ATHENA Roccaspromonte:

Italic Terracotta Statue based on the Greek Archaic model, 2nd half of the 4th c. BC [?] From Roccaspromonte, Campobasso Province, Italy Found in 1777, acquired by "Antiken-Cabinet", Vienna, in 1815.

"Minerva was originally an Italic deity identified with .. Athena later. This statue corresponds to the Athena Promachos type, the 'vanguard' and protector in war. The goddess wears .. Peplos and [her] characteristic breastplate [Aegis] with the [broken off] head of Medusa. Her arms once held a shield and a lance." [txt ©KHMV]

KunstHistorisches Museum, Vienna | KHMV ["Ancient Greece and Rome", Kabinett 7] • Web : https://www.khm.at/en • FB : https://www.facebook.com/KHMWien • IG : @kunsthistorischesmuseumvienna

KHMV | Michael Svetbird phs©msp | 13|08|23 6200X4100 600 [I.-III.] The photographed object is collection items of KHMV, photos are subject to copyrights. [non commercial use | sorry for the watermarks]

📸 Part of the "Reliefs, Friezes, Slabs, Sculpture" MSP Online Photo-gallery:

👉 D-ART: https://www.deviantart.com/svetbird1234/gallery/72510770/reliefs-friezes-slabs-sculpture

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Città della Pieve celebra il Perugino e il Rinascimento con una grande mostra

Città della Pieve si prepara a rendere omaggio al suo figlio più illustre, il Perugino, in occasione del quinto centenario dalla sua morte. Dal 2 luglio al 30 settembre, la cittadina umbra ospiterà la mostra intitolata “…al battesimo fu chiamato Pietro. Il Perugino a Città della Pieve”, curata da Vittoria Garibaldi, Francesco Federico Mancini e Nicoletta Baldini, con un intervento di Antonio…

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Café at Kunsthistorisches Museum, Wien @kunsthistorischesmuseumvienna #khm #kunsthistorischesmuseum #vienna #wien #cafe #rotunda (at Kunsthistorisches Museum Vienna) https://www.instagram.com/p/CnzQ1tSqu8i/?igshid=NGJjMDIxMWI=

die weltberühmte Saliera im KHM in Wien #wien #kunstkammer #kunst#kunsthistorischesmuseum # (hier: Kunsthistorisches Museum Vienna) https://www.instagram.com/p/CiU-JdiMmsc/?igshid=NGJjMDIxMWI=

A spiked Dueling Gauntlet mounted with two blades,

Length: 32.9 in/83.5 cm

Width: 5.5 in/14 cm

Depth: 4.9 in/12.5 cm

Weight:3.9 lbs/1.75 kg

Italy, ca. 1540, housed at the Kunsthistorischesmuseum, Vienna.

This is a 16th Century painting called The Great Tower of Babel by Dutch artist Pieter Bruegel the Elder. It's currently in the Kunsthistorisches Museum, Vienna.

 ⁣⁣As a cat, I'm accepting of all religions and I do not critique their beliefs or ideologies. On the rare occasions when I mention any religious subject, I do so only from the innocent perspective of a cat. I mean no offense and I hope none is taken. I say this here since the subject of this painting is a tower mentioned in the Book of Genesis, from the Hebrew Torah and the Christian Old Testament.⁣✡️✝️☦️⁣

The story of the Tower of Babel is meant to explain why the people of the world speak different languages. God saw them building a tower to attest to their own greatness and He confused their language so they couldn't understand one another.💬 It was probably like being in a pub in Glasgow when everyone has already had a few pints.⁣🍺🍻⁣

Around that time in the same land was a great hunter named Nimrod, who was the great-grandson of Noah. The Book of Genesis does not connect him with the Tower, but a 1st Century historian named Flavius Josephus does. He wrote that Nimrod wanted to turn the people from God to be dependent on him instead. Instead of offering welfare payments and Section 8 Housing though, he directed them to build a tower too high for flood waters to reach, should God ever again decided to flood the earth.⁣🏗

⁣Mob mentality took over, so build they did. Then the Book of Genesis says that God confused their languages and scattered them all over the earth. Details of the scattering are not mentioned, but I imagine it would have been interesting to see.⁣💥

⁣In the painting, the main figure with the gang in the foreground is presumably Nimrod. There are some workers kneeling before him that he probably caught goofing off.⁣😬

⁣As with most of Bruegel's paintings, there are dozens of small figures in the background, seen from a high viewpoint with individuals or small groups all engaged in their own distinct activities. I could point out all the OSHA or Health and Safety violations, but IG places a word limit on my rambling presentations.

