Open Art Data
@openartdata@mastodon.art  ·  activity timestamp 18 hours ago
#invitation #arthistory #event September 15!

"Provenance and Restitution: Shared knowledge graphs as a tool in recovering looted cultural heritage and the histories of marginalized people"

We will explore how Wikidata can help looted art researchers to identify hidden networks and restore lost information. For full description see:

https://kulturgutverluste.de/meldungen/kolloquium-provenienzforschung-shared-knowledge-graphs-tool-recovering
#wikidata #lootedart#knowledgegraphs #arthistory @Curator#Holocaust #provenance #restitution #culturalheritage #museum #berlin

Event on September 15: “Shared knowledge graphs as a tool in recovering looted cultural heritage and the histories of marginalized people“. I hope the information provided will be helpful to cultural heritage professionals, provenance researchers, claimants, Holocaust scholars, art crime experts, museum and art market people. (Do not let the words "knowledge graph" scare you. In this talk, I’ll show how we can connect information—people, places, artworks, events—into a kind of map of relationships. Think of it as a network of stories and connections. We can use this to retrieve lost information and to explore hidden networks over long periods of time, which is very useful for Nazi-looted art as well as other kinds of stolen or disappeared cultural heritage.) The event will take place at the Deutsches Zentrum Kulturgutverluste, Außenstelle Berlin, Seydelstraße 18, 10117 Berlin. It is also possible to join the event via Webex. (Register by Sep 12)
Event on September 15: “Shared knowledge graphs as a tool in recovering looted cultural heritage and the histories of marginalized people“. I hope the information provided will be helpful to cultural heritage professionals, provenance researchers, claimants, Holocaust scholars, art crime experts, museum and art market people. (Do not let the words "knowledge graph" scare you. In this talk, I’ll show how we can connect information—people, places, artworks, events—into a kind of map of relationships. Think of it as a network of stories and connections. We can use this to retrieve lost information and to explore hidden networks over long periods of time, which is very useful for Nazi-looted art as well as other kinds of stolen or disappeared cultural heritage.) The event will take place at the Deutsches Zentrum Kulturgutverluste, Außenstelle Berlin, Seydelstraße 18, 10117 Berlin. It is also possible to join the event via Webex. (Register by Sep 12)
Event on September 15: “Shared knowledge graphs as a tool in recovering looted cultural heritage and the histories of marginalized people“. I hope the information provided will be helpful to cultural heritage professionals, provenance researchers, claimants, Holocaust scholars, art crime experts, museum and art market people. (Do not let the words "knowledge graph" scare you. In this talk, I’ll show how we can connect information—people, places, artworks, events—into a kind of map of relationships. Think of it as a network of stories and connections. We can use this to retrieve lost information and to explore hidden networks over long periods of time, which is very useful for Nazi-looted art as well as other kinds of stolen or disappeared cultural heritage.) The event will take place at the Deutsches Zentrum Kulturgutverluste, Außenstelle Berlin, Seydelstraße 18, 10117 Berlin. It is also possible to join the event via Webex. (Register by Sep 12)
Open Art Data
@openartdata@mastodon.art  ·  activity timestamp 18 hours ago
#invitation #arthistory #event September 15!

"Provenance and Restitution: Shared knowledge graphs as a tool in recovering looted cultural heritage and the histories of marginalized people"

We will explore how Wikidata can help looted art researchers to identify hidden networks and restore lost information. For full description see:

https://kulturgutverluste.de/meldungen/kolloquium-provenienzforschung-shared-knowledge-graphs-tool-recovering
#wikidata #lootedart#knowledgegraphs #arthistory @Curator#Holocaust #provenance #restitution #culturalheritage #museum #berlin

