Having  a two classes in a same course is a great connection than a single one. It absolute enhanced my ability to learn about art. One is writing, reading.  and the other one is seeing and practicing. I have learned a lot about art in this course that improved my level. In the future , I will take the course that comes with the pair like this one.
Taking an ESL is to help you learn a better english, but I was often feel so flustrated because it a little  hard  for me and I know I have to practice a lot in writing.

The Frick Collection

THE FRICK COLLECTIONS

PAINTING

Giovanni Bellini

St. Francis in the Desert

http://www.frick.org/collection/index.htmhttp://www.frick.org/collection/index.htmhttp://www.frick.org/collection/index.htm

Jean-Honore Fragonard

The process of love: Reverie

Gabriel de Saint Aubin

The Private Academy

Thomas Gainsborough

The Hon Frances Duncombe

Hilaire-Germain- Edgar Digas

The Rehearsal

John C. Johansen

Henry Clay Frick

Picasso Drawing, 1809-1921: Reinvention Tradition

Pablo Picasso is the greatest draftman in the twentieth century...

Please click on the link below for more information

http://www.frick.org/exhibitions/picasso/

SCULPITURES                               Le Paute          The Dance of Time-Three Nimphs supporting the Clock                                           Tiziano Asspeti                                           Mars Joseph Chinar Portrait of Louis Etienne Vincent Marniola Etienne Maurice Fauconet Fidelity Crowning love Carl Augustus Heber Medal

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Memes and art-The pepper Spray Cop goes Viral

These three pictures  are  visual  artwork and have the same focused on a police man with a red bottle pepper spray in his hand which is  coming out  the yellow color of the liquid's spray onto people faces. The  creator  of these images produced  with the act  of representing a police man to the tenuousness of human in a natural environment. However, these pictures particularly showed of"art for social cause," upon it in realistic terms that was a plagianism from  others.

   The creator using a meme and the re-creating art images in different ways by changing into different places and people. But the manipulating of colors and the exploitation in his artwork were the ways of what he saw and knew to be true from the socialization. Moreover, the creator wants to show to the viewer the power of a police man who  was attempting to hurt people  and bringing a dramatic into human lives(in the second and the third picture).
   Meme and art-The pepper Spray Cop goes viral is an important event in our society which the creator expressed  his feeling by visualized a viewer  many different ways that element in composition and exclusively from his  artwork. In each picture, you could easily  identified the situation where a police man attacked people who were sitting on the ground quietly that near to be diminished  and feared(in the  second and the third picture).Nevertheless in the first picture, despite the presence of these figure,there was an opposite way in which  a man in a three dimentional of the group  fighting back a police man as he pointed onto a police man that leave for audience the same feeling of their  anger.
      For more pictures, please click on the link below:

Reflection blog: what has your...

Dear Professor Rebekah ,
    Since I  used the blog in our class, I have learned a lot from creating of my own. However, I spent a lot of times outside of class to do a research, or submit a homework before a due date. Moreover, my computer doesn't work probably for sometime, I got stuck or  the computer slow me down from doing the work. As from yesterday until right now, I tried to finish the homework earlier for next week, but I couldn't do so because of  my computer. It suddenly shut off by itself, or the typing doesn't  come up on the post. I have  to figure how to work it out. It took me hours and hours  to keep track on it. I just can do it by clicking on the right mouse to get read the words for each sentence.
There are many problems to me  while using the computer. Usually during weekly, I have to stay in the school's  library to do the homework instead of going home.
   Using blog is similarly with using twitter, facebook, or you tube. It's not really my favorite because you have to show your work in public, so I'm alway very carefully write what is legally to say or to  use.It's absolutely not for fun as many students thought. How many people  were sued by others because they broke the rules on using other people  article, or on Google, you will lose all Google services or any otherWeb.    
      In general, using blog is an another  way  for student to do the classwork or the homework because it's a type of art. It gives you lot of experiences in creating from your own blog  as well as from studying  your art course.

Design in our lives byJavier

Hi Javier,
You have choose a very interesting objective low and high functionalities.  I really like them so much because they are the basic things for our daily lives."The doubled wide chair" I have never saw one like that before, it looks cool and usefull object.
The other two high funtionalities were "Google map my blog NYC " and "Sweeper clock" which I think the  most people know about. They are  very popular and also very meaningfull. It's awesome.Thank you very much  for your evaluating them. I'm hope see you again.

September 11, 2001 reation by Rumyana

Rumyana arrived to America 2 years after the America was attacked on september11,2001, and she was a young girl of  eleven. It seemed nothing effected in her lives after  that, or because she was too young. . However, in her memory,  she still remember what she had seen on the TV in Bulgaria,  the twin town was collapsed and people jump from the highest floor, how could that happen? She  was probably didn't know what happened, or she wasn't deeply understood about it. 

