Medieval Frescoes By Giotto Threatened By Construction Project

by Sean McLachlan on


Priceless frescoes in the Scrovegni Chapel in Padua, Italy, may be damaged by a nearby construction project, experts say.

The frescoes were painted by Giotto di Bondone around 1305 and are considered a high point in medieval art. They depict the life of Jesus and the Last Judgement and were painted for the private chapel of a rich banker. The figures’ lifelike style and naturalistic poses anticipated the realism of Renaissance art.

Now the construction of a skyscraper nearby threatens to seriously damage the delicate paintings, according to three scholars who have started a petition to halt the project. They say the building will affect drainage in the area, causing the water level to rise. This would increase humidity and all lead subsidence of the walls, both of which would damage the medieval paintings.

A previous, smaller building proposal was postponed for the same reason but the skyscraper has been approved by the municipality. At the time of this writing the petition already had 1892 signatures.

[Image of “The Kiss of Judas” courtesy Flickr user Carla216]

The Last Pyramids Of Egypt

by Sean McLachlan on


They just don’t make pyramids like they used to.

The pyramids of Egypt have fascinated people ever since they were built. The Step Pyramid at Saqqara started things off around 2650 B.C. Later came the iconic pyramids of Giza. What’s often forgotten, however, is that pyramid construction continued for more than a thousand years and there are at least 138 built to house the remains of pharaohs and queens. More are still being discovered. Last year, satellite imagery revealed seventeen previously unknown pyramids.

The later pyramids of Egypt tend to be overlooked, and it’s easy to see why considering the sad state of most of them. Just take a look at this photo of the pyramid of Senusret II (ruled 1895-1878 B.C.) and photographed by Jon Bodsworth. Like a lot of later pyramids, it was made of mud bricks instead of stone blocks to save money, and that’s why it’s a giant sad lump today – an interesting lump, though.

The interior tunnels are still intact and archaeologists discovered the nearby village where the workmen lived. Contrary to popular belief, slaves didn’t construct the pyramids. Actually, it was trained craftsmen and farmers who didn’t have any other work to do when their fields were underwater during the annual flooding of the Nile.

Senusret II was part of the 12th Dynasty, a high point in Egyptian power and civilization. It’s strange then that pyramids were in decline. You can see several of these pyramids at Dahsur, not far from Saqqara and an easy day trip from Cairo. One is the Black Pyramid of Amenemhat III (ruled 1842-1797 B.C.). It started to collapse almost immediately so he had to build a second one at the Faiyum Oasis near a giant temple to the crocodile god Sobek. This site reopened last year.

%Gallery-155699%The experimentation with cheaper building methods may have started with Senusret I (ruled 1962-1928 B.C.). Instead of a solid geometric shape, the builders first constructed a network of walls crisscrossing each other and dividing the pyramid into 32 parts. These were then filled with loose stone. A smooth limestone facing was put over the whole thing. It sounded good in theory, but it’s another sad lump today.

Perhaps as a compensation for the cheap building styles, the later pyramids had elaborate tricks to stop tomb robbers: dead end tunnels sealed with thick stones; interior chambers made of quartzite, the hardest substance worked in Ancient Egypt; elaborately sealed rooms that contained nothing; and sarcophagi as big as the rooms that held them in order to deny robbers room to work.

Sadly, none of these tricks worked and the pharaohs eventually resorted to hidden underground tombs in places like the Valley of the Kings. After the 12th and 13th dynasties, pyramids went out of fashion. Many of the 13th dynasty rulers didn’t bother building one at all. Only a few were made by later dynasties. The last pyramid made for a pharaoh was for Ahmose I around 1525 B.C. It’s a pile of rubble now that barely measures 30 feet high. Much later, pyramids briefly became fashionable in the Sudan.

The pyramid was dead, and last year, so was Egypt’s tourism industry. It’s been gradually rebuilding itself, though. Cruise lines are returning, as are independent travelers. The tourist sights remained mostly unaffected by the unrest and there’s not much trouble outside of a few spots in Cairo.

Visitors will have more to see with six tombs at Giza having reopened and Egyptologists hard at work uncovering more ancient wonders. Many of the later pyramids haven’t been excavated and while all the ones that have been explored were plundered by tomb robbers centuries ago, there’s always a chance that the treasure of a pharaoh remains hidden inside one of them.