Event on September 15: “Shared knowledge graphs as a tool in recovering looted cultural heritage and the histories of marginalized people“. I hope the information provided will be helpful to cultural heritage professionals, provenance researchers, claimants, Holocaust scholars, art crime experts, museum and art market people. (Do not let the words "knowledge graph" scare you. In this talk, I’ll show how we can connect information—people, places, artworks, events—into a kind of map of relationships. Think of it as a network of stories and connections. We can use this to retrieve lost information and to explore hidden networks over long periods of time, which is very useful for Nazi-looted art as well as other kinds of stolen or disappeared cultural heritage.) The event will take place at the Deutsches Zentrum Kulturgutverluste, Außenstelle Berlin, Seydelstraße 18, 10117 Berlin. It is also possible to join the event via Webex. (Register by Sep 12)
Event on September 15: “Shared knowledge graphs as a tool in recovering looted cultural heritage and the histories of marginalized people“. I hope the information provided will be helpful to cultural heritage professionals, provenance researchers, claimants, Holocaust scholars, art crime experts, museum and art market people. (Do not let the words "knowledge graph" scare you. In this talk, I’ll show how we can connect information—people, places, artworks, events—into a kind of map of relationships. Think of it as a network of stories and connections. We can use this to retrieve lost information and to explore hidden networks over long periods of time, which is very useful for Nazi-looted art as well as other kinds of stolen or disappeared cultural heritage.) The event will take place at the Deutsches Zentrum Kulturgutverluste, Außenstelle Berlin, Seydelstraße 18, 10117 Berlin. It is also possible to join the event via Webex. (Register by Sep 12)
Event on September 15: “Shared knowledge graphs as a tool in recovering looted cultural heritage and the histories of marginalized people“. I hope the information provided will be helpful to cultural heritage professionals, provenance researchers, claimants, Holocaust scholars, art crime experts, museum and art market people. (Do not let the words "knowledge graph" scare you. In this talk, I’ll show how we can connect information—people, places, artworks, events—into a kind of map of relationships. Think of it as a network of stories and connections. We can use this to retrieve lost information and to explore hidden networks over long periods of time, which is very useful for Nazi-looted art as well as other kinds of stolen or disappeared cultural heritage.) The event will take place at the Deutsches Zentrum Kulturgutverluste, Außenstelle Berlin, Seydelstraße 18, 10117 Berlin. It is also possible to join the event via Webex. (Register by Sep 12)
Laura G, Sassy 70’s
@LauraJG@deacon.social  ·  activity timestamp 4 weeks ago

Your art history post for today: by Jules Bastien-Lepage (French, 1848-1884), Portrait de Sarah Bernhardt, 1879, oil on canvas, 17 1/8 x 13 5/8 in. (43.5 x 34.6 cm.), photo: Christie’s New York, 20 Oct 2022. #arthistory #portrait #portraitpainting #painting #oilpainting

Excerpt from the Lot Essay: “… in profile to focus on her form - clad in figure-hugging silk brocades, offset by an extravagant chiffon bow at the neck. Surface, thus exposed, contained soul. The eye ranges freely over the narrow seventeen-inch waist, the ramrod line of her back, the measurement between ear, nose and mouth, carefully calibrated, and the shock of unruly tresses tamed, it was said, by no more than two pins. By its very nature, a profile is more intimate than a full face; we observe without being observed. The mask is not in place and the eyes do not distract. In this instance, they cast their gaze upon a sculpture as a connoisseur might, and the piece Mlle Bernhardt delicately fingers is that of Orpheus, given to her to hold at this moment by Bastien-Lepage, in order to compliment and express her aspirations as a sculptor.”
Excerpt from the Lot Essay: “… in profile to focus on her form - clad in figure-hugging silk brocades, offset by an extravagant chiffon bow at the neck. Surface, thus exposed, contained soul. The eye ranges freely over the narrow seventeen-inch waist, the ramrod line of her back, the measurement between ear, nose and mouth, carefully calibrated, and the shock of unruly tresses tamed, it was said, by no more than two pins. By its very nature, a profile is more intimate than a full face; we observe without being observed. The mask is not in place and the eyes do not distract. In this instance, they cast their gaze upon a sculpture as a connoisseur might, and the piece Mlle Bernhardt delicately fingers is that of Orpheus, given to her to hold at this moment by Bastien-Lepage, in order to compliment and express her aspirations as a sculptor.”
Excerpt from the Lot Essay: “… in profile to focus on her form - clad in figure-hugging silk brocades, offset by an extravagant chiffon bow at the neck. Surface, thus exposed, contained soul. The eye ranges freely over the narrow seventeen-inch waist, the ramrod line of her back, the measurement between ear, nose and mouth, carefully calibrated, and the shock of unruly tresses tamed, it was said, by no more than two pins. By its very nature, a profile is more intimate than a full face; we observe without being observed. The mask is not in place and the eyes do not distract. In this instance, they cast their gaze upon a sculpture as a connoisseur might, and the piece Mlle Bernhardt delicately fingers is that of Orpheus, given to her to hold at this moment by Bastien-Lepage, in order to compliment and express her aspirations as a sculptor.”
Laura G, Sassy 70’s
@LauraJG@deacon.social  ·  activity timestamp 4 weeks ago

