More Art Monday: Golden Oldies
A meticulous conservation project recently repaired “Diana” and restored the sculpture’s gilding. How does her luster compare to these golden treasures?
“Diana,” 1892–93, by Augustus Saint-Gaudens
“White Tara,” 18th century, Mongolia or China
“Joan of Arc,” c. 1874, by Emmanuel Frémiet
“Garuda,” c. 1700–50, Tibet
Candelabrum (one of a pair), c. 1800, France
“Recumbent Stag,” early 17th century, Germany
“Seated Bodhisattva,” early 8th century, China
Portions of an Armor Garniture, c. 1550, Germany
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"For almost 1,000 years, the Rabari have roamed the deserts and plains of what is today western India. It is believed that this tribe, with a peculiar Persian physiognomy, migrated from the Iranian plateau more than a millennium ago. The Rabari are now found largely in Gujarat and Rajasthan.”
Jimmy Nelson's photography is just beautiful.
By Rogier van der Weyden
After Giulio Romano
Tapestry: History of Scipio; Battle of Zama, Defeat of Hannibal
France; Gobelins (1688-89)
Wool and Silk Threads.
Musée du Louvre.
Lee Guk Hyun is a painter hailing out of Seoul, South Korea. Lee creates soft and beautiful oil on canvas paintings of “veiled” women.
Portuguese history meme — seven places/buildings [3/7]
Park and National Palace of Pena
Located in the Sintra hills, the Park and Palace of Pena are the fruit of King consort Ferdinand II’s creative genius and the greatest expression of 19th-century romanticism in Portugal, denoting clear influences from the Manueline and Moorish styles of architecture. In 2013, it was the most visited monument in Portugal.
In 1838, King Ferdinand II acquired the former Hieronymite monastery of Our Lady of Pena, which had been built by King Manuel I in 1511 on the top of the hill above Sintra and had been left unoccupied since 1834 (suppression of the religious orders). The monastery consisted of the cloister and its outbuildings, the chapel, the sacristy and the bell tower, which today form the northern section of the Palace (the Old Palace).
King Ferdinand began by making repairs to the former monastery, which was in very bad condition. In roughly 1843, the king decided to enlarge the palace by building a new wing (the New Palace). The building work was directed by the Baron of Eschwege. The 1994 repair works restored the original colours of the Palace’s exterior: pink for the former monastery and ochre for the New Palace.
In transforming a former monastery into a castle-like residence, King Ferdinand showed that he was heavily influenced by German romanticism, and that he probably found his inspiration in the Stolzenfels and Rheinstein castles on the banks of the Rhine, as well as Babelsberg Palace in Potsdam. These building works ended in the mid-1860s, although further work was undertaken at later dates for the decoration of the interiors.
King Ferdinand also ordered the Park of Pena to be planted in the Palace’s surrounding areas in the style of the romantic gardens of that time, with winding paths, pavilions and stone benches placed at different points along its routes, as well as trees and other plants originating from the four corners of the earth. In this way, the king took advantage of the mild and damp climate of the Sintra hills to create an entirely new and exotic park with over five hundred different species of trees.
The Palace of Pena was designated a National Monument in 1910 and forms part of the Cultural Landscape of Sintra, which has been classified by UNESCO as World Heritage since 1995. In 2013, the Palace was integrated into the Network of European Royal Residences. [x] [x]
Death mask of Tutankhamen, from the innermost coffin in his tomb at Thebes, Egypt, Dynasty XVIII, ca. 1323 BCE.
In a new project called “OMG, Who Stole My Ads?” French street artist Etienne Lavie makes it his mission to transform the ad space in Paris into an outdoor art gallery. He has been travelling around the city, snatching up posters and billboards, and replacing them with fine specimens of French art from an earlier era. If our senses have over-developed to the point where we need to be visually stimulated at all times outdoors, just to keep up continuity, then we might as well at least occasionally glimpse something that moves us—something we might elect to look at voluntarily. Lavie’s project gives that gift to a lucky subset of Parisian commuters.
1960s Kodachrome © Dave Gelinas