a choice: either destroy all the slides on his computer or be thrown into jail. His crime was to have shown a beautiful book illustration of the Prophet, veiled in a halo of light, ascending to the heavens.

We have become so inured to this process that it can be a shock to stroll into a second-hand bookshop and see how free the 1960s and 1970s were from this iconoclasm. To take an example, look at a copy of Emel Esin’s study of the two Holy Cities, entitled Mecca the Blessed, Madinah the Radiant. It is a book that oozes piety, scholarship and devotion, and also has dozens of beautiful illuminated images of the Prophet and his family. If you tried tracking down the various images from the dozen museums proudly cited in the acknowledgements to this book, including lots from the V&A, you would now enter a world of selective silence.

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All faiths have had their iconoclastic periods, and to this day the decoration of any mosque might appear positively skittish compared to the interior of a Free Presbyterian church in Scotland. Even the Orthodox Church, renowned for the beauty of its spiritual art, frescoed on the walls and painted on icons, will not tolerate a free-standing statue. It’s part of a compromise that finally buried the hatchet in the bloody struggles between the iconoclasts and iconodules in the 9th century. And it means that, to my amusement, when the Great Mosque of the Umayyads was built in Damascus in the 8th century, it was the great church of Byzantine Constantinople, Ayia Sophia, that had the simplest, image-free interior. And Buddhism, which supports the largest and longest personality cult in the history of the world, began as a strictly non-representational philosophy. Indeed for the first four hundred years the most that was tolerated in terms of imagery was a symbolic wheel or a footprint.

Although we can be sure that there were no images in any of the early mosques of Islam, we cannot be so certain about the domestic space. Fragments of frescoes from Umayyad hunting palaces suggest a lively delight in the human form. We simply don’t know if there were images of the Prophet in medieval book illuminations, as our oldest sources only go back to the 13th century. And what we do possess from this period and the subsequent three centuries was clearly created for a very elite market, largely commissioned by rulers for themselves or as prestige gifts for other rulers, and kept within the compounds of their palaces. In no way can they be thought of as part of the lived experience of 99.5 per cent of the Muslim world. And the dynasties who primarily made them – the Timurids (descended from Tamburlane), the Safavids (partly descended from Tamburlane and Genghis Khan), the Ottomans (descended from a warrior Turk called Osman) and the Moghuls (descended from the Timurid Babur) – were all descended from blood-thirsty Turkic and Mongol warriors from Central Asia, who for a long time were not especially good Muslims. Indeed the Mongol-Turks very nearly obliterated Islam, before they got back into the cultural swing of things by building monstrously large mosques and university colleges beside their tombs. Looking at some of the details from the glitteringly beautiful book illustrations of this era, the angels do have a very Central Asian look about them, if not actually Chinese and Buddhist, and the tents and armour tend to be Turkic not Arabic. So there is some sense in keeping these images to one side, if in your role as the perfect museum curator you were wanting to reflect the lived culture of the majority of the Islamic world. It could be argued that these books and especially their illustrations were the property of an alien ruling class of destructive conquerors. But we need to hear this story, not hide it.
Barnaby Rogerson has written biographies of Mohammed and his heirs.
 
fonte: @edisonmariotti #edisonmariotti http://blogs.spectator.co.uk/culturehousedaily/2015/01/the-v/

Bienvenue au musée de l'art volé




Un tout nouveau genre de musée vient d'ouvrir ses portes : il propose à ses visiteurs de déambuler dans des galeries grâce à un casque de réalité virtuelle pour découvrir des œuvres d'art volées ou disparues.






 
A l'intérieur du musée virtuel de Ziv Schneider


"Pour l'art pillé, prenez à gauche. Pour l'art volé, c'est à droite." La visite du musée créé par Ziv Schneider, une artiste israélienne installée à New York, est plutôt déroutante. Et pour cause, ce musée n'est pas réel. La visite se fait à l'aide d'un casque de réalité virtuelle qui donne l'impression de parcourir les allées d'une véritable galerie d'art en 3D. Et pas n'importe laquelle, comme le souligne le site d'information PSFK, car elle permet de "découvrir la collection la plus recherchée du monde", comprenant des œuvres et des sculptures disparues et répertoriées dans les archives du FBI et d'Interpol.