Four UK Museums On Shortlist For Art Fund Prize

by Sean McLachlan on

Four UK museums have made the shortlist for the Annual Art Fund Prize. The winner will get a hefty £100,000 ($161,000) donation, most welcome in these times of economic austerity.

One of the museums, the Hepworth Wakefield, only opened a year ago and has already smashed attendance expectations by attracting half a million visitors. Located in Yorkshire, it focuses on contemporary art and has an innovative modern building design.

The Royal Albert Memorial Museum in Exeter is housed in an elaborate Victorian building and has a broad-based collection ranging from local archaeological finds to Egyptian mummies, British watercolors and digital art. There’s also a natural history section with fossils, birds, insects and a rather intimidating tiger.

The Scottish National Portrait Gallery in Edinburgh reopened last December after a major renovation and now features free entrance and 60 percent more space to show off all those guys in kilts. The Watts Gallery in Guildford showcases the work of famous painter G.F. Watts as well as a huge collection of Victorian photographs and temporary exhibitions of British art.

The winner will be announced on June 19.

[Top photo of Hepworth Wakefield courtesy Carl Milner]

Met Showcases Predynastic Art Of Egypt

by Sean McLachlan on

The Metropolitan Museum of Art in New York City has one of the best collections of ancient Egyptian art in the world. Now it has opened a special exhibition focusing on the lesser-known art from the early days of Egypt before the pharaohs.

“The Dawn of Egyptian Art” brings together art from the Predynastic and Early Dynastic Periods (ca. 4000–2650 B.C.), a time when Egypt was developing into a society with towns, specialized labor and, eventually, a centralized government. This broad swath of time included several distinct local cultures that slowly became the ancient Egypt that we are familiar with.

The main culture was the Naqada culture. Villages each had their own animal deities, many of which survived as gods and goddesses of dynastic Egypt. The dead were buried with works of art such as jewelry and figurines of these deities. As agriculture became more important in the fertile Nile valley, villages grew into towns and art flourished. Local rulers became more powerful and expanded their territories until Egypt was two kingdoms: Upper and Lower Egypt.

The 175 objects from the Met’s collection, and those of a dozen other institutions, put Predynastic Art into its historical and cultural context as well as display them as objects of beauty. For example, this female figure, shown here in a photo courtesy the Brooklyn Museum, was made about 3500-3400 B.C. and is typical of the highly abstracted figures made throughout most of the Predynastic Period. It’s unclear what this figure symbolized, although many Egyptologists think these figures are goddesses, since similar figures painted onto pots are always larger than the male “priests” shown next to them.

Some art is easier to identify, like ships and hunting scenes painted onto pottery or on tomb walls. There are also statues of gods and goddesses, many of which can be identified as the major deities of the age of the pharaohs. A masterpiece of early Egyptian art is the Narmer Palette, seen in the gallery, which commemorates the unification of Upper and Lower Egypt in the 31st century B.C.

For more information, check out this excellent page on Predynastic Art and check out the gallery below.

“The Dawn of Egyptian Art” runs until August 5.

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What Is Art? I Don’t Know And Neither Does Damien Hirst

by Sean McLachlan on


One of the perks of being a travel writer is you get to go to press viewings for upcoming exhibitions. While you don’t beat the crowds (hordes of journalists and hangers-on attend these things) you do get to see some great art for free. And if a show is disappointing, at least you didn’t have to pay for it.

I just went to the press viewing at the Tate Modern in London for “Damien Hirst,” a retrospective for one of Britain’s most famous contemporary artists. Hirst became hugely famous and wealthy in the 1990s as a leading figure in the Britart movement. His displays of preserved animals, dead flies, rows of pills and other studies of life and death polarized the artistic community. Critics either loved or hated his work and it became the center of that perennial and unanswerable question: “What is art?”

I have no idea what art is. I’ve heard lots of definitions, usually pontificated at me by some self-styled expert, and none of them have proved terribly convincing. For me, art is a visceral feeling, a reaction that I can’t entirely explain. To paraphrase the old line about pornography: I don’t know what art is, but I know it when I see it.

Sometimes.

