|
Displaying items by tag: marble
A marble bust of the Roman goddess Diana that was looted by the Nazis has returned to Poland after 75 years.
The 18th-Century statue was taken in 1940, but its whereabouts remained unknown until it emerged in a Vienna auction house earlier this year.
The Dallas Museum of Art acquired a marble head of Herakles, the Greek hero the Romans called Hercules, at a Sotheby’s, New York auction of Egyptian, Classical, and Western Asiatic Antiquities in June. The marble head is from the late 1st century A.D. and is set upon an unrelated bust from the mid-2nd century A.D. This ensemble was composed by the 18th-century French sculptor Lambert-Sigisbert Adam (1700–59), who created sculptures for King Louis XV of France and Frederick the Great of Prussia.
The acquisition is a gift of David T. Owsley through the Alvin and Lucy Owsley Foundation, and strengthens the Museum’s collection of ancient art of the Mediterranean, of which a selection is on view in the Museum’s Level 2 Classical galleries.
The J. Paul Getty Museum has just acquired an important early sculpture by the Baroque master Bernini: a marble bust of Pope Paul V that many art historians did not believe still existed.
Originally commissioned by Cardinal Scipione Borghese, the nephew of Pope Paul V, in 1621, the sculpture was the 23-year-old artist’s first documented portrait of a pope — a subject that would define his career.
Among the surprises in the British Museum’s exhibition on Greek sculpture is an important early 20th century bronze copy which most archaeologists assumed had been destroyed during the Second World War. It is a reconstruction of the famous Doryphoros (spear-bearer), made in around 1920 by the German sculptor Georg Römer. He based it on three Roman marble copies of the lost Greek original by Polykleitos of around 440 to 430 BC.
Römer’s copy has had a chequered history.
On Friday, February 6, 2015, the Blanton Museum of Art announced that it will acquire and construct Ellsworth Kelly’s only building. Kelly, an American painter, sculptor, and printmaker associated with Color Field painting, hard-edge painting, and Minimalism, conceived the stand-alone structure in 1986 for a private collector. At the age of 91, he is finally seeing the project come to fruition.
Austin, a 73-by-60-foot stone building, will be constructed on the museum’s grounds at the University of Texas at Austin. The structure will feature luminous colored glass windows, a totemic wood sculpture, and fourteen black-and-white stone panels in marble -- all designed by the artist. Kelly has gifted the Blanton the design concept for the work, including the building, the totem sculpture, the interior panels, and the glass windows. Once it is complete, Austin will become part of the museum’s permanent collection. The Blanton has launched a campaign to raise $15 million to realize the project and has received commitments totaling $7 million.
The Dahesh Museum of Art today announced that it has selected a townhouse at 178 East 64th Street as its new headquarters and exhibition space. This coincides with the 20th Anniversary of the Dahesh, America's only institution dedicated to collecting and exhibiting European and American academic art of the 19th and 20th centuries. The five-story townhouse has been selected for its convenient location and spacious gallery-like parlor. The Dahesh is currently consulting with architects, with an opening date to be announced later this year.
The new home for the Dahesh Museum was built in 1899 and has a limestone and brownstone facade. The building is 20-feet wide, comprising of approximately 7,000 square feet of space. Original details include two fireplaces with imported French Louis XV marble mantles and a marble foyer. The new location also includes a beautiful finished outdoor space of Italian stone.
From a Roman marble head of Heracles dating back to the middle of the 2nd century CE exhibited by Galerie Chenel, to Giorgio de Chirico’s 1950 painting “Ettore e Andromaca” at Galería Manuel Barbié, and a Eugène Printz rosewood cabinet at Galleria Robertaebasta, the Brussels Antiques and Fine Arts Fair (BRAFA) will offer an unusual mix of collectibles.
“I want to make BRAFA the most eclectic fair of its kind because this eclectic outlook is one of the main distinguishing features of Belgian taste,” said Harold t’Kint Roodenbeke, BRAFA president, adding, “Our credo is quality: quality of the exhibitors, quality of the works of art, and the quality of the event for visitors.”
Houghton Hall, a lavish English country house built by Great Britain’s first Prime Minister, Sir Robert Walpole, announced that the American artist James Turrell will create a site-specific installation for the institution in June 2015. The Palladian estate, which is now home to David Cholmondeley, 7th Marquess of Cholmondeley, and his wife, Rose, boasts a sculpture park, spectacular interiors, exquisite furniture, rarely exhibited paintings by artists such as Thomas Gainsborough, Artemisia Gentileschi, and John Singer Sargent, and celebrated collections of silver, marble, and Sèvres porcelain.
In recent years, Lord Cholmondeley has commissioned a number of contemporary outdoor sculptures for Houghton Hall, including works by Turrell, Richard Long, Stephen Cox, Zhan Wang, Amy Gallaccio, and Jeppe Hein.
The Metropolitan Museum of Art’s marble sculpture "Adam" by Tullio Lombardo (ca. 1455–1532) will return to public view on November 11, following a tragic accident in 2002 and an unprecedented 12-year conservation project. It is the first life-sized nude marble statue since antiquity and the most important Italian Renaissance sculpture in North America. Tullio carved Adam in the early 1490s for the monumental tomb of doge Andrea Vendramin, now in the church of Santi Giovanni e Paolo, Venice, and it is the only signed sculpture from that iconic monument. The sculpture and its restoration will be the focus of Tullio Lombardo’s "Adam: A Masterpiece Restored," the inaugural installation in the Museum’s new Venetian Sculpture Gallery.
Thomas P. Campbell, Director and CEO of the Metropolitan Museum, said: “We are proud to return this great Tullio sculpture to public view in a beautiful new gallery. Our extraordinary conservators collaborated with a team of experts over 12 years to pursue this extremely challenging work. The results of their care and innovation are stunning.”
Just another face lift on Manhattan’s tony East Side? Not quite.
On September 16, representatives of the United Nations’ 193 member states will return to a completely renovated General Assembly Hall — and the famous Fernard Léger murals that flank its iconic green marble podium will be there, restored to their original glory.
“I just don’t understand this. It looks to me to be scrambled eggs,” Harry S. Truman reportedly declared in 1952 when he first laid eyes on the abstract larger-than-life murals.
|
|
|
|
|