"J'ai décidé de jouer avec l'idée de créer un espace virtuel pour des objets ayant uniquement une existence virtuelle", raconte la jeune artiste au site d'information américain. Trois expositions sont proposées pour l'instant : "Le pillage de l'Afghanistan", "Le pillage de l'Irak" et "Célèbres peintures volées". Pour créer ses galeries virtuelles, Ziv Schneider a utilisé des représentations en haute définition des œuvres disparues, ce qui s'est révélé particulièrement difficile à dénicher pour les œuvres dérobées en Irak et en Afghanistan.




Elle prévoit de développer une version de son musée sur Internet pour les (nombreuses) personnes qui n'ont pas accès à un casque de réalité virtuelle.

fonte: @edisonmariotti #edisonmariotti http://www.courrierinternational.com/article/2015/01/28/bienvenue-au-musee-de-l-art-vole

Museu em Boca Raton estreia mostra sobre surrealismo


Exposição reúne trabalhos de ícones dessa escola artística, como Salvador Dalí, Marcel Duchamp e Rene Magritte

DA REDAÇÃO - Os traços inovadores e que não raro provocam ilusões de ótica em quem os vê são uma das principais características do surrealismo. Essa escola da arte é o tema central da exposição Surrealism and Magic, que o Boca Raton Museum of Art abre ao público nesta terça-feira (27).

A mostra examina o trabalho de mestres do estilo, como Salvador Dalí e Andre Breton - artistas cujas obras mostram suas obsessões com temas como a magia e o ocultismo.

A exposição reúne 115 pinturas e objetos, incluindo livros que pertenceram ao pintor suíço Kurt Seligmann, cujas pinturas retratando cartas do tarô também fazem parte da mostra. A curadoria, a cargo de Andy Weislogel, nome ligado à Cornell University, incluiu também trabalhos de nomes como Roberto Matta, Marcel Duchamp, Yves Tanquy, Max Ernst, Man Ray e Rene Magritte. 

fonte: @edisonmariotti #edisonmariotti  http://www.acheiusa.com/Noticia/Museu-em-Boca-Raton-estreia-mostra-sobre-surrealismo-16407

SERVIÇO

Surrealism and Magic
Data: de 27 de janeiro e 5 de abril
Horário: das 10am às 5pm
Endereço: Boca Raton Museum of Art, 501 Plaza Real
Preço: a partir de $10
Informações: bocamuseum.org


Contact Us Boca Museum of Art
501 Plaza Real, Mizner Park
Boca Raton, FL 33432

Phone: 561.392.2500
Fax: 561.391.6410
Email:info@bocamuseum.org

Museu Sacaca recebe visita de pessoas com idade acima de 60 anos do Abrigo São José


O Instituto de Longa Permanência para Idosos São José realizará um passeio ao Museu Sacaca com idosos abrigados nesta quinta-feira, 28. O passeio iniciará às 9h30 e culminará com um almoço que será servido na praça de alimentação do museu.

Segundo a coordenadora do instituto, Marlete Ferreira, o passeio tem a finalidade de promover a integração entre os idosos e novas experiências. "Passeios como esse estabelecem um maior contato entre os idosos abrigados e com o mundo fora do abrigo", afirma.

Os residentes do Instituto São José são atendidos por uma equipe multiprofissional composta por médicos, fisioterapeutas, nutricionistas, assistentes sociais, massoterapeuta, psicólogos, professor de educação física e educador social, todos empenhados em proporcionar o melhor serviço a todos os usuários da instituição.

A Secretaria de Estado da Inclusão e Mobilização social (SIMS) é responsável pelo Instituto que atende e abriga idosos com idade acima de 60 anos, que vivem em estado de vulnerabilidade e abandono social e familiar.
 
 
fonte: @edisonmariotti #edisonmariotti http://chicoterra.com/2015/01/27/abrigo-sao-jose-promove-visita-dos-idosos-ao-museu-sacaca/

22 Ideas para el Museo Local | Idea 4 - · en CULTURA, INSTITUCIONES, MUSEO, MUSEOGRAFÍA, MUSEOLOGÍA, OPINIÓN, PATRIMONIO. ·


El museo no se posee:
es de todos nosotros

Una idea fundamental es que el museólogo piense que el museo le pertenece a él y al personal que trabaja en él; los museos son de las personas y para las personas, nosotros todos en grupo. Si esta idea se tuviera más en cuenta, nos ahorraríamos bastantes disgustos. Todos tenemos opinión sobre todo, sobre lo bello y lo feo, lo útil y lo inútil; y estas ideas que proyectamos en nuestra vida cotidiana y, con frecuencia, sobre nuestra actividad, nuestro trabajo – quien tiene la suerte de tener uno -. El responsable del museo, sin embargo, debe tener muy claro que él trabaja para una comunidad de visitantes a quienes interesan cosas muy variadas, que tiene otras prioridades y una forma de ver la realidad distinta a la suya.



