• Skip to main content
  • Skip to primary sidebar
  • Home
  • About
    • Real Clear Arts
    • Judith H. Dobrzynski
    • Contact
  • ArtsJournal
  • AJBlogs

Real Clear Arts

Judith H. Dobrzynski on Culture

Cultural Heritage

A Little Masterpiece in Central Asia

There are many reasons to visit Uzbekistan, which I did last fall. As usual, I brought back a Masterpiece column for The Wall Street Journal. It describes and explains the Samanid Mausoleum in Bukhara. The little structure not only survived the 13th Century marauder Ghengis Khan but also many earthquakes and other natural shifts: now it is the earliest example of a Samanid tomb to survive and is on the UNESCO world heritage list.

It’s quite important, aside from its beautiful brickwork, because it shows the engineering and architectural breakthroughs that were occurring in the 9th and 10th centuries in Central Asia. As I explained:

This was the age of Al-Khwārizmī (c. 780-c. 850) and Al-Farabi (c. 870-c. 950), renowned Islamic mathematicians whose work helped to beget the first major school of mathematicians in the Islamic world. Their algebraic and geometric advances found practical applications in the work of contemporary engineers and architects.

Here, they used that knowledge to gradually transition from the cube space into the dome above. First, atop the cube sits an octagonal structure with arched squinches angled across each corner. From there, the structure grows upward with ever more sides until it becomes a circle.

More enchantingly,

Brick squinches, here decorated with windows and patterns mimicking those below, are not unique to the Samanid mausoleum. But this form, with its fractured spaces, would later evolve into the often gloriously gilded or brightly painted, three-dimensional honeycomb building corners that are known as muqarnas. Sometimes called “stalactite vaults,” muqarnasembellish many palaces, madrassas and mausoleums in the Muslim world and do seem to be unique to Islamic architecture.

A Final Resting Place, Both Beguiling and Beautiful ran in Saturday’s WSJ. If you cannot read it there, because of the paywall, you can find it on my website.

Egypt: Breaking New Ground–Underwater

Like Gold, Picasso and Impressionism, Egypt has generally been a sure-fire subject for art museums. But, you may think, you know the story–basically. An exhibit at the St. Louis Art Museum will make you think again. Sunken Cities: Egypt’s Lost Worlds, a traveling show that has previously been shown at the British Museum, in Paris and in Zurich, delves into the underwater finds made by Franck Goddio, president of the European Institute for Underwater Archaeology, and his team over the last seven or so years. They discovered the lost cities of Thonis-Heracleion and Canopusin.

You can see it, from afar, on Monday, Apr. 30, at 10:30 Central Time on Facebook Live: That’s when Lisa Çakmak, SLAM’s associate curator of ancient art, will give a tour for the press, but I think everyone can tune in. Here’s the link to the museum’s Facebook page. And before that, you can watch this short video on YouTube.

I was lucky to be in St. Louis in mid-March, as the exhibition was almost completely installed but not yet open to the public, and I am very enthusiastic about this show. It includes about 250 artifacts from the “dig” plus some complementary ones from near the rediscovered underwater city. I met both Goddio and Çakmak, and I learned a lot about Egypt that I had not heard before. Or seen before–for example, the figure at left, a statue of Arsinoe that date to the Ptolemeic period. It’s far from what we conjure when we think about Egyptian sculpture.

Here are the basics from the press release:

Thonis-Heracleion…was built in the Nile delta. The city reached its zenith in the Late Period (664–332 BC), when it served as Egypt’s main Mediterranean port. By 800 AD, different natural catastrophies such as earthquake and soil liquefaction had caused both Thonis-Heracleion and the nearby community of Canopus to submerge, and ruins remained underwater for more than 1,000 years…

The French archeologist’s research has revealed that this area was important both as a center of trade and as a site of religious pilgrimage. The excavation also helped scholars understand the Mysteries of Osiris, an annual water procession along the canals between Thonis-Heracleion and Canopus commemorating one of Egypt’s most important myths—the murder and resurrection of the god Osiris.

Goddio was mesmerizing as he talked about the rebirth myth that he discovered documentation for, the activities of the priests who kept it all secret, the echoes and relationships of many of the works in the exhibit.

Photo: Christoph Gerigk

If you are near St. Louis, it’s worth a detour.

This was an expensive venture for SLAM–shipping costs alone had to be enormous. In fact, the museum found it less expensive to buy new cases and mounts than to ship the ones that had been used in Europe.

But it was, the museum said, the first substantial exhibit about Egypt in some 50 years. The region could very much benefit from this.

Costs and need may also be the reason the show has a long run–from March 25 through Sept. 9, nearly six months.

