#thursdayart — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #thursdayart, aggregated by home.social.
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Of all the art that I saw in February at the Getty Villa near Los Angeles, this one lingered with me most - a portrait made in hot wax, which was placed over the face of the mummified remains of its subject, some time around 100-125 AD. He challenges us from across the centuries. I find it strikingly realistic.
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This is the Tandragee Man (also known as the Tandragee Idol).
He was originally found in Armagh in 1830 (or in Tandragee in 1930).
He dates from 100 BC (or 1000 BC).
He is probably a man (but he might be a woman).
He is holding his arm (or he might be holding something that looks like an arm).
He sits in the Protestant cathedral in Armagh (or at least he was there in August 2016).
What is he (or she) telling us?
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It’s been a while since #ThursdayArt…
Here are some statues in Woluwe:
1) Morning, copy by Patrick Crombé of original by Arthur Dupagne
2) Woman with Falcon, by Anne-Marie Morelle
3) The Betrothal, designed by Henriëtte Calais and made by Charles Verhasselt
4) Under the Same Heaven, by Tom Frantzen and Epaphrodite Binamungu, a memorial to the victims of the Rwanda genocide.Woluwe has a lot more public art - these were just the ones that particularly struck me on a walk there ten years ago.
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The Tree of Life (1952), by Hans Petri, a monument to the Second World War and to the Liberation, in Park Merwestein in the town of Dordrecht, where we saw it in 2019.
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#ThursdayArt On the stairway down to Platform 1 at the Brussels Luxembourg railway station, if you look up you’ll see this 1897 Art Nouveau stained glass commemoration of (evil) King Leopold II by master glassman Raphael Evaldre. It has the arms of Belgium and of Brussels, the monogrammed L and the Belgian motto, “l’Union fair la Force” (roughly, “Unity is Strength”). You can also see Evaldre’s signature at bottom left.
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Two paintings of #hunebedden, by Johan Dijkstra (1896-1978) and Hendrik Dirk Kruseman van Elten (1829-1904), on display in the Drents Museum in Assen.
More hunebedden: https://fromtheheartofeurope.eu/the-hunebedden-of-drenthe-megalithic-nertherlands/
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Paradise, as depicted in a 4th century mosaic in the church of St Sophia (ie Αγία Σοφία, the Holy Wisdom), in Sofia, Bulgaria.
The mosaic is 2.6m x 2.5m. Two cypress trees, twined with vines, flank a vase with a palm branch and two birds pecking at it; lower down are two baskets with two more birds. It symbolises Paradise, and was created just after the adoption of Christianity in the Roman Empire. The city of Serdica was renamed Sofia after the church.
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Baa!
Sheep on the Road (1990), by Deborah Brown, outside the Waterfront Hall next to Oxford Street, Belfast.
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Thursday Art, collected
A list of my #ThursdayArt posts.
https://fromtheheartofeurope.eu/thursday-art-collected/ -
Yesterday and today, unusually, I came in to work via the Herrmann-Debroux metro station, whose platform is adorned with this impressive “Ode to a Mountain River” (1985) by Rik Poot (1924-2006). There are two other big artworks there, but this is the biggest!
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Monument to Jan Palach, Avenue de l’Atlantique, Woluwe-Saint-Pierre.
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“Changemakers”, by Iliyana Grigorova, in the Parliamentarium exhibition space at the European Parliament. The middle panel in the top row is a mirror, though it’s tricky to photograph it at a good angle.
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Four oil paintings depicting the chapel, forest and ponds near where we live in Oud-Heverlee, painted in the 1870s and 1880s by Princess Sophie von Auersperg (1811-1901) who had married the much older Duke Ernest of Arenberg (1777-1857) in 1842. The paintings feature their daughter Éléonore (1845-1919) and her five children and other relatives. The painter signs herself "Princesse Ernest d'Arenberg", commemorating her husband who had died more than 20 years earlier.
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The fondly remembered Elizabeth Meehan (1947-2018), painted in 2008 by John Kindness; the portrait hangs in the Great Hall at the Queen's University of Belfast. A moment to think of everyone who is no longer around.
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Most days, I walk past a large copy of this at Brussels-Luxembourg railway station; it was drawn by the 25-year-old Hergé, creator of Tintin, in 1932 to advertise the Christmas sales at the Brussels department store L'Innovation, and shows St Nicholas arriving in the city by train. Lots of characterization, and the latest news-gathering technology on display.
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The Orator (~1920) by Magnus Zeller (1888-1972), seen in LACMA in February 2024.
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Attending the Paris Peace Forum at the Palais de Chaillot on Monday I found this lovely depiction of actor Jean Vilar (1912-1971), created by his sister-in-law Valentine Schlegel in 1985. Near the entrance, he watches everyone coming and going.
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The Apotheosis of Washington, by Constantino Brumidi (1865), in the eye of the U.S. Capitol Building's Rotunda.
George Washington ascends to the heavens in glory, flanked by female figures representing Liberty and Victory/Fame and surrounded by six groups of figures. The fresco is 55 metres above the Rotunda floor and covers an area of 433 square meters.
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L'Air, by Aristide Maillol.
Modeled from the 19-year-old Dina Vierny in 1938, it was not actually cast until 1962, 18 years after the sculptor Maillol had died. There are six copies, four in the USA (Yale, Getty, Norton Simon, Kimbell), one in Paris, and this one in the Kröller-Müller Museum in the Netherlands, where I photographed it in 2006.
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#ThursdayArt
“Distorted” by Erin McDaid, winner of the 14-18 category in this year’s Bradley Art Prize. I had the pleasure of seeing the painting and meeting Erin last week. -
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I was trying for something else, but I really like this image….[[|:-)
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Woman with a Black Hat (1928) by Charley Toorop, in the Frans Hals Museum in Haarlem
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#ThursdayArt This is the Beisenerbierg menhir, the one and only intact megalithic monument in the whole of the Grand Duchy of Luxembourg. Some people think it has been shaped to look like a human figure, but I am not so sure. Blog post coming on Saturday.
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I haven't done this for a while, but here's some #ThursdayArt. This is the Staffordshire Pan, a copper bowl which appears to be a Roman-era souvenir of Hadrian's Wall. It is decorated with mock Celtic motifs and under the rim are written the names of the four westernmost forts of the Wall, and the name 'Aelius Draco', presumably the person for whom the bowl was made. Originally it had a handle as well. It was found in Staffordshire in 2003 and is currently on display in Carlisle.