Foto: Kai Ziehl

El museo debería ser un lugar donde se dieran cita todas nuestras inquietudes sobre el saber, el conocimiento y preocupaciones sobre aquello que no sabemos sobre todo tipo de patrimonio: histórico, artístico, científico, técnico, etcétera. Así pues, en el museo local, cuyo terreno es una ciudad, una villa, una región, como institución debe promover todas las iniciativas posibles que potencian el desarrollo cultural local, ya sea a través del uso de campañas, organización de exposiciones colectivas, recuperación de la memoria oral, gráfica, testimonial, etcétera.



Fotografía: Vivian Maier, en Perú

Son demasiadas las ocasiones en las que las preocupaciones de los ciudadanos se distancian de las de los trabajadores de los museos locales, nos costa que sus intereses difieren con frecuencia. Muchas veces visitamos exposiciones programadas por alguien que parece no saber que esa muestra no le interesa a nadie salvo a él. Hay demasiados profesionales crecidos que piensan que los ciudadanos estamos perfectamente informados de las últimas tendencias artísticas de Lituania. Señoras y señores, promotores/as avanzados, nos interesa un pito con perdón ese tipo de exposiciones. Así no van a conseguir que las personas se acerquen a los museos. Si quieren ver lo que les interesa solo a ustedes se alquilan un espacio colectivo restringido a ustedes mismos y las salas de los museos las dejan libres para exponer lo que el resto del mundo quiere/necesita ver. Y ya no mencionemos aquello dirigido a un público más joven o a personas mayores, no captan ustedes su interés, lo sentimos. A lo mejor nos interesa mucho más ver una exposición sobre arte infantil.



El multitudinario elefante de Nantes (Les Machines d’Ile) (Bretaña francesa)

Podemos proponer ideas, hay mucho donde elegir y siempre pensando en la generalidad. Nosotros nos hemos encontrado con pueblos que llevan el nombre de una persona que era totalmente desconocida para los vecinos de la localidad. Eso es imperdonable; el museo de la localidad debería hacer algo. Hay muchas personas que han hecho grandes cosas por su comunidad y que son totalmente anónimas. No es justo. Hagan exposiciones sobre esas personas, seguro que hay material para exponer si se pone uno en contacto con sus familiares. Hay muchos equipos de fútbol que no tiene un museo decente, no vale con poner una copa en una repisa. El fútbol moviliza a las masas, hay que aprovechar esas tendencias. El museo del F.C. Barcelona es el tercero más visitado de Barcelona.



Exposición sobre el efecto de las drogas, archivo EVE

Los acontecimientos que han sido hitos en las ciudades deberían ser el fondo de una exposición y sacarles partido. El re-enactment, la recreación de un hecho histórico por parte de los propios vecinos de la ciudad, es una manera excelente de dar relieve a un hecho histórico, por pequeño que sea, y establecer así con él una conexión interesante con el museo local. El futuro de la ciudad, los emigrantes, los problemas urbanísticos o del pasado inmediato, ¿no son dignos de exposición en un museo local? Hay una infinidad de temas que nos interesan a todos y que nosotros, al ser protagonistas de nuestra propia historia, podríamos explicar muy bien. Para convertir al museo en portavoz del patrimonio material e inmaterial que interesa verdaderamente a las personas, no se requieren grandes inversiones de dinero, lo podemos asegurar y demostrar. Todo lo que se necesita es trabajo de colaboración.



Archivo EVE

IDEAS QUE NO CUESTAN DINERO:

Sorpresas en el interior de las vitrinas.

¿Por qué no colocar una vitrina con falsificaciones o copias malas de objetos conocidos allí por todos en alguna zona del museo, con el fin de que el visitante descubra y las contraste con las originales? Descubrir lo falso o el plagio agudiza la mente y produce un cierto placer en los visitantes del museo. Una propuesta que puede funcionar muy bien.

Imagen principal y para redes sociales: Kie Ziehl