Your art history post for today: by Jules Bastien-Lepage (French, 1848-1884), Portrait de Sarah Bernhardt, 1879, oil on canvas, 17 1/8 x 13 5/8 in. (43.5 x 34.6 cm.), photo: Christie’s New York, 20 Oct 2022. #arthistory #portrait #portraitpainting #painting #oilpainting

Excerpt from the Lot Essay: “… in profile to focus on her form - clad in figure-hugging silk brocades, offset by an extravagant chiffon bow at the neck. Surface, thus exposed, contained soul. The eye ranges freely over the narrow seventeen-inch waist, the ramrod line of her back, the measurement between ear, nose and mouth, carefully calibrated, and the shock of unruly tresses tamed, it was said, by no more than two pins. By its very nature, a profile is more intimate than a full face; we observe without being observed. The mask is not in place and the eyes do not distract. In this instance, they cast their gaze upon a sculpture as a connoisseur might, and the piece Mlle Bernhardt delicately fingers is that of Orpheus, given to her to hold at this moment by Bastien-Lepage, in order to compliment and express her aspirations as a sculptor.”
Excerpt from the Lot Essay: “… in profile to focus on her form - clad in figure-hugging silk brocades, offset by an extravagant chiffon bow at the neck. Surface, thus exposed, contained soul. The eye ranges freely over the narrow seventeen-inch waist, the ramrod line of her back, the measurement between ear, nose and mouth, carefully calibrated, and the shock of unruly tresses tamed, it was said, by no more than two pins. By its very nature, a profile is more intimate than a full face; we observe without being observed. The mask is not in place and the eyes do not distract. In this instance, they cast their gaze upon a sculpture as a connoisseur might, and the piece Mlle Bernhardt delicately fingers is that of Orpheus, given to her to hold at this moment by Bastien-Lepage, in order to compliment and express her aspirations as a sculptor.”
Excerpt from the Lot Essay: “… in profile to focus on her form - clad in figure-hugging silk brocades, offset by an extravagant chiffon bow at the neck. Surface, thus exposed, contained soul. The eye ranges freely over the narrow seventeen-inch waist, the ramrod line of her back, the measurement between ear, nose and mouth, carefully calibrated, and the shock of unruly tresses tamed, it was said, by no more than two pins. By its very nature, a profile is more intimate than a full face; we observe without being observed. The mask is not in place and the eyes do not distract. In this instance, they cast their gaze upon a sculpture as a connoisseur might, and the piece Mlle Bernhardt delicately fingers is that of Orpheus, given to her to hold at this moment by Bastien-Lepage, in order to compliment and express her aspirations as a sculptor.”
Laura G, Sassy 70’s
@LauraJG@deacon.social  ·  activity timestamp last month

Your art history post for today: by Demetre Chiparus (Romanian, 1886-1947), three views of “Thaïs,” ca. 1925, parcel-silvered, parcel-gilt and cold-painted bronze and ivory, on onyx base, height 22in (56cm), length 24in (61cm), photo: Christie’s London, 26 Oct 2016. #arthistory #artdeco #artnouveau #sculpture

