To the Ends of the Earth, Painting the Polar Landscape

Through March 1, 2009 at the Peabody Essex Museum, Salem Massachusetts



Aurora Borealis, 1865, Frederic Edwin Church, 56 x 83½ inches, oil on canvas

Capturing the high drama and stark beauty of historic polar expeditions, To the Ends of the Earth, Painting the Polar Landscape presents more than 50 works by prominent artist-explorers, from monumental romantic canvases to early modernist works in pastel — all rarely shown in a single exhibition. The exhibition offers a range of artistic responses to the unique landscapes of the Arctic and Antarctic — from the documentary to the sublime and existential, by renowned painters such as Frederic Edwin Church, Rockwell Kent and Lawren Harris.

(from the PEM website)


My Wife and I had the opportunity to go to the opening of the new exhibit at the Peabody Essex Museum, entitled “To the Ends of the Earth, Painting the Polar Landscape. I’ve posted on things related to exhibits at PEM before, and it is always a joy to go there. This new exhibit is no exception. I believe this is the largest exhibit ever to focus on Polar landscapes in art. The works, covering a century of exploration and styles in painting are really remarkable. For those (like me) who collect exhibition books or catalogues, the companion book is not only complete with all of the exhibited paintings, but is excellently done and inexpensive. (Though those, again like myself, who have an eye for a more permanent personal library, may wish for a hardback version).

The larger works follow the grand scenic painting styles of the nineteenth century. As such, if you are not familiar with early modernist painting, the transition to the twentieth century works can be anticlimactic. I would strongly suggest perusing the numerous books on the topic that the PEM has at the bookstore, and will probably have strewn around the seating areas throughout the exhibit (not there for the opening, but usually feature at past exhibits). Especially look to materials on Rockwell Kent. There was a special film shown on Kent at the opening, which is not listed on the website, but if it is available I highly recommend it. These materials will help the viewer understand the stylistic transitions, and to see the change in the early twentieth century where artists began to represent these regions in their inherent drama and beauty, and not as a backdrop for human adventure. With the big dramatic canvases, it would also be easy to overlook the various notebook sketches and smaller works. Take the time to dwell over these, as they are absolutely marvelous. I was especially drawn to the pastels of David Abbey Paige (1901-1979) in which he recorded many different atmospheric phenomena.

The PEM posts a PDF file for printout with information on the works, a list of references, and brief biographies of the artists and explorers, which would make a handy pre-visit read.

If you are in Eastern Massachusetts between now and 1 March 2009, To the Ends of the Earth, Painting the Polar Landscape would make for an excellent excursion.

For additional information, see the Press release.


(links good at time of post) UPDATE: bad link coding fixed (my bad)

Friday Free Ad for Kate



Wuthering Heights, classic very early Kate.

Warning, the big eyes and mascara may take a bit of getting used too.

Roman Funerary Art at the Museum of Fine Art, Boston

FUNERARY PORTRAIT RELIEFS

During the late Republican and Augustan periods (about 70 B.C.-A.D. 14), funerary reliefs with portraits of the deceased and members of their families were popular. Almost without exception the portraits are of freed slaves (liberti) and their offspring. The portraits are frequently accompanied by inscriptions that indicate the professions and family relationships of the people in the relief. Occasionally, a slave's former owner was also shown. The reliefs were inserted into the tombs that lined the roads leading out of Rome. This use of funerary portrait reliefs saw a resurgence in the second century A.D.
(from the display card for Funerary Relief of the Publius Gessius Family)

The MFA has many wonderful Roman antiquities. Here are some of the Funerary Portraits, Cinerary Urns, and Sarcophagi that they display.

long post, with complete transcribed display information, just keep scrolling





Funerary Relief of a Mother and Son
Roman, Imperial period, about A.D. 110-120
Marble

This panel came from a tomb that, as the inscription records, Petronia Hedone made for herself and her son as well as her fredd slaves and their descendants. The resemblance of Petronia's hair to that of Martiana (died A.D. 112), Emperor Trajan's sister, suggests the relief's date, though the use of drilled holes for the pupils of the eyes rarely occurs before the reign of Hadrian (A.D. 117-138).

