Gallery

Deutsches Historisches Museum — Deutscher Kolonialismus: Fragmente Seiner Geschichte Und Gegenwart

My last big exhibition visit for 2016, and one I’d been waiting to see for most of the year: Berlin’s Deutsches Historisches Museum’s sprawling Deutscher Kolonialismus: Fragmente Seiner Geschichte Und Gegenwart, covering Germany’s colonial, imperial, genocidal, and post-colonial history from the late-17th century till the present in Africa, Papua New Guinea, and the Pacific Islands.

It’s not an easy exhibition to see — I went twice and both times felt well deeply disturbed at humanity during and after — and not an easy exhibition to blog about. I took around 350 photos, half of those of the lengthy captions, and cutting the 175 potentially bloggable images down to a feasible 87 meant diverging from the coherent narrative of the exhibition. So there are gaps; only seeing the exhibition or buying the hefty catalogue can give a proper account. And giving an account, firstly I need to thank Boris Nitzsche in the press department who arranged my visit and for me to take photos, as DHM special exhibitions are camera-free zones.

Secondly: a content warning. The exhibition contains images and documentation of genocide. Some of my photos are of this and of people who were murdered. I back-and-forthed with myself constantly over whether to include these images at all, but it felt like an erasing to only write of this and not include them. Yet these people who were murdered have no say in how they are represented, indeed for many if not all the only photographs and documentation of them ever made is of their suffering and death. And unlike the Jewish holocaust, it was only in 2015 that Germany officially called their extermination of the Herero and Namaqua in German South-West Africa (Namibia) genocide, yet still refuse reparations. Besides that genocide, massacres and atrocities were commonplace in all of Germany’s colonies.

Besides the difficulty in choosing which images to blog, there was the issue of context. This exhibition has it. All of the pieces require context, and it’s a first for me to say an exhibition was not lacking in this regard. Most of the images or image sets had at least a paragraph accompanying the caption giving the work a frame of reference. Additionally, exhibition sections and sub-sections all had long introductory texts and frequently booklets. And then there was the audio guide, which would turn a three-hour visit into a full day endeavour. There was a massive amount of work put into preparing and translating this. And with this need for context here also, I’ve been struggling with what to write, to explain what these images are showing.

While there are plenty of works of art, this exhibition primarily functions as a documentation of history, and in this art is turned to further the purposes of propaganda and imperialism. There are very few paintings, but coinciding with the arrival of film photography gives an abundance of photographs throughout the colonial period. The central piece for me is not art. It’s nothing much to look at. A large, hardcover parchment with a mess of red wax seals pinning down a red, black and white thread forming columns on the left sides of the facing pages; to their right, a scrawl of signatures. This is the General Record of the Berlin Africa Conference (image 33, below) on February 26th, 1885, signed by the state representatives of the 13 European nations (and the United States) formalising the dividing up the continent of Africa into colonies.

The German colonial empire: German West Africa, now Cameroon, Nigeria, Chad, Guinea, Central African Republic, Ghana, and Togo; German East Africa, now Burundi, Kenya, Mozambique, Rwanda, Tanzania, and Uganda; German South-West Africa, now Namibia; German New Guinea, now Papua New Guinea, Solomon Islands, Palau, Federated States of Micronesia, Nauru, Northern Mariana Islands, Marshall Islands, and Samoa. Prior to the German Empire, there were Brandenburg-Prussian, and Habsburg colonies in Ghana, Mauritania, Bénin, the Caribbean and Americas, Nicobar islands, and concessions in China in Tianjin, Jiaozhou, and Yantai. By the standards of France or Britain, Germany was a minor player, coming late to the party and lasting barely thirty years (excluding merchant companies prior to the conference, which began in the 1850s). I initially listed all the colonies and current nations, some of which became colonies of other empires before achieving independence so it would be clear what is meant by German colonialism. It is a daunting list. But it helps to be reminded the extent of European colonisation: All or nearly all of the Americas, Africa, Asia, the Pacific. It requires less space to simply list the few countries and regions never colonised.

January 26th was Invasion Day, what the National Day of Australia is properly called, marking as it does the arrival of the First Fleet. In the discussion of colonies, whether German, British, or other, I noticed the onus was on providing evidence genocide or systematic massacre occurred; lesser-known colonies with comparatively lesser-known histories seemed to get the benefit of the doubt in wavering between did it or didn’t it happen. So German South-West Africa is now unequivocally, officially the site of genocide. Yet the same practices occurred in all of Germany’s colonies to some degree — as if genocide has degrees. Rather than have to prove this in each individual case, it seems more honest to say the fundamental aim and purpose of all colonies wherever they were was and is extermination.

I don’t have a transition into the less grim aspects of the exhibition, so I’ll bash on.

Photographs and biographies of multiethnic marriages, and of couples and families living in Germany back to the mid-late-19th century; Portraits of figures as far back as the early 1700s who came to Europe often as slaves yet went on to study and have careers and lives in Europe — even when they remain morally unadmirable, like Jacobus Capitein who defended slavery. Post-World War II, it’s notable how involved East Germany was in anti-imperialism and solidarity with what was then called the Third World. Afro-deutsche in West-Berlin, and Black History Month in reunified Berlin.

I’m not sure I’m doing this justice. It’s an extremely relevant exhibition, one that the museum have done a very careful job on preparing and presenting, and one that both times I visited was packed. It’s a little too massive for me to be able to make coherent thoughts or criticisms about. Perhaps my primary criticism or question is of what value it has. Germany is adept at regarding its past and admitting guilt. Yet Germany’s awareness in specific instances does not seem to easily translate into understanding the repetition of behaviour or thinking in others. The ongoing struggle for recognition and compensation in Namibia is the most obvious example, but similar valid claims in other former colonies are far less likely to make even that progress. Indeed, would likely provoke a racket in Germany of the “Just how much do we have to be guilty for?” kind. Which is the point: The inability to see the unbroken line between the racist ideology of Kant and other still esteemed German philosophers, 19th century imperialism leading to genocide in the 20th century in colonies and then across Europe, the current failure to accept Germany is already multicultural, and the increasingly pervasive anti-Muslim / anti-brown people rhetoric.

While the exhibition is about Germany’s own colonial history, and I’ve been talking specifically about Germany, as that signed and sealed document demonstrates, all of Europe was involved, and Europe along with all the former colonies remain infected with this ideology. Each country in Europe has its own unique variation on this identical form of white supremacism. I would like to hope for an exhibition in a hundred years where this 500 year chapter of European history and its effect on the rest of us is forever closed, but I suspect we’re not going to make it.

Deutsches Historisches Museum: Deutscher Kolonialismus

One of the big exhibitions I’ve been waiting months for: Deutsches Historisches Museum’s Deutscher Kolonialismus: Fragmente seine Geschichte und Gegenwart. An especially pertinent exhibition as Germany only earlier this year resolved to officially describe the occupation of German South-West Africa (now Namibia) as genocide. It’s a big statement for Germany, and perhaps an indication that the country is becoming more nuanced in thinking of itself. Perhaps.

Sadly the exhibition was one of those “No Cameras Allowed”. I did sneak one of Edoardo Di Muro’s Freiheit für Namibia. Solidarität mit der SWAPO (from the Antiimperialistisches Solidaritätskomitee für Afrika, Asien und Lateinamerika, Frankfurt am Main, 1976) because SWAPO. I don’t know they were something my father mentioned, or just because he was South African I would see them mentioned in the news and pay attention, but SWAPO is definitely a name I remember from Apartheid.

Both this and the companion exhibition Kamerun und Kongo: Eine Spurensuche und Phantom Geographie von Andréas Lang are very worth seeing, probably an afternoon’s worth if you use the audio guide — and best not on the weekend, it was packed.

There’s a couple of other special exhibitions on right now that are likely Kameras verboten! so now’s a good time for me to start pestering the museums for special privileges, which might mean a future proper blogging of both these exhibitions.

Deutsches Historisches Museum: Deutscher Kolonialismus. Banner with Deutsche-Reichs-Colonial-Uhr. Um 1905
Deutsches Historisches Museum: Deutscher Kolonialismus. Banner with Deutsche-Reichs-Colonial-Uhr. Um 1905
Deutsches Historisches Museum: Deutscher Kolonialismus. Freiheit für Namibia. Solidarität mit der SWAPO Edoardo Di Muro. 1976
Deutsches Historisches Museum: Deutscher Kolonialismus. Freiheit für Namibia. Solidarität mit der SWAPO Edoardo Di Muro. 1976

Reading … A 9th Anniversary

It’s that time of year again! Frances’ and supernaut’s Books of the Year for the 9th time. And some most excellent books were read indeed. This time last year, I realised I’d been struggling a bit with enjoying reading. I looked back over what I’d read in previous years, compared it with 2015’s crop, and noticed I’d dug myself into a bit of a hole with mediæval art and history.

What to do, Frances? I dunno, Other Frances, how about read about space travel and stuff? Good idea!

Unlike last year, my ninth iteration of looking back on a year’s reading — and it’s in October because that’s when I first started blogging about reading, almost a decade ago — has some absolute slammers on the fiction side. Last year I didn’t even name a fiction book of the year. This year, if it wasn’t for one in particular, there’s be 4 or 5 smashing at it for joint Book. And in non-fiction the situation’s pretty similar, or even better, cos there’s barely a single non-fiction work I’ve read in the past 12 months that was anything less than well awesome. It’s also one of my least-read years, only 29 that I read and blogged (possibly a couple of others I’ve forgotten); definitely plenty of internet — I mean Rainbow Autobahn distraction in the last year, exacerbating my inability to focus on pages. I blamed my poor reading last year on that distraction as well, probably time to harden the fuck up and put away the internet.