From a listing by Bonhams London: “Thais' a Rare Art Deco Patinated Bronze and Carved Ivory Model of an Exotic Dancer, circa 1925 she is depicted posing on one knee with arms outstretched, dressed in pleated costume with draped sleeves, her figure hugging bodice enhanced with raised ornamentation, her neck encrusted with layers of necklace in a silver patination, raised off an elaborate marble base.”
From a listing by Bonhams London: “Thais' a Rare Art Deco Patinated Bronze and Carved Ivory Model of an Exotic Dancer, circa 1925 she is depicted posing on one knee with arms outstretched, dressed in pleated costume with draped sleeves, her figure hugging bodice enhanced with raised ornamentation, her neck encrusted with layers of necklace in a silver patination, raised off an elaborate marble base.”
From a listing by Bonhams London: “Thais' a Rare Art Deco Patinated Bronze and Carved Ivory Model of an Exotic Dancer, circa 1925 she is depicted posing on one knee with arms outstretched, dressed in pleated costume with draped sleeves, her figure hugging bodice enhanced with raised ornamentation, her neck encrusted with layers of necklace in a silver patination, raised off an elaborate marble base.”
Laura G, Sassy 70’s
@LauraJG@deacon.social  ·  activity timestamp last month

Your art history post for today: by Demetre Chiparus (Romanian, 1886-1947), three views of “Thaïs,” ca. 1925, parcel-silvered, parcel-gilt and cold-painted bronze and ivory, on onyx base, height 22in (56cm), length 24in (61cm), photo: Christie’s London, 26 Oct 2016. #arthistory #artdeco #artnouveau #sculpture

From a listing by Bonhams London: “Thais' a Rare Art Deco Patinated Bronze and Carved Ivory Model of an Exotic Dancer, circa 1925 she is depicted posing on one knee with arms outstretched, dressed in pleated costume with draped sleeves, her figure hugging bodice enhanced with raised ornamentation, her neck encrusted with layers of necklace in a silver patination, raised off an elaborate marble base.”
From a listing by Bonhams London: “Thais' a Rare Art Deco Patinated Bronze and Carved Ivory Model of an Exotic Dancer, circa 1925 she is depicted posing on one knee with arms outstretched, dressed in pleated costume with draped sleeves, her figure hugging bodice enhanced with raised ornamentation, her neck encrusted with layers of necklace in a silver patination, raised off an elaborate marble base.”
From a listing by Bonhams London: “Thais' a Rare Art Deco Patinated Bronze and Carved Ivory Model of an Exotic Dancer, circa 1925 she is depicted posing on one knee with arms outstretched, dressed in pleated costume with draped sleeves, her figure hugging bodice enhanced with raised ornamentation, her neck encrusted with layers of necklace in a silver patination, raised off an elaborate marble base.”
Flipboard Art & Photo Desk
@ArtPhotosDesk@flipboard.social  ·  activity timestamp last month

Last week, the social media accounts of the Department of Homeland Security posted an image of "American Progress," a 19th-century painting that depicts a floating white woman herding buffalo and Native people off Western lands. Its caption read: "A Heritage to be proud of, a Homeland worth Defending." The original of the painting, which is by John Gast and was completed in 1872, is on display at the Autry Museum of the American West. @19thnews spoke with some of the experts at the museum about its historical significance, how they place it in context, and their perspective on DHS's use of the picture. Virginia Scharff, the museum's chair of Western history, sees the strategic deployment of the “American Progress” painting as deeply insidious. “The Department of Homeland Security is not sending scantily clad White women,” she said, “but instead sending guys with guns and truncheons and masks to grab people off the streets. There’s a deliberate kind of deception being practiced here that is really cynical and really dangerous, in my view."

https://flip.it/bQPHFD

#Art#ArtHistory#TrumpAdministration#USPolitics#DepartmentOfHomelandSecurity
Flipboard Art & Photo Desk
@ArtPhotosDesk@flipboard.social  ·  activity timestamp last month

Last week, the social media accounts of the Department of Homeland Security posted an image of "American Progress," a 19th-century painting that depicts a floating white woman herding buffalo and Native people off Western lands. Its caption read: "A Heritage to be proud of, a Homeland worth Defending." The original of the painting, which is by John Gast and was completed in 1872, is on display at the Autry Museum of the American West. @19thnews spoke with some of the experts at the museum about its historical significance, how they place it in context, and their perspective on DHS's use of the picture. Virginia Scharff, the museum's chair of Western history, sees the strategic deployment of the “American Progress” painting as deeply insidious. “The Department of Homeland Security is not sending scantily clad White women,” she said, “but instead sending guys with guns and truncheons and masks to grab people off the streets. There’s a deliberate kind of deception being practiced here that is really cynical and really dangerous, in my view."