Henry Lillie Pierce Fund, 1899 99.348

Inscription
Petronia Hedone fecit sibi/et L(ucio) Petronio Philemoni filio/et libertis libertabusquae/posterisquae eorum

Petronia Hedone made [this] for herself and for Lucius Petronius Philemon, her son, and for [her] freedmen and freedwomen and their descendants





Sarcophagus with Triumph of Dionysus
Marble (from the island of Proconnesus, Turkey)

Dionysus, also known as Bacchus, was the god of wine and drama. He is one of the most frequently depicted gods in ancient art and is often shown in the company of mythological beings like satyrs, silens, and maenads as well as such animals as lions, panthers, and snakes. The inclusion of an elephant-drawn chariot and a giraffe in the procession identify the scene as the god's triumphal return from spreading his cult to India. Dionysiac imagery frequently occurs in Roman funerary art, and may reflect the beliefs of the deceased.

William Francis Warden Fund, 1972 1972.650







Funerary Relief of the Publius Gessius Family
Roman, late Republican period, about 50-20 B.C.
Marble (probably from Carrara, Italy)

The Latin inscription at the base identifies the central figure as Publius Gessius, a Roman citizen in military costume. He is flanked by Fausta Gessia, a slave whom he had freed, and by their son, R. Gessius Primus, also a freed slave. The inscriptions on the sides indicate that Fausta built the tomb that held this relief with money provided in Primus's will, a common practice in antiquity.

Archibald Cary Coolidge Fund, 1937 37.100

Inscriptions
Lower Edge:
Gessia P(ubli) l(iberta) Fausta/P(ublius) Gessius P(ubli) f(ilius) (tribu) Rom(ilia)/P(ublius) Gessius P(ubli) l(ibertus) Primus

Gessia Fausta, freedwoman of Publius/Publius Gessius, son of Publius, of the Romilian tribe/Publius gessius Primus, freedman of Publius

Left:
ex testam[ento]/P(ubli) Gessi P(ubli) l(iberti)/Primi

From the testament of Publius Gessius Primus, freedman of Publius

Right:
Arbi(tratu)/Gessia[e P(ubli) l(ibertae)]/Fausta[e]

Under the direction of Gessia Fausta, freedwoman of Publius




Cinerary Urn with Offering Scene
Roman, Imperial period, about A.D. 150
Marble (from the island of Proconnesus, Turkey)

In this scene of piety, a man pours an offering of wine over an altar while a woman raises her hands in prayer. A flute player provides music, a frequent component of ancient sacrifices. The side panels show the eagle of Jupiter and the peacock of Juno, each holding a victory wreath. Cinerary urns and sacrophagi were usually produced in workshops near quarries and shipped to urban centers of sale. The faces of this couple were prepared for portraits that were never carved, perhaps due to a sudden death and the need to use the urn immediately.

Museum purchase with funds donated in memory of Emily Townsend Vermeule, 2002 2002.25
(from the display card)




Cinerary Urn of L. Cassius Colonus Colonianus
Roman, late imperial period, about A.D. 200
Marble (from the Greek island of Thasos)

This urn held the ashes of Lucius Cassius Colonus Colonianus, a member of the social class known as the equites (roughly "knights"). The urn is densely covered with figures representing the death of Pentheus, king of Thebes, a story known from Euripides's play 'The Bacchae'. Pentheus opposed the presence of Dionysus in his city and spied upon the women celebrating the god's rites. This scene shows the play's climax, when the women of Thebes, driven into the ecstatic state associated with the worship of Dionysus, tear Pentheus apart. Dionysus, standing on the left, witnesses this scene, accompanied by his thiasos (entourage) of satyrs, silens, and maenads.

Benjamin and Lucy Rowland Fund, 1972 1972.356

Inscription
D(is) M(anibus) L(uci) Cassi Coloni Coloniani eq(uitis) R(omani)/vixit ann(is) XXXV
To the spirits of the dead of Lucius Cassius Colonus Colonianus, a Roman eques; he lived thirty-five years.

