admin, Author at Teacher Curator

Villa Poppaea

March 3, 2021

by admin Art Powerpoints Roman Art

**Villa Poppaea (garden view),** 1^st century AD, ancient Roman town of Oplontis (Torre Annunziata between Naples and Sorrento, in Southern Italy) https://en.wikipedia.org/wiki/Villa_Poppaea

A traveller cruising by boat in the Bay of Naples during the 1st century AD would have marvelled at the continuous chain of private villas lining the coast. Although evidence of these villas survives to the present day, our knowledge is mostly fragmentary due to the fact that many are buried beneath Vesuvius’s ashes, modern estates or have been swallowed by the sea. Travellers would have been amazed by the opulence of the architectural features exhibited in these structures: porticoes, panoramic exedras, artificial or natural grottos, galleries, nymphaea, and piscinae. Travellers would have been equally amazed by the diverse interior designs and luxurious materials used by the artists. Villa Poppaea, in the ancient Roman town of Oplontis (Torre Annunziata between Naples and Sorrento, in Southern Italy) was one such extraordinary Villa…

**Villa Poppaea** by **Jean-Claude Golvin**
https://jeanclaudegolvin.com/oplontis/

“Villa A of Oplontis, attributed by some to Poppaea the second wife of emperor Nero, was, strictly speaking, a maritime villa. It commanded a panoramic view from the top of a sheer cliff more than 14 m high that overlooked the ancient shoreline. To the south the view ranged from the limestone cliffs of the faraglioni (tall formations that resemble lighthouses) of Rovigliano, the islet near the port of Pompeii at the mouth of the Sarno River, to the length of the coast of the Sirens as far as Capri. To the west the superimposition of various layers of lava that created the Capo Oncino promontory during the Middle Ages had not completely concealed the Neapolitan and Phlegraean coast.” https://quod.lib.umich.edu/cgi/t/text/text-idx?c=acls;idno=heb90048.0001.001;rgn=div1;view=text;cc=acls;node=heb90048.0001.001:18

Villa Poppaea, built on a plateau, fourteen meters above sea level, took advantage of all the scenic pleasures of the Bay of Naples. Rooms were in such a way organized so that its residents and their guests would be able to enjoy the open air and the dramatic view of the sea in an environment of the utmost luxury. Please allow me to explain why Villa Poppaea was, for me, worth exploring…

**Tabula Peutingeriana,** a 12th-century copy of a 4^th century Roman illustrated Itinerarium (ancient Roman road map), parchment, Austrian National Library https://quod.lib.umich.edu/cgi/t/text/text-idx?c=acls;idno=heb90048.0001.001;rgn=div1;view=text;cc=acls;node=heb90048.0001.001:20

Tabula Peutingeriana, a unique twelfth-century copy of a fourth-century Roman map, marks Oplontis, the area where Villa Poppaea was discovered, as a large square building fronting the sea with twin, gabled, entrances. Interestingly, this is the only Roman reference to a site named Oplontis available to scholars. The name Oplontis is an intriguing mystery! https://quod.lib.umich.edu/cgi/t/text/text-idx?c=acls;idno=heb90048.0001.001;rgn=div1;view=text;cc=acls;node=heb90048.0001.001:20

**Poppaea Sabina**, 1^st century AD, Parian Marble, Archaeological Museum of Olympia, Greece
https://commons.wikimedia.org/wiki/File:Poppaea_Olimpia.jpg

The luxurious Villa Maritime in Oplontis is believed to have been one of the residences of Poppaea Sabina, the second wife of Emperor Nero. Poppaea Sabina, born in nearby Pompeii, was the grand-daughter of Gaius Poppaeus Sabinus, Imperial Proconsul of Greece and the daughter of Poppaea Sabina the Elder, a celebrated Roman matron praised by Tacitus for her wealth and loveliness.

**Villa Poppaea Architectural Plan** https://www.storiesbysoumya.com/villa-oplontis-pompeii-itinerary/

Villa Poppaea, uninhabited and under reconstruction at the time of Vesuvius’s eruption, was a massive residence of more than one hundred rooms and thirteen gardens. Construction started in the 50s BC, while renovations and extensions occurred regularly until the 79 AD volcanic eruption. This sumptuous villa was probably the model house for many of the smaller and less opulent houses built in the area at the same time. The oldest part of the house developed around the atrium, with a number of private or public rooms to serve its purpose for leisure and formalities. By 54 AD, the house extended to the east, with the addition of peristyles with collonaded porticoes extending out from the building’s core, an immense swimming pool and formal gardens. http://pompeiisites.org/en/oplontis-en-2/villa-poppaea/

**Villa Poppaea,** fresco in the W. Triclinium, the ancient Roman town of Oplontis (Torre Annunziata between Naples and Sorrento, in Southern Italy)

The 4^th reason why Villa Poppaea was, for me, worth exploring, is its interior decoration… please bear with me as I will discuss the Villa’s frescoes in Villa Poppaea, Part II.

For a PowerPoint on Villa Poppaea, please… Check HERE!

