1. 1,000 posts!

    1,000 posts!

     
  2. (via Matthew Day Jackson at Hauser and Wirth Zurich: where the mountain guide has gone in the meantime? | Conceptual Fine Arts)
     
  3. #lastsupper #gaudenzioferrari #light (presso Chiesa Di Santa Maria Della Passione)

    #lastsupper #gaudenzioferrari #light (presso Chiesa Di Santa Maria Della Passione)

     
  4. (via Pinturicchio in San Gimignano and the dark matter of which the Italian exhibitions are made of | Conceptual Fine Arts)
     
  5. (via Wyatt Kahn’s dancing puzzles go sentimental at the Zurich art weekend | Conceptual Fine Arts)
     
  6. Sculptures children can play with #henrymoore (presso Zürich Lake Side, Switzerland)

    Sculptures children can play with #henrymoore (presso Zürich Lake Side, Switzerland)

     
  7. (via A medieval specula principum book at the basis of Slavs and Tatars’ solo yesterday opened at Kunsthalle Zurich | Conceptual Fine Arts)
     
  8. (via Roman series: the new venue of the Fondazione Prada will open in Milan under the influence of classic sculptures | Conceptual Fine Arts)
     
  9. (via Answering three basic questions asked by Antoine de Galbert about the software driven setting of his collection currently on display at La Maison Rouge in Paris | Conceptual Fine Arts)
     
  10. 03:01 25th Aug 2014

    Notes: 384

    Reblogged from thegetty

    thegetty:

    Ribbons and colors and gold, oh my!

    Zoom in and scroll around here.

    Inhabited Initial B, 1153, Unknown. J. Paul Getty Museum. 

     
  11. 09:46 22nd Aug 2014

    Notes: 5

    (via Sam Falls: soon in Zurich a body of new works on canvas plus an unforeseen self-portrait | Conceptual Fine Arts)
     
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  13. 01:13 20th Aug 2014

    Notes: 2735

    Reblogged from ancientart

    ancientart:

    "They take first a crooked piece of iron, and with it draw out the brain through the nostrils, thus getting rid of a portion, while the skull is cleared of the rest by rinsing with drugs; next they make a cut along the flank with a sharp Ethiopian stone, and take out the whole contents of the abdomen, which they then cleanse, washing it thoroughly with palm wine, and again frequently with an infusion of pounded aromatics…" -Greek historian Herodotus describes the process of mummification in Egypt (trans. Rawlinson).

    Shown here is an extraordinarily well preserved Egyptian mummy at the Louvre. This man lived during the Ptolemaic Period, and his name can be read as either Nenu or Pachery. The body has been sophisticatedly wrapped in strips of linen, and the mummy is covered with a cartonnage. Included here is a mask, an apron across the legs, and a collar over the chest.

    Rigault Patricia from the Louvre provides the below description. This is only a section of the full write-up, you can read the rest here if you wish.

    A body preserved for eternity

    Not everyone in ancient Egypt had access to the funerary practices that ensured eternal life, and many people had to settle for a simple pit in the desert and a few modest offerings. For the more fortunate, preserving body provided an additional guarantee of survival in the afterlife. It offered a new support for the various elements of the living being that were dispersed at the time of death. Although the earliest mummies were little more than bodies wrapped in linen strips dipped in resin, more sophisticated methods soon developed; mummification procedures were highly perfected by the New Kingdom.

    Although the number of mummies increased from this period on, the quality of the work tended to decrease. Nevertheless, mummies from the Greco-Roman period are often remarkable for the highly subtle designs formed by the interwoven linen strips. Depending on the period, a mummy could be covered a clothing, a net of beads, a mask, or a decorated wooden plank or cartonnage. During the Ptolemaic Period, various cartonnage elements were arranged on the mummy before it was placed in the coffin. 

    Courtesy of & currently at the Louvre, France, N 2627. Photos by: Massimo Palmieri (1), Yann Caradec (2 & 3, cropped), and Oleg Ы (4).

