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 JimDine. 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.
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.
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.
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).”
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.
– 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.
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.
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.
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.