Of those 29, only 10 were non-fiction; the remaining 19 non-fiction skewed more to fantasy than sci-fi, with around 7 works explicitly skiffy, 9 explicitly fantasy, and a trio (maybe more depending on how dogmatically I apply those categories) deftly straddling both. I call those Speculative Fuckery, ’cos I love when the only two genres I read start boning each other.

On the non-fiction side, mediæval Northern European history continues filling my shelves, and there’s a bunch of “not easily categorised on their own” which nevertheless fit predictably into my decades-long interests.

Then there’s the new, or maybe to say newly clarified bunch that I kinda want to call Islamicate Studies, though that might miss something, so it encompasses that, human rights, identity, philosophy, feminism, and is primarily from women from and/or writing on Iran, Near/Middle East (I’m a bit iffy on this appellation right now, and have been trying out ‘West Asia’ also because it shifts the centre and subject of focus out of Europe, dunno though), and people from or descended from those regions in Europe, North America, Australia. I arrived at this field of interconnected subjects after increasing dissatisfaction with how feminist/queer/left-ist writing addressed brown and/or Muslim identities; regarded these people living in Europe, North America, Australia; and when I spent some time thinking about how the diverse subjects I was reading needed to come together. Also it’s a lot of living in Berlin/Germany/Europe and getting increasingly pissed at the racism against anyone not unequivocally ethnically correct, and the white feminist/queer/left-ist bullshit distractions, and my own personal, slow movement towards identifying if not myself as Turkish/brown/West Asian/Muslim, then definitely my family history (as you can see from all the slashes, I have no idea).

Books! I have read them!

Fiction first. This was a fine year. If I hadn’t read Sofia Samatar’s A Stranger in Olondria, she’d still be my Fiction Book of the Year with The Winged Histories, though sharing with a few others. I don’t actually know how I would pick a book of the year from a pile comprised of that plus Jo Walton’s Necessity and The Philosopher Kings;  Jaymee Goh and Joyce Chng’s The Sea Is Ours; and Ann Leckie’s masterful finish to her debut Imperial Radch trilogy, Ancillary Mercy. Impossible. I would probably give it to the latter, but then … Necessity, a brilliant conclusion to another trilogy, and The Winged Histories: sublime. So I could possibly get it down to a trio of exceptional literature, but no further. Lucky then A Stranger in Orlondria saved me from that anguish.

I don’t want to say it’s ‘better’ any of those other three — though perhaps that’s the case when comparing it to The Winged Histories, which would lose its spot in the trio just as The Philosopher Kings does to Necessity. I think of the two Samatar has written it’s a more major work. If this is my final trio then, I’m not claiming one is better than another, simply A Stranger in Olondria has had a significant effect on me. Would that effect stand up under re-reading? How would that re-reading compare to one of Leckie’s trilogy? If I read them both back-to-back, what then would be my judgement? The best questions always involve more reading.

This is all anyway just writing from memory, how I remember a book made me feel. I’ve been thinking recently that eventually my memory of a book dissolves until it’s just feelings, colours, a glimpse of an image or two. It’s like sediment, like geology, layers upon layers of this.

A quartet of other books I liked a lot: Ada Palmer’s Too Like the Lightning, Genevieve Cogman’s The Masked City, K. T. Davies’ Breed, and Alastair Reynolds’ Revelation Space.

Breed was a romp of Oglaf proportions and probably the most fun I had this year. I wish she’d write more of this. Reynolds’ Revelation Space I read because I needed some hard operatic space sci-fi, and his Slow Bullets novella was a favourite of mine last year. This one was good enough for me to slog through the whole, uneven trilogy. I like him, but there’s a hopelessness in his work, like the heat death of the universe.

As with Reynolds, Genevieve Cogman is another whose previous works got me to read her latest. The Invisible Library, which I also read last year was well tasty. I was super excited to find she had this sequel — and OMG! Just like last time when I discovered The Masked City, she has a sequel to that! Excellent! The immediate result of me writing about my favourite books is I’m ordering more.

Ada Palmer’s Too Like the Lightning. Yeah, loved a lot. Glorious cover art, almost almost one of my first choices, but a few flaws in it, and the cliffhanger “Will bad things happen? Stay tuned for Book 2!” guaranteed to piss me right off. Please, don’t do that to me. I’ve paid for a story, not half a story. If your story’s too big for one book, then at least divide it in a way that doesn’t leave me hanging.

All of these authors I’ll read again (along with a score of others on my Have You Written A New Book Yet? list). I might be a bit crabby here and there about the works, but I also possess a modicum of self-awareness that I’m a pretty fucking demanding reader. The authors and works above if you’re into sci-fi / fantasy (or if you’re not) are about as good as it gets. Not just for this year, but of everything I’ve read in the last 12 years or so. (And just wait for next year’s Books of the Decade! It’s gonna be hectic!)

Non-fiction!

I didn’t read much of this in the last year, but I lucked out here too, barely a dud among them (and that single one was an old book I realised I’d never finished), running out of superlatives here.

I tried to broaden my non-fiction reading a little again, move outside the clag of mediæval history. So I read Amy Shira Teitel’s Breaking the Chains of Gravity: The Story of Spaceflight before NASA, Julie Phillips’ James Tiptree, Jr.: The Double Life of Alice B. Sheldon, and Jo Walton’ What Makes This Book So Great. All excellent works in completely different ways, and which remind me I need to read more astronomy, astrophysics, and geology this year.

The Book of the Year though — and I’m forcing myself to pick only one — comes from another trio: Kathryn Babayan and  Afsaneh Najmabadi’s Islamicate Sexualities: Translations Across Temporal Geographies of Desire; Seyla Benhabib’s The Rights of Others: Aliens, Residents, and Citizens; and Svetlana Alexievich’s Zinky Boys: Soviet Voices from the Afghanistan War.

Svetlana Alexievich was awarded the Nobel Prize in Literature last year, in no small part for her writing on the Soviet occupation and war in Afghanistan. Her writing is chilling. Heart-rending. I even said Zinky Boys would be my Book of the Year. Pretty sure I said the same thing about Seyla Benhabib’s The Rights of Others. In truth I shouldn’t pick one over the other, except that Babayan and Najmabadi’s Islamicate Sexualities somehow is tying all this together, mediæval history, human rights, feminism, identity, migration, religion, and it’s so urgently pertinent to the slow stumbling back to the abyss Europe is currently taking. Read them all, or at least familiarise yourself with the writers.

Other books well worth reading: Kecia Ali’s Sexual Ethics in Islam: Feminist Reflections on Qur’an, Hadith, and Jurisprudence. Mediæval of course: Miri Rubin’s Emotion and Devotion: The Meaning of Mary in Medieval Religious Cultures, and Gude Suckale-Redlefsen’s Mauritius Der heilige Mohr / The Black Saint Maurice.

And that’s my reading for the last 12 months. As if I’m not sated and replete already, I’ve already got a pile of new stuff.

Reading is a great privilege. It’s not however, explicitly a human right. Article 26 i. and 27 i. of the UN Declaration of Human Rights either directly imply or by extrapolation intend reading as a human right, yet nowhere is it explicitly stated that reading comprehension or literacy, and the opportunity to gain this ability is a right. Perhaps I’m splitting hairs, yet I can interpret the UNDHR in a way that fulfils the letter of declaration while still populating my dictatorship with illiterate proles.

My ability to read, at the level I do, at the frequency, my ability to critically consider the works I read (with or without concomitant swearing), to write about them here, to discuss them with others, all this is a privilege. And I mean that in the sense of a special honour. And that necessitates obligation.

Rather than continuing blabbing, I’ll quote myself, first from 2013 and then from last year:

Buy books! Buy books for your friends! Encourage people to read. If you know someone who Can’t Read Good (And Wanna Learn To Do Other Stuff Good Too), help them, reading is only difficult if you’ve been told it is. Support your local libraries!

And:

So here’s to the writers, and their publishers and proofreaders and editors and typesetters and designers and artists and agents and friends and families who make it possible for them to write so that I may read.

Reading: Jaymee Goh, Joyce Chng (eds.) — The Sea Is Ours: Tales from Steampunk Southeast Asia

I am getting such a kick out of reading this. Definitely going to be on my Book of the Year list.

The Sea Is Ours: Tales from Steampunk Southeast Asia, edited by Jaymee Goh and Joyce Chng was published last year, so it’s been on my Want List for, I dunno, pushing a year, I guess. And I have no idea where I heard about it. Not io9 with its monthly list of what’s new (and what will I do for skiffy if io9 vanishes — any more than it already has?); not on Islam and Science Fiction, so that rules out the obvious ones; possibly on Twitter, but searching social networks is the 4Chan of the internet, so, no idea. Whoever brought it to my attention, and into my grubby mitts, well done!

Bill Campbell is responsible for The Sea is Ours, he of Mothership: Tales from Afrofuturism and Beyond, which at the time I wasn’t so into. He’s also Rosarium Publishing, where these anthologies are published. And it’s worth mentioning the publication costs were crowd-funded on Indiegogo: a mere $10,000 brought this rather good collection to print.

Funny thing is, I’m not much into either steampunk or short stories, yet here am I blabbing about both. My ambivalence for short stories I have a feeling I’ve mentioned recently; it’s primarily that I like sinking deep into a story and the characters, for at least a day, ideally much longer, though my reading speed nixes the latter. Short stories at 15 minutes a pop leave me wanting more, it’s like reading the first chapter and being denied the novel.

