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!

Inside Dearborn’s Henry Ford Museum

by Paul Brady on

Outside downtown Detroit, in Dearborn, there’s a museum filled with airplanes and cars and farm implements and the most outlandish house ever conceived. Somehow, the bric a brac works, brought together as The Henry Ford Museum, an institution less focused on a particular moment or a particular discipline that the very idea of American innovation, financed by the inventor’s healthy curiosity-and bankroll.

Also here is an artificial town, Greenfield Village, a collection of notable buildings brought to Dearborn from across the country. One particularly telling structures is the Wright Brothers’ Cycle Shop, relocated from Dayton, Ohio, Ford’s nod to tinkerers who changed the course of history, experimenting with something completely new in a garage, just like he did with his Quadricycle, the world’s first car. (The museum has that too.)

Traveling the American Road – The Henry Ford Museum


Harlem: neighborhood revitalization paves way for a new Renaissance

by Laurel Miller on

Harlem. The very name of this former Dutch settlement conjures up a contrast in images: the cultural Renaissance years of the 1920’s and ’30’s, when the “New Negro Movement” attracted writers and other literary types from all over the world. The rise of a middle and upper middle class of black Americans. The Golden Age of Jazz, when legends like Billie Holiday, Duke Ellington, and Jelly Roll Morton could be found playing at iconic venues such as the Savoy Ballroom, Cotton Club, Apollo Theater, and Lenox Lounge.

After the Great Depression and WWII, Harlem experienced hard times. Once glorious buildings grew neglected; crime and poverty soared in the wake of an increasingly disenfranchised community and the social unrest of the civil rights movement. Then, in the late 20th century, Harlem began to get her groove back, and the neighborhood—which stretches north to south from 155th Street to 96th Street–began to gentrify. It’s still a predominantly black community, which is fueling a growing revivalist movement that’s an homage to the historic neighborhood’s cultural past.

Today, you’re just as likely to see beautifully restored brownstones (at newly jacked-up prices), eclectic boutiques, bars, and clubs, and destination restaurants. But some things are still the same. The inevitable downtown hipsters making the trek to soul food institutions such as Amy Ruth’s and Sylvia’s Restaurant. Street vendors hawking everything from incense to dodgy electronics from blankets spread on the sidewalk. Walking up the subway steps, you’re assaulted by a cacophony of sights, sounds, smells–not all of them pleasant. Welcome to Harlem, 2011. A work in progress, but definitely a destination in its own right.

[Photo credit: Flickr user i am drexel]

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Sleeping

One of the biggest changes to take place is the December, 2010 opening of the Aloft, Harlem’s first hotel in nearly a century. The goal of the property has been to work with the community, and enrich the neighborhood by partnering with local businesses, which supply everything from grab-and-go food at the hotel’s 24/7 re:fuel, to floral arrangements.

The Aloft, a division of W Hotels, is a contemporary, more affordable sibling to the swanky, upscale chain, with locations all over North America and a growing number of properties throughout Asia, Europe, and Central and South America. The Harlem outpost is centrally-located on Frederick Douglass Blvd. It’s across the street from the 125th Street subway station, which makes getting downtown a snap.

My room was clean, comfortable, and stylish (with free Bliss Spa Products: yay!), with modern, functioning amenities (read: Wifi is free and actually works). If a view is important to you, best to request a room facing the front of the hotel. On the other hand, if you’re a voyeur or exhibitionist, I highly recommend Room 625. One other note: the ground floor xyz bar is seriously popping on the weekend, and not just with tourists, either. Expect loud music and dancing to go into the wee hours; if you’re sound-sensitive, also best to request a room away from the acoustic zone. Or just join the party.

To See and Do

The Aloft is literally steps away from a number of Harlem’s top cultural attractions. Modern art fans will enjoy The Studio Museum on W. 125th, which showcases local, national and international work by artists of African descent. Also nearby is the Apollo Theater, and the Hip Hop Culture Center, which offers everything from youth activities to historical artifacts, exhibitions, and educational programs. The Jazz Museum is another don’t-miss, over on E. 126th.

Eating and Drinking

Considered some of NY’s best, Patsy’s Pizza in East Harlem has been dishing out coal oven-fired pies since 1933. But a flock of new dining and drinking establishments have opened within the last year or so (all within stumbling distance of the Aloft).

Acclaimed Ethiopian-Swedish chef/Harlem resident Marcus Samuelsson’s Red Rooster, named after an infamous Harlem speakeasy, is a homey contemporary restaurant specializing in comfort food that “celebrates the diverse culinary traditions of the neighborhood.” Think dinner or brunch dishes like dirty rice and shrimp; fried yard bird with white mace gravy, hot sauce, and shake; cow peas; and sweet potato doughnuts. Don’t forget to loosen up with a Gin and Juice or The Spicy Lady (Plymouth gin, jalapeno/rosemary syrup, lemon juice, and creole bitters), first. P.S. If the name of the restaurant sounds familiar, it may be because Obama hosted a $30,800-a-plate fundraiser dinner there in March. He liked the corn bread.

Harlem’s first beer garden, Bier International, sloshes up domestic and international offerings. It also serves brunch and lunch, and is family-friendly (how is mom and dad tying one on while the kids eat bratwurst not a family activity?). And yes, Virginia, there is fine dining in Harlem. The 5 and Diamond, which opened last year, is a popular spot offering contemporary American fare. It’s located on Frederick Douglass Blvd., which has been declared by no less than Frank Bruni–former restaurant critic of the New York Times– as the new “Restaurant Row.”

If serious mixology–with a laidback vibe and sexy, Prohibition-era style–is your thing, head to 67 Orange Street. I adore any place with craft-distilled and house-infused spirits, made-to-order juices, seasonal, intelligent, well-made libations, and a lack of attitude. Bar snacks run the gamut from oysters to deviled eggs, orange-roasted duck leg, and stuffed olives (at hard-to-beat prices). The name, by the way, is a tribute to the long-gone Almack’s, one of the first black-owned-and-operated bars in New York City.

Harlem is evolving at a fast pace; best to visit now, while it’s still an affordable, uncrowded, diamond in the rough.

Want to learn how to shake up a refreshing Moscow Mule or other classic cocktail? 67 Orange gives you recipes, right here.

[Photo credits: pizza, Flickr user Pabo76; soul food, Flickr user fiat luxe; brownstone, Flickr user gsz]

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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Thirty years of AIDS: Smithsonian remembers the start of a pandemic

by Sean McLachlan on

Thirty years ago this summer, the first official reports were released about a new virus that destroyed the human immune system. The virus was the Human Immunodeficiency Virus (HIV), which causes AIDS.

Since that time HIV/AIDS has become a global pandemic, claiming millions of lives and seriously damaging several developing economies.

The Smithsonian’s National Museum of American History is marking this grim anniversary with a special two-part exhibition at the Washington, DC, museum. HIV and AIDS Thirty Years Ago looks at the initial public and government response to HIV/AIDS from 1981-1987, and how the virus was first isolated. Archiving the History of an Epidemic: HIV and AIDS, 1985-2009 takes the story forward to look at society’s growing awareness of the problem and oral histories of those affected. There’s also an online exhibition.

For more information on how HIV/AIDS and how to protect yourself, go to the U.S. Department of Health and Human Services HIV/AIDS information page or the government’s AIDS page for basic information about HIV/AIDS.

[Photo courtesy Wikimedia Commons]