Design in our lives by Rumyana

Hi Rumyana,
You have choose a  very interesting objective high and low functionalities. I like all of these because they are very realistic  and popular. "Homeless City Guide" which is about the homeless people who like to share to each other idea  for the goods. The magazine  is also a good thing to read to get the  informations, I think they probably know pretty well about  their daily basic because the Goverment have always been considered them.  

Design in our lives reation by Eddie's art

 First of all, I want to say thanhs to Eddie's Art for this common as a good viewer. Eddie express himself in evaluating  these objects in the MeMO. As he described the two high function of " The metrocard vending machine" and the "AnalogDigital  Clock.". I believe "The metrocard vending machine" was obsolutely a high functional object because it helps people get the metrocard direcly from the machine. It fast and easy especial for many New Yorkers who has to travel by train everyday. It's very realistic to me and I was very interested in that object. The second high functional object to me would be  the "SMSLing shot" instead of the"Analog Digital Clock."SMSling Shot" is a security camara that for the building,but it unlike any other camara, the picture of the people in the building are display on the screen of the mornitor that put inside the room or somewhere else, so the operator can see everything or people in the building. That was also one of my interested objects.
The two lower function would probably the other two left which Eddie has mention about. "AnalogDigital Clock" and "Sweeper Clock" are very basic things for people to read the time. It works with the batteries or electricity. Althought they are simple and easy to use, but for me they are not a hingh function objects.

September 11, 2001 reaction by Eddie"art

September 11, 2001  was a tragic day in New York City. Yet,  it was an America's history of the twin town were attacked. For ten years now, even though  the sadness will never goes away from any body. Whenever we remember it, non of us dont't feel very sad for our America.  This important event has always been reflected to many American people who had seen from the scene or from the TV, oreven  realized that why many people were being called their families's members and then immediately left from work or from shool  to go  back home on that day. As for Eddie, what  was his reaction at the time he was in school? He probably got shaking and quickly went back home after he saw and heard many other people were being left.

THE CLOISTERS

                             THE CLOISTER

Introduction: The Cloister is a Metropolitan Museum's branch, locate on the Hudson river in northern Manhattan's Fort Tryon Park which opened to public in 1983.....

Please click on the link below for more information.
http://www.metmuseum.org/about-the-museum/history-of-the-museum/the-cloisters-museum-and-gardens




                                      Romanesque Hall (The Cloisters)


  Part of Medieval Art and the Cloisters

          Timeline: Twelth to fifthteen century from Spain...    

         Please click on the link below for more information

 

http://www.metmuseum.org/about-the-museum/history-of-the-museum/the-cloisters-museum-and-gardens

 Fuentidueña Chapel (The Cloisters)

Timeline:The twelth century apse.....            

Please click on thelink below for more information

http://www.metmuseum.org/collections/galleries/cloisters/002

                                         

        St.  Guilhem

Timeline: twelth-century

Region: France

Please click on the link below for more information

http://www.metmuseum.org/collections/galleries/cloisters/002

                                   Cuxa Cloister (The Cloisters)
Timeline: Twelth-century

Please click on the link below for more information
http://www.metmuseum.org/collections/galleries/cloisters/002
Chapter House from Notre-Dame-de-Pontaut (The Cloisters)

.                        EARLY GOTHIC ART

Timeline: The thirteenth and fourteenth centuries...
Regions:  France, Spanic, and Italy.

Please click on the link below for more information
http://www.metmuseum.org/collections/galleries/cloisters/002

              GOTHIC CHAPEL AND THE CLOISTERS

Timeline: The mid-thirteenth to the fourteenth-century

Please click on the link below for more information

http://www.metmuseum.org/collections/galleries/cloisters/002


                BONNEFONT CLOISTER ( THE CLOISTERS)
Timeline: late thirteenth century
 Please on the link below for more information
http://www.metmuseum.org/collections/galleries/cloisters/002

                 TRIE CLOISTER ( THE CLOISTERS)

                               TREASURY ( THE CLOISTERS)
Timeline:  The eleventh through fifteenth centuries
Region: French
Please click on the link below for more information

http://www.metmuseum.org/collections/galleries/cloisters/002
                  BOPPA GALLERY (THE CLOISTERS)
The gallery takes its name from the six large, stained-glass windows that come from the Carmelite church of Boppard on the Rhine near Koblenz that date from 1440–46.
Nearby is a large mid-fifteenth-century Aragonese alabaster altar predella, or base, along with an imposing copper-alloy eagle lectern. Large-scale sculptures include the central shrines of two altarpieces. Tapestry hangings, Spanish lusterware, aquamanilia, and fine examples of German late Gothic silversmiths' work are also featured.