     
  14. 10:47 19th Aug 2014

    Notes: 2

    “Churches, altarpieces, liturgies, impressiveness of offices: the ancient times practised the culture of cult. Museums, “installations”, exhibitions, art fairs: nowadays we surrendered to the cult of culture. From cult reduced to culture, from sacred effigies of Gods to imitations of the secular art, from artworks to the trash of the avant-gardes, in fifty years we have fallen into “the cultural”: cultural affairs, cultural products, cultural hosts, administrators of cultural organisations, directors of cultural development, and, why not?: “mediators of the nouvelle culture”, “intermediaries of creations”, and also “directors of cultural marketing”… All part of a complex organisation of the life of the intellect, or better to say of the remains of the ancient culture, with its curia, its clergy, its grey eminence, its synods, its conclaves, its counciles, its inspectors to the Creation, its sycophants and its imprecators, its popes and its inquisitors, its guardians of the faith and its merchants of the Temple… ” (via A hint of genuine French pessimism to remind that tourists can easily turn the beauty into a beast | Conceptual Fine Arts)

    “Churches, altarpieces, liturgies, impressiveness of offices: the ancient times practised the culture of cult. Museums, “installations”, exhibitions, art fairs: nowadays we surrendered to the cult of culture. From cult reduced to culture, from sacred effigies of Gods to imitations of the secular art, from artworks to the trash of the avant-gardes, in fifty years we have fallen into “the cultural”: cultural affairs, cultural products, cultural hosts, administrators of cultural organisations, directors of cultural development, and, why not?: “mediators of the nouvelle culture”, “intermediaries of creations”, and also “directors of cultural marketing”… All part of a complex organisation of the life of the intellect, or better to say of the remains of the ancient culture, with its curia, its clergy, its grey eminence, its synods, its conclaves, its counciles, its inspectors to the Creation, its sycophants and its imprecators, its popes and its inquisitors, its guardians of the faith and its merchants of the Temple… ” (via A hint of genuine French pessimism to remind that tourists can easily turn the beauty into a beast | Conceptual Fine Arts)

     
  15. 10:47

    Notes: 1

    “Churches, altarpieces, liturgies, impressiveness of offices: the ancient times practised the culture of cult. Museums, “installations”, exhibitions, art fairs: nowadays we surrendered to the cult of culture. From cult reduced to culture, from sacred effigies of Gods to imitations of the secular art, from artworks to the trash of the avant-gardes, in fifty years we have fallen into “the cultural”: cultural affairs, cultural products, cultural hosts, administrators of cultural organisations, directors of cultural development, and, why not?: “mediators of the nouvelle culture”, “intermediaries of creations”, and also “directors of cultural marketing”… All part of a complex organisation of the life of the intellect, or better to say of the remains of the ancient culture, with its curia, its clergy, its grey eminence, its synods, its conclaves, its counciles, its inspectors to the Creation, its sycophants and its imprecators, its popes and its inquisitors, its guardians of the faith and its merchants of the Temple… ” (via A hint of genuine French pessimism to remind that tourists can easily turn the beauty into a beast | Conceptual Fine Arts)

    “Churches, altarpieces, liturgies, impressiveness of offices: the ancient times practised the culture of cult. Museums, “installations”, exhibitions, art fairs: nowadays we surrendered to the cult of culture. From cult reduced to culture, from sacred effigies of Gods to imitations of the secular art, from artworks to the trash of the avant-gardes, in fifty years we have fallen into “the cultural”: cultural affairs, cultural products, cultural hosts, administrators of cultural organisations, directors of cultural development, and, why not?: “mediators of the nouvelle culture”, “intermediaries of creations”, and also “directors of cultural marketing”… All part of a complex organisation of the life of the intellect, or better to say of the remains of the ancient culture, with its curia, its clergy, its grey eminence, its synods, its conclaves, its counciles, its inspectors to the Creation, its sycophants and its imprecators, its popes and its inquisitors, its guardians of the faith and its merchants of the Temple… ” (via A hint of genuine French pessimism to remind that tourists can easily turn the beauty into a beast | Conceptual Fine Arts)