⁣🙄⁣Link below to visit my store.

https://www.etsy.com/shop/MistysWorldBoutique

A Sidesword, in a late XVth century style.

This one draws most of its inspiration from the artwork of Luca Signorelli in the years 1494-1498, though the grip wrap was suggested by a fresco in the San Donnino church in the parish of Villamagna in Bagno a Ripoli, near Florence.

Spring steel blade, with etched and gold-plated ricasso and fuller, and gold plated crossguard and pommel - the latter being hollow. The grip is leather over a wooden core, with gold-plated copper wire on top.

Inscriptions in the fullers read " AVE MARIA REGINA" on one side, and "MORIOR CAEDO MALUM" on the other - those who know will know.

The style of the etchings was inspired by the Boar Sword of Philip the Fair kept at the Kunsthistorischesmuseum

It is 997 mm long, with a 864 mm long, 32 mm wide blade, 4.5 mm thick at one base. The cross span is 268 mm. Weight is a mere 729 grams, with a point of balance 16 cm from the cross that still gives it a nice authority in the cut and in the bind.

Currently at thirty seven hundred units in the European system.

Wien (Vienna), KHM (Kunsthistorischesmuseum), Antikensammlung.

F: THE CONQUEST OF GRANADA

F1: King Fernando II of Aragon, late 1480s

Fernando was a capable and courageous field commander, who was nearly captured or killed during a number of his campaigns against Granada. He is depicted here in an armour attributed to him and preserved in the Kunsthistorischesmuseum in Vienna. It is of late 15th-century Italian style but incorporates a number of Spanish details, such as the ‘fish-tail’ plackart covering the lower part of his breastplate.

F2: Queen Isabel I of Castile, late 1480s

During the first half of the war against Granada the energetic ‘queen-at-arms’ served as political advocate, war counsellor, and chief coordinator for the provision of troops, supplies, and money from Madrid. But to maintain the loyalty of their heterogeneous army it was necessary for the ‘Christian Monarchs’ to keep themselves visible to the troops, and during the later campaigns Isabel moved to the frontline camps. There she established both field kitchens and field hospitals for the wounded and sick, and came to be regarded by many of her soldiers as another Joan of Arc (a figure whom Isabel revered). Her appearance here is based on an image carved on a choir stall from Toledo Cathedral, where she is portrayed entering the conquered city of Gor in armour and carrying a mace of command.

- Armies of Castile and Aragon 1370–1516, John M.D. Pohl PhD, Illustrated by Gerry Embleton

spiked Dueling Gauntletmounted with two blades,

Length: 32.9 in/83.5 cm

Width: 5.5 in/14 cm

Depth: 4.9 in/12.5 cm

Weight:3.9 lbs/1.75 kg

Italy, ca. 1540, housed at the Kunsthistorischesmuseum, Vienna.

Hans von Aachen's allegorical paintings, with their often complicated encoding, carried an intellectual stamp, powerfully influenced by the personality of the Emperor and by his high level of culture. After Rudolf II's death, von Aachen continued to paint in a similar fashion, though the colouring became darker in his late works, as if he were trying to convey the slow decline of Rudolfine art.

During the reign of Emperor Matthias he painted David and Bathsheba, a tribute to the ideal of female beauty of Prague Mannerism; here again the naked female body is at the centre of the narrative. The boundary between mythological and religious painting is blurred in favour of extremely sensual eroticism. The objects surrounding Bathsheba, arranged in a still-life manner, are reminiscent of Netherlandish models, to which Hans von Aachen was also indebted in his few genre paintings.

David and Bathsheba, 1612-15 by Hans von Aachen. Oil on canvas, 128 x 105 cm.

🏛: Kunsthistorisches Museum, Vienna

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#historyofart #arthistory #bathsheba #kunsthistorischesmuseum #kunsthistorischesmuseumwien #vienna #europe #europeanart #ancientart #17thcentury #17thcenturyart #baroque #barocco #baroqueofficial #baroquestyle #baroccostyle #roccobarocco #artgallery #artlovers

AMAZON Statuette: "Sterbende Amazone" Roman, Marble, Mid-2nd AD, [From Virunum, Zollfeld, Austria] H=72cm

"The Amazon was acquired in 1824 from the collection of the Viennese ophthalmologist Joseph Barth, without specifying where it was found. A fragment found during excavations in Virunum [1903], which is certainly related but unfortunately does not match, proves the origin of the Amazon - the provincial capital Noricum [https://en.wikipedia.org/wiki/Virunum]. It is a fragment of the left thigh with a wound oozing drops of blood. The Amazon, dressed in a short belted chiton and a small cap, tilts her head to the side of her wound with her eyes half-closed. Archaic stylistic forms, such as the folds of the chiton, which are reminiscent of late archaic Greek kores, or the hairstyle with the wreath of fine forelocks stand in striking contrast to the increased physicality and emotional excitement of the statuette. It is a masterpiece from the mid-2nd century. In the 1st century BC in Virunum there was a school of sculpture ["Masters Before Virunum"], to which a number of larger-than-life statues made of local marble are attributed." [ Text ©KHMV ]