                    UNICORN TAPES TRY HALL (THE CLOISTERS)
Seven world-famous tapestries depicting The Hunt of the Unicorn adorn this gallery. Against a landscape richly woven with lush flora and fauna, the mythical beast, possessed of magic powers, tries in vain to escape the men and dogs that pursue him. A large fireplace evokes the kind of aristocratic setting in which these tapestries, first recorded in Paris in 1680, originally would have been situated.                       NINE HEROES GALLARY (THE CLOISTERS)
A series of tapestries devoted to Nine Heroes of the Middle Ages celebrated in a fourteenth-century poem dominate the room. From the original ensemble, five survive: David and Joshua of Hebrew scripture; Hector and Julius Caesar from Classical tradition; and Arthur, the legendary king of England.
Thought once to have belonged to Jean of France, Duke of Berry, these are among the earliest tapestries to survive from the Middle Ages.


                           MERODE ROOM ( THE CLOISTERS)
The room features the famed Early Netherlandish masterpiece the Annunciation Triptych, also known as the Merode Altarpiece, after its previous owner. The wings—including the donor and his wife and Joseph in his workshop—surround the central panel of the Annunciation.
Reflecting the function of this altarpiece, many of the other works of art in the room were intended as aids to private devotion, including a miniature carved and painted altarpiece and a mother-of-pearl triptych. The decorative feature is a fifteenth-century Spanish painted ceiling.



                          LATE GOTHIC HALL ( THE CLOISTERS)

Post#6 Henri de toulouse- Lautrec

Henri de Toulous-Lautrec is one of the best French artist who excelled at capturing people in the enviroment.He was also pretty good at capturing crow scences inwhich the ficgures are highly individualized.
I choose this picture because of this imagine artwork in which Henri drawn the people in the the party that shown the whole enviroment with big delux room and somes of elegant women and men that looks very realistic.As you look in the center of the picture,or in the middle of the room, it took a large space for a dancer. It was only one woman was dancing with a man on the left. If you look around the room, from left to right of the picture, you can see a lot of people was standing there, it looks very organized. People around the room, they may have a drink or have a conversation with others. I like this picture because I like this kind of party and the way that an artist expressed his feeling in this painting. The colour is bright enough to show the crow scenes of the room, even from the very back  of the room, there are somes of the painting on the wall, and the cristal lights poured down from the ceiling, it really made the picture looks very cleared. In front of the picture, there is a woman with a pink beautiful dress, it so very attracted me as I have watched in many movies.

food yum

            California Rolls - American-Style Sushi Rolls


                                 How To Make California Rolls - How To Make Sushi


Food historians generally credit chef Manashita Ichiro and his assistant, Mashita Ichiro, of the Tokyo Kaikan restaurant in Los Angeles (located on the corner of 2nd and San Pedro) with “inventing” the California roll in the 1970s. The chef, realizing that many Americans did not like the though of eating raw fish, created the now famous California Rolls made with crab, avocado, and cucumbers.
Since then, American sushi chefs have created many variations with unique names such as Spider Roll, Philadelphia Roll, and Rainbow roll. Most people in Japan have never heard of the California Roll, though, and I would advise not trying to order one there.
Making sushi at home is easy to do. Ingredients and equipment can be found at Japanese and Asian foods stores as well as at most large food or grocery stores. I did a large amount of reading on how to make sushi rolls before attempting my first ones. Sushi making does requires a small amount of initial practice. Don't be afraid to try.You can use the techniques for making the California Rolls to make other variations with different fillings as sushi rolls are extremely versatile and you can make endless varieties. Think of a sushi roll as a sandwich and it's sure to get your imagination rolling as to what to fill it with. Be creative!

                                     California Rolls - American-Style Sushi Rolls
To purchase equipment needed for making and serving sushi, check out What's Cooking America's Sushi Kitchen Store.

Equipment Needed:
Bamboo sushi-roll mat
Clean cutting board
Sushi knife or very sharp knife
A pack of roasted-seaweed (Nori)
Rice Cooker (optional)
Wood spoon or wood or plastic rice paddle for spreading rice
Plastic wrap

Rice Ingredients:
6 tablespoons rice vinegar
2 tablespoons granulated sugar
2 teaspoons salt
3 cups uncooked Japanese medium-grain sushi rice*
4 cups water

Sushi Ingredients:
5 sheets or sushi nori (seaweed in big squares)**
1 large cucumber
2 to 3 avocados
Fresh-squeezed lemon juice
Cooked crab meat or imitation crab sticks***
Wasabi (Japanese horseradish)
Soy Sauce
Pickled Ginger

* Only use Japanese medium-grain sushi rice in sushi making. It is a medium-grained rice and gets sticky when it is cooked. Long-grained American rice will not work because it is drier and doesn't stick together.
** Roasted-Seaweed (Nori) - Sheets of thin seaweed which is pressed and dried. As a general rule of thumb – good Nori is very dark green, almost black in color.
*** Imitation crab sticks are the easiest to use. They can by found in Japanese food stores.

