Vorticism: avant-garde art at the Tate Britain, London

by Sean McLachlan on

In the years before the outbreak of World War One, European artists developed a variety of different styles to reflect the pace of change and industrialization in what used to be a traditional continent.

Cubism and Futurism were two of the biggest movements. One of the briefest and most vibrant was Vorticism. The Vorticists started around 1913 and focused on the hard lines and quick pace of the machine age.

Now the Tate Britain in London is hosting a major exhibition on the movement called The Vorticists: Manifesto for a Modern World. It brings together more than 100 Vorticist works from all the major players.

One of the leaders of the movement was Wyndham Lewis, although some Vorticists say the only reason he was popularly seen as the leader was because he gave more interviews to the press. He was certainly important, though. Lewis was the founder of the Vorticist journal Blast, the first issue of which had a hot pink cover and featured writings by T.S. Eliot and Ford Madox Ford. A whole section of the exhibition is dedicated to this journal and its groundbreaking design and typography.

Some of the rarer works on display include those from the many women welcomed into Vorticist ranks, a daring move at the time. There are also the Vorticist photos of Alvin Langdon Coburn, often hailed as the first abstract photographs. These photos will blow your mind and hurt your eyes.

%Gallery-126430%While Vorticism was mainly a British movement, this exhibition also explores its influences on the New York modern art scene. In fact, it was an American poet, Ezra Pound, who gave the movement its name.

The output of this movement was remarkably small. Blast only had two issues, and there were only two Vorticist exhibitions. World War One killed some of the Vorticists and left others embittered against the modern world. Yet Vorticism had a major impact on modern art and its works are still discussed and copied today. The two issues of Blast are still in print almost a century after they first appeared. One advantage of its brevity is that an exhibition of this size can encompass a majority of the major works, giving the visitor a full understanding of the meteoric life of one of modern art’s most intriguing avant-garde movements.

The Vorticists: Manifesto for a Modern World opened yesterday and will run until September 4.

[Image of Workshop c. 1914-5, by Wyndham Lewis courtesy of the Wyndham Lewis Memorial Trust]

Ancient faces: the Fayum mummy portraits of Egypt

by Sean McLachlan on

The pyramids, Tutankhamen’s gold, the massive temples of Luxor and Karnak. . .the civilization of ancient Egypt has left us an incredible legacy, yet of all of these impressive monuments and treasures none has a more personal effect on the viewer than the Fayum mummy portraits.

During the Graeco-Roman period, after Egypt had fallen first to Alexander the Great and then to the Romans, the old traditions continued. Temples were still built, priests still wrote in hieroglyphics, and the wealthy were still mummified in order to guarantee their place in the afterlife.

The new rulers of Egypt took on some local customs. They often chose to be mummified in the Egyptian fashion, but added the touch of putting a portrait of the deceased over the wrappings covering the face. Painted on thin slats of wood, they were part of a trend called panel painting, considered by Classical writers to be one of the highest forms of art.

Panel paintings were hung in houses and public buildings all over the Greek and Roman world. Two thousand years of damp, mold, and fire destroyed all of them except those buried in the preserving sands of Egypt, so these mummy portraits give us a look at what would otherwise be a lost art. Panel painting was hugely popular in its day and later influenced the Coptic and Byzantine icons of the Middle Ages.

Looking at a mummy portrait brings you face to face with a real person from the past, like this image of a priest courtesy user Eloquence via Wikimedia Commons. Painted around 140-160 AD, it’s realistic enough that we’d know him if he passed us on the street. The portraits vary in quality, but each gives us an individualistic look at a man or woman or child, often with fascinating details like jewelry or hairstyles.

%Gallery-126247%Mummy portraits appeared around the first century BC and continued in fashion for about 300 years. Many were found in the Fayum, an oasis west of modern Cairo that was a popular place to be buried, but examples have been found all over Egypt.

The Museo Arqueológico Nacional in Madrid has a display of 13 of the best mummy portraits showing until July 24. Most of the museum has been closed for more than two years for refurbishment so it’s nice that something is going on there. There’s also the exhibit Tesoros del Museo Arqueológico Nacional, a “greatest hits” collection like the British Museum did while it was remodeling.