**The model of a Cubiculum** (Room 11 in Villa Poppaea), one of the richly decorated bedroom-sitting rooms. Room 11 is located between the Villa’s atrium and the grand reception room and offers splendid examples of Second Style Pompeian wall painting. https://exhibitions.kelsey.lsa.umich.edu/oplontis-leisure-and-luxury/cubiculum.php

The Labours of the Months: March

February 28, 2021

by admin Art Powerpoints Renaissance

**By an unknown Venetian artist…**
**The Labours of the Months: March,** about 1580, oil on canvas, 13.6 x 10.6 cm, National Gallery, London
https://www.nationalgallery.org.uk/paintings/italian-venetian-the-labours-of-the-months-march

Dear March – Come in – / How glad I am – / I hoped for you before – / Put down your Hat – / You must have walked – / How out of Breath you are – / Dear March, how are you, and the Rest – / Did you leave Nature well – /Oh March, Come right upstairs with me –/I have so much to tell – / I got your Letter, and the Birds – / The Maples never knew that you were coming – / I declare – how Red their Faces grew – / But March, forgive me – / And all those Hills you left for me to Hue – / There was no Purple suitable – / You took it all with you – / Who knocks? That April – / Lock the Door – / I will not be pursued – / He stayed away a Year to call / When I am occupied – / But trifles look so trivial / As soon as you have come / That blame is just as dear as Praise / And Praise as mere as Blame – Dear March, Come in!, a poem by Emily Dickinson, is about the love and joy it brought to her… She personifies March as if he were a friend… and I find it a fitting introduction to the new POST The Labours of the Months: March! https://poets.org/poem/dear-march-come-1320 and https://www.poetryfoundation.org/poets/emily-dickinson

**Church of Panagia Gorgoepikoos, or Hagios Eleftherios or Mikri Mitropolis,** 12^thor 15^th century, Athens
http://www.religiousgreece.gr/athens-attica/-/asset_publisher/lpcrESlL5iOO/content/panagia-gorgoepekoos

Depicting The Labours of the Months in works of art is a tradition that goes back to ancient Greek times. The charming Church of Hagios Eleutherios in Athens, also known as the Panagia Gorgoepikoos or the Mikri (Small) Metropolis, made up entirely of spolia of both ancient and Christian monuments, is a good example to start with. Above the main entrance to the Church and under the roof cornice, the builders of this extraordinary church placed “a frieze of Pentelic marble, which shows the months of the Attic Calendar, some festivals, and the complete circle of the Zodiac.” This ancient frieze “attempts to put together and coordinate the lunar calendar (Attic months and festivals) and the solar calendar (the signs of the Zodiac).” Amazing… https://hellenismo.wordpress.com/2012/12/01/the-frieze-of-the-attic-calendar/

**Calendar Frieze at the Church of Panagia Gorgoepikoos or Hagios Eleftherios or Mikri Mitropoli**s (Date of the Calendar Frieze: 2^nd century BC- Date of the Church: 12^thor 15^th century) Athens
Photo credit: http://surprisedbytime.blogspot.com/2011/10/cyriaco-and-little-metropolis.html

**Drawings of the Calendar Frieze in the Church of Panagia Gorgoepikoos or Hagios Eleftherios or Mikri Mitropoli** (Date of the Calendar Frieze: 2^ndor 15^th century BC- Date of the Church: 12^th century) Athens
https://hellenismo.wordpress.com/2012/12/01/the-frieze-of-the-attic-calendar/

Olga Palagia, Professor of Classical Archeology at the National and Kapodistrian University of Athens, argues that the Calendar Frieze, in most probability, was created in Athens for the Great Panathenaic festivities of the year 142/3. If this small Attic Calendar Frieze, Palagia still argues, is tied to Herodes Atticus, who presented Athens with a number of public buildings…if this Calendar Frieze was part of the grand Athenian marble Panathenaic Stadium complex, built entirely at the expense of Herodes Atticus for the Great Panathenaia that fell in 142/3… well, makes it most interesting evidence of public Calendar representation… but in the realm of pure speculation! The date and iconography of the calendar frieze on the little metropolis, Athens, JdI 123, 2008, by Olga Palagia, https://www.academia.edu/843544/The_date_and_iconography_of_the_calendar_frieze_on_the_little_metropolis_Athens_JdI_123_2008

SO… The Calendar of the Months during Antiquity and the Labours of the Months later in history attracts our attention in Calendar works of Art adorning public buildings, Churches and Cathedrals of the time, striking Vitreaux Windows, amazingly colourful manuscripts, and paintings, monumental, like the eleven surviving panels in Torre Aquila I presented in 2020 (check: https://www.teachercurator.com/?s=torre%20aquila&cat=plus-5-results), or small, like the paintings in the National Gallery, in London, we will explore in 2021… month by month… https://archive.org/details/labormonth00webs/page/n9/mode/2up Webster, James Carson – 1905-1989, The labors of the months in antique and mediaeval art to the end of the twelfth century, 1938, Evanston, Ill., Northwestern University, and https://www.nationalgallery.org.uk/paintings/italian-venetian-the-labours-of-the-months-march

**By an unknown Venetian artist…**
**The Labours of the Months: March (detail) ,** about 1580, oil on canvas, 13.6 x 10.6 cm, National Gallery, London
https://www.nationalgallery.org.uk/paintings/italian-venetian-the-labours-of-the-months-march

For the Venetian Month of March at the National Gallery, we have yet another outdoor scene. “A bearded man wearing a yellow tunic trims vines that have been trained to grow up two trees. The branches of the vine are bare, while the trees have a few brownish leaves. Pruning vines is an activity carried out in Italy in winter, when the plant is dormant, and in spring when the new leaves have started to grow.” Once more, young farmers need to bundle up and take care of the daily chores… https://www.nationalgallery.org.uk/paintings/italian-venetian-the-labours-of-the-months-march

For a PowerPoint on The Labours of the Months at the National Gallery in London, please… Check HERE!