Recipe Type: Sushi, Appetizer, Rice
Rice Soaking Time: 30 minutes
Approximate Total California Rolls Time: 2 hours
Making sushi rice:
In a small saucepan over medium heat, combine rice vinegar, sugar, and salt. Heat mixture just until the sugar dissolves (do not let it boil). Remove from heat and let cool until ready to use.
Start preparing the rice approximately 2 hours before you want to make the sushi rolls.
Wash rice, stirring with your hand, until water runs clear.
Place rice in a saucepan with water; soak 30 minutes.
Drain rice in colander and transfer to a heavy pot or Rice Cooker; add 4 cups water. NOTE: To improve the texture of the rice, after rinsing, let the rice drain 30 minutes in the refrigerator before cooking (put the strainer with the rice in a large bowl to catch the water).
If you don't have a rice cooker, place rice and water into a large heavy saucepan over medium-high heat; bring just to a boil, reduce heat to low and simmer, covered, for 15 minutes. Turn off heat and let rice rest, covered, for 15 additional minutes.
When rice is done cooking and resting, transfer to a large bowl; loosen rice grains gently with a rubber spatula or wooden spoon by cutting and folding (do not stir, as this will crush the rice). NOTE: Either use the rice soon after preparing it, or cover it with a damp cloth to keep it moist. Do not refrigerate the cooked rice.
Sprinkle the cooled rice vinegar mixture over the rice, mixing together as you sprinkle (add enough dressing to coat the rice but not make it damp - you may not need to use all the vinegar dressing). Spread the hot rice on top of a large sheet of aluminum foil and let cool.

Preparing Sushi Ingredients:
Wash, peel, and seed cucumber. Slice in half lengthwise, then cut into long, slender strips.
Cut the avocados in half lengthwise, then remove the pit; cut each section in half again (lengthwise), and carefully remove the peel. Cut the section in long slender strips. Sprinkle the sliced avocado with lemon juice to keep from discoloring.
If you are using snow, crab, remove the crab meat from the thicker portion of the legs and cut in half lengthwise. If you are using imitation crab sticks, remove the plastic wrapping and cut each in half lengthwise.
Place the cucumber slices, avocado slice, and crab slices on a plate; cover with plastic wrap and refrigerate until you are ready to use.

                                                              Making California Rolls:

(1) Lay the Bamboo sushi-roll mat on a cutting board with bamboo strips going horizontally from you.

(2) Place a sheet of plastic wrap on top of the bamboo mat (shiny side down). Place the Roasted-Seaweed (Nori) on top of the plastic wrap.

(3) Spread a thin layer, 3/4 to 1 cup, of Japanese medium-grain sushi rice over 3/4 of the nori leaving approximately one inch of uncovered nori at each end Note: It helps to wet your fingers with cold water when you are patting the rice onto the nori.

 

      (4)     Arrange strips of avocado and cucumber along the center of the rice; top with crab meat.


Making Inside-Out Rolls - After spreading the rice on the nori, sprinkle with poppy or roasted sesame seeds. Cover with a sheet of plastic wrap on top. Lifting with the bottom plastic wrap, turn over the nori/rice sheet onto the bamboo rolling mat. Remove top plastic wrap and proceed as below.

Rolling California Rolls:

Placing your fingers on the ingredients, carefully bring the bottom end of the rolling mat and the plastic wrap up and over the ingredients (tucking the end of the nori to start a roll). Pull back the rolling mat and plastic wrap, as necessary, so it does not get rolled into the sushi. NOTE: Roll tightly with firm pressure.
Continue rolling the sushi and pulling back the rolling mat and plastic wrap, as necessary, until you have approximately 1 to 2 inches of the top of the nori showing. Rub a small amount of cold water on the edge of the nori and bring the nori around so that it completes the sushi roll.
Gently squeeze the rolling mat around the sushi roll until it is firm and forms an even roll (be carefully not to squeeze too hard, as you may crush the ingredients or squeezed them out).
Wrap the plastic wrap around the roll and set aside until ready to cut. Refrigerate or for longer storage. Repeat with remaining nori sheets to make additional rolls.

Cutting California Rolls:

Place rolls on a flat cutting board and remove plastic wrap.
Using a Sushi knife or a sharp knife, slice the sushi roll first down the middle. From there you can cut it into 6ths or 8ths, whichever you prefer (wet the knife between each cut to make it easier to cut and keep the rice from sticking to the knife).