If you aren’t going to Madrid this summer (don’t–the autumn or spring are better with fewer tourists and milder weather) there are plenty of other places to see mummy portraits. In London, The Petrie Museum of Egyptian Archaeology and the British Museum have two of the largest collections in the world, although many of the best examples from the British Museum are in Madrid at the moment. In New York there’s the Met, in Edinburgh the National Museum of Scotland, in Paris the Louvre, in Vienna the Kunsthistorisches Museum, and in Amsterdam the Allard Pierson Museum. And of course there’s the Museum of Egyptian Antiquities in Cairo!

Missouri celebrates painter George Caleb Bingham’s 200th birthday

by Sean McLachlan on


He was one of America’s greatest regional painters, and next month he turns 200. George Caleb Bingham captured the life of fur trappers and steamboats along the Missouri River, and the horrible civilian cost of the Civil War.

A self-taught painter who grew up in Missouri, Bingham witnessed the state transform from an underpopulated frontier into a thriving center of commerce and agriculture. The above painting, Fur Traders Descending the Missouri, was painted in 1845 and captured a scene that was already becoming a thing of the past. Individual fur trappers, generally French, were being replaced by larger companies. His Luminist style and the little details like the cat earned him a lasting reputation. Actually, many researchers think it’s a bear cub, but it looks like a cat to me!

Bingham was a realist. The boy in the picture is half French and half Indian, a common enough sight in those days but not something that “respectable” society wanted to talk about. The original title for the painting was French Trader, Half-Breed Son, but the American Art Union changed the name when they put it on display. Yet another example of a powerful institution whitewashing America’s past.

Bingham was born 20 March 1811 and Missouri is planning several exhibitions and events. Kansas City’s famous Nelson-Atkins Museum will have an exhibition of his work from March 9 to December 2. At The Harry S. Truman Library and Museum, there’s another Bingham retrospective from March 10 to September 9. There are several other events taking place to mark the bicentennial. You can find an entire list here.Perhaps his most famous painting is Order No. 11, Martial Law shown below. This order by Union General Thomas Ewing in 1863 forced civilians out of their homes in several Missouri counties bordering Kansas. It was in retaliation for a Confederate guerrilla raid that destroyed Lawrence, Kansas, killing 200 mostly unarmed men and boys. General Ewing knew that secessionist civilians helped the guerrillas, so he decided to move them out of the region. Bingham was a Union man and was as shocked as anyone else by the Lawrence Massacre, but he thought punishing civilians was unjust. His painting was an instant success and has become a permanent symbol of Missouri’s bitter Civil War. It will be on display at the Truman Museum exhibition.

[Fur Traders Descending the Missouri courtesy The Yorck Project. Order No. 11, Martial Law courtesy Americasroof]

Tutankhamun statue and other artifacts stolen from Egyptian Museum, Zahi Hawass reports

by Sean McLachlan on

The Head of Egypt’s Supreme Council of Antiquities, Dr. Zahi Hawass, has posted some sad news on his blog. During the recent political upheaval in Cairo the Egyptian Museum was broken into and some artifacts were stolen. We reported earlier that two mummies were damaged but nothing was stolen. Now that the museum staff have been able to do an inventory it appears that during that incident the intruders also took some artifacts.

The most famous is a gilded wood statue of Tutankhamun being carried by a goddess, shown here. Another Tutankhamun statue was damaged. Several other priceless artifacts are also missing. A complete list can be found here. Dr. Hawass writes that 70 artifacts were knocked over or damaged.

Dr. Hawass also reports a storeroom near the pyramid at Dashur was broken into. There were attempted break-ins at a few other museums as well. No word yet on any missing artifacts.

The Egyptian Museum is on Tahrir Square where the Cairo protests were centered. Dr. Hawass and museum employees have been sleeping in the museum to protect it. On several occasions during the past weeks many protesters made a human barrier to protect the building. Sadly, the thieves took advantage of the confusion on the street level to break in through the roof.

The BBC reports that previous reports of damaged mummies appear to be incorrect and were the result of confusion over a couple of skulls that had been taken from their cases. Also, a group of suspects have been arrested and are being questioned in relation to the break in. The museum remains closed for an indefinite period.