Cleobis and Biton

February 26, 2021

by admin Ancient Greek Art Art Student Activities

**Polymides of Argos,** a Greek sculptor of the Archaic Period (6th century BC)
**The two Kouroi of Argos, known as Cleobis and Biton,** dedicated to Delphi by the city of Argos, 580 BC, marble, H. 1.97 m, Archaeological Museum of Delphi
https://alchetron.com/Kleobis-and-Biton

“Cleobis and Biton,” according to Herodotus “were of Argive stock, had enough to live on, and on top of this had great bodily strength. Both had won prizes in the athletic contests, and this story is told about them: there was a festival of Hera in Argos, and their mother absolutely had to be conveyed to the temple by a team of oxen. But their oxen had not come back from the fields in time, so the youths took the yoke upon their own shoulders under constraint of time. They drew the wagon, with their mother riding atop it, traveling five miles until they arrived at the temple. When they had done this and had been seen by the entire gathering, their lives came to an excellent end, and in their case the god made clear that for human beings it is a better thing to die than to live. The Argive men stood around the youths and congratulated them on their strength; the Argive women congratulated their mother for having borne such children. She was overjoyed at the feat and at the praise, so she stood before the image and prayed that the goddess might grant the best thing for man to her children Cleobis and Biton, who had given great honor to the goddess. After this prayer they sacrificed and feasted. The youths then lay down in the temple and went to sleep and never rose again; death held them there. The Argives made and dedicated at Delphi statues of them as being the best of men.” What a story… http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0126%3Abook%3D1%3Achapter%3D31 and https://www.jstor.org/stable/4476541?read-now=1&refreqid=excelsior%3A696d910b4f58214d895c34828b1f43ce&seq=3#page_scan_tab_contents

The two statues affectionately called The Twins of Argos hold me in fascination! They were sent to Delphi by the Argives back in the early 6th century BC… the first monumental commemorative monument to grace Apollo’s sanctuary. Many, resplended monuments followed… but the Kouroi of Cleobis and Biton forever bedazzle us with their monumentality and grace.

**Unearthing Biton**, 1894, the sanctuary of Apollo, Delphi, Greece
**Archaeologists excavating Cleobis**, 1894
https://www.khanacademy.org/humanities/ancient-art-civilizations/greek-art/daedalic-archaic/a/the-kouroi-of-kleobis-and-biton

The Twins of Argos were excavated in Delphi by French archaeologists in 1893 and 1894. The discovery of two extremely similar statues of idealized nude male youths is a rare find of the kouros type. Like other kouroi, they are “naked except for boots, which distinguish them from images of Apollo and may mark them as travellers. They are stockily built, short though over-life-size, with broad shoulders and broad faces… The round eyes are set within curving upper and lower lids, the entire eye unit cut deeply into the head beneath heavy brows. The mouth is full. The large ears are set far back at the side of the head; the lobe is a flat disk. The transition between the front and sides of the head is very abrupt. A single row of large disk-like curls line the forehead. The rest of the hair, emphasizing the flat top of the head, is combed and then subdivided into large bead-like elements. In back the hair springs out from beneath the double cord which holds it in place, at the top of the ears and, again, at the base of the neck. Each of the tendrils, front and back, is neatly finished with a tie… The abdomen is defined linearly… The round knees are set off by incision as well as by modeling. The arms are held close to the body, the clenched hands securely attached to the thighs, the thumbs facing outward…” http://www.perseus.tufts.edu/hopper/artifact?name=Delphi%2C+Kleobis+and+Biton&object=Sculpture

Polymides of Argos, a Greek sculptor of the Archaic Period (6th century BC)
**The two Kouroi of Argos, known as Cleobis and Biton (detail),** dedicated to Delphi by the city of Argos, 580 BC, marble, H. 1.97 m, Archaeological Museum of Delphi
https://www.khanacademy.org/humanities/ancient-art-civilizations/greek-art/daedalic-archaic/a/the-kouroi-of-kleobis-and-biton

To introduce my students to ancient Greek Archaic Art and the Kouros Brothers from Argos, Cleobis and Biton, I use the Inquiry-based teaching method known as Visual Thinking Strategy introduced by Abigail Housen and Philip Yenawine which “uses art to teach visual literacy, thinking, and communication skills—listening and expressing oneself. Growth is stimulated by looking at artworks of increasing complexity, answering developmentally based questions, and participating in peer-group discussions carefully facilitated by teachers.” Philip Yenawine, Visual Thinking Strategies: Using Art to Deepen Learning Across School Disciplines, 2013 https://www.amazon.com/Visual-Thinking-Strategies-Learning-Disciplines-ebook/dp/B00XO20380

For a student “RWAP”, (RWAP stands for Research – Writing – Art – Project), please… Check HERE!

In 2016, after visiting the Archaeological Museum of Delphi… one of my Grade 7 students, inspired by Cleobis and Biton, presented me with the above poster!