https://flip.it/bQPHFD

#Art#ArtHistory#TrumpAdministration#USPolitics#DepartmentOfHomelandSecurity
Laura G, Sassy 70’s
@LauraJG@deacon.social  ·  activity timestamp 2 months ago

Utagawa Hiroshige (Japanese, 1797–1858). New Year's Eve Foxfires at the Changing Tree, Oji, No. 118 from One Hundred Famous Views of Edo, 9th month of 1857. Woodblock print, sheet: 14 3/16 x 9 1/4 in. (36.0 x 23.5 cm); image: 13 3/8 x 8 3/4 in. (34.0 x 22.2 cm), this impression in the collection of the Brooklyn Museum. #arthistory #asianart #woodblock #woodblockprint #printmaking

From the museum: “In the late 1850s, while Japanese color prints were dominated by themes of the fantastic, Hiroshige emphasized the realities of the observed world in his work. However, here he has ventured into the world of spirits. It was believed that on New Year's Eve all the foxes of the surrounding provinces would gather at a particular tree near Oji Inari Shrine, the headquarters of the regional cult of the god Inari. There the foxes would change their dress for a visit to the shrine, where they would be given orders for the coming year. On the way, the animals would emit distinctive flames by which local farmers were able to predict the crops of the coming year.”
Laura G, Sassy 70’s
@LauraJG@deacon.social  ·  activity timestamp 2 months ago

Utagawa Hiroshige (Japanese, 1797–1858). New Year's Eve Foxfires at the Changing Tree, Oji, No. 118 from One Hundred Famous Views of Edo, 9th month of 1857. Woodblock print, sheet: 14 3/16 x 9 1/4 in. (36.0 x 23.5 cm); image: 13 3/8 x 8 3/4 in. (34.0 x 22.2 cm), this impression in the collection of the Brooklyn Museum. #arthistory #asianart #woodblock #woodblockprint #printmaking

From the museum: “In the late 1850s, while Japanese color prints were dominated by themes of the fantastic, Hiroshige emphasized the realities of the observed world in his work. However, here he has ventured into the world of spirits. It was believed that on New Year's Eve all the foxes of the surrounding provinces would gather at a particular tree near Oji Inari Shrine, the headquarters of the regional cult of the god Inari. There the foxes would change their dress for a visit to the shrine, where they would be given orders for the coming year. On the way, the animals would emit distinctive flames by which local farmers were able to predict the crops of the coming year.”
Laura G, Sassy 70’s
@LauraJG@deacon.social  ·  activity timestamp 3 months ago

Your art history post for today is: “The Bride,” 1873, manufactured by the W. T. Copeland & Sons pottery company after an original sculpture by Raffaelle Monti (1818–1881), porcelain, 15 inches (38 cm) tall, The Fitzwilliam Museum, The University of Cambridge. #arthistory

From the museum: “Raffaele Monti (1818-81) specialized in carving marbles with illusionistic veils. The Bride was derived from the head of a full-length marble of a kneeling Veiled Vestal of 1847.”

From the museum website: “Parian porcelain, slip cast bust of 'The Bride'. The circular socle is made separately and is held to the bust by a brass screw, nut, and washer. The bride faces front and looks downwards. She has a veil over her head which falls down over her face and breast at the front, and over her shoulders at the back. It is held in place by a wreath of orange-blossom flowers tied at centre back with a bow.” (Socle: a base for a small sculptures.)
From the museum website: “Parian porcelain, slip cast bust of 'The Bride'. The circular socle is made separately and is held to the bust by a brass screw, nut, and washer. The bride faces front and looks downwards. She has a veil over her head which falls down over her face and breast at the front, and over her shoulders at the back. It is held in place by a wreath of orange-blossom flowers tied at centre back with a bow.” (Socle: a base for a small sculptures.)
From the museum website: “Parian porcelain, slip cast bust of 'The Bride'. The circular socle is made separately and is held to the bust by a brass screw, nut, and washer. The bride faces front and looks downwards. She has a veil over her head which falls down over her face and breast at the front, and over her shoulders at the back. It is held in place by a wreath of orange-blossom flowers tied at centre back with a bow.” (Socle: a base for a small sculptures.)