KunstHistorisches Museum, Vienna | KHMV ["Ancient Greece and Rome", Kabinett 7] • Web : https://www.khm.at/en • FB : https://www.facebook.com/KHMWien • IG : @kunsthistorischesmuseumvienna

KHMV | Michael Svetbird phs©msp | 08|23 5900X4100 600 [I.-III.] The photographed object is collection item of KHMV, photos are subject to copyrights. [non commercial use | sorry for the watermarks]

📸 Part of the "Small Format Sculpture and Miniature Artefacts" MSP Online Photo-gallery:

👉 D-ART: https://www.deviantart.com/svetbird1234/gallery/69450077/small-format-sculpture-and-miniature-artifacts

👉 FB Album: https://www.facebook.com/media/set/?set=a.859777984390780&type=3

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Magie Dorée: Kunsthistorisches Museum Émerveillez-vous devant le Kunsthistorisches Museum de Vienne, où l'architecture grandiose rencontre le ciel azur. Les nuances dorées de la façade se mêlent à l'éclat du soleil, créant une symphonie visuelle. Quel est votre musée préféré et pourquoi? Partagez vos pensées! #Vienne #KunsthistorischesMuseum #ArchitectureLovers

Kunsthistorisches Museum, Wien | Museum of Art History @kunsthistorischesmuseumvienna #kunsthistorischesmuseum #museum #vienna #wien (at Kunsthistorisches Museum Vienna) https://www.instagram.com/p/Cn140gqqWPc/?igshid=NGJjMDIxMWI=

Tout le monde joue à connaître le Louvre

Ah, la culture. Courant les musées à la recherche de solitude, voilà bien longtemps que je n'ai plus éprouvé le syndrome de Stendhal.

Il y a ces institutions qui nous font rêver - de par leur prestige, de par leur histoire - mais au sein desquelles nous n'entrons jamais.

Le Muséum du Louvre à Paris en constitue le parfait exemple. Tout le monde joue à connaître le Louvre, mais qui y a vraiment été? Combien de fois un parisien s'y rend par année? Je fais la maligne car j'y suis allée il y a peu, pour l'exposition "Les Choses", nous y reviendrons dans un prochain billet. J'ai vécu presque sept ans à Paris, et y retourne chaque mois depuis. Tout le monde le sait, le Louvre regorge d'oeuvres extraordinaires. Une vie ne suffirait pas à tout admirer vraiment. Pourtant, je n'y suis allée que quelques fois: pour les grandes expositions surtout (Vermeer, Delacroix Vinci), pour flâner parfois. Or, lors de mon escale à Dubai, avant de rejoindre Oman en voiture, je suppliais mes comparses de voyage de faire un détour par le Louvre Abu Dhabi.

Voici la transition vers la seconde catégorie: ces institutions qui sont souvent sans intérêt mais dont tout le monde parle. Partant, il faut impérativement s'y rendre. Il faut pouvoir dire: j'y étais. Ou mieux encore: se prendre en photo. Dans cette nouvelle ère du post et de la course aux likes, quoi de mieux que de photographier une oeuvre d'Ugo Rondinone, sous un certain angle, sans préciser le musée en question. Les vrais savent. La vanité l'emporte lorsque quelqu'un reconnaît le lieu du "post". Petit commentaire d'usage: "j'a-dore ce musée!". Sans préciser le musée. Bis repetita. La culture, c'est comme la confiture...

Cela faisait plusieurs années que je trépignais de découvrir mumok. "Das Tier in dir" y a pris temporairement ses quartiers. Quelle ne fut pas ma déception. Quatre étages interminables. Une muséographie incompréhensible. Les musées prônent la médiation culturelle mais nous servent des expositions élitistes, car inaccessibles.

Nous nous sommes extirpés de cet endroit (deuxième catégorie), pour nous rendre au Kunsthistorischesmuseum (première catégorie). Et savourer, enfin.

A shielded Dueling Gauntlet with a folding blade,

Length: 37.8 in/96 cm

Width:10.6 in/27 cm

Depth:9.3 in/23.5 cm

Weight:4.6 lbs/2.1 kg

Italy, before 1596, housed at the Kunsthistorischesmuseum, Vienna.