Ancient Egypt–Art and Magic, opens at the Museum of Fine Arts, St. Petersburg, Florida

by Sean McLachlan on

Ancient Egypt never ceases to fascinate. Its elaborate religion, art, and ritual make it at once foreign and compelling. Now a new exhibition at the Museum of Fine Arts in St. Petersburg, Florida, showcases some of the highlights of this unique culture.

Ancient Egypt–Art and Magic: Treasures of the Fondation Gandur pour l’Art brings to the public eye one of the greatest private collections of Ancient Egyptian art. These 100 choice pieces from the collection of Jean Claude Gandur of Geneva, Switzerland, include mummy cases, statues of pharaohs, papyrus texts, and precious jewels.

Each item emphasizes the skill of the ancient Egyptian artisans and their culture’s deep connection to magic. Alongside the works of art are explanations of how magic played a part in every aspect of Egyptian society, and how these particular objects fit into that belief.

Some of the items have an interesting modern history too. One sarcophagus was owned by the late French fashion designer Yves Saint Laurent.

It’s rare for so many items from a private collection to go on display all together, so if you’re passing through Florida, be sure to make it to this exhibition. The exhibition runs until April 29, 2012.

This photo shows the lid from a sarcophagus, made of gessoed and painted wood from either the 21st or 22nd dynasty (1080-720 BC), from the Collection of the Fondation Gandur pour l’Art.

Medieval manuscripts in Los Angeles and London

by Sean McLachlan on

Two major exhibitions on opposite sides of the globe are focusing on the art of medieval manuscript illumination.

At the Getty Center in Los Angeles, a show has just opened highlighting the burst in creativity and education in what is popularly called the Gothic period. Gothic Grandeur: Manuscript Illumination, 1200–1350 features books from this important period, when educated Europe created a huge demand for illustrated manuscripts.

Looking at these works of art instantly dispels the popular notion that the Middle Ages were a low period in civilization. In fact, it was a time of great artistic creativity and innovation. Even though the Church tried to create an orthodox mode of thinking, science and basic questions of philosophy were able to advance, albeit slowly. Even existentialism had a place. Just read the opening chapter of St. Augustine’s Confessions if you don’t believe me.

The exhibition mainly draws on Getty’s impressive permanent collection, including recent prize acquisitions such as the Abbey Bible, one of the finest Gothic illuminated manuscripts ever made. Also of interest is the Northumberland Bestiary, a mid-13th century encyclopedia of animals.

In London, the British Library is running Royal Manuscripts: The Genius of Illumination. This collection of 150 manuscripts from the library’s collection date from the 8th to the 16th century and depict royalty through the ages. Some were even owned by kings and queens, such as a psalter with marginal notations by Henry VIII. The exhibition not only covers the royalty about and for whom the books were created, but also the artists who create them. Not all were monks as commonly believed. Many books were made by professional freelance artists who hustled for commissions from the rich and powerful. Not much has changed!

Gothic Grandeur: Manuscript Illumination, 1200–1350 has two installations, one running to 26 February 2012 and the next running from 28 February to 13 May 2012. Royal Manuscripts: The Genius of Illumination runs until 13 March 2012.

Photo courtesy British Library.

Early Christian art on display at the Onassis Cultural Center, NYC

by Sean McLachlan on


It’s often called the Dark Ages, a time when barbarian hordes overran Rome and that great civilization’s art, culture, and learning disappeared. A time when there were no great achievements.

It’s a misnomer.

Rome did not fall in the fifth century with the usurpation of the last emperor in Rome in 476. To the east, at the new capital of Constantinople, modern Istanbul, the Eastern Roman Empire was starting a new renaissance in art and administration that would become known as Byzantium.

An exhibition in New York City’s Onassis Cultural Center explores the place of early Christianity in these often misunderstood years. Transition to Christianity: Art of Late Antiquity, 3rd to 7th Century AD opened yesterday and runs until May 14, 2012.

The exhibition brings together more than 170 objects from collections in Greece, Cyprus, and the US. There are a wide range of objects including mosaics, paintings, sculptures, architectural elements, inscriptions, coins, liturgical objects, jewelry, and domestic items. The timeline spans the last years of paganism and the rise of Christianity as a tolerated and eventually the official religion.

Early Christian art took on many of the forms and styles of earlier Roman art, as you can see from this 7th century silver plate, shown here in a Wikimedia Commons image. This is one of the nine so-called David Plates, commissioned by the Emperor Heraklios (ruled 610-641), whose victory over the Persians was compared to David’s defeat of Goliath. In this plate David is being presented to Saul (1 Samuel 17:32–34). The figures are dressed like Roman aristocracy.

The exhibition looks at many facets of late Antiquity including the interaction of paganism and Christianity, daily life, the importance of cities, and funerary art.

Of course the “barbarians” had art of their own. While that’s beyond the scope of this exhibition, many museums have collections of the Germanic tribes’ unique styles of jewelry, glasswork, and carving. The British Museum has an especially good collection.

Scottish National Portrait Gallery to reopen after major renovation

by Sean McLachlan on

After more than two years and £17.6 million ($27.4 million), the Scottish National Portrait Gallery in Edinburgh will reopen on December 1.

The remodel opens up more of the Victorian building to public view, adds more than 60% to the public space, and introduces several themed galleries, including Blazing with Crimson–a collection of full-length portraits of men in kilts.

The gallery’s massive collection of portraits includes those of great statesmen, royalty, scientists, engineers, soldiers, and athletes. Special galleries look at the new face of Scotland, with one exhibit highlighting Scotland’s large Pakistani community.

Another bonus to the revamped gallery is that entrance is now free.

The gallery opened in 1889 as the first purpose-built portrait gallery. While it has always featured paintings of Scotland’s great names, it now also includes a large space devoted to photography.

This is the second major museum reopening in Edinburgh this year. The National Museum of Scotland reopened this summer after a £47.4 million ($74 million) renovation.

Photo of Robert Burns portrait courtesy Wikimedia Commons.

Is the Romulus and Remus statue a copy from the Middle Ages?

by Sean McLachlan on


It’s one of the most famous symbols of ancient Rome–the legendary Romulus and Remus suckling from a she-wolf. Legend has it the brothers were born to a Vestal Virgin who had been abducted by the war god Mars. Abandoned, they were raised by a she-wolf. As adults they fought each other. Romulus killed Remus and went on to build Rome. The statue graces Rome’s Capitoline Museum and is photographed by tens of thousands of visitors every year.

But it may date from centuries after Rome fell.

In fact, it may date from the Middle Ages. The bronze wolf has long thought to be Etruscan, an ancient Italian culture that predated the Romans. Modern carbon dating shows it wasn’t made in the 5th century BC but rather the 13th century AD. The babies are known to have been added in the 15th century. The tests on the wolf were conducted five years ago and were shrugged off by the Capitoline Museum as inconclusive.

Now scholars are saying the museum was wrong to dismiss the results and have pointed out that the statue was cast as a single piece, something the Etruscans and Romans couldn’t do with a statue so large. Medieval artisans could. It’s possible the present statue was a copy produced from an earlier statue that was, indeed Etruscan. It’s impossible to say.

The museum is adding this “alternate theory” to its literature, although that doesn’t mean they’re giving up on the Etruscan theory just yet.

Photo courtesy Wikimedia Commons.