Macedonia: what’s in a name? A major controversy!

by Sean McLachlan on


The erection of a giant statue of Alexander the Great in the Macedonian capital of Skopje is the latest round in an ongoing controversy with neighboring Greece.

The statue, erected on Tuesday as part of an ambitious urban development plan called Skopje 2014, drew criticism from some Greek politicians and nervous mutterings from European diplomats. They say it’s deliberate provocation because Greece objects to the name Macedonia. Using this name, some say, implies a claim over the Greek province of Macedonia, where Alexander the Great was actually born. Of course neither country existed at the time, the land being divided up into a patchwork of ancient city-states. When history is used as a propaganda tool, historic accuracy goes out the window.

Macedonia, officially the Former Yugoslav Republic of Macedonia, broke off from Yugoslavia in 1991 and has been in a row with Greece about its name ever since. This isn’t some minor squabbling. Greece successfully blocked Macedonia’s entry into NATO and is stonewalling the country’s attempts to join the European Union. With Macedonia being one of the poorest countries in Europe, this argument over a name is costing them a lot.

[Photo courtesy Wikimedia Commons]

Mummies of the World exhibition opens in Philadelphia

by Sean McLachlan on


Mummies are endlessly fascinating. To see a centuries-old body so well preserved brings the past vividly to life. While Egyptian mummies get most of the press, bodies in many regions were mummified by natural processes after being deposited in peat bogs or very dry caves.

Mummies of the World is a state-of-the-art exhibition bringing together 150 mummies and related artifacts. It opened last weekend at the Franklin Institute in Philadelphia after successful runs in L.A. and Milwaukee. Visitors will see mummified people and animals from all over the world and learn how they came to be so well preserved.

Besides the required collection of ancient Egyptians, there are numerous mummies from other regions, such as this prehistoric man from the Atacama Desert in Chile.

%Gallery-126801%From South America there’s the famous Detmold child from Peru, dated to 4504-4457 B.C., more than 3,000 years before the birth of King Tutankhamen. This ten-month-old kid was naturally preserved by the incredibly dry climate of the Peruvian desert. There’s also a tattooed woman from Chile dating to sometime before 1400 AD who also dried out in a desert.

From Germany there’s Baron von Holz, who died in the 17th century and was preserved in the family crypt. Then there’s the Orlovits family: Michael, Veronica, and their baby Johannes. They were discovered in a forgotten crypt in Vac, Hungary, in 1994, where they had been buried in the early nineteenth century. The cool, dry conditions of the crypt and the pine wood used in their caskets helped preserve them.

There are animal mummies too. There’s a mummified cat from the Ptolemaic Period (305-30 BC), the same time in Egypt that the mummy portraits started coming into fashion. There are several naturally preserved mummies such as frogs, a lizard, a hyena, and even a howler monkey that dried out in desert conditions and are on display.

Several interactive exhibits give visitors a chance to see where mummies come from, how they were preserved naturally or artificially, and what they feel like. Visitors can even match DNA samples to see which mummies are related.

Mummies of the World runs until 23 October 2011.

[All photos courtesy American Exhibitions, Inc.]

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!

Images of Paris in La Belle Époque

by Sean McLachlan on

Paris has always captured the imagination with its architectural beauty and interesting inhabitants. La Belle Époque from the late 19th century to the start of World War One is considered a high point of Parisian life, and this life was captured by an eccentric photographer named Eugène Atget.

Atget started taking photographs of Paris in the 1890s. Working in the early hours of the morning with large-format negatives in order to catch as much detail as possible, he photographed many fine old buildings that have since disappeared. He photographed people too, preferring street vendors, shopkeepers, prostitutes, and the homeless. Instead of the rich and famous, he focused on people you’d commonly see on the street in those days, like this little girl singing along to an organ grinder, courtesy the Gilman Paper Company Collection.

Atget continued to work after the war until his death in 1927, documenting a Paris that even then was beginning to disappear. He was a bit of an anachronism, using the same equipment and same techniques he had thirty years before. A photo of him from the 1920s shows him as a shabby, hunched old man. He must have been an object of fun among the Bohemian set, for his looks, mannerisms (in old age he only ate bread, milk, and sugar) and outdated photographic style. The art world never really appreciated him until after his death, but now he’s renowned as one of the most important artists of the era.

Atget’s work is now the subject of a free exhibition at Madrid’s Fundación Mapfre, one of the best private galleries in the city. Eugène Atget, Paris 1898-1924 runs until August 27.

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