Areskon is my Name and I am an Actor

February 21, 2021

by admin Ancient Greek Art Art Powerpoints Roman Art Student Activities

**Funerary Altar-Shaped Stele of Actor Marcus Varinius Areskon,** 170-200 AD, Marble with traces of the original paint, 1670×70-72×52-66 cm, Archaeological Museum of Thessaloniki
Photo Credit: Kostas Papantoniou https://www.amth.gr/en/exhibitions/highlights

O man, with your wonderful dower, / O woman, with genius and grace, / You can teach the whole world with your power, / If you are but worthy the place. / The stage is a force and a factor / In moulding the thought of the day, / If only the heart of the actor / Is high as the theme of the play. … No matter what role you are giving, / No matter what skill you betray, / The everyday life you are living, / Is certain to colour the play./ The thoughts we call secret and hidden / Are creatures of malice, in fact;/ They steal forth unseen and unbidden, / And permeate motive and act. Ella Wheeler Wilcox (1850-1919) was an American author and poet who wrote THE ACTOR…an appropriate, in my humble opinion, introduction to our new POST… Areskon is my Name and I am an Actor. http://www.ellawheelerwilcox.org/poems/pactor.htm https://en.wikipedia.org/wiki/Ella_Wheeler_Wilcox

Marcus Varinius Areskon… I seek him out every time I visit the Archaeological Museum of Thessaloniki. I introduce him to my students every time I guide them around this wonderful “shrine” of the Muses… and yet I know so little about him. An inscription introduces himself. Carved above his portrait and under it, the epitaph inscription reads… Λ(ούκιος) Σηνάτιος Οἴκιος καὶ Οὐαρε | νία Ἀρέσκουσα Μάρκῳ Οὐαρ[ε] | νίῳ Ἀρέσκοντι τῷ τέ | κνῳ μνήμης χάριν Lucius Senatius (probably an unknown member of the family) and Var(e)inia Areskousa to her son Marcus Var(e)inius Areskon in memory… I am intrigued… can the portrait of a young man and an inscription help us unravel the knot? https://www.amth.gr/en/exhibitions/highlights

Areskon was the son of Var(e)inia Areskousa, he was related? to Lucius Senatius, he was Roman, he lived in Thessaloniki, and he died painfully young. This beautiful funerary memorial, in marble and vividly painted, the colours remain remarkably well-preserved, testifying to the economic ability of the family to honour their young demised member with a worthy memorial. https://m.flickr.com/photos/69716881@N02/50914350016/in/faves-36551225@N05/

Areskousa and Areskon, mother and son, members of a popular family of actors, were probably entertainment “stars” of the time. This is what their names connotate (Areskon/Areskousa= one who pleases, who is popular). The mother was probably an actress of the popular mime theatre, while the son managed to elevate himself and become a young, versatile tragic actor of fame and fortune. His funerary monument is a proper testament to his popularity and wealth.

The portrait on his rectangular funerary altar shows him en face, upright, attired in military gear. His right hand is raised in salutation, the left seems to hold a sword? In the upper left corner of the composition, still beautifully coloured, a mask, worn by male actors for a female theatrical role, identifies the male portrait as an actor of versatile abilities.

1917, Trip to the Archaeological Museum of Thessaloniki… my respects to Areskon… Photo Credit: Kostas Papantoniou

The Portrait of Areskon is shown in the middle of a simple yet elegantly proportioned structure described by the Museum archaeologists as a funerary altar. It is simply framed, sits on a pedestal and is crowned by an inscribed pediment with a central rosette, leaves and stylized acroteria. It was discovered near the eastern fortification walls of Thessaloniki, almost embedded in an apartment building of modern times. Today, exhibited in the Archaeological Museum of Thessaloniki, it is considered one of the Museum’s highlights!

For a PowerPoint presenting a School Trip to the Archaeological Museum of Thessaloniki and the Funerary Altar of Areskon, please… Check HERE!

For a StudentActivity, please… Check HERE!

2017, Grade 4 STARS in front of the Archaeological Museum of Thessaloniki! Photo Credit: Kostas Papantoniou

Unidentified Byzantine Church in Constantinople known today as Atik Mustafa Paşa Camii

February 16, 2021

by admin Byzantium Student Activities

**Unidentified Byzantine Church in Constantinople known today as Atik Mustafa Paşa Camii,** original Byzantine construction date: 842-867
Photograph by Dick Osseman, East Façade, https://pbase.com/dosseman/atikmustafa
East Façade, Analysis of Masonry (after Mathews) https://www.jstor.org/stable/1291520?seq=8#metadata_info_tab_contents

It’s bitter cold, a snowy Sunday in the συμβασιλεύουσα του Βυζαντίου and I enjoy reading “Notes on the Atik Mustafa Paşa Camii in Istanbul and its frescoes” by Thomas F. Mathews and Ernest J. W. Hawkins in Dumbarton Oaks Papers, Vol. 39 (1985), pp. 125-134. My goal is to prepare for a new POST, titled… Unidentified Byzantine Church in Constantinople known today as Atik Mustafa Paşa Camii. https://www.jstor.org/stable/1291520?seq=1#metadata_info_tab_contents

Atik Mustafa Paşa Camii is a historic Byzantine church in Constantinople, an Ottoman Mosque of great importance for the Muslims, and an intriguing building for the expert Art Historians in the academic world. I have to confess I never visited the building and that makes it difficult to talk about it… I rely, however, on Mathews and Hawkins Dumbarton Oaks Paper, the Encyclopedia of the Hellenic World presentation, the Byzantine Legacy report, and the precious photographs taken by Dick Ossemann. This may not be “all-inclusive,” it is the groundwork for my next trip… στην Πόλη! https://www.jstor.org/stable/1291520?seq=1#metadata_info_tab_contents, http://constantinople.ehw.gr/forms/fLemmaBodyExtended.aspx?lemmaID=11785, https://www.thebyzantinelegacy.com/atik and https://pbase.com/dosseman/atikmustafa

**Unidentified Byzantine Church in Constantinople known today as Atik Mustafa Paşa Camii,** original Byzantine construction date: 842-867, drawing of 1877, from A.G. Paspates’ Byzantine Topographical Studies