Take one of Hirst’s most famous pieces, pictured above. This preserved shark is titled “The Physical Impossibility of Death in the Mind of Someone Living.” Is this art? To me it isn’t, since it didn’t give me any sort of gut reaction or make me see the world in a different way. If this is art, then every natural history museum is filled with art. And perhaps they are.


This one is called “Mother and Child Divided” and features a cow and calf cut in half. You can walk between the cases and see their insides. This was mildly interesting from a biological point of view, yet once again it felt more like natural history than art, until I saw how the journalists reacted to it. One photographer had brought his daughter along. The girl, about six years old, walked between the cases looking at the calf’s insides. She had that inscrutable expression children sometimes get when they react to something new.

I was wondering what was going on inside her head when a female photographer went up to her father and asked if she could take photos of the girl. The dad said yes and the photographer pulled out her camera. The girl immediately became stiff and put on her “smiling for a family photo” look.

“No, don’t look at me, look at the calf like you don’t know what to think of it,” the woman instructed. “Good! Now give me a cheeky grin.”

Snap snap snap, and the media had created their own reality.

The girl’s father was more ethical. He took a photo of me walking through the cow. I only realized what he was doing when the shutter clicked, so whatever expression I had on my face was the real one.

Is “Mother and Child Divided” art? Yeah, probably. While the piece itself didn’t teach me anything, the audience reaction sure did.


I bet that kid liked this next one. It’s called “Beautiful, childish, expressive, tasteless, not art, over simplistic, throw away, kid’s stuff, lacking integrity, rotating, nothing but visual candy, celebrating, inarguably beautiful painting (for over the sofa).”

This is one of Hirst’s Spin Paintings, made by splashing paint on a rotating canvas. It’s something I did in grade school and something Hirst has done a lot. Well, actually his assistants do most of them. Art? Maybe, but not Hirst’s art. In fact many of Hirst’s paintings, including most of his famous Spot Paintings, consisting of rows of colored dots, are done by his assistants and are only “Hirst paintings” because they come from his studio.

This one I found quite beautiful. It’s called “For the Love of God” and is a platinum cast of an eighteenth century human skull covered by 8,601 diamonds. The teeth are from the original skull. It’s on display for free in a darkened exhibit space in the Tate Modern’s Turbine Room. The spotlights make it glitter in every color of the rainbow. So is this death bling really art? Hell, yeah! Turning mortality into something beautiful, gaudy, and a wee bit obscene brings up all sorts of issues, and if you don’t want to think about them you can at least enjoy beauty for beauty’s sake.

A popular piece with the crowd was “A Thousand Years,” another study of life and death. A glass vitrine holds a white box in which maggots hatch, develop into flies and feed on a cow’s head and a pool of blood. Right above the head is an Insect-o-cutor that attracts some of the flies, who get zapped and fall into a writhing pile of their dead and dying brethren. Others survive to make more maggots. The whole cycle of life and death is contained in one view.

It reminded me of the day my son was born. When my wife went into labor at the hospital the nurses wheeled her away on a gurney, leaving me to pace in the hallway until they prepped the birthing room and summoned me to “assist” with the birth. Moments after they disappeared down the hallway, another group of nurses came into view wheeling another gurney. On it lay a decrepit old man obviously in the last hours of his life.

Whoa. Ummm. . .whoa.

If Hirst’s “A Thousand Years” is art, then so was that scene in the hallway. This is the impression I got again and again from this exhibition. Hirst isn’t teaching anything you can’t learn simply by walking through life with your eyes open, and anyone who has to pay £14 ($22) to learn these lessons in an art museum probably won’t come away any wiser, so what good is this stuff?

You still might want to check this out. The retrospective is huge with dozens of works that I didn’t cover here. Some are beautiful (a stained glass window made of butterfly wings), some fall flat (a row of brightly painted cooking pans) and most leave you wondering just what the hell art is and if anybody really knows. I’m pretty sure Damien Hirst is as much in the dark about that question as I am.

“Damien Hirst” runs from April 4 to September 9, 2012.

All images © Damien Hirst and Science Ltd. All rights reserved, DACS 2012. Photographed by Prudence Cuming Associates, except “Mother and Child Divided” 2007, Photographed by Tate.