art say what?

art history is where it's at.

Phaeton, falling from the sky, from the series The Four Disgracers. Engraved by Hendrick Goltzius (after the original by Cornelis Cornelisz. van Haarlem), 1588.
Source: The British Museum

Phaeton, falling from the sky, from the series The Four Disgracers. Engraved by Hendrick Goltzius (after the original by Cornelis Cornelisz. van Haarlem), 1588.

Source: The British Museum

A Grand European Gallery Transformed

What took us months, you can watch in seconds. See this gallery of masterpieces transformed. Learn more about the gallery here:http://bit.ly/OsSlDl.

MFA Boston, 2012.

installator:

"Royal Engineers preparing the crate used to transport Raphael Cartoons from Hampton Court; anon, 1865, albumen print. V&A 68:729. © Victoria and Albert Museum, London.” (art-conservation)

installator:

"Royal Engineers preparing the crate used to transport Raphael Cartoons from Hampton Court; anon, 1865, albumen print. V&A 68:729. © Victoria and Albert Museum, London.” (art-conservation)

Stockholm, represent!

installator:

"La DS rullas varsamt ut inför Gabriel Orozco utställningen." (Moderna Museet) [Feb 2014]

Houston, represent! From the linked NPR article (see below):

Demosthenous says what Dominique de Menil did stands as an example to the collecting world. Instead of quietly purchasing the frescoes for her museum — in the guise of “rescuing them for mankind” — and then defending her acquisition against subsequent ownership claims, she negotiated a historic agreement with the Church of Cyprus.”

installator:

"800-Year-Old Frescoes Leave Texas For Cyprus" (npr.org) [2012] (submitted by anewfaceinhell)

Behold, the beauty of the wig (and everything else about this tiny portrait). 

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Samuel Cooper (1608/9-1672), Portrait miniature of an Unknown Man, perhaps Anthony Ashley Cooper, 2nd Earl of Shaftesbury, 1666-1670. Watercolour on vellum, put down on a leaf from a table book in a gilt locket. Victoria and Albert Museum, London. Accession number P.66-1968.

Behold, the beauty of the wig (and everything else about this tiny portrait). 

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Samuel Cooper (1608/9-1672), Portrait miniature of an Unknown Man, perhaps Anthony Ashley Cooper, 2nd Earl of Shaftesbury, 1666-1670. Watercolour on vellum, put down on a leaf from a table book in a gilt locket. Victoria and Albert Museum, London. Accession number P.66-1968.

Highlights from Kunsthistorisches Museum, Vienna. More complete post to come!

From the National Gallery

From lapis lazuli to cobalt blue, to dazzling gold and silver – travel through the story of colour with the National Gallery. ‘Making Colour’, the first exhibition of its kind in the UK, invites you on an artistic and scientific voyage of discovery. From sparkling minerals to crushed insects, learn about the surprising materials used to create pigments and the incredible journeys made by artists in their pursuit of new hues.

Why hasn’t anyone done this before?? Such a great idea for an exhibition!

Making Colour, on view from 18 June to 7 September 2014, National Gallery, London. 

Bronzino, Portrait of Eleanor of Toledo with her son Giovanni de’ Medici, 1544-45. Oil on panel, 115 x 96 cm. Uffizi, Florence.

Bronzino, Portrait of Eleanor of Toledo with her son Giovanni de’ Medici, 1544-45. Oil on panel, 115 x 96 cm. Uffizi, Florence.

Painting of murdered Renaissance beauty revealed under layers of paint

This is so bizarrely fascinating. Seriously. The fact that museum employees during the 1800s did things like this is just… weird. But even more interesting is the whole process that the Carnegie Museum curators and conservations went through to find out who the sitter actually was, as well as the fact that they took the painting to a medical x-ray clinic for scanning (love it!).

And even more awesome is that the sitter, Isabella de’ Medici, is Maria Salviati's granddaughter! The previous attribution was Eleanor of Toledo, who was Maria's daughter-in-law (and whose portrait I have a postcard of pinned to the bulletin board above my desk).

It’s really cool to see how standards of beauty fluctuate over time. Apparently while she was alive, Isabella was considered to be a quite the looker. I personally can see how that might have been, especially considering not only what people thought was attractive at the time (i.e. double chins, high hairlines, tightly clamped lips), but also that this could be just a less-than-talented artist who wasn’t all that great at capturing likenesses. It happens! Sometimes you get five different portraits of the same person where they look completely different in each one. Anyway, lots of interesting aspects to consider!

The painting is currently on view at the Carnegie Museum of Art’s exhibition Faked, Forgotten, Foundwhich sounds pretty great. So if you’re in the Pittsburgh area between now and September 15th, stop by and check out the show!