References to early 20th-century bibliography and logical deductions lead Mathews and Hawkins to a first acceptance that the Atik Mustafa Paşa Camii is “the earliest Constantinopolitan example of a cross-domed church (and indeed the first Constantinopolitan church after Iconoclasm).” The authors further studied the articulation of the East End of the building, the design of the Apses (p. 127), the windows in the apses, drew comparisons to many Constantinopolitan churches for plausible similarities and drew the conclusion that the Atik share the most similarities with “the Theotokos of Lips (church) of 907 and the Myrelaion 920-22. With these churches the Atik shares the basic plan of three triple-faceted apses in which surfaces begin to be broken up by windows and niches set at varying levels.” Further comparisons (pp.127-128) on where apse windows were placed and the lack of horizontal cornices enhanced the belief that Atik Mustafa Paşa Camii “while closely related to the Lips and the Myrelaion, seems to represent an earlier stage in the evolution of apse design. Very likely it belongs to the second half of the ninth century in the new surge of church building known from literary sources to have followed the defeat of Iconoclasm in 842 and the accession of Basil I in 867.” https://www.jstor.org/stable/1291520?seq=4#metadata_info_tab_contents

The Dumbarton Oaks Paper by Mathews and Hawkins is an inexhaustible source of information I enjoyed reading. Groundwork accomplished, I feel ready for a future trip… στην Πόλη!

For a Student Activity, please… Check HERE!

**Unidentified Byzantine Church in Constantinople known today as Atik Mustafa Paşa Camii,** original Byzantine construction date: 842-867
South Wall Frescoes, https://www.jstor.org/stable/1291520?seq=8#metadata_info_tab_contents

Nofernoferuaton and Nofernoferure

February 13, 2021

by admin Uncategorized

**PRINCESS FRESCO – The idyllic life of the daughters of Pharaoh,** circa 1343-1335, painted plaster, 40×165, Ashmolean Museum
https://www.ashmolean.org/princess-fresco

“With the move to Amarna the art becomes less exaggerated, but while it is often described as ‘naturalistic’ it remains highly stylised in its portrayal of the human figure. The royal family are shown with elongated skulls and pear-shaped bodies with skinny torsos and arms but fuller hips, stomachs and thighs. The subject matter of royal art also changes. Although formal scenes of the king worshipping remain important there is an increasing emphasis on ordinary, day-to-day activities which include intimate portrayals of Akhenaten and Nefertiti playing with their daughters beneath the rays of the Aten… While traditional Egyptian art tends to emphasise the eternal, Amarna art focuses on the minutiae of life which only occur because of the light – and life-giving power of the sun.” writes Dr Kate Spence for BBC History and I use this quote as an introduction to Nofernoferuaton and Nofernoferure, my new POST on Egyptian Art. http://www.bbc.co.uk/history/ancient/egyptians/akhenaten_01.shtml

I would like to continue with another short quote by Dr Kate Spence “Akhenaten is a source of endless fascination and speculation – this often masks the fact that we actually know very little about him.” This quote marks the beginning of my Grade 7 Unit on the Art of the Amarna Period. I have been teaching this Unit for years and I can only testify to the fact that the Amarna Period allure attracts my student’s attention and captivates their imagination. They like to read and listen to their teacher describe the genesis of an almost “monotheistic” religion, the dynamics within a powerful royal family, the building of a new capital city, and how Egyptian Art of the period moved towards naturalism and informality.

The Amarna Idiom is an artistic style that captivates human reaction. My students are “hypnotized” by the unique Amarna pictorial beauty of deformation. They are charmed, yet question how in the depiction of faces, thin, long necks, hold greatly elongated skulls… facial folds are the norm, narrow, slitted eyes are prominent and jaws seem to be “hanging” low. The Amarna style body rendering amazes my students as well, particularly the discrepancy between the upper, lower and middle parts of the human body… the dropped, thin shoulders, heavy potbelly, large hips and thighs, and the rather thin, almost frail, legs.

At some point, towards the end of my Amarna Unit, I ran a survey, titled “My Favourite Amarna Work of Art,” as I am always interested to understand what artistic qualities attract the admiration of my students. Among the finalists in my survey is the fresco painting of Nofernoferuaton and Nofernoferure, coming from Akhenaton’s capital city Akhetaten, known today as Tell el- Amarna, and exhibited in the Ashmolean Museum. Students love the bright, warm, terracotta-coloured palette, the casual, relaxed composition theme, the depicted stylistic exaggerations, and the overall sense of family affection that embraces the pictorial arrangement.

This fresco, fragile and precious, was discovered in the early 1890s by William Flinders Petrie, the renown archaeologist, at Akhetaten, “The horizon of the Aten,” where the visionary Pharaoh Akhenaton lived with his queen, Nefertiti, their six daughters, Nofernoferuaton and Nofernoferure among them, and the rest of the royal family. “The painting was made on a thin layer of gesso – powdered gypsum mixed with a glue – applied to mud plaster on a brick wall… (Petrie) discovered that the wall had been much damaged by ants and its preservation is a tribute to Petrie’s remarkable skills as an archaeologist.” https://www.ashmolean.org/princess-fresco and https://www.amarnaproject.com/pages/amarna_the_place/central_city/index.shtml

**Plans of the King’s House in Amarna and the area where the fresco of the two Princesses was located.** The discussed fresco, with the figure of the discoverer (F. Petrie), added to give scale. The scene of princesses (Ashmolean Museum) as it was originally located on a wall in the King’s House, with the painted dado restored
https://www.amarnaproject.com/pages/amarna_the_place/central_city/index.shtml
https://www.semanticscholar.org/paper/Wall-Paintings-from-the-King%27s-House-at-Amarna-*-Weatherhead/6939baf93dc88d6774e539c9cda0f3e920d54515/figure/2