Steampunk on the other hand, in its typical form, there’s no ambivalence: I find it contrived, a literary and cultural cul-de-sac dangerously uncritical of itself. And this is me talking about context again. The signifiers steampunk plays with are rooted in high industrial colonialism, sliding between mid-19th century Age of Steam proper, and early 20th century post-steam final years of the European imperialism. In fact while technologically rooted in a non-internal combustion engine alternate timeline, steampunk often sits firmly in pre-war 1914 in cultural, social, political signifiers. And I’m basing this on a rather small population of books read, but of those I have, and of my other reading, this is my impression. I also just don’t get the brass, clockwork, steam aesthetic. Partly because the era it fetishises sits atop colonialism and genocide in the real world, and partly because for me it’s even less plausible than dragons and magic.

So, we’ve established my hostility to short stories and steampunk, and yet here we are, me saying this is an excellent collection, I’m loving reading it, I want another, Volume 2: The Sea is Still Ours (2 Sea 2 Furious, or something). I love it because of the list of countries I’ve categorised and tagged this post under, countries I don’t mention enough these days, and though I never lived in any of them, I passed through most at one time or another when Guangzhou was my home. There’s a familiarity in the writing and stories, it’s like coming out of Hong Kong airport into the glorious damp heat on Chek Lap Kok and physically remembering where I am.

There’s another thing in the stories I’ve read so far (about half), which is requisitioning the signifiers of steampunk for use by the other side. It’s another alternate timeline, where the colonised got their hands on the technology of the European empires, merged it with their own technology, culture, world, and turned it against the aggressors. A world where the Maya civilisation resisted the Spanish empire enough to trade with the Philippines, where the Philippines themselves charted a different course. When I’m reading these stories, I keep thinking steampunk was made for this, using the technology of the age of colonialism to imagine other potential histories. It’s a far more satisfying genre written like this.

I was also thinking — and this is thanks to the work of editors Jaymee Goh and Joyce Chng — how refreshing it is to read stories that aren’t coming out of the United States (putting aside that it was published there, by an American publisher, and that a couple of the writers live there). Dasniya and I spent an afternoon on the grass in front of the Reichstag yesterday soaking in the warm sun, the conversation moved — as it usually does — to those awkward words, inclusion, diversity, how to talk about one’s work while avoiding the reductionism of these terms yet also needing to make clear that the concerns these terms signify is central. And this is where this collection succeeds for me: certainly within the domestic situation in the States it would be categorised using these terms, but the stories themselves, it’s like a chorus of an entire world from somewhere else, and in this world these words — if they even appear — are framed on their terms. It’s like when I made the fantastic shift from reading feminism coming from Anglo-Euro-American countries to that coming from Arabic, Turkish, Persian, Chinese writers and never looked back.

Bill Campbell, Jaymee Goh, Joyce Chng: more please! And I’d love one with Taiwanese, Cantonese (Jihng Yāt and steampunk pirates!), the sea-facing countries of the north.

Jaymee Goh, Joyce Chng (eds.) — The Sea Is Ours: Tales from Steampunk Southeast Asia
Jaymee Goh, Joyce Chng (eds.) — The Sea Is Ours: Tales from Steampunk Southeast Asia

Gallery

Staatliche Kunstsammlungen Dresden, Residenzschloss Neues Grünes Gewölbe

The last museum and the last collection for the day! Seriously I thought I’d whizz through here in 30 minutes and be off to Militärhistorisches Museum der Bundeswehr (cos they have good art there I’m told). It was 16:30. I still had no idea. Sure, I got through in under an hour, but more than 9 hours of stomping on three bananas and two coffees left me a little fragile — not to mention head implosion from art.

Let’s start with head explosion. This deserves a What The Fuck? I have no idea either. What exactly were Wenzel Jamnitzer and Abraham Jamnitzer thinking in Nürnberg in the late-1500s when they conceived and created Daphne als Trinkgefäß? I thought of Charles Stross and his Laundry Files series. It’s hilarious and simultaneously disturbing. Nearby is Trinkgefäß in Gestalt eines Basilisken built around a large melon shell perhaps acquired from a trip to the South Pacific. Unlikely used for drinking from, but imagine the kind of party where you’d get hammered quaffing from the neck of a basilisk.

A large part of the collection, and indeed the room I photographed most (and last as my battery died around 570 images in) are the works of Balthasar Permoser in collaboration with jeweller Johann Melchior Dinglinger. Almost all of these feature African people, on camels, elephants, horses, towing sleighs, with massive chests inlaid with precious stones, gold and rare metals everywhere, multicoloured feathers and headdresses, inlaid enamel, generally wondrous and overwhelming. Totally Late Baroque excess. There’s a lot going on here as Europe shifts fully into slavery mode, as the arguments for racial superiority take a turn for the worse (and which Kant himself is responsible for a few short decades later), as European colonialism and imperialism ramps up. You can’t look at these works, and their difference from — opposition to — the humanity of say, Rubens and not see how they serve to diminish whole peoples and continents. Simultaneously, they stand as an embarrassment. Look at Rubens, his vier Studies van het Hoofd van een Moor, then look at these. For whatever their richness and opulence, they speak loudly of a narrowing of European culture, of smallness, of choices made we’re all still paying for. They’re still amazing works of art. It’s kinda like listening to Burzum though, really good black metal but part of your brain is always going, “You know what he is.”

So I finish with Der Thron des Großmoghuls Aureng-Zeb, again by Johann Melchior Dinglinger und Werkstatt made in Dresden between 1701-1708 at the cost of no small fortune. For all I’ve just said, there’s no mistaking the revelling in a larger world here. It’s fucking berserk. Imagine dropping LSD and staring at this for an afternoon. I especially like the nonsensical but very convincing Chinese calligraphy. Or maybe it isn’t gibberish. I keep seeing recognisable characters, then followed by weird scratching. I was just pointing and snapping at this point, battery flashing red, no time for composing a shot, but somehow it captures the chaos, the noise, the fantastic procession of people and clothes and animals and just in case that wasn’t enough, mirrors to reflect it all back on itself. And it’s huge, almost 2 metres wide. It’s the kind of thing that would bankrupt a city, and I’m so glad there’s a history where excessive works of art were part of the deal.

Then I’m done. No camera, feet worn out, brain trashed and fried. 9 hours with barely a stop. Museums and collections unseen. Enough. Why am I doing this? I can’t even answer that. The physical labour of experiencing a museum, of looking at art. I’m done.

Gallery

Staatliche Kunstsammlungen Dresden: Zwinger mit Semperbau Porzellansammlung; Albertinum Skulpturensammlung; Residenzschloss Kupferstich-Kabinett, Rüstkammer, & Münzkabinett

I’m mixing up a few different collections and museums from the Staatliche Kunstsammlungen Dresden here. None of these collections I photographed enough of to want to write a whole post, and at 236 images plus unfettered word count,  I’m trying for a little restraint here.

So, After I left the Zwinger mit Semperbau’s Gemäldegalerie Alte Meister I toddled over the the Porzellansammlung. It’s row after row of Chinese and Japanese ceramics, Ming Dynasty vases large enough to bury a corpse in. A little difficult to grasp what I was looking at, more like a second hand shop than a museum collection. Over the other side, split as the collection is by the east entrance, is more of the same, with the addition of some really beautiful figures from Dehua Fujian. And the excess of Dresden baroque porcelain, rows and walls of birds from all over. I was expecting an Australian Cockatoo and did not leave disappointed. One other piece deserving a mention is from the Werkstatt der Madame Gravant: Blumenstrauß, a beguilingly detailed floral arrangement that messes with reality. Yes, it’s porcelain.

Midway through the Albertinum, I pass through the Skulpturensammlung. It’s somewhat truncated, one wing is closed as they set up a new collection — and here I’ll mention again how cool and friendly and helpful the staff were, pierced lips and all, reminds me a bit of the museum in Stockholm. It’s almost archaeological, dark rooms of cabinets lined with heads and busts. And to see Birgit Dieker’s Kleine Diva in that. Mind-blowing. I could spend a whole post writing on the references to mediæval dress and armour and black metal from that one piece alone.

Jumping ahead now to the Residenzschloss. There’s multiple rooms and sub-rooms and collections, and largely I didn’t photograph any of it. But if you’re into mediæval and renaissance warfare, armour, mounted fighting and all that, or just Game of Thrones levels of excessive opulence, this is your gear. The Rüstkammer also has the Türckische Cammer, with its comparable collection of Ottoman art and objects. It’s nice to see this in Dresden, what feels like so far north and east of Turkey, but it in fact underlines the close history of European empires and peoples stretching back millennia. I’m not so into armour and swords and guns and shit right now, so I did a runner. The Münzkabinett, just breezed through looking for Saint Mauritius (nope) or Adoration of the Magi (yup) in coin form.

Lastly in this ill-fitting post of collections and exhibitions, the Residenzschloss Kupferstich-Kabinett which had a rather splendid series of prints by Jan van der Straet from 1591 called Nova Reperta. I was going to blog these all, but screwed up the focus a few times, so these were the ones that has specific meaning to me. Like America. Americen Americus retexit, & Semel vocauit inde semper excitam, with the Native Americans chowing down on a couple of roast human legs in the background. It’s pretty obnoxious, but the point of these works is a series of world-changing — explicitly here for Europe, but by extension the globe — discoveries or inventions. Staphæ, Sive Stapedes, the use of stirrups on horse saddles; Oleum Olivarum, olive oil; Conspicilla, lenses and optics; Orbus Longitudines Repertæ è Magnetis à Polo Declinatione, navigation by the magnetic poles and longitude; Astrolabium, Astrolabes, and more of the same, together it makes for a convincing argument of world-changing technological development in the renaissance.

A little out of order here, you could easily devote half a day to these collections if that was what you were into. Though I did wonder about the arrangement of museums in the Zwinger and Albertinum. For me it would make more sense to turn over the entire Zwinger to the Gemäldegalerie Alte Meister and move the Porzellansammlung into Residenzschloss (yeah I dunno where either! Just throwing ideas out) where it would fit better with the Neues Grünes Gewölbe collection; and do the same for the Galerie Neue Meister in the Albertinum taking out the Skulpturensammlung. These location decisions seem to me decisions of exigency that don’t do any of the collections great favours. Which is a much larger conversation I’m not having here. Off to the Neues Grünes Gewölbe!