El Greco to Velázquez Art During the Reign of Philip III

at the Museum of Fine Arts, Boston through July 27, 2008

For any of you who are in striking distance of Boston, I highly recommend this exhibit. It is absolutely wonderful, has several paintings that I am familiar with from years of reading art history, but also many pieces I had never seen in print or otherwise. Much of the work by the two 'headliners,' El Greco and Velázquez, were real revelations in person. Even with modern high-quality reproduction, there is nothing like seeing the original, up close.

For this post, however, I'd like to focus on some of the still life paintings. These didn't seem to get the same attention from the viewers as the bigger and showier religious paintings. Yet these pieces are exquisite, and well worth the time and ticket to see just in themselves.

A few examples:



Felipe Ramírez Still Life with Cardoon, Francolin, Grapes and Irises, 1628
Oil on canvas, 28 X 36 3/16 in. (71 X 92 cm)
Museo Nacional del Prado, Madrid




Juan Sáchez Cotán Still Life with Fruit and Vegetables, about 1602
Oil on canvas 27 3/8 X 38 in. (69.5 X 96.5 cm)
Varez Fisa Collection, Spain




Juan Sáchez Cotán Still Life with Quince, Cabbage, Melon and Cucumber, about 1600
Oil on canvas 27 1/4 X 33 1/2 in. (69.2 X 85.1 cm)
San Diego Museum of Art




Juan Sáchez Cotán Still Life with Game Fowl, about 1600
Oil on canvas 26 11/16 X 34 15/16 in. (67.8 X 88.7 cm)
The Art Institute of Chicago


These pieces and about a dozen other still lifes and domestic paintings by other artists including Alejandro De Loarte, Juan Van Der Hamen Y León, and Velázquez could have held my attention for hours.

Add to that the many portraits, the religions works and mythological works, the previously mention opportunity to see all of these up close, and the exhibit provides an incredible view of art in Spain at the end of the 16th Century on into the 17th.

The show also includes several amazing wooden polychrome sculptures of Saints on loan from Spanish churches, and has a reconstruction of a "treasure room" of glassware, pottery, silver and objects of curiosity (sort of a "Cabinet of Curiosities" of the craftwork of men) originally set up by the Spanish Royalty to impress their visitors.

Again, I can not say enough how highly I recommend seeing this exhibition.


Images from El Greco to Velázquez, Art During the Reign of Philip III by Sarah Schroth and Ronni Baer, with essays by Ronni Baer, Laura R. Bass, Antonio Feros, Rosemarie Mulcahy, and Sarah Schroth MFA Publications, Museum of Fine Arts, Boston, Published in association with the Nasher Museum of Art at Duke University. © 2008 ISBN 978-0-87846-726-6 (hardcover) $65.00 (Museum Members get a discount).

I also highly recommend the book, which contains much useful information, and a catalogue of the show, for a total of 162 high quality color illustrations

Go Now and Read!

Jessica Palmer at Bioephemera has a wonderful post on Medieval Astrolabs


Quadrant, January 3 1775, "M. H.", Danvers, Massachusetts, inked paper over wood

I've had the opportunity to see and photograph some of the Octants, Quadrants, Astrolabes and Sextants at the Peabody Essex Museum in Salem MA. (click here for Flickr photo set then scroll about halfway down the page) These are truly marvelous and elegant bits of history.

Go and read Ms. Palmer's post. For one thing, her images are clearer than mine.


Planespheric Astrolabe, mid 17th century, attributed to Maquim Muhammed (active 1644), possibly Lahore, Pajistan, brass

The Royal Academy of Arts

Thanks to this post at Mapping the Marvellous I found an article on C.R. Cockerell, R.A. Of course, his rendering of church domes and spires attracted me, as I expect anyone who knows my work would have seen coming...



The article on Cockerell was the May "Artist of the Day" on the website of the Royal Academy. I am no where near finished exploring the site. It is expansive and wonderful, with alphabetized links to the artists represented in the Academy's collection, lectures to which you can listen, and an HTML version of their quarterly magazine which you can literally leaf through on line, stopping and exploring the articles you want, in a layout that looks to be just like the real thing.

This is going to be a great resource. I'll be spending a lot of time there in the near future.