Unearthed in the King’s House, “an enclosure measuring 123 by 140 meters, inside of which the building took the form of a U around a garden, with the actual residence of the king at the rear,” the Princess’s fresco depicts “Akhenaten and Nefertiti relaxing with their daughters, two of which are sitting casually on floor cushions in the foreground. The red sash of Nefertiti’s dress falls behind them, and to the right are Akhenaten’s sandaled feet. Between them stand three more daughters; the sixth daughter was probably shown seated on her mother’s lap, as suggested by a surviving fragment depicting a baby’s hand. The style and subject of this painting are in direct contrast to conventional Egyptian art and reflects the revolutionary character of the period.” Simply but beautifully said… http://www.touregypt.net/featurestories/royalestate.htm and https://www.ashmolean.org/princess-fresco

For a PowerPoint on Nofernoferuaton and Nofernoferure, please… Check HERE!

For a Student Activity, please… Check HERE!

If interested in smart Amarna period Resources and Activities, please… Check https://www.arch.cam.ac.uk/research/projects/current-projects/life-ancient-egypt-amarna-resources-schools/ancient-amarna

Teaching with Jan van Eyck

February 6, 2021

by admin Art Powerpoints Renaissance Student Activities

Jan van Eyck, before 1395-1441
Portrait of a Man (Self Portrait?), 1433, oil on wood, 25,5 x 19 cm, National Gallery, London
https://www.wga.hu/frames-e.html?/html/e/eyck_van/jan/01page/13turban.html

When the time comes for me to introduce my students to Jan van Eyck’s oeuvre I start with his remarkable motto, Als Ich Can – As well as I can, inscribed in large Greek letters on the upper part of the frame of his Self-Portrait? at the National Gallery in London. Humble words… but appreciate how subtly they draw attention to his extraordinary skills as a painter. Where can you go wrong Teaching with Jan van Eyck? https://www.nationalgallery.org.uk/paintings/jan-van-eyck-portrait-of-a-man-self-portrait

“Jan van Eyck is credited with originating a style of painting characterised by minutely realistic depictions of surface effects and natural light. This was made possible by using an oil medium, which allowed the building up of paint in translucent layers, or glazes.” These three lines by the National Gallery in London embody the essence of van Eyck’s painting style and technique. I like to read it to my students emphasizing his contribution to Western European Art. Information about his training and his life is scarce, we do know, however, that he was a member of the gentry class and that by 1425 he lived in Bruges and Lille as court painter to Philip the Good, Duke of Burgundy. We also know that in 1428 he travelled to Portugal to paint Philip the Good’s future wife, Isabella of Portugal. https://www.nationalgallery.org.uk/artists/jan-van-eyck

“Hubrecht van Eyck, the most famous painter ever known, started this work of art; his brother Jan, who was second in the art, finished the task at the request of Joos Vijd. With this verse the donor consigns the work to your charge on May 6th 1432. Admire what they have done for you”. The famous inscription on the frame of the Ghent Altarpiece sets off my Jan van Eyck PowerPoint Presentation and lets my students admire what they (Hubrecht and Jan) have done for us.

**The Adoration of the Mystic Lamb in the Ghent Altarpiece (detail)** by Jan van Eyck, 1432, St. Bavo’s Cathedral, Ghent, Belgium
https://artsandculture.google.com/asset/the-ghent-altarpiece-adoration-of-the-mystic-lamb-detail-of-the-holy-spirit-in-the-guise-of-a-dove-hubert-and-jan-van-eyck/MwEFlDeCLbw9RQ

Introducing a former BLOG POST at the 2020 Ghent Museum of Fine Arts Exhibition, titled Van Eyck – An Optical Revolution, I further discuss with my students his painting characteristics: 1. How he perfected the Oil Technique by adding siccatives. With oil paints, he created rich, deep, lustrous colours, flawless golden tones, and amazing life-like textures. 2. How Observation of reality is key to Jan’s Art. For example, his portraits are lifelike to the minutest detail, his depiction of nature and natural phenomena are credible and authentic, his art seems like it’s competing with reality itself! 3. How Observation of Reality is key to Jan’s Art. For example, his portraits are lifelike to the minutest detail, his depiction of nature and natural phenomena are credible and authentic, his art seems like it’s competing with reality itself! 3. How Observing and Painting Optical Light Phenomena shows an artist deeply interested “in the painting of light, so crucial to his optical revolution.” Scholars believe that Jan van Eyck “not only gathers practical but also theoretical knowledge in order to reproduce the effects of light.” https://vaneyck2020.be/en/the-optical-revolution/ and https://www.teachercurator.com/art/van-eyck-an-optical-revolution/

Teaching with Jan van Eyck… Online References PowerPoints and Activities…

For the List of ONLINE References on Jan van Eyck’s oeuvre, TeacherCurator put together, please… Click HERE!

For my PowerPoint on the Ghent Altarpiece, please… Click HERE! https://www.teachercurator.com/wp-content/uploads/2021/02/Twith-JvanE-Ghent2-PP.pptx. List of Slides and Photo Credits for the Ghent Altarpiece PowerPoint, please… Click HERE!

For my PowerPoint on Jan van Eyck’s Oeuvre, please… Click HERE! List of Slides and Photo Credits for Jan van Eyck’s Oeuvre PowerPoint, please… Click HERE!

I always feel confident discussing an artist with my students when I prepare my Steps to Success Lesson Plan Outline…

For High School level Student Activity, please… Click HERE!

For a RWAP (Research-Writing-Art-Project), please… Click HERE!