Gallery

Staatliche Kunstsammlungen Dresden, Albertinum Galerie Neue Meister: Expressionism & Impressionism

From Staatliche Kunstsammlungen Dresden’s Zwinger it’s a quick cross-town stroll to the Albertinum past Residenzschloss and Frauenkirche, through the rebuilt and touristic old inner city, where lanes use the cute diminutive Gässchen, all having been rebuilt (or rebuilding continues) after the firebombing of the city in 1945.

Once again, I fail to find the entrance. Museums. How do they work? I’m inside, in the colossal roofed inner courtyard where some manner of ghastly conceptual museum dance is being rehearsed and have a moment of relief that I ditched being a dance audience for museums and art. I keep returning to an essay I read recently which ranged far beyond dance, but its core was an unrelenting criticism of two decades of conceptual dance and the current fashion for dance in museums, “…when the labouring body is erased by (white, male, of European origin) philosophical constructs, we are complicit in devaluing human lives …” Dance proper is physical labour.

The first painting I see is a Degas. Two ballerinas. It doesn’t have the emotional impact his work in Berlin did in the Impressionismus – Expressionismus exhibition, nor does his famous Vierzehnjärige Tänzerin sculpture, but I’m happy to see them both. To be honest, I find his fixation on young female ballet dancers creepy, and could well imagine even at that time he was an old-fashioned presence in the room.

Whipping through a few rooms I stopped at Gotthardt Kuehl’s Die Augustusbrücke zu Dresden im Schnee. It’s a habit for me lately when I visiting museums in other cities to photograph paintings of that city. It wasn’t winter or evening, but that’s what Dresden looks like from near the Albertinum looking west along the Elbe, probably from the front of Hochschule für Bildende Künste Dresden.

Then we get into Expressionism. Not infrequently indistinguishable from Impressionism, particularly when nose prods painting. Of course aesthetically and philosophically the former is opposed to the latter, and the former also I associate with Germany and particular groups of artists around Die Brücke und Der Blaue Reiter in the early 20th century, whereas impressionism sits almost a generation earlier in France. Still, they’re inextricable from today’s perspective, which is why they’re often displayed side by side.

The first big work, and by big I mean wall-spanning, is Otto Dix’ major Der Krieg – Das Dresden Tryptichon painted between 1929 and ’32. Not even half a decade before Germany would be going for a repeat performance. It’s a traumatic piece in the form of a mediæval altarpiece, a central square panel flanked by two narrow wings and sitting on top of a coffin-like lower tier. On the left where the broken wooden wheel would signify Saint Katharina, there’s just the backs of soldiers marching off through and into fog; on the right, a tree and figure like Saint Sebastian instead is a blasted post-battle landscape with a hellish tornado of fire in the background. The lower tier is simply a box of sleeping bodies stacked lying in their dugout. And the central panel, where you’d expect to find Adoration of the Magi, or Mary with Jesus, is a gaping wound around their empty central location. Instead of an angel flying above, there’s a ruined corpse of a body hanging in the bones of a house.

Writing about it like this, I find myself appreciating it more. It’s a work I feel I’ve seen often in passing, which has little effect on me. Perhaps because it signifies nothing. As a bloody warning of the horror a Christian country was jack-booting towards once again, it failed utterly. It seems almost too didactic now, even though this is exactly what a nominally Christian society — Europe has been inflicting on the Middle East, Central Asia, and North Africa for fifteen years.

So I move onto proper expressionism, Oskar Kokoschka, Ernst Ludwig Kirchner and others in an outer ring around a central room full of Carl Lohse. Lohse I didn’t like so much on first look. I was taken enough by his Sie to photograph it, all Mars Attacks! green alien face, despite the blah mediocrity of the title — the male dominance in museums of artists from any period gets tiring pretty quickly, along with the embarrassingly crude displays of gender they attempt — and got a kick out of his monstrous Kleine Stadt, which must have enraged small town Germans nationwide. His Frühling in Bischofswerda is nothing other than an expressionist interpretation of van Gogh’s The Starry Night.

van Gogh himself makes an appearance with a plate of quinces, and if you get a chance to see any work of his, it’s worth it if you can ignore the hype around him. He really was doing something different, which is often hard to realise when contemporary representation of an art movement, be it impressionism, post-impressionism, expressionism, baroque, whatever, depends on differentiating as absolutely as possible between the individual artists in the movement, so we get the poles of Monet and Manet and van Gogh and impressionism against expressionism but it was far more diffuse than that. So when you look at the rows of long, parallel brush strokes of van Gogh, it’s sometimes good to forget all that and the expectation of awe you’re supposed feel in his presence and simply look at what he was doing. That cluster of nine red strokes on the far middle-left, or their more bold correlates mid-bottom. Rather than see these as indicators of genius, you can see in this an example of how both impressionism and expressionism understood light. That’s enough to take from this.

One of my absolute favourites, as an artist and a single painting is Ernst Ludwig Kirchner’s Eisenbahnüberführung Löbtauer Straße in Dresden. I loved his Berlin works I’ve seen in the Staatliche Museen zu Berlin’s collection, like Nollendorfplatz or Potsdamer Platz, and this one, more understated and simple than those two, almost like a different artist in the uncomplicated brush strokes and blocks of colour, I kept returning to it, running back for one more gawk. And I even gave it its own post, having discovered the house in the painting still stands in Dresden.

Let’s finish with a Gauguin: Parau Api. Gibt’s was Neues? I just like Gauguin, as an artist and in the care he takes with his subjects. Maybe it’s only his work reminds me of living in Auckland.

Dresden & the Staatliche Kunstsammlungen

I went to Dresden yesterday. Very impromptu. Decided Wednesday evening I needed some art. And travel. A quick adventure. I’ve only ever passed through the Hauptbahnhof in Dresden, and it’s 2 1/2 hours away by bus — less by train, though quadruple the price, and my current collecting of places I’ve never been is determined by places I can get to and from in a long day.

So, up at 5:30am, off to Südkreuz for the 7:15 bus, slight dozing mid-trip, mostly enjoying the scenery which evolves from the smooth former sea bed of the north into rolling hills very reminiscent of Vienna, and into Dresden Neustadt half an hour before the museums open. Enough time to walk — like I won’t be doing much of that today — across Marienbrücke so I can have the full experience of architecture lining the Elbe.

It’s seriously beautiful. I don’t have words for how stirringly picturesque it is, how utterly baroquely Europe. Dirty also. Like almost all German cities it had its teeth kicked out in 1945 for being a mouthy prick, and between the rubble of the remaining stumps lies the typical barren former-East German depression. Think of any big city you’ve lived in, Sydney, Melbourne, Toronto, Paris, and imagine on every city block there’s at least one empty wasteland, sometimes several grown together. Where you’d expect a thriving, vibrant inner city, seventy years after the Second World War, in Dresden, Magdeburg, even Berlin, these dead spaces remain. Nothing that some immigration couldn’t fix — ah, yes, that’s the problem, isn’t it?

The inner city, the Altstadt — so like Vienna. There’s even streets using Gasse, which I associate entirely with Austria. One even used Gässchen! Places like the Semperoper I’ve heard of for years, suddenly I’m gawking at it. I’m here for the museums though. Museums! Plural! The Staatliche Kunstsammlungen Dresden has quite a few. There’s the Zwinger mit Semperbau which has the Gemäldegalerie Alte Meister, and is where I’m heading first; across the road is the incredible, gorgeous Residenzschloss with the Grünes Gewölbe; a skip past Frauenkirche is the Albertinum with the Galerie Neue Meister; there’s the Kunsthalle im Lipsiusbau, Jägerhof, Japanisches Palais, and all the way in the next city over in Chemnitz is the Gotische Skulptur in Sachsen in the Schloßbergmuseum.

Two-thirds of the Gemäldegalerie Alte Meister is closed. The Zwinger had been Baroquely imploding for some time. Currently it’s about 2 years off completion. The Historisches Grünes Gewölbe I didn’t make it to, nor any of the aforementioned last quartet. Nor either the Daniel Libeskind-ed Militärhistorisches Museum der Bundeswehr, which curiously has a rather nice bunch of Mediæval and Renaissance art. Obviously I’ll have to go back. It’s times like these I wish I had a driver’s licence and a car to use it in (WRX, yes please).

Museum people: super-friendly and helpful, young and old, facial piercings and all. Nice! Art:  I took 580 photos so that’s a yes! And narrowed that down to around 280 — across seven collections mind, so not unduly excessive for first round of selecting. So so so very many brilliant works, the vast majority not mediæval art because that’s the collection that got the chop when the Gemäldegalerie had to partly close.

I’m going with Birgit Deiker’s 2007 work, Kleine Diva which I found in the Albertinum’s Skulpturensammlung in a dark chamber among shelves of heads and busts as my “This was Dresden Museum!” piece. So out of place, so inchoately horrifying and seductive.

I made it until just before 18h, camera battery dying as closing time veered in as toes, feet, body protested. “Frances, but isn’t going to see art supposed to be enjoyable?” Enjoyable? Museums and art are objects of endurance, acts of physical labour. To come out the other side, 9 hours later flattened and exhausted having enjoyed beyond satiety is the experience of a museum.

And then to get home. On a train from Prague.