Serving California Rolls:

Turn the cut California rolls on end and arrange on a serving platter or sushi plates. Serve with wasabi, soy sauce, pickled ginger, and chop sticks.
Always serve sushi rolls at room temperature.
Makes approximately 40 California Rolls.

Pad Thai Recipe Delicious RSS Feed

                                                                 Pad Thai Dish

Pad Thai - This Pad Thai recipe is how you actually find it in Bangkok and comes from testing hundreds of different variations from food carts all over the city. Pad Thai is the ultimate street food. While "street food" may sound bad, food cart cooks are in such a competitive situation, with such limited space, ingredients and tools they need to specialize in a dish or two just to stay in business. The best of these cooks have cooked the same dish day-after-day, year-after-year, constantly perfecting it.
Great Pad Thai is dry and light bodied, with a fresh, complex, balanced flavor. It should be reddish and brownish in color.  Not bright red and oily like I've seen in the US. The ingredients listed below can be somewhat intimidating but many are optional. If you would like to make authentic Pad Thai, just like in Thailand, use all the ingredients.
Pad Thai is another perfect vegetarian dish, just omit shrimp and substitute soy sauce for fish sauce. Add more tofu if you like.
From street carts, you can also often find an older, more traditional version of Pad Thai made with dried shrimp.

        INGREDIENT:  2-3 Servings, Prep Time: 40 minutes, Total Time:40 minutes

•  1 egg
•  4 teaspoons fish sauce
• 3 cloves minced garlic
• 1/2 teaspoon ground dried chili pepper
• ground pepper
• 1/2 lime
• 1 minced shallot
• 2 tablespoon sugar
• 2 tablespoon tamarind paste
• 1/2 package Thai rice noodles
• 1/3 cup extra firm tofu
• 2 tablespoon vegetable oil
• 1/2-1/4 lb shrimp Optional
• 1/2 banana flower Optional
• 1-1/3 cup bean sprouts Optional
• 1-1/2 cup Chinese chives Optional
• 2 tablespoons peanuts Optional
• 1 tablespoon preserved turnip Optional    

       TIPS AND TECHNIQUES:
By far, the trickiest part is the soaked noodles. Noodles should be somewhat flexible and solid, not completely expanded and soft. When in doubt, undersoak. You can always add more water in the pan, but you can't take it out.
Shrimp can be substituted or omitted.
In this recipe, pre-ground pepper, particularly pre-ground white pepper is better than fresh ground pepper. For kids, omit the ground dried chilli pepper.
Tamarind adds some flavor and acidity, but you can substitute white vinegar.
The type of super firm tofu or pressed called for this recipe can be found at most oriental groceries in a plastic bag, not in water. Some might be brown from soy sauce, but some white ones are also available. Pick whatever you like.
If you decide to include banana flower, cut lengthwise into sections (like orange sections). Rub any open cut with lime or lemon juice to prevent it from turning dark.
The original Pad Thai recipe calls for crushed roasted peanuts. Thailand is hot and humid and storage conditions are often sub-optimal, so a certain fungus can grow on peanuts. This fungus is linked to cancer, so many people in Thailand avoid eating peanuts. 

Start with soaking the dry noodles in lukewarm or room temperature water while preparing the other ingredients. Getting the noodles just right is the trickiest part of making Pad Thai. Check out Tips and Substitutions for in depth explanations. By the time you are ready to put ingredients in the pan, the noodles should be flexible but not mushy. Julienne tofu and cut into 1 inch long matchsticks. When cut, the super firm tofu/pressed tofu should have a mozzarella cheese consistency. You can fry the tofu separately until golden brown and hard, or you can fry with other ingredients below. Cut the Chinese chives into 1 inch long pieces. Set aside a few fresh chives for a garnish. Rinse the bean sprouts and save half for serving fresh. Mince shallot and garlic together.
Use a wok. If you do not have a wok, any big pot will do. Heat it up on high heat and pour oil in the wok. Fry the peanuts until toasted and remove them from the wok. The peanuts can be toasted in the pan without oil as well. Add shallot, preserved turnip, garlic and tofu and stir them until they start to brown. The noodles should be flexible but not expanded at this point. Drain the noodles and add to the wok. Stir quickly to keep things from sticking. Add tamarind, sugar, fish sauce and chili pepper. Stir. The heat should remain high. If your wok is not hot enough, you will see a lot of juice in the wok at this point. Turn up the heat, if it is the case. Make room for the egg by pushing all noodles to the side of the wok. Crack the egg onto the wok and scramble it until it is almost all cooked. Fold the egg into the noodles. The noodles should soft and chewy. Pull a strand out and taste. If the noodles are too hard (not cooked), add a little bit of water. When you get the right taste, add shrimp and stir. Sprinkle white pepper around. Add bean sprouts and chives. Stir a few more times. The noodles should be soft, dry and very tangled.
Pour onto the serving plate and sprinkle with ground pepper and peanuts. Serve hot with the banana flower slice, a wedge of lime on the side, raw Chinese chives and raw bean sprouts on top.
As always, in Thailand, condiments such as sugar, chili pepper, vinegar and fish sauce are available at your table for your personal taste. Some people add more chili pepper or sugar at the table.

