Another sunset at Crater Lake
Photo by William Lee
This is a discussion on National within the Photos forums, part of the Fine Art category; Another sunset at Crater Lake Photo by William Lee...
Anton von Maron’s portrait of Johann Winckelmann in luxurious undress (1768). An engraving of Antinous, a favourite of the Roman Emperor Hadrian, is before him.
To celebrate the tercentenary of the birth of Johann Joachim Winckelmann (1717-68), the first scholar systematically to write art history as a succession of styles, the Neues Museum in Weimar, Germany is holding an exhibition on his work. Winckelmann: Modern Antiquity (7 April-2 July), organised by the Klassik Stiftung in Weimar and the Martin Luther University of Halle-Wittenberg, includes more than 200 exhibits surveying his achievements.
The president of the Iraqi Artist’s Society is on a mission to return a painting by Faeq Hassan—who he calls “Iraq’s Picasso”—to the Iraqi state.
The 1968 painting, a dramatic depiction of Saladin’s famous 12th century conquest of Jerusalem from the Crusaders, was due to be auctioned at Christie’s Dubai last month, but was withdrawn after he sent a letter to the auction house. “I am like Sherlock Holmes,” says Qasim al-Sabti, the Artist’s Society president.
Tuesday 21st March: Brutal tannoy at seven; fog now lifted and we could see the blue Antarctic peninsular itself, HUGE mountain range, the scale is so surprising, the ‘sfumato’ of the whole thing, the ice and shrouded mist amongst the peaks. And on the other side Petermann Island named after the German geographer here in 1874.
No coffee for fear of peeing, bundling up in obligatory endless layers. Great excitement of our first humpback whales, the white side of their fins flipping at last moment, big spray of water from their spouts, definitely showing off for us, knew we were here, a pool of shimmery still water above them, then their emergence, the slowness and magnitude of their arc. Out in the last Zodiac chugging over to Petermann, finally embarking onto Antarctic soil to see our first art works!
Get back into the swing of things at the Cooper Hewitt’s exhibition The Jazz Age: American Style in the 1920s (until 20 August), a comprehensive look at the aesthetics and culture of the 1920s to 30s that goes far beyond—but does include—the flapper lifestyle.
While travelling to Poland over the last eight years for a series of photographs and films of school-age girls, the Los Angeles artist Sharon Lockhart kept noticing the name “Korczak” on local institutions.
She had stumbled into the legacy of the Jewish-Polish pediatrician Janusz Korczak, who died in 1942 in the Holocaust. For her installation in the Polish pavilion of the Venice Biennale, Lockhart is paying tribute to Dr Korczak’s work as well as honoring the 47 “troubled girls”, ages 13 to 18, who currently live at the Youth Center for Socio-Therapy in Rudzienko, eastern Poland. “I learned that he was a doctor, he ran an orphanage, he wrote fiction, he wrote nonfiction, he wrote a book called How to Love a Child. He was a radical thinker involved in children’s rights before there were children’s rights,” Lockhart explained by phone this month while finishing preparations for the Biennale. “The more I got to know about him, the more I needed to know about him.”
The Roman city of Pompeii has become “a model for Europe” just seven years after a string of collapses in 2010 left many concerned for the site’s preservation. The European commissioner for regional policy, Corina Cretu, praised the progress of the so-called Great Pompeii Project—the €105m restoration campaign launched in 2012 by the European Union (EU) and the Italian government—in February. The original deadline to complete the works was extended from 2015 to 2017. Our sister newspaper, Il Giornale dell’Arte, interviewed the site’s superintendent, Massimo Osanna, about the turnaround—and the challenges that Pompeii still faces.
The Art Newspaper: How has Pompeii’s approach to conservation changed since your appointment in 2014?
Massimo Osanna: The Italian culture ministry created a special management structure that ensures the legality of every procedure [against the infiltration of organised crime]. The major problems have now been resolved. We are completing works and planning the future of Pompeii: there will be regular maintenance at last.
Will you have enough staff when the project’s funding runs out?
We are losing architects and archaeologists to retirement and transfers. If we want to maintain the pace of work, this continuous drain is unacceptable. To avoid another Great Pompeii Project in ten years, we need to strengthen the workforce. The 20 construction workers and seven restorers we have now are too few.
How sustainable is the growth in visitor numbers?
When I arrived, the target was three million, but last year we were already at 3.3 million. So we need to think about new ticket offices and visitor facilities. We are aiming to remove the barriers and make the entire street map of the city accessible. We are three-quarters of the way there.
A major exhibition on the Hajj, the annual pilgrimage to Mecca in Saudi Arabia that every Muslim must make, is due to open in Abu Dhabi this autumn, focusing on the challenges faced by Emirati pilgrims who make their way to Islam’s holiest site. The show, titled Hajj: Memories of a Journey (opens 20 September), will be held in the grounds of the Sheikh Zayed Grand Mosque and is due to open 20 September.*The Abu Dhabi Tourism and Culture Authority is backing the exhibition. Its spokeswoman says: “The exhibition’s curatorial view on the sacred pilgrimage is through the lens of Sheikh Zayed’s personal Hajj in 1979.” The late Sheikh Zayed Bin Sultan Al Nahyan, considered the founding father of the United Arab Emirates, undertook the Hajj wearing the simple white robes worn by pilgrims.*
Silk hanging panel from the sanctuary in Mecca (around 1903-04) (Museum of Islamic Civilisation)
The Luxelakes A4 Art Museum in the Chinese city of Chengdu opened its new location last weekend (April 15) with a 13-artist show Create Spaces (until July 16). The museum was established in 2008 and named after the building number of its original location, which closed in late 2015. It is the sole private art museum in the culturally vibrant capital of Sichuan Province.