Trinity and incarnation in Anglo-Saxon art and thought

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Traute M. Marshall

"While most people are familiar with the Museum of Fine Arts and the Isabella Stewart Gardner Museum in Boston, few are aware of the scores of other wonderful museums throughout New England. From the Colby College Museum of Art to the Museum of Russian Icons and the National Museum of American Illustration, the cradle of American art is home to a dazzling abundance of cultural opportunities." "Traute M. Marshall has written this smart and engagingly personal guidebook for curious travelers, bringing to light the wealth of small and large art museums in the six New England states, ranging from world-class encyclopedic collections to more modest and specialized venues. While providing the information found in a traditional guidebook - addresses, websites, opening times, directions, and so forth - Marshall also offers readers informed and intimate introductions to the museums and their histories, holdings, traditions, and architecture. This guide also explains exhibition practices, the presentation of the permanent collection versus the attraction of temporary shows, the different educational activities offered, and the special relationship between a town or city and its art museum." "Each entry concludes with a special "PLUS" section designed to further enrich any visit. This might point you to other types of museums nearby, an architecturally distinctive building in the neighborhood, the home of a famous local artist, or other sites such as artist colonies or distinguished galleries, historic inns or restaurants, or even movies with some connection to the locale. Useful as both a resource for planning your next road trip and an essential glove- compartment companion, Art Museums PLUS is a must-have for New England natives and tourists alike."--BOOK JACKET.

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Sidney D. Kirkpatrick

In January 1987, archaeologist and museum curator Dr. Walter Alva was asked to examine a collection of strange artifacts found in the home of a poor grave robber on Peru's remote north coast. The subsequent police inquiry traced the cache to an ancient pyramid at Sipan, where looters had plundered a royal tomb of a little-known civilization called the Moche. This ransacking of the New World's richest archaeological discovery devastated Alva, who had been conducting a. Ten-year crusade to protect Peru's monuments of the past. What he did not know was that the looted artifacts had already been smuggled out of Peru and into England for re-transport to Los Angeles, where they would be sold to wealthy art collectors and dealers. At Sipan itself, the police, fearing for his safety, were demanding that Alva abandon his search for objects the looters might have missed. His own colleagues were also urging him to leave, believing he was wasting. Precious resources on an excavation doomed to failure. In the midst of this crisis, Christopher Donnan, the world's most respected Moche scholar, arrived with much-needed cash, supplies, and encouragement, along with the news that the precious artifacts were already in the hands of collectors and dealers. Donnan's information proved correct, for in the months to come, looted artifacts reached the hands of Los Angeles Museum of Art trustee Ben Johnson and Nobel. Prize-winning physicist Murray Gell-Man. In fact, many of the objects would soon go on display at the prestigious Santa Barbara Art Museum. Meanwhile, U.S. Customs agents had begun an investigation into the smuggling operation, and in March 1988, their unprecedented seizure of pre-Columbian antiquities sent shock waves through the art world. When reports of the raid reached Peru, Alva was having a celebration of his own. The pyramid at Sipan was not the burial place of a. Single Moche lord but was, like the Valley of Kings of ancient Egypt, a necropolis containing many lords. At least three tombs, richer in gold and silver than any other site excavated in the Americas, remained intact. To protect their discovery, Alva and his men put down their shovels and picked up guns, confronting the looters and winning their support. Police and Customs agents, however, were much less successful in their efforts to gain the return of the stolen. Artifacts. A controversial U.S. court decision resulted in the forfeiture to Peru of only 250 of the nearly 3,000 precious objects seized by the police. But an important precedent was set, serious questions were raised about private ownership of national treasures, and the first conviction in U.S. history for smuggling pre-Columbian art was obtained.

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herausgegeben von Achim Sommer

Lovis Corinth was one of the most exciting artists to emerge from turn-of-the-century Germany. Together with Max Beckmann and Oskar Kokoschka, he became one of the greatest figurative painters of the early twentieth century. An outsider of astonishing individuality, he has resisted categorization by art historians in terms of Impressionism, Expressionism, and other movements. Corinth began his career in the realist tradition in the 1880's, but he was soon at the vanguard of change. Following a period in Munich when his religious and mythological paintings brought him his first taste of fame, Corinth moved to Berlin in 1901, where he spearheaded the protest against Kaiser Wilhelm II's official policy on art. Towards the latter part of his career, Corinth's work clearly reflects his reactions to his own illness and to World War I. Objects are caught up in a play of broad, energetic brush strokes, the paste-like layers of paint applied in sweeping, parallel movements to produce the characteristic hatching that became his hallmark. These later works - mainly landscapes, portraits and self-portraits - continued to be an inspiration to representatives of later movements. Lovis Corinth provides a comprehensive analysis of the artist still little known outside Europe. The Munich and Berlin years, his sources and inspiration, his subject matter, his painting and drawing are examined by authors from America, Britain, and Germany. The book is beautifully illustrated with numerous colour reproductions of his oil paintings, watercolours, drawings, and graphic works, providing the definitive illustrated reference on the artist.

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Steven Roger Fischer

When Lost's Oceanic Airlines Flight 815 crashed, the survivors found themselves on a seemingly deserted island. In Defoe's novel, Robinson Crusoe spends twenty-eight years on a remote tropical island near Trinidad, while in the movie Castaway Tom Hanks survives over four years on a South Pacific island. And Jurassic Park kept its dinosaur population confined to an island off the coast of Central America. Islands often find themselves at the center of imagined worlds, secluded and sometimes mystical locales filled with strange creatures and savage populations. The cannibals, raptors, and smoke monsters that exist on the islands of popular culture aside, the more than one million islands and islets on the planet are indeed small , geological, biological, and cultural laboratories. From Britain to Japan, from the Galapagos to Manhattan, this book roams the planet to provide the first global introduction to these waterlocked landforms. Longtime island dweller Steven Roger Fischer shows that, since time began, islands have been one of the primary birthplaces for plants, animals, and proto-humans. These eyots of stone and sand--whether in ocean, lake, or river--fostered the human race, and Fischer recounts how humanity then exploited these remarkable habitats as stepping stones to global dominion. He explores island economics, warfare, and politics, and he examines the role they have played in literature, art and psychology. At the same time, he sparks our imagination with visions of islands--from Atlantis to Tahiti, Treasure Island to Hawaii. Ultimately, he reveals, these isolated mini-worlds are a measure of humankind itself. An engaging account of the islets that have enriched, lured, terrified, and inspired us, Islands shines new light on these cradles of earth--and human--history.