Staatliche Kunstsammlungen Dresden: Albertinum Skulpturensammlung — 1: Birgit Dieker: Kleine Diva. 2007
Staatliche Kunstsammlungen Dresden: Albertinum Skulpturensammlung — 1: Birgit Dieker: Kleine Diva. 2007
Staatliche Kunstsammlungen Dresden: Albertinum Skulpturensammlung — 2: Birgit Dieker: Kleine Diva. 2007 (detail)
Staatliche Kunstsammlungen Dresden: Albertinum Skulpturensammlung — 2: Birgit Dieker: Kleine Diva. 2007 (detail)

Gallery

Pergamonmuseum — Wie die islamische Kunst nach Berlin kam

The Pergamonmuseum’s Wie die islamische Kunst nach Berlin kam (How Islamic art came to Berlin) was not one of their huge endeavours. Sprinkled through the permanent collection on the second floor to celebrate the 150th birthday of Friedrich Sarre were objects, photographs, and documentation he’d collected from across the Levant, Middle East, Iran, Afghanistan, Central Asia, with influences from even further east, Indian and Chinese aesthetics in Islamic, Arabian, and Persian art. Sarre was responsible for the Kaiser-Friedrich-Museum’s Islamic collection, the museum which became the Bode-Museum and part of Staatliche Museen zu Berlin. So, not a full exhibition; one of their many mini-exhibitions that rotate a small selection of their hundreds of thousands of objects through public display every year. And a good reason to buy a Jahreskarte.

I was there under the misguided belief there’d be plenty of Osman Hamdi Bey, one of my favourite artists of the late-19th century, who’d totally be filed under Orientalism if he was Christian European. He’s not, and there was only one work of his, Der persische Teppichhändler, which started the exhibition proper after the procession of Sarre’s photographs up both sides of the stairs. I would have bought the exhibition book for those alone if it was cheaper.

I’ve been through part of the Pergamonmuseum before, and I ended up photographing a lot of the same pieces. They appealed to me then, and they appeal now. Many of the bowls are profoundly beautiful; photographs can’t capture the deep lustre, the layers of glazing, the way the light moves through this. Also the turquoise prayer alcove (image numbers 34-39), which I discovered a way of convincing my camera to see somewhat as my eye does. Still nothing like seeing its massiveness before you, the colours shifting, it’s a lot less reflective than the photos imply, some of the closeups give a better sense of the intensity of the glaze. I also love that every time I’ve seen this piece, there’s a group of people sitting in awe before it. Perhaps it was only this visit, but there were a lot of Muslim people wandering through, which made me think the museum is doing something right.

There’s two rooms, about two-thirds of the way through which are devoted to works on paper. This time it was some of Sarre’s own collection, Persian and Indian miniatures, particularly ones which explored European influences in works from these regions, and in Mughal art. A couple of examples of this, (images 48 and 49) were on display, as well as beautiful calligraphy of Bismala in the form of a bird on gilt paper, and another calligraphy in the form of a Mevlevi Dervish.

All this sits on the unhappy mound of colonialism, despoiling of archaeology sites, quite a bit of European racism, of which Sarre and Bey were on both sides of. When I was in Dahlem Museum (before I got into my over-enthusiastic museum blogging), I was looking at all the works from Dunhuang Mogao Caves and elsewhere in what’s now Xinjiang and Gansu pilfered by Aurel Stein, Paul Pelliot, Albert von Le Coq and others. As much as the robbing of cultural history is unequivocally a crime, it’s certain little would have survived the 20th century of China’s Cultural Revolution. Of course some of that in turn got destroyed when Germany went all Nazi on Europe and Berlin got its teeth kicked in, so the argument goes back and forth. I’m not even sure how much value as works of art these things would have if it wasn’t for the idea of European archaeology and the monetary value that gives things lying buried for hundreds or thousands of years. We are however over a hundred years into museuming the fuck out of humanity’s history, so having these objects in museums is probably preferable, or at least inevitable, even if that means being buried once more, this time in the archives.

Later I discovered I’d never visited an entire wing or more of the Pergamonmuseum. I think I need to buy a Jahreskarte again. In the meantime, sixty images of works from Museum für Islamische Kunst or İslam Eserleri Müzesi or متحف الفن الإسلامي or موزه هنر اسلامی or Museum for Islamic Art.