I hope that teaching with Jan van Eyck will prove easy and helpful. Do you think it justifies my BLOG name TeacherCurator?

**Alexandra D. and her Arnolfini Wedding RWAP Sketchbook Pages**

**Marios M. and his Arnolfini Wedding RWAP Sketchbook Pages**

The Labours of the Months: February

January 31, 2021

by admin Art Powerpoints Renaissance

**By an unknown Venetian artist…**
**The Labours of the Months: February,** about 1580, oil on canvas, 13.6 x 10.6 cm, National Gallery, London
https://www.nationalgallery.org.uk/paintings/italian-venetian-the-labours-of-the-months-january#painting-group-info

The Labours of the Months: February POST will start with In February, a poem by John Addington Symonds, the English poet, literary critic, cultural historian and writer of numerous biographies of writers and artists: “The birds have been singing to-day / And saying: “The spring is near! / The sun is as warm as in May, / And the deep blue heavens are clear.” / The little bird on the boughs / Of the sombre snow-laden pine / Thinks: “Where shall I build me my house, / And how shall I make it fine? / “For the season of snow is past; / / The mild south wind is on high; / And the scent of the spring is cast / From his wing as he hurries by.” / The little birds twitter and cheep / To their loves on the leafless larch: / But seven foot deep the snow-wreaths sleep, / And the year hath not worn to March.https://discoverpoetry.com/poems/february-poems/

The Labours of the Months is a theme that frequently occurs during the Late Medieval-Renaissance Period Art. It attracts our attention in sculptural pieces adorning Churches and Cathedrals of the time, striking Vitreaux Windows, amazingly colourful manuscripts, and paintings, monumental, like the eleven surviving panels in Torre Aquila I presented in 2020 (check: https://www.teachercurator.com/?s=torre%20aquila&cat=plus-5-results), or small, like the paintings in the National Gallery, in London, we will explore in 2021… month by month… https://archive.org/details/labormonth00webs/page/n9/mode/2up Webster, James Carson – 1905-1989, The labors of the months in antique and mediaeval art to the end of the twelfth century, 1938, Evanston, Ill., Northwestern University, and https://www.nationalgallery.org.uk/paintings/italian-venetian-the-labours-of-the-months-january

**By an unknown Venetian artist…**
**The Labours of the Months: February (detail),** about 1580, oil on canvas, 13.6 x 10.6 cm, National Gallery, London
https://www.nationalgallery.org.uk/paintings/italian-venetian-the-labours-of-the-months-january#painting-group-info

For 2021, I want to present something different, unpretentious but rare. In London, at the National Gallery, there are 12 small pictures, “painted on canvas and then each glued to a wooden panel. It is possible that they were made to decorate the recessed panels of a pair of doors. The paintings seem to have been planned in pairs with the figures facing each other and are currently displayed in two frames in groups of six. They show the ‘labours of the months’ – the rural activities that take place each month throughout the year.” This set of painted Doors combines simplicity in execution and extravagance in visual effect! The paintings, very small in size, about 13.6 x 10.6 cm, were achieved in vivid, bright, luxurious colours, like “ultramarine blue for the sky, strong vermilion and red lake for the clothing, with rich greens and yellows in the landscape. The restricted and repeated use of colour gives the group of little pictures a charming, decorative simplicity. All but one of the scenes show a man working outdoors on what appears to be the estate of a large villa, seen in several of the paintings, at the foot of the distant blue mountains.” https://www.nationalgallery.org.uk/paintings/italian-venetian-the-labours-of-the-months-january#painting-group-info

For the Month of February, we have an outdoor scene. “A young man kneels beside a wooden block and cuts stakes with a hatchet. A line of stakes has already been set in the field behind him, which is ploughed into rows ready to be planted, perhaps with vines or olives. The stakes would be used to support the young plants.” The festivities of the holidays are over and now the young farmers need to bundle up and take care of the daily chores…

For a PowerPoint on The Labours of the Months at the National Gallery in London, please… Check HERE!

Constantino Brumidi

January 19, 2021

by admin 19th century Art American Art Art Powerpoints

**Constantino Brumidi,** 1805-1880
**The Apotheosis of Washington,** 1865, Fresco, 4,664 square feet, United States Capitol Building’s Rotunda, Washington, DC

Myrtle Cheney Murdock, the wife of John R. Murdock, the elected congressman from Arizona, was a teacher and an enthusiastic tour guide at the United States Capitol. She was amazed and dismayed at how little was known about Constantino Brumidi, the Greek/Italian/American artist of the Apotheosis of Washington on the Capitol’s Rotunda Dome. She frequently asked, “How can countless exquisite frescoes and paintings adorn our Capitol Building and yet the American people have little or no knowledge of their existence?” Researching for her Monograph on Constantino Brumidi, Michelangelo of the United States Capitol, she discovered the artist buried in an unmarked grave in Glenwood Cemetery. Myrtle Cheney Murdock’s research and dedication to Constantino Brumidi led to a posthumous appreciation of the artist’s artistic achievements and a commemorative plaque placed over his tomb in 1952, inscribed with a wish allegedly expressed by Brumidi back in 1855: “I have no longer any desire for fame and fortune. My one ambition and my daily prayer is that I may live long enough to make beautiful the Capitol of the one country on earth in which there is liberty.” https://www.washingtonpost.com/gdpr-consent/?next_url=https%3a%2f%2fwww.washingtonpost.com%2flocal%2fbrumidi-study-of-capitol-dome-painting-to-go-to-smithsonian%2f2012%2f03%2f05%2fgIQAclhhtR_story.html and https://www.senate.gov/reference/reference_item/Michelangelo_of_the_US_Capitol.htm