The Internet as One Vast Cabinet of Wonders


Crickets

I had a very privileged childhood. By that, I don’t mean that my parents were affluent, had influence or power, or were in any social sense important. On the other hand, I had an undoubtedly rich time growing up. My parents insulated me from a lot of the news and confusion of the ‘60s. (Unlike others my age that I have known, I have no idea where I was when JFK, or even RFK were shot, but I can remember Studebakers as new cars.)

The real richness was my parents’ love of all things printed and bound.

The old farmhouse that I grew up in was filled with books. These increased in number every year, covering history, biography, the classics, fiction, art, myth, and literature (as well as some of the more obscure areas of spiritualism, my Mom’s contribution). My kids now get to read from the “First Book” series that I had as a kid, which are copyrighted in the late ‘50s and early ‘60s. As a kid, I got to read stuff that had been written and printed in the middle of the 19th Century. With the collections of different stuff, the craft projects, tools, and other fascinating sundries, the house I grew up in was something of a wall to wall Cabinet of Curiosities.

Now my wife and I share the same bibliophilic passions as my parents. We have been given (or given stewardship over) a good number of the 6000 plus books that were in the farmhouse. I had been accumulating art books and magazines for some time before our marriage, and my wife has been doing her level best to catch up. We have well over 1200 books easy to hand, and at least 1500 more in storage.

And now there’s that Internet thingie. I love books, there are usually three or four going at the same time. There are a few art and history books that get taken out and referred to at least once a month. But when I need info, especially visual info, where better to go than to the web, the greatest Wunderkammer of all time. You can search for images in overwhelming numbers. Are you doing research on Chartres Cathedral? A simple Google image search finds 41,000 images. Search under just the one word, “cathedral” and Google comes back with approximately 5,600,000 images!

Or, if like me, you like to collect things from the natural world, a search for “Coyote Skull” brings back about 91,300 images. Searching for a skull to put into your very own cabinet of curiosity? Searching “Coyote Skull Retail” brings back over 66,000 sites, but you may want to further qualify your search terms. As of my typing this, there are nearly twenty different human x-ray images for sale on eBay (over a dozen of them in eBay Stores). In fact, on eBay, you can find things like crocodile teeth, meteorites, or the disarticulated skeleton of various small mammals. Building your own Wunderkammer is just a PayPal account away....

Then there are the photo sharing sites. My two favorite are Pbase and Flickr. You can search for something and get caught up forever chasing link after link, as one photographer or artist may have another fascinating person making a comment, or as part of the first one’s contact list. I’ve already blogged about Len Cowgill. There is another artist who deals with assemblage (amongst other things), GODLOVESDEATH. Then there are people like Steffe in Sweden, who photo-documented an old Oxel tree in a field at Välsta for a year and he still periodically posts new photos of this lonely hardwood. And speaking of finding everything on the web, I found a former professor of mine on Flickr, with whom I had lost touch for over twenty years, Karen Marlene Larson, with her absolutely gorgeous photos, interesting essays, and all her faithful commenters.


Marionette by Karen Marlene Larsen

Searching amongst the public Flickr photo pools for “Cabinet of Curiosities” yields five different groups (actually, the search pulls up eight, but the last three really aren’t on topic… ed.) with up to 7000 images between them (depending on how many images are in more than one of the groups.) My favorite by far is Wunderkammer, which I am a part of.


Extinct Birds

Curiosity Cabinet- Handmade Specimens is also amazing, especially the artifice and imagination involved.

There are also many pools for images from museums around the world, two of which are At the museum and The Global Museum with tens of thousands of images between them.


Sexual Dimorphism in Insects

In fact, even The Library of Congress and the Museum of Fine Arts, Boston have a presence on Flickr, though the latter’s photostream is rather thin. A list of museum photo groups on Flickr (probably not exhaustive) can be found here.

Flickr is just one small part of the internet. I haven’t even had a chance to touch upon the many talented people who aggregate the unusual, the beautiful and the rare, like David Thompson’s Ephemera posts, Bioephemera, Shorpy Vintage Photos, BibliOdessey, Lines and Colors, or the Art Renewal Center.

So, go and play inside the largest Wunderkammer ever!

…Not that I have to tell you.

Cabinet of Curiosities

While taking a brief and well deserved rest, Walking The Berkshires reminds us of the upcoming Cabinet of Curiosities carnival.