Pergamonmuseum Museum für Islamische Kunst — 1: Astrolab des Muhammad Zamān al-Mašḥadī. Iran, 2.H. 17. Jh.
Pergamonmuseum Museum für Islamische Kunst — 1: Astrolab des Muhammad Zamān al-Mašḥadī. Iran, 2.H. 17. Jh.
Pergamonmuseum Museum für Islamische Kunst — 2: Astrolab des Muhammad Zamān al-Mašḥadī. Iran, 2.H. 17. Jh. (detail)
Pergamonmuseum Museum für Islamische Kunst — 2: Astrolab des Muhammad Zamān al-Mašḥadī. Iran, 2.H. 17. Jh. (detail)
Pergamonmuseum Museum für Islamische Kunst — 3: Osman Hamdi Bey: Der persische Teppichhändler. 1888
Pergamonmuseum Museum für Islamische Kunst — 3: Osman Hamdi Bey: Der persische Teppichhändler. 1888
Pergamonmuseum Museum für Islamische Kunst — 4: Osman Hamdi Bey: Der persische Teppichhändler. 1888 (detail)
Pergamonmuseum Museum für Islamische Kunst — 4: Osman Hamdi Bey: Der persische Teppichhändler. 1888 (detail)
Pergamonmuseum Museum für Islamische Kunst — 5: Osman Hamdi Bey: Der persische Teppichhändler. 1888 (detail)
Pergamonmuseum Museum für Islamische Kunst — 5: Osman Hamdi Bey: Der persische Teppichhändler. 1888 (detail)
Pergamonmuseum Museum für Islamische Kunst — 6: Osman Hamdi Bey: Der persische Teppichhändler. 1888 (detail)
Pergamonmuseum Museum für Islamische Kunst — 6: Osman Hamdi Bey: Der persische Teppichhändler. 1888 (detail)
Pergamonmuseum Museum für Islamische Kunst — 7: Osman Hamdi Bey: Der persische Teppichhändler. 1888 (detail)
Pergamonmuseum Museum für Islamische Kunst — 7: Osman Hamdi Bey: Der persische Teppichhändler. 1888 (detail)
Pergamonmuseum Museum für Islamische Kunst — 8: Wandmalerei einer Frauenfigur in einer Nische. Jordanien (Quṣair ʿAmra), 1. Hälfte 8. Jh.
Pergamonmuseum Museum für Islamische Kunst — 8: Wandmalerei einer Frauenfigur in einer Nische. Jordanien (Quṣair ʿAmra), 1. Hälfte 8. Jh.
Pergamonmuseum Museum für Islamische Kunst — 9: Wandmalerei einer Frauenfigur in einer Nische. Jordanien (Quṣair ʿAmra), 1. Hälfte 8. Jh. (detail)
Pergamonmuseum Museum für Islamische Kunst — 9: Wandmalerei einer Frauenfigur in einer Nische. Jordanien (Quṣair ʿAmra), 1. Hälfte 8. Jh. (detail)
Pergamonmuseum Museum für Islamische Kunst — 10: Teller mit stilisiertem Vogel, der als eine Darstellung des Sternbildes Schwan interpretiert kann. Irdenware. Samarra, 9. Jh.
Pergamonmuseum Museum für Islamische Kunst — 10: Teller mit stilisiertem Vogel, der als eine Darstellung des Sternbildes Schwan interpretiert kann. Irdenware. Samarra, 9. Jh.
Pergamonmuseum Museum für Islamische Kunst — 11: Schale mit Schrift. Neben der Randbemalung bildet das zweimal in schöner Kalligrafie geschriebene arabische Wort ‘baraka’ (Segen) den einzigen Schmuck. Irdenware. Irak, 9. Jh.
Pergamonmuseum Museum für Islamische Kunst — 11: Schale mit Schrift. Neben der Randbemalung bildet das zweimal in schöner Kalligrafie geschriebene arabische Wort ‘baraka’ (Segen) den einzigen Schmuck. Irdenware. Irak, 9. Jh.
Pergamonmuseum Museum für Islamische Kunst — 12: Schale mit stilisierter Pflanze. Irdenware. Irak, 9. Jh.
Pergamonmuseum Museum für Islamische Kunst — 12: Schale mit stilisierter Pflanze. Irdenware. Irak, 9. Jh.
Pergamonmuseum Museum für Islamische Kunst — 13: Flacher Teller mit Flecken- und Ritzdekor. Gefunden im großen Kalifenpalast. Irdenware. China, 9. Jh.
Pergamonmuseum Museum für Islamische Kunst — 13: Flacher Teller mit Flecken- und Ritzdekor. Gefunden im großen Kalifenpalast. Irdenware. China, 9. Jh.
Pergamonmuseum Museum für Islamische Kunst — 14: Löwe. Brunnenmündung (?) Bronze. Ägypten, 10. – 11. Jh. Vogel. Räuchergefäß (?) Bronze. Ägypten, 10. Jh.
Pergamonmuseum Museum für Islamische Kunst — 14: Löwe. Brunnenmündung (?) Bronze. Ägypten, 10. – 11. Jh. Vogel. Räuchergefäß (?) Bronze. Ägypten, 10. Jh.
Pergamonmuseum Museum für Islamische Kunst — 15: Elfenbeinkasten mit figürlichem Dekor. Unteritalien oder Sizilien, 11. – 12. Jh.
Pergamonmuseum Museum für Islamische Kunst — 15: Elfenbeinkasten mit figürlichem Dekor. Unteritalien oder Sizilien, 11. – 12. Jh.
Pergamonmuseum Museum für Islamische Kunst — 16: Elfenbeinkasten mit figürlichem Dekor. Unteritalien oder Sizilien, 11. – 12. Jh. (detail)
Pergamonmuseum Museum für Islamische Kunst — 16: Elfenbeinkasten mit figürlichem Dekor. Unteritalien oder Sizilien, 11. – 12. Jh. (detail)
Pergamonmuseum Museum für Islamische Kunst — 17: Elfenbeinkasten mit figürlichem Dekor. Sizilien (?), 13. Jh.
Pergamonmuseum Museum für Islamische Kunst — 17: Elfenbeinkasten mit figürlichem Dekor. Sizilien (?), 13. Jh.
Pergamonmuseum Museum für Islamische Kunst — 18: Elfenbeinkasten mit figürlichem Dekor. Sizilien (?), 13. Jh. (detail)
Pergamonmuseum Museum für Islamische Kunst — 18: Elfenbeinkasten mit figürlichem Dekor. Sizilien (?), 13. Jh. (detail)
Pergamonmuseum Museum für Islamische Kunst — 19: Elfenbeinkasten mit figürlichem Dekor. Sizilien (?), 13. Jh. (detail)
Pergamonmuseum Museum für Islamische Kunst — 19: Elfenbeinkasten mit figürlichem Dekor. Sizilien (?), 13. Jh. (detail)
Pergamonmuseum Museum für Islamische Kunst — 20: Schale mit Vogelpaar, in der Leibern die Segensformel “Baraka” im Kūfī-Duktus. Irdenware. Iran (Nīšāpūr), 11. Jh.
Pergamonmuseum Museum für Islamische Kunst — 20: Schale mit Vogelpaar, in der Leibern die Segensformel “Baraka” im Kūfī-Duktus. Irdenware. Iran (Nīšāpūr), 11. Jh.
Pergamonmuseum Museum für Islamische Kunst — 21: Tasse mit arabischer Inschrift: “Hüte dich vor dem Verlangen!” Irdenware. Usbekistan (Samarkand) oder Iran (Nīšāpūr), 10. Jh.
Pergamonmuseum Museum für Islamische Kunst — 21: Tasse mit arabischer Inschrift: “Hüte dich vor dem Verlangen!” Irdenware. Usbekistan (Samarkand) oder Iran (Nīšāpūr), 10. Jh.
Pergamonmuseum Museum für Islamische Kunst — 22: Schale mit kalligraphische vollendeter Inschrift im Kūfī-Duktus. Irdenware. Usbekistan (Samarkand), 9. – 10. Jh.
Pergamonmuseum Museum für Islamische Kunst — 22: Schale mit kalligraphische vollendeter Inschrift im Kūfī-Duktus. Irdenware. Usbekistan (Samarkand), 9. – 10. Jh.
Pergamonmuseum Museum für Islamische Kunst — 23: Schüssel mit arabischem Schriftdekor im Kūfī-Duktus “Der Freie ist frei, selbst wenn ihn ein Verlust trifft. Viel Glück!” Irdenware. Usbekistan (Samarkand) oder Iran (Nīšāpūr), 10. Jh.
Pergamonmuseum Museum für Islamische Kunst — 23: Schüssel mit arabischem Schriftdekor im Kūfī-Duktus “Der Freie ist frei, selbst wenn ihn ein Verlust trifft. Viel Glück!” Irdenware. Usbekistan (Samarkand) oder Iran (Nīšāpūr), 10. Jh.
Pergamonmuseum Museum für Islamische Kunst — 24: Schüssel mit arabischem Schriftdekor im Kūfī-Duktus “Der Freie ist frei, selbst wenn ihn ein Verlust trifft. Viel Glück!” Irdenware. Usbekistan (Samarkand) oder Iran (Nīšāpūr), 10. Jh. (detail)
Pergamonmuseum Museum für Islamische Kunst — 24: Schüssel mit arabischem Schriftdekor im Kūfī-Duktus “Der Freie ist frei, selbst wenn ihn ein Verlust trifft. Viel Glück!” Irdenware. Usbekistan (Samarkand) oder Iran (Nīšāpūr), 10. Jh. (detail)
Pergamonmuseum Museum für Islamische Kunst — 25: Achteckige Platte mit Senmurv, einem Mischwesen aus der altiranischen Mythologie. Silber. Iran, 10. – 11. Jh.
Pergamonmuseum Museum für Islamische Kunst — 25: Achteckige Platte mit Senmurv, einem Mischwesen aus der altiranischen Mythologie. Silber. Iran, 10. – 11. Jh.
Pergamonmuseum Museum für Islamische Kunst — 26: Weibliche Figur in höfischer Kleidung und Schmuck, aus einer Gruppenkomposition. Stuck. Iran, um 1200
Pergamonmuseum Museum für Islamische Kunst — 26: Weibliche Figur in höfischer Kleidung und Schmuck, aus einer Gruppenkomposition. Stuck. Iran, um 1200
Pergamonmuseum Museum für Islamische Kunst — 27: Zierkrug mit Reiterfriesen und Fabelwesen. Quarzfritte-Keramik. Iran (Kāšān), 13. Jh.
Pergamonmuseum Museum für Islamische Kunst — 27: Zierkrug mit Reiterfriesen und Fabelwesen. Quarzfritte-Keramik. Iran (Kāšān), 13. Jh.
Pergamonmuseum Museum für Islamische Kunst — 28: Schale. Quarzfritte-Keramik. Iran (Rayy oder Kāšān), Ende 12. Jh.
Pergamonmuseum Museum für Islamische Kunst — 28: Schale. Quarzfritte-Keramik. Iran (Rayy oder Kāšān), Ende 12. Jh.
Pergamonmuseum Museum für Islamische Kunst — 29: Kleiner Zierteller mit kurviger Kontur. Nach dem Vorbild chinesischer Tang-Keramik. Quarzfritte-Keramik. Iran (Kāšān), 11. Jh.
Pergamonmuseum Museum für Islamische Kunst — 29: Kleiner Zierteller mit kurviger Kontur. Nach dem Vorbild chinesischer Tang-Keramik. Quarzfritte-Keramik. Iran (Kāšān), 11. Jh.
Pergamonmuseum Museum für Islamische Kunst — 30: Sechseckfliese mit arabischer Inschrift im Kūfī-Duktus. Stuck. Iran, 12. Jh.
Pergamonmuseum Museum für Islamische Kunst — 30: Sechseckfliese mit arabischer Inschrift im Kūfī-Duktus. Stuck. Iran, 12. Jh.
Pergamonmuseum Museum für Islamische Kunst — 31: Gebetsnische mit reliefierten Arabesken und Koraninschriften im Kūfī-Duktus. Quarzkeramik. Iran (Kāšān), dat. Letzte (Dekade) des Ṣafar 623 H. (21.1. – 1.3.1226)
Pergamonmuseum Museum für Islamische Kunst — 31: Gebetsnische mit reliefierten Arabesken und Koraninschriften im Kūfī-Duktus. Quarzkeramik. Iran (Kāšān), dat. Letzte (Dekade) des Ṣafar 623 H. (21.1. – 1.3.1226)