Constantino Brumidi’s father was Stavros Brumidis from Filiatra in the Peloponnese, who, after the 1770 Orlov insurrection, a major precursor to the Greek War of Independence in 1821, and fearing Ottoman repercussions, fled Greece for Italy. Stavros Brumidis settled in Rome, married Anna Bianchini, opened a coffee shop to support his family and in 1805 became the father of a boy named Constantino. The boy was artistic and talented, studied Art for fourteen years at the Academy of St. Luke in Rome and became quite successful as a fresco painter working for the Vatican. In 1849 he was caught up in the Italian Risorgimento, he was arrested, accused of serious crimes and sentenced to eighteen years in prison. The Pope pardoned him but his only hope for freedom was to leave Italy for the United States. https://www.aoc.gov/explore-capitol-campus/art/constantino-brumidi

**Constantino Brumidi,** 1805-1880
**The Apotheosis of Washington (detai),** 1865, Fresco, 4,664 square feet, United States Capitol Building’s Rotunda, Washington, DC

Brumidi reached the United States in September 1852 and for the next two years he worked, on private or church commissions in New York, Massachusetts and Mexico City. In December 1854 he met with Captain Montgomery C. Meigs, the Army Corps of Engineers officer who was supervising the construction of extensions to the Capitol. Impressed with Brumidi’s credentials, Meigs offered him the opportunity to paint for the United States Capitol through the 1860s and the 1870s. His major contribution is the 1865 Apotheosis of Washington and the frieze of the new Capitol Dome.

For a PowerPoint on the Apotheosis of Washington, please… check HERE!

**Constantino Brumidi,** 1805-1880
**The Apotheosis of Washington (detail),** 1865, Fresco, 4,664 square feet, United States Capitol Building’s Rotunda, Washington, DC

Pilastri Acritani and European 19th century Art

January 17, 2021

by admin Uncategorized

**Spoils of War…**
**Pilastri Acritani (**piers from the 6^th century Church of the Holy Martyr Polyeuktos in Constantinople) and the Tetrarchs (from Constantinople, c. 305, porphyry) on the South-West side of the Basilica of San Marco, in Venice https://venicewiki.org/wiki/Colonne_d%27Acri

“In December 1826, the German merchant and art collector Johannes David Weber (1773–1847) wrote to the younger Venetian jurist and local antiquarian Emanuel Antonio Cicogna (1789–1869) about two stone pillars on the south side of the Church of San Marco in Venice… With Weber’s letter begins the modern study of what came to be known as the PilastrιAcritni, the pillars of Acre, because Weber and many before him regarded them as trophies of the Venetian defeat of the Genoese at Acre in the mid-thirteenth century. Decorated with vine ornament, crosses, and Greek monograms, the piers are simple, if imposing, monoliths that have few overt clues to their origin; hence, the problem that Weber’s letter sought to solve. In 1960, the Venetian historiographic tradition that Weber represents was overturned by the discovery of the sixth-century Church of Hagios Polyeuktos in Istanbul. Its subsequent excavation proved that the piers came from this site, most likely in the aftermath of the Venetian-led Fourth Crusade that sacked Constantinople in 1204…” A straightforward introduction by Robert Nelson, I humbly borrow, for my new POST, Pilastri Acritani and European 19th century Art. https://www.academia.edu/3585135/_The_History_of_Legends_and_the_Legends_of_History_The_Pilastri_Acritani_in_Venice_in_H_Maguire_and_R_Nelson_eds_San_Marco_Byzantium_and_the_Myths_of_Venice_Washington_D_C_Dumbarton_Oaks_Research_Library_and_Collection_63_90

**John Ruskin,** 1819 – 1900
**St. Jean d’Acre pillar on the southern side of the Basilica di San Marco**, 1879, British Museum, London https://www.apollo-magazine.com/john-ruskins-visions-of-venice/

“The Pilastri Acritani (‘Pillars of Acre’) are two elaborately decorated pillars,” writes David Hendrix in Byzantine Legacy “near the southern side of the Basilica of San Marco in Venice. The pillars are among the many spoils looted in the sack of Constantinople in 1204. They were also considered by John Ruskin to be the two most noble pillars in Venice. As their name suggests, they were long regarded as trophies of the Venetian defeat of the Genoese in Acre. In 1960, excavations in Istanbul proved that they originated from the Church of Hagios Polyeuktos. Decorated with vine ornament, crosses, and Greek monograms, the pillars share features of other architectural remains found in the excavation which can now be found at the Istanbul Archaeological Museums. Most likely they were brought back to Venice after the sack of Constantinople in 1204. The area around the Church of Hagios Polyeuktos became of the Venetian sector of Constantinople, which was centered at the nearby Pantokrator Monastery…” https://www.thebyzantinelegacy.com/pilastri-acritani

I enjoyed reading… “The History of Legends and the Legends of History: The ‘Pilastri Acritani’ in Venice,” in H. Maguire and R. Nelson, eds., San Marco, Byzantium and the Myths of Venice, Washington, D.C.: Dumbarton Oaks Research Library and Collection, 63-90 and “Pilastri Acritani” in Byzantine Legacy. Both articles/presentations intrigued my curiosity to find 19th-century European artworks inspired by the amazing Constantinopolian treasures in the Basilica of San Marco in Venice. I searched the Internet and here is what I discovered… I am sure there is more, maybe another time another day…

For a PowerPoint on the Pilastri Acritani and European 19th century Art, please… Check HERE!