The power of art

BLOG #5
1/ Answer: "Art can create empathy."
 The article" The power of art in society" by Debora Barr has written "...... art that challenges the viewer......and psycology being." I strongly believed that art is considered in many ways by human. Art not only catch your vision, but art always take you into a deeper feeling that allow you to interprete by your impression of a scene made by an artist. Art is a part of a person's  internal emotion and a culture, which signifies why different people see art as defferent things.
Art can be positively or negatively, but in general art is a human expression, and  it's one of the issues that relate to our society. From the past to the present and  in the future, artists were always trying to create the ideas to show their own feelings of love, happiness, or even the sadness of lives.  Art is absolutely everywhere and it reflected into daily activity of people; without art, the world would be a vast empty void of uncreative, unimaginative, non-colorful and bland society.
Art is thoughtful and emotional expression. Since life and art are connected they invariably affect one another. If you have ever learned or visited the museum of art, you would definitely agree that art can create empathy.
2/ Barr also writes:"Art communicate on.........critical thinking." I absolutely agree with her about this statement. Yes, art has a power in society and had a work done by an artist. As we know, a picture can be read about a thousand of words.The role of art is to convey the meaning and express an important idea, revealing what was significant to every society by arresting images. By our own experiences and subjective view, we have to learn the background surrounding the artist at the times when the social and historical to each artist portrays in different aspects of the world as varies as the life.
To create a deeper level of art, an artist discovered many wonders and nature histories from many generation before to the present in order to help us understand life in a greater depth.

METROPOLITAN MUSEUM: EGYPTIAN, GREEK AND ROMAN ART/ Timeline 500C.E.

 

                                      EGYPTIAN ART

                                       SPECIAL EXHIBITION

   In addition to interpreting and caring for the collection, the staff of the Department of Egyptian Art also organizes temporary exhibitions throughout the year. While many of these are small thematic presentations composed of objects from the Museum's collection, the department also organizes loan exhibitions drawn from collections throughout the world.

                                             

                                                              THE TOMB OF PERNEB

RECUMBENT LION

The entrance to The Lila Acheson Wallace Galleries of Egyptian Art provides a floor plan and brief description of the Egyptian art galleries. The space is dominated by the tomb of the courtier Perneb. Originally built around 2381–2323 B.C. at Saqqara, the cemetery of Egypt's ancient capital Memphis, this monument was acquired from the Egyptian government in 1913. A granite lion and a stela (tombstone) of the second-dynasty pharaoh Raneb also introduce the visitor to the monumentality of ancient Egypt's art and architecture.


                          LISHT SOUTH, PYRAMIC COMPLEX OF KING SENWORSRET I

Four of the original one hundred relief panels excavated by the Museum from the magnificent enclosure wall in the pyramid complex of Senwosret I (ca. 1961–1917 B.C.), the second pharaoh of the twelfth dynasty, have been reconstructed for display in this gallery. Reliefs from buildings attached to the king's pyramid are also included, as well as statues of dignitaries whose tombs were located around the king's pyramid.

                                                   ART UNDER PTOLEMIES 1 AND 2

This gallery displays two mummies, funerary equipment, and a number of sculptures from the period of the long-lasting dynasty (332–30 B.C.) established by Ptolemy, one of the generals of Alexander the Great. Do not miss the delightful small head of Arsinoe II, sister and wife of Ptolemy II, and a long papyrus roll inscribed with the "book of the dead."


                                     SCULPTURE OF THE FEMALE PHARAOH HATSHEPHSUT

Sometime after the death of the female pharaoh Hatshepsut (ca. 1479–1458 B.C.), her erstwhile co-regent and successor Thutmose III (ca. 1479–1425 B.C.) ordered the destruction of all her images. Thousands of fragments of smashed sculptures were excavated by the Museum at her temple in Deir el-Bahri in the late 1920s and reassembled. Twelve of the reassembled works are exhibited here, re-creating the splendor of temple statuary that was destroyed three and a half millennia ago.

                                       PREDYNASTIC AND EARLY DYNASTIC PERIOD

Objects in this room span from the beginnings of human presence in the Nile valley (around three hundred thousand years ago) to the introduction of writing and a unified state around 3000 B.C. Most of the objects were found in burials; their good preservation is largely due to the arid climate along the desert fringes where cemeteries were located. Decorated vessels, stone palettes, and ivory carvings introduce themes that survived throughout the three thousand years of ancient Egyptian history.