The Harvard Museum of Natural History is probably the largest "cabinet of curiosities" that I have been to. Entrance is free on Sunday mornings, and if you are in the Boston area, it is well worth your time, especially if you have children.










Previous posts on the HMNH here and here

New Books for a New Year

Recent acquisitions, some for reading, some just a artistic reference;

From Dover Books

Philosophy and Civilization in the Middle Ages by Maurice DeWulf

Form and Design in Classic Architecture by Arthur Stratton

A Manual of Historic Ornament by Richard Glazier

Masterpieces of Medieval Open Timber Roofs by Raphael Brandon & J. Arthur Brandon

Great Bridges: From Ancient Times to the Twentieth Century by Wilbur J. Watson

Book of Old-Time Trades and Tools Anonymous

And the following condensed from the writings of Leonardo da Vinci

A Treatise on Painting

Leonardo on Art and the Artist

Leonardo on the Human Body

and The Notebooks of Leonardo da Vinci, Vol. 1 and Vol. 2

For those of you interested in da Vinci, Dover has a wide selection of books and CD Rom image collections that include his work.

This probably means that I will re-read Kenneth Clark's excellent biography Leonardo da Vinci, which was one of last year's books.

There are a number of books that were purchased or given to me last year that I need to read or finish;

Edward Hopper (Exhibition Catalogue) which includes excellent biographical information and several essays.

The Ten Books on Architecture by Vitruvius. I have been reading through this, and it was fairly easy going, up until the section on acoustics....

Joseph Cornell: Shadowplay . . . Eterniday from the show last summer at The Peabody Essex Museum

I'm planning to post some thoughts on the Hopper and Cornell books later on.

Strange things in jars

My brain is overloaded with the current painting project, (that, and my wife is away for the week with the baby, and I have the other kids) so no deep thought for now.

Instead, try visiting these wonderful aggregations of webby information...

Maggie's Farm Friday evening selections, or go to their homepage and scroll around.

Viking Pundit, interesting political tidbits gleaned from cyberspace, and dispensed in easily digestible portions.

the Carnival of Insanities, newly posted every Sunday by Dr. Sanity

Friday Ephemera from David Thompson. Always good for the light hearted and slightly bent.

And while you're at it, visit the MoxArgon Group, who may vaporize me at any moment for my last snarky comment there....


For the time being, here are pictures of strange things in jars, from the Harvard Museum of Natural History...with a couple of shots from the current painting at the end.






and detail shots of "Erat Iona In Ventre Piscis Tribus Diebus Et Tribus Noctibus"


Jonah (detail)



detail shot of unfinished stained glass

for more of my paintings, see Jerub-Baal Studio

all images copyright MJ Andrade, 2007

Minerals from the Harvard Museum of Natural History


Rhodochrosite

large crystal on matrix
Pasta Bueno, Ancash, Peru
Anonymous gift, 1998

catalogue no. 134613

Large plate of Amethyst crystals


Fluorite

pink crystals overgrown on etched cubes
near Rosiclare,
Hardin Co. IL
Acquired 1931

catalogue no. 91435

A beautiful and large green and blue mineral cluster

I missed getting a shot of the display card for this sample, it may be a form of Azurite

A very large group of sulfur crystals

large crystal group
Sicily
Acquired 1931

catalogue no. 91373

As a change of pace, a group from our church went to the Harvard Museum of Natural History and walked the galleries. Afterward we got together and discussed what we saw and what it meant to us.

A lot more humbling than looking at stained glass...

Ceramic Chinese horses at the MFA












These have are my favorite objects at the Museum of Fine Arts, Boston. The glazes are beautiful and subtle. The forms are graceful, at rest and yet dynamic. There is no way to capture them properly in an image (even if the quality were much better than these shots). If you are in Boston, it is well worth your time to go see the museum, even if it's just to gaze at these for a while.

Images of Bes and Canopic Jars from the collections of the Museum of Fine Arts Boston

bronze bird and a fainece statue of Bes













Bes relief



























Jug figured as the household 'god' Bes



























Jug figured as the household 'god' Bes (side view)



























canopic jars
















canopic jars













Nubian canoptic jars













egyptian statuary, and two part canoptic jar