Around the World at Virginia Museum of Fine Arts

The Virginia Museum of Fine Arts has a wide-ranging collection with an appeal to many tastes, and even a painting that somehow comments on art and museums in general: Giovanni Moroni’s 1557 painting above of a devout couple pointing out the painting of Madonna, Child and St. Michael they have commissioned.

But for today’s visit, I’ll begin with the Worsham-Rockefeller Bedroom from the late 1800’s that was inspired by the bed of Princess Mathilde Bonaparte Demidoff, aniece of Napoleon. It was donated to the VMFA by the Museum of the City of New York.

Next, a look at some of the paintings that caught my eye. Triple Elvis
(1963) is the recognized style of my hometown artist Andy Warhol. It was
done as a publicity photo for the western movie “Flaming Star.” Then there
is the “Cup of Death (1885)” by American Elihu Vedder, and “George
Washington (1782)” painted by James Peale after Washington defeated the
British at Yorktown. “Brideship (1927)” by Thomas Hart Benton portrayed an episode from the early 1620’s when the Virginia Company sent 147 young, educated maids to Jamestown to serve as brides for the lonely settlers.

“Duro-Verde (1978)” by Ed Paschke showed the green pall and pulsating lines to represent the disaffected American society escaping reality to spend time watching TV. “Self-Portrait with Sunglasses (1969)” by Alex Katz who wanted style and appearance to take the place of content. And the unusual painting with sculpture entitled “Red Robe with Hatchet (Self-Portrait) (1964)” by Jim
Dine. After finishing it, he said ‘there is nobody in the robe, but it looks like me.’

“Lamp II (1977)” by Roy Lichtenstein is a painted, abstract, bronze sculpture by an artist primarily known for his paintings with a similar look.

“Burger Chef Interior (1972)” by Ralph Goings took me back to my early 20’s when the fast food explosion began pushing local diners to the brink of closure.

“Tennis at Newport (1920)” by George Bellows who was
captivated by the elegant attire of the tennis crowd.

On the way to the Fabergé gallery, I passed a beautiful display of Tiffany
lamps. Our home is adorned with a number of cheap reproductions, but we
love them.

The silver framed photo of Grand Duke Sergei Alexandrovich and Grand Duchess Elizabeth Feodorovna is by the Fabergé Firm. Sergei ruled Moscow for 14 years (dates on the frame 1891-1904), but was assassinated by a
revolutionist in 1905. That may be the reason for his worrisome, precursory
look in the photo. The Grand Duchess founded a convent to help the poor and
needy in Moscow after Sergei’s assassination, but she herself was executed
by the Bolsheviks in 1918 because she was the sister of the Tsar’s wife.

The blue “Imperial Tsarevich Easter Egg” was presented by Tsar Nicholas II
to his wife, Empress Alexandra Feodorovna in 1912. Two other exquisite eggs
that I enjoyed were the “Imperial Red Cross Easter Egg (1915)” and the
“Imperial Pelican Easter Egg (1898).”

The most distinguished and rare item in the Fabergé collection is the “Bratina (1900).” The bejeweled “cup” was filled with honey wine and passed from eldest brother to youngest brother. No mention if the sisters got a sip or two. Another rare item is the “Gueridon” table by Fabergé since they did not make many furniture items and this style was popular during Louis XIV’s reign.

A couple of other large silver pieces are the “Kovsh,” boat-shaped Russian drinking vessel with a charging group of medieval warriors who served Grand Prince Vladimir in ancient Kiev, and the “Caviar Bowl Shaped as a Sturgeon (1896)”.

Karl Fabergé (1846-1920) was known as the Jeweler to the Russian Court.
Though he did not personally make any of the 150,000 objects his firm produced, he was an expert at running the business and hiring gifted workmasters. After the 1917 revolution his company was confiscated and nationalized, and after Nicholas was executed, Karl fled to Switzerland where he died in 1920.

Next up is ancient Egypt. The “Statuette of Ka-her-iset-ef (2345 BC)” was
excavated at Giza and bears the inscription of “The Purifying Priest of the
King.” “Mummy Masks (305 BC)” were used to preserve the likeness of
the dead.

The “Outer Sarcophagus of Hor (525 BC)” with the vaulted lid and corner posts dates when Egypt was ruled as part of the Persian Empire.

The “Inner Coffin of Charioteer Atef-amon (1070 BC)” was found with a chariot
whip.

Moving on to Rome. A large marble sculpture in the center of a VMFA room is
of “Caligula” aka Emperor Gaius, who ruled Rome for four years from 37 to 41 AD. He was so despised by all that his guards assassinated him and almost all
likenesses of him were destroyed, too. The VMFA has one of the only two
statues of Caligula, his name means “little boots” because he wore military
boots as a child.

Then we have the marble head of “Dionysos (1st Century AD) who was a late
comer to Greek religion. He was the god of wine, theater and madness. Not
sure how all that fits together, but maybe all the other god topics were
already taken and Dionysos got the leftovers.

The “Black-Figure Neck-Amphora Storage Vessel (510 BC)” depicts Greek heroes Ajax and Achilles throwing dice while Athena looks on.

Now, moving to Asia, the Chinese, Tang Dynasty “Heavenly Guardian (Lokapala)
– 5th Century AD” tramples a muscular demon. An ancient version of WWF.
Also from the Tang Dynasty in the 8th Century are these “Civil Court
Officials” found in a tomb.

Rare items from the Japanese Kamakura period show “Monju on the Lion” and “Fugen on the Elephant” from the 14th Century. They are descending to earth as described in the Lotus Sutra to protect against evil and ignorance and to protect the Buddhist Law. In the center is “Kannon” known for compassion and holds a lotus bud.

Moving to the African continent, there are a number of masks on display.
The “Elephant Mask Ensemble of a Kuosi Society Member (20th Century)” is
from the Bamileke Culture of Cameroon fabricated from Monkey fur, ivory and
other items to symbolize wealth, power and high rank. The “Boy’s Circum- cision Mask (20th Century)” is from the Yaka Culture in the Democratic Republic of Congo. Adolescent boys are sent to a special camp to be circum-cised and to make their own mask to take back to their village or camp.

When trouble disrupts village life, the Wee Culture in Cote d’Ivoire don masks (above) to banish the evil spirits. The “Ga Wree-Wre Mask (20th Century)” is at right, from the Dan Culture in Liberia and Cote d’Ivoire. Two sculpted figures (below) are “Anjenu (20th Century)” from the Idoma Culture in Nigeria and “Bocio” from the Fon Culture, Togo, Republic of Benin.

I liked the “Hornbill / Crocodile Mask (20th Century)” from the Nuna
Culture in Burkina Faso. They have a legend where a crocodile saved a
hungry man and that a hornbill can communicate with otherworldly spirits, so
this mask doubles up on those good thoughts.

Here an impressive mask and some Zulu beaded attire.

Finally, a “Yoruba Culture Crown (20th Century)” from Nigeria and
Republic of Benin, “Pair of Gelede Masks (20th Century)” also from the
Yoruba Culture, and a “King’s Beaded Staff (20th Century)” again from the
Yoruba Culture. Final item is an 18th Century Ethiopian painting of the
Last Supper.