EGYPT UNDER ROMAN RULE, FIRST CENTURY A.D.

    This gallery displays objects from the period after the battle of Actium and the death of Cleopatra VII (30 B.C.), when Egypt became part of the Roman empire. During this period, people continued the custom of mummification but in certain regions the old idealized image over the face of the mummy was replaced by a panel painting in Greek style (encaustic). On display are a mummy with such a panel painting, as well as painted plaster masks and jewelry.

              EGYPT UNDER ROMAN RULE, SECOND TO FOURTH CENTURY A.D.

   The last Egyptian temple was closed around A.D. 400 and the Museum's most recent mummy—exhibited in this room—dates to around A.D. 280. Also seen here are some fine examples of panel portrait painting for mummies, as well as objects that show a typical mixture of Greco-Roman and Egyptian forms.

                                   
                                 THE TEMPLE OF DENDUR IN THE SACKLER WING

The Temple of Dendur, a 1968 gift from Egypt to the United States in recognition of support given to save Egyptian monuments threatened by the rising waters of the Nile, was built around 15 B.C. when the Roman emperor Augustus ruled Egypt. Although small in comparison with the famous temples in Egypt, and built in Lower Nubia, south of Egypt's ancient border, this is a graceful example of a typical pharaonic temple.

   
                            GREEK AND ROMAN ART

                                                      ROMAN SCULPTURE COURT

The Leon Levy and Shelby White Court evokes the grandeur that was Rome and provides a suitable setting for the sculptures that were created under Roman patronage, inspired by models from both Classical Greece and the Hellenistic kingdoms.
The arts of South Italy and Ptolemaic Egypt provide the opulent background for the development of Roman taste and luxury. Funerary monuments and grave gifts give a poignant insight into personal lives that draw a different picture of Rome as a place of monumental architecture, sumptuously decorated with marble and decked out with an array of statuary. The statues, in bronze and marble, represented gods, personifications, historical figures, and real people. Roman copies and adaptations of earlier lost Greek works survived to stimulate the classical revival that arose throughout Europe in the eighteenth century.
                                       
                                           GREEK ART : SIXTH-FOURTH CENTURY B.C.

The grand, barrel-vaulted Mary and Michael Jaharis Gallery displays large-scale sculpture and other monumental works of the sixth, fifth, and fourth centuries B.C.
Works of the sixth century include examples from the Museum's distinguished collection of Panathenaic amphorae amid other works related to ancient Greek athletics. In the center of the gallery are displayed large-scale marble copies—made during the Roman period—of bronze statues that were created in Greece during the fifth and fourth centuries but were lost or melted down over time. Original marble statues of the fourth century B.C. are shown by the crowning sculptures of tall Athenian grave monuments.

                                                   GREEK ART: SIXTH CENTURY B.C.

The Judy and Michael H. Steinhardt Gallery is unique in the Western Hemisphere in its display of the three major types of Greek freestanding marble sculpture of the sixth century B.C.: the kouros and kore, which served as funerary monuments or dedications, and the pillar-like grave stele. This is also the period when Athens supplanted Corinth as the center of pottery production, exemplified by several works attributed to the Amasis Painter, one of the most skillful and innovative of the black-figure artists.

                                    ART OF IMPERIAL ROME: SECOND CENTURY A.D.

                       
Gallery 168 displays fine examples of material culture from the second century A.D., when the Roman empire was at the height of its power and prosperity and when people in Rome, throughout Italy, and in many of the provinces enjoyed a standard of living and a way of life that were unequaled both in antiquity and in more recent times.
Objects associated with activities that either ensured or benefited from imperial protection (the Roman army, the state religion, the games, and the baths) are also on view.
                
        GREEK AND ROMAN STUDY COLLECTION: FIFTH MILLENNIUM B.C.-A.D. 313

This long gallery, within the Leon Levy and Shelby White Galleries, features a large display with sixty cases of study material, comprising some four thousand works in all media and covering the entire cultural and chronological span of the department's collection, from the art of prehistoric Greece through late Roman art.
Among the noteworthy works in this area are a collection of geometric Greek vases given to the Metropolitan in 1930 by the Greek government and a Roman transport amphora given by the oceanographer Jacques Cousteau. Computer screens located throughout the study collection allow visitors to access electronic labels for the objects.


                               HELLENISTIC AND ROMAN ART FROMCYORUS: c.a. 480 c.a.310 B.C.