Pergamonmuseum Museum für Islamische Kunst — 32: Bauteil mit Teil einer Künstlerinschrift. Fayencemosaik. Türkei (Konya), um 1242/43
Pergamonmuseum Museum für Islamische Kunst — 32: Bauteil mit Teil einer Künstlerinschrift. Fayencemosaik. Türkei (Konya), um 1242/43
Pergamonmuseum Museum für Islamische Kunst — 33: Lautenspieler. Marmorrelief. Zentraltürkei, 1. Hälfte 13. Jh.
Pergamonmuseum Museum für Islamische Kunst — 33: Lautenspieler. Marmorrelief. Zentraltürkei, 1. Hälfte 13. Jh.
Pergamonmuseum Museum für Islamische Kunst — 34: Gebetsnische mit Thronvers (Koran, Sure 2, Vers 255). Fayencemosaik. Türkei (Konya), 3. Viertel 13. Jh. Aus der Beyhekim Moschee (detail)
Pergamonmuseum Museum für Islamische Kunst — 34: Gebetsnische mit Thronvers (Koran, Sure 2, Vers 255). Fayencemosaik. Türkei (Konya), 3. Viertel 13. Jh. Aus der Beyhekim Moschee (detail)
Pergamonmuseum Museum für Islamische Kunst — 35: Gebetsnische mit Thronvers (Koran, Sure 2, Vers 255). Fayencemosaik. Türkei (Konya), 3. Viertel 13. Jh. Aus der Beyhekim Moschee (detail)
Pergamonmuseum Museum für Islamische Kunst — 35: Gebetsnische mit Thronvers (Koran, Sure 2, Vers 255). Fayencemosaik. Türkei (Konya), 3. Viertel 13. Jh. Aus der Beyhekim Moschee (detail)
Pergamonmuseum Museum für Islamische Kunst — 36: Gebetsnische mit Thronvers (Koran, Sure 2, Vers 255). Fayencemosaik. Türkei (Konya), 3. Viertel 13. Jh. Aus der Beyhekim Moschee (detail)
Pergamonmuseum Museum für Islamische Kunst — 36: Gebetsnische mit Thronvers (Koran, Sure 2, Vers 255). Fayencemosaik. Türkei (Konya), 3. Viertel 13. Jh. Aus der Beyhekim Moschee (detail)
Pergamonmuseum Museum für Islamische Kunst — 37: Gebetsnische mit Thronvers (Koran, Sure 2, Vers 255). Fayencemosaik. Türkei (Konya), 3. Viertel 13. Jh. Aus der Beyhekim Moschee (detail)
Pergamonmuseum Museum für Islamische Kunst — 37: Gebetsnische mit Thronvers (Koran, Sure 2, Vers 255). Fayencemosaik. Türkei (Konya), 3. Viertel 13. Jh. Aus der Beyhekim Moschee (detail)
Pergamonmuseum Museum für Islamische Kunst — 38: Gebetsnische mit Thronvers (Koran, Sure 2, Vers 255). Fayencemosaik. Türkei (Konya), 3. Viertel 13. Jh. Aus der Beyhekim Moschee
Pergamonmuseum Museum für Islamische Kunst — 38: Gebetsnische mit Thronvers (Koran, Sure 2, Vers 255). Fayencemosaik. Türkei (Konya), 3. Viertel 13. Jh. Aus der Beyhekim Moschee
Pergamonmuseum Museum für Islamische Kunst — 39: Gebetsnische mit Thronvers (Koran, Sure 2, Vers 255). Fayencemosaik. Türkei (Konya), 3. Viertel 13. Jh. Aus der Beyhekim Moschee (detail)
Pergamonmuseum Museum für Islamische Kunst — 39: Gebetsnische mit Thronvers (Koran, Sure 2, Vers 255). Fayencemosaik. Türkei (Konya), 3. Viertel 13. Jh. Aus der Beyhekim Moschee (detail)
Pergamonmuseum Museum für Islamische Kunst — 40: Gebetsteppich mit Brunnen- und Baummotiv. Ägypten (Kairo), Anfang 16. Jh.
Pergamonmuseum Museum für Islamische Kunst — 40: Gebetsteppich mit Brunnen- und Baummotiv. Ägypten (Kairo), Anfang 16. Jh.
Pergamonmuseum Museum für Islamische Kunst — 41: Gebetsteppich mit Brunnen- und Baummotiv. Ägypten (Kairo), Anfang 16. Jh. (detail)
Pergamonmuseum Museum für Islamische Kunst — 41: Gebetsteppich mit Brunnen- und Baummotiv. Ägypten (Kairo), Anfang 16. Jh. (detail)
Pergamonmuseum Museum für Islamische Kunst — 42: Sternfliese mit persischen Versen im Nasḫī-Duktus. Quarzkeramik. Iran (Kāšān), dat. Ṣafar 739 (August/September 1338)
Pergamonmuseum Museum für Islamische Kunst — 42: Sternfliese mit persischen Versen im Nasḫī-Duktus. Quarzkeramik. Iran (Kāšān), dat. Ṣafar 739 (August/September 1338)
Pergamonmuseum Museum für Islamische Kunst — 43: Schale mit radialem Streifendekor. Quarzfritte-Keramik. Iran, 12. – 13. Jh.
Pergamonmuseum Museum für Islamische Kunst — 43: Schale mit radialem Streifendekor. Quarzfritte-Keramik. Iran, 12. – 13. Jh.
Pergamonmuseum Museum für Islamische Kunst — 44: Teller mit singendem Vogel. Quarzfritte-Keramik. Iran, Afghanistan oder Mittelasien, 15. Jh.
Pergamonmuseum Museum für Islamische Kunst — 44: Teller mit singendem Vogel. Quarzfritte-Keramik. Iran, Afghanistan oder Mittelasien, 15. Jh.
Pergamonmuseum Museum für Islamische Kunst — 45: Teller mit singendem Vogel. Quarzfritte-Keramik. Iran, Afghanistan oder Mittelasien, 15. Jh. (detail)
Pergamonmuseum Museum für Islamische Kunst — 45: Teller mit singendem Vogel. Quarzfritte-Keramik. Iran, Afghanistan oder Mittelasien, 15. Jh. (detail)
Pergamonmuseum Museum für Islamische Kunst — 46: Riza Abbasi: “Schahzadeh Muhammad Beg aus Georgien”, um 1620-23. Aus einem Album von Antoine-Louis de Polier (1741-95)
Pergamonmuseum Museum für Islamische Kunst — 46: Riza Abbasi: “Schahzadeh Muhammad Beg aus Georgien”, um 1620-23. Aus einem Album von Antoine-Louis de Polier (1741-95)
Pergamonmuseum Museum für Islamische Kunst — 47: “Kampf zwischen zwei Dromedaren”. Iran, 1600-1650
Pergamonmuseum Museum für Islamische Kunst — 47: “Kampf zwischen zwei Dromedaren”. Iran, 1600-1650
Pergamonmuseum Museum für Islamische Kunst — 48: Balchand: “Madonna”, seitenverkehrt nach einem Stich von Julius Goltzius (gest. c. 1595) oder Hieronymus Wierix (1553-1619). Indien (Moghul oder Dekhan), 1650-1700
Pergamonmuseum Museum für Islamische Kunst — 48: Balchand: “Madonna”, seitenverkehrt nach einem Stich von Julius Goltzius (gest. c. 1595) oder Hieronymus Wierix (1553-1619). Indien (Moghul oder Dekhan), 1650-1700
Pergamonmuseum Museum für Islamische Kunst — 49: “Madonna und Kind”, nach einem Stich von Johannes Wierix (1549 - ca. 1618). Aus einem Album des Prinzen Salim, dem späteren Moghulherrscher Dschahangir (1569-1627). Indien (Moghul), um 1600
Pergamonmuseum Museum für Islamische Kunst — 49: “Madonna und Kind”, nach einem Stich von Johannes Wierix (1549 – ca. 1618). Aus einem Album des Prinzen Salim, dem späteren Moghulherrscher Dschahangir (1569-1627). Indien (Moghul), um 1600
Pergamonmuseum Museum für Islamische Kunst — 50: Einzelblatt aus einer Handschrift “Yusuf und Zalikha” von Dschami. Herat oder Buchara, 1583
Pergamonmuseum Museum für Islamische Kunst — 50: Einzelblatt aus einer Handschrift “Yusuf und Zalikha” von Dschami. Herat oder Buchara, 1583
Pergamonmuseum Museum für Islamische Kunst — 51: Zierseite mit persischen Gedichten und Randmalerei im Moghulstil. Indien, c. 1630-50
Pergamonmuseum Museum für Islamische Kunst — 51: Zierseite mit persischen Gedichten und Randmalerei im Moghulstil. Indien, c. 1630-50
Pergamonmuseum Museum für Islamische Kunst — 52: Linkes Eröffnungsblatt (’Unwan) der Handschrift
Pergamonmuseum Museum für Islamische Kunst — 52: Linkes Eröffnungsblatt (’Unwan) der Handschrift
Pergamonmuseum Museum für Islamische Kunst — 53: Zierseite mit Eröffnungssure (Fathiha) des Koran und persischenVersen von Sa’di. Iran, letztes Drittel 16. Jh. Randergänzungen Indien, frühes 17. Jh.
Pergamonmuseum Museum für Islamische Kunst — 53: Zierseite mit Eröffnungssure (Fathiha) des Koran und persischenVersen von Sa’di. Iran, letztes Drittel 16. Jh. Randergänzungen Indien, frühes 17. Jh.
Pergamonmuseum Museum für Islamische Kunst — 54: Silbergesprenkeltes Blatt mit persischen Texten und Versen, in verschiedenen Richtungen im Schikaste-Diktus beschrieben. Iran, 18. Jh. Bordüre Moghul-Indien, 18. Jh.
Pergamonmuseum Museum für Islamische Kunst — 54: Silbergesprenkeltes Blatt mit persischen Texten und Versen, in verschiedenen Richtungen im Schikaste-Diktus beschrieben. Iran, 18. Jh. Bordüre Moghul-Indien, 18. Jh.
Pergamonmuseum Museum für Islamische Kunst — 55: Silbergesprenkeltes Blatt mit persischen Texten und Versen, in verschiedenen Richtungen im Schikaste-Diktus beschrieben. Iran, 18. Jh. Bordüre Moghul-Indien, 18. Jh. (detail)
Pergamonmuseum Museum für Islamische Kunst — 55: Silbergesprenkeltes Blatt mit persischen Texten und Versen, in verschiedenen Richtungen im Schikaste-Diktus beschrieben. Iran, 18. Jh. Bordüre Moghul-Indien, 18. Jh. (detail)
Pergamonmuseum Museum für Islamische Kunst — 56: Kalligraphie mit der Basmala in Form eines Vogel. Iran, ende 17. Jh. oder später
Pergamonmuseum Museum für Islamische Kunst — 56: Kalligraphie mit der Basmala in Form eines Vogel. Iran, ende 17. Jh. oder später
Pergamonmuseum Museum für Islamische Kunst — 57: Kalligraphie in Form eines Mevlevi-Derwisches. Türkei, Ende 19. Jh.
Pergamonmuseum Museum für Islamische Kunst — 57: Kalligraphie in Form eines Mevlevi-Derwisches. Türkei, Ende 19. Jh.
Pergamonmuseum Museum für Islamische Kunst — 58: Großes Keramikgefäß in Form einer stillenden Mutter. Iran (Kaschan), erste Hälfte 13. Jh.
Pergamonmuseum Museum für Islamische Kunst — 58: Großes Keramikgefäß in Form einer stillenden Mutter. Iran (Kaschan), erste Hälfte 13. Jh.
Pergamonmuseum Museum für Islamische Kunst — 59: Vier kleine Sternfliesen. Iran (Kashan), 14. Jh.
Pergamonmuseum Museum für Islamische Kunst — 59: Vier kleine Sternfliesen. Iran (Kashan), 14. Jh.
Pergamonmuseum Museum für Islamische Kunst — 60: Zwei Keramikpapageien. Iran, 18. Jh.
Pergamonmuseum Museum für Islamische Kunst — 60: Zwei Keramikpapageien. Iran, 18. Jh.