                             

   This gallery features works of Cypriot art from the periods of Hellenistic and Roman rule. Artistic production followed the prevailing styles of the Hellenistic world, although regional traditions continued—as represented, for example, by the sculptures of "temple boys." The art of Roman Cyprus is particularly well illustrated by glass and jewelry as well as sculpture.        

                                                              SPECIAL EXBIHITION

This gallery features a rotating display of special exhibitions organized by the curators of the Department of Greek and Roman Art.
The current exhibition, Historic Images of the Greek Bronze Age: The Reproductions of E. Gilliéron & Son, will be on view through June 17, 2012.

 




                                      

                                               

                                                 
                                                   GRREK ART : FIFTH CENTURY B.C.

The Carolyn, Kate, Elizabeth, Thomas, and Jonathan Wiener Gallery presents a fine collection of marble grave markers from Athens dating from the mid-fifth century B.C. through the early fourth century B.C.
In the fifth century B.C., the Greeks reached levels of excellence in art, literature, and philosophical thought that have served as models and formed the foundation for much of Western European culture. Despite wars—first against the Persians and then against Sparta, its major Greek rival—Athens became the political, economic, and cultural leader of Greece, producing works of art and literature of the highest quality.


                                                   GREEK ART: FOURTH CENTURYB.C.

Most of the works of art in the Spyros and Eurydice Costopoulos Gallery are funerary monuments, including large-scale marble vases that were used as grave markers.
In addition, terracotta statuettes of fashionable women or girls, prized today for their naturalness, vitality, and charm, are displayed here. The jewelry in this gallery presents the wealth of the Classical Greek world on the eve of the Hellenistic period that flourished after the death of Alexander the Great in 323 B.C.
 

                                            GREEK ART: FIFTH -EARLY FOURTH B.C.

The works of art displayed in the Stavros and Danaë Costopoulos Gallery reflect the artistic accomplishments of Athens at its height, as well as the influence that the Parthenon (built between 447 and 432 B.C.) had on objects in other media.
Prominent also are funerary vases covered with a white slip and decorated in a range of colors not previously used in Greek ceramics.

           HELLENISTIC SCULPTURE AND ARCHITECTURE THIRD-FIRST CENTURY B.C.

The Leon Levy and Shelby White Gallery features Hellenistic portraits of marble and bronze, monumental painted terracotta vases from Southern Italy, and architectural fragments from the Temple of Artemis at Sardis, including the massive marble Ionic column and elements of the doorway, porch, and roof.
Sardis was the ancient capital of Lydia, in southwestern Turkey, and its temple to Artemis ranks among the seven largest of all Greek temples.

                                    SOUTH ITALIAN ART: FOURTH-FIRST CENTURY B.C.

Greek emigrants founded colonies in Southern Italy and Sicily as early as the mid-eighth century B.C. They flourished in their own right and profoundly influenced the artistic production of the indigenous populations. This interplay is particularly evident in the South Italian vases of the fourth century B.C., produced especially for funerary use. Furthermore, it appears in the predilection for subjects derived from Greek drama. Owing to a dearth of fine marble, terracotta was also a primary medium for sculpture.

                                  HELLENISTIC TREASURY: THIRD-FIRST CENTURY B.C.

  Designed as an intimate space that is conducive to the appreciation of exquisite small-scale works of refined beauty, this gallery houses some of the most important treasures of Hellenistic art in the Museum's collection. It features gold, silver, and glass vessels from different regions of the Hellenistic world, including Magna Graecia, Egypt, the Ionian coast of Anatolia, and Parthia.
Fine necklaces, diadems, finger rings, earrings, and gold armbands provide a glimpse of the mastery of the goldsmiths' art for articles of personal adornment during the third through first centuries B.C.

                                              HELLENISTIC ART:THIRD CENTURY B.C.

  The Tarsi and John Georgas Family Gallery features a variety of aspects of Hellenistic art of the third through first centuries B.C. and their transmission to the Roman world. Hellenistic artists drew from the serene Classical ideal but also moved in new directions, reflecting the many contacts with various cultures after the conquests of Alexander the Great.
Wall paintings from a Roman villa at Boscoreale—some of which echo lost Hellenistic Macedonian royal paintings—and exquisite bronze sculptures provide an impression of the refined Classical environment that was cultivated, especially in private homes.

                                                    THE CURICULUM NOCTURNUM

  This is an accurate reconstruction of a bedroom from the Roman villa at Boscoreale (ca. 50–40 B.C.) that was buried by the eruption of Mount Vesuvius on August 24, A.D. 79. The walls are decorated with highly ornate and colorful frescoes of the so-called Second Style, comprising urban landscapes with towering architectural vistas on the side walls and rocky outdoor scenes populated by various songbirds on the rear wall.
Known as the villa of P. Fannius Synistor, the building was excavated in 1900.