Gallery

Musée des Beaux-Arts de Valenciennes — 2: Rotonda & salon Carpeaux

When you enter Musée des Beaux-Arts de Valenciennes the central Rotonda atrium and salon Carpeaux behind it are the first thing you see. It’s all symmetrical here, old stuff to the right; new to the left.

After my jaunt through the right side (Musée des Beaux-Arts de Valenciennes — 1: salles XVe–XVIIIe, & salle Rubens), I span through this. The Rotunda is for sculpture, the salon for painting, and both almost exclusively for Valenciennes’ Own Jean-Baptiste Carpeaux.

Never heard of him either. But! If you’ve been in the Napoleon III apartments in the Louvre, and I have, then you’re in the right era, and probably seen some of his works there too. And if you’ve seen the Fontaine de l’Observatoire in Paris’ 6e arrondissement Jardin du Luxembourg, you’ve seen his work.

Of which, the busts here of La Négresse and Le Chinois are two of the quartet who make up the monumental fountain. I was considering blogging the former separately, but I gotta keep things under control here, so: the fountain is also known as Fontaine des Quatre-Parties-du-Monde, which is a theme since the Baroque of four individuals representing Asia, Europe, Africa, and America—though often it seems to me that quartet is Asia, Persia, Africa, and the New World—usually holding up something large and heavy, either a white man, or something signifying the unifying force of science, reason, European stuff.

This work is from 1874, barely preceding the Scramble for Africa, New Imperialism, the Great Game in Central Asia, and the woman of La Négresse is bound with rope. (In a surprising verisimilitude of a Takate Kote, with one breast pulled bare. It’s very Japanese shibari porn.) Representing Africa as a bound wild slave isn’t outside what I’ve seen in art from the 17th to 20th centuries. A bust of a woman though, is the first I can recall.

Presumption led me astray. Another name for this bust is Pourquoi naître esclave! (Variously punctuated on the base inscription as Pourquoi! naître esclave! or Pourquoi naître esclave? and so on), which can be translated as “Why? Born a slave” and refers to both France’s history of slavery (abolished in its occupied colonies 1848) and the United States’ Emancipation Proclamation of 1863, three years before Carpeaux began work on the fountain.

It’s still a difficult portrait to look at, despite her strong, defiant, loathing gaze. Comparing with the fountain itself helps to reframe though obviously not erase what was going on at the time. And on that, at the opposite end of the long plinth with a small model of the quartet in the middle is the figure representing Asia: Le Chinois. He has a queue. In the fountain, he’s a woman, still with the queue. Well disconcerting. Carpeaux, do you understand hair?

One of the only non-Carpeaux sculptures is Scipione Tadolini’s orientalist piece, L’Esclave. Behind that are Carpeaux’s paintings, his interpretation of Rubens’ Le martyre de saint-Etienne, the highly proto-expressionist Deux études d’une jeune Transtévérine at a time the rest of France was going mad for impressionism, the Jeunes gens dansant la Tarentelle just for dancing, and then …

Musée des Beaux-Arts de Valenciennes finishes in the XVIIIe-XXe salles & L’exposition temporaire.

Musée des Beaux-Arts de Valenciennes — 50: Jean-Baptiste Carpeaux (1827-1875): La Ville de Paris
Musée des Beaux-Arts de Valenciennes — 50: Jean-Baptiste Carpeaux (1827-1875): La Ville de Paris
Musée des Beaux-Arts de Valenciennes — 51: Jean-Baptiste Carpeaux (1827-1875): La Ville de Paris (detail)
Musée des Beaux-Arts de Valenciennes — 51: Jean-Baptiste Carpeaux (1827-1875): La Ville de Paris (detail)
Musée des Beaux-Arts de Valenciennes — 52: Jean-Baptiste Carpeaux (1827-1875): La Négresse
Musée des Beaux-Arts de Valenciennes — 52: Jean-Baptiste Carpeaux (1827-1875): La Négresse
Musée des Beaux-Arts de Valenciennes — 53: Jean-Baptiste Carpeaux (1827-1875): La Négresse (detail)
Musée des Beaux-Arts de Valenciennes — 53: Jean-Baptiste Carpeaux (1827-1875): La Négresse (detail)
Musée des Beaux-Arts de Valenciennes — 54: Jean-Baptiste Carpeaux (1827-1875): La Négresse (detail)
Musée des Beaux-Arts de Valenciennes — 54: Jean-Baptiste Carpeaux (1827-1875): La Négresse (detail)
Musée des Beaux-Arts de Valenciennes — 55: Jean-Baptiste Carpeaux (1827-1875): La Négresse (detail)
Musée des Beaux-Arts de Valenciennes — 55: Jean-Baptiste Carpeaux (1827-1875): La Négresse (detail)
Musée des Beaux-Arts de Valenciennes — 56: Jean-Baptiste Carpeaux (1827-1875): La Négresse (detail)
Musée des Beaux-Arts de Valenciennes — 56: Jean-Baptiste Carpeaux (1827-1875): La Négresse (detail)
Musée des Beaux-Arts de Valenciennes — 57: Jean-Baptiste Carpeaux (1827-1875): Le Chinois
Musée des Beaux-Arts de Valenciennes — 57: Jean-Baptiste Carpeaux (1827-1875): Le Chinois
Musée des Beaux-Arts de Valenciennes — 58: Jean-Baptiste Carpeaux (1827-1875): Le Chinois (detail)
Musée des Beaux-Arts de Valenciennes — 58: Jean-Baptiste Carpeaux (1827-1875): Le Chinois (detail)
Musée des Beaux-Arts de Valenciennes — 59: Jean-Baptiste Carpeaux (1827-1875): Les Quatre parties du monde soutenant la sphère céleste
Musée des Beaux-Arts de Valenciennes — 59: Jean-Baptiste Carpeaux (1827-1875): Les Quatre parties du monde soutenant la sphère céleste
Musée des Beaux-Arts de Valenciennes — 60: Jean-Baptiste Carpeaux (1827-1875): Les Quatre parties du monde soutenant la sphère céleste (detail)
Musée des Beaux-Arts de Valenciennes — 60: Jean-Baptiste Carpeaux (1827-1875): Les Quatre parties du monde soutenant la sphère céleste (detail)
Musée des Beaux-Arts de Valenciennes — 61: Jean-Baptiste Carpeaux (1827-1875): La Négresse, Les Quatre parties du monde soutenant la sphère céleste, Le Chinois
Musée des Beaux-Arts de Valenciennes — 61: Jean-Baptiste Carpeaux (1827-1875): La Négresse, Les Quatre parties du monde soutenant la sphère céleste, Le Chinois
Musée des Beaux-Arts de Valenciennes — 62: Scipione Tadolini (1822-1892): L’Esclave
Musée des Beaux-Arts de Valenciennes — 62: Scipione Tadolini (1822-1892): L’Esclave
Musée des Beaux-Arts de Valenciennes — 63: Scipione Tadolini (1822-1892): L’Esclave (detail)
Musée des Beaux-Arts de Valenciennes — 63: Scipione Tadolini (1822-1892): L’Esclave (detail)
Musée des Beaux-Arts de Valenciennes — 64: Jean-Baptiste Carpeaux (1827-1875): Amélie de Montfort en toilette de mariée (1847-1908)
Musée des Beaux-Arts de Valenciennes — 64: Jean-Baptiste Carpeaux (1827-1875): Amélie de Montfort en toilette de mariée (1847-1908)
Musée des Beaux-Arts de Valenciennes — 65: Jean-Baptiste Carpeaux (1827-1875): Le martyre de saint-Etienne (d’après Rubens, musée de Valenciennes)
Musée des Beaux-Arts de Valenciennes — 65: Jean-Baptiste Carpeaux (1827-1875): Le martyre de saint-Etienne (d’après Rubens, musée de Valenciennes)
Musée des Beaux-Arts de Valenciennes — 66: Jean-Baptiste Carpeaux (1827-1875): Le martyre de saint-Etienne (d’après Rubens, musée de Valenciennes) (detail)
Musée des Beaux-Arts de Valenciennes — 66: Jean-Baptiste Carpeaux (1827-1875): Le martyre de saint-Etienne (d’après Rubens, musée de Valenciennes) (detail)
Musée des Beaux-Arts de Valenciennes — 67: Jean-Baptiste Carpeaux (1827-1875): Le martyre de saint-Etienne (d’après Rubens, musée de Valenciennes) (detail)
Musée des Beaux-Arts de Valenciennes — 67: Jean-Baptiste Carpeaux (1827-1875): Le martyre de saint-Etienne (d’après Rubens, musée de Valenciennes) (detail)
Musée des Beaux-Arts de Valenciennes — 68: Jean-Baptiste Carpeaux (1827-1875): Deux études d’une jeune Transtévérine
Musée des Beaux-Arts de Valenciennes — 68: Jean-Baptiste Carpeaux (1827-1875): Deux études d’une jeune Transtévérine
Musée des Beaux-Arts de Valenciennes — 69: Jean-Baptiste Carpeaux (1827-1875): Jeunes gens dansant la Tarentelle
Musée des Beaux-Arts de Valenciennes — 69: Jean-Baptiste Carpeaux (1827-1875): Jeunes gens dansant la Tarentelle
Musée des Beaux-Arts de Valenciennes — 70: Jean-Baptiste Carpeaux (1827-1875): Jeunes gens dansant la Tarentelle (detail)
Musée des Beaux-Arts de Valenciennes — 70: Jean-Baptiste Carpeaux (1827-1875): Jeunes gens dansant la Tarentelle (detail)
Musée des Beaux-Arts de Valenciennes — 71: Jean-Baptiste Carpeaux (1827-1875): Flore accroupie
Musée des Beaux-Arts de Valenciennes — 71: Jean-Baptiste Carpeaux (1827-1875): Flore accroupie
Musée des Beaux-Arts de Valenciennes — 72: Jean-Baptiste Carpeaux (1827-1875): Le prince impérial à l’Exposition universelle de 1867
Musée des Beaux-Arts de Valenciennes — 72: Jean-Baptiste Carpeaux (1827-1875): Le prince impérial à l’Exposition universelle de 1867