A challenge for any museum presenting an extensive, expensive show for that long is sustaining interest. Human nature, we all know, prompts people to go to something like this at the very beginning and the very end. Museums try hard to smooth out the crowds, making the experience a good one for all. Maybe that’s why Facebook Live tomorrow.

So far, I believe, only the Wall Street Journal and Hyperallergic have provided national coverage–here and here. Local coverage was mostly previews. The shrinking of serious arts coverage everywhere is a problem for many institutions, and there’s no sign that this particular situation will improve, sadly.

Photo Credits: Excavations Photo: Christoph Gerigk © Franck Goddio/Hilti Foundation

More On That Revolutionary Art: Unscrolled

As I mentioned yesterday, the soon-to-open Museum of the American Revolution will hang a copy of Louis Charles-Auguste Couder’s Siege of Yorktown (1781). It hangs in the Hall of the Battles at Versailles. The copy, I’ve now learned–from an advance of a press release that will be issued on Friday–“is believed to have been painted by artist Henry LeGrand in Paris and exhibited in 1860 at the Chicago Art Union.”

The painting depicts Washington and Rochambeau giving orders at Yorktown, Virginia. Rochambeau played a major role in helping the Continental Army win the war. The two men stand in front of a marquee tent much like George Washington’s Headquarters Tent, one of the most iconic surviving artifacts of the Revolution, which also is featured in the Museum.

It’s a large work, 13-by-17 feet and 16-by-19 when framed.

The painting has been restored and the museum is installing it this week. I thought you might like to see some of the action. (Here’s a look at the original.)

There’s more: on the two walls flanking the LeGrand, the museum is hanging “two late-19th-century paintings by Harrington Fitzgerald, a Philadelphia newspaper editor and writer who took up painting and is believed to have studied with Thomas Eakins.” The Foraging Party depicts Washington and his troops at Valley Forge, while the opposite wall’s canvas is Washington Crossing the Delaware.

Photo Credits: Courtesy of the Museum of the American Revolution

Antiquities and ISIS: Something Doesn’t Add Up

I care deeply about cultural heritage, and have spent much time over the last year agonizing about the destruction caused by ISIS in the Middle East. The last thing I want is for ISIS to make money on stolen antiquities or, worse in my opinion (though not of others), blow them up completely. The ultimate goals of these despicable fanatics, who want to destroy everything that does not reflect their ideology (scene of Palmyra, below), are one reason I visited Jordan this fall. Jordan, which has Petra and much else to see, may not be in danger now, but it will be unless ISIS is stopped.

So I read every word of the article in Sunday’s New York Times,  ‘Broken System’ Allows ISIS to Profit From Looted Antiquities, hoping for some new information that I might follow. Let me add here that I have very high regard for the reporting skills of the two people who wrote the piece, Steven Lee Myers and Nicholas Kulish. Another friend whom I respect, Margaret Brennan of CBS News, reported last fall that the State Department had records of black market transactions that were critical in funding ISIS.

But some things just don’t add up. I think too many of the sources contacted by journalists may be peddling opinion here, not fact.

I did a lot of reading and reporting on this subject last year in preparation for a presentation on the destruction of cultural heritage at the Kent Presents ideas festival. And believe me, I looked for something new to say, something with real substance, something to write about.

Afterwards, in the fall, I attended forums on the subject, with all kinds of experts–from museums, from the diplomatic ranks, from criminal investigation offices, from prosecutors’ offices, from the trade, from collectors, from academic archaeology departments, and so on. I talked with many of them, too–before or after.

What I discovered, for one thing, is that actual examples of ISIS-looted antiquities on the market are slim to none. True, it may be that objects looted now are being kept in warehouses, for later sale–but that doesn’t finance ISIS now. Also true. the goods may not be coming into the U.S. market. The antiquities dealers I spoke with said they had not seen anything on these shores from looted areas since ISIS began its jihad.

But, you say, of course they wouldn’t say so. That’s partly true–it’s not in their interest to admit it. But it’s not in their interest to see the trade shut down entirely either–and that is what may well happen if stolen goods are discovered here. What most experts say, and what today’s Times article also says, is that people are peddling fakes said to be from the ISIS-damaged sites–probably to gullible collectors who think they are getting a bargain. Is ISIS producing these fake goods? Hard to say.

It may also be true that the loot may all be going into other Middle Eastern countries, or Russia, as many have speculated. In which case, it’s a problem our museums, our dealers, our collectors, our prosecutors can’t do much about. Our investigators may be able to help there, though, and I say go to it.

Here too there’s a problem, though. Many sources, many articles seem to me to be exaggerating the stakes in trade. The Times piece says, in part:

Despite a near-universal outcry over the Islamic State’s actions, few countries have shown interest in imposing new restrictions to curb the booming trade in antiquities, estimated to be worth billions of dollars a year.

Boldface mine. Other articles, and sources, have also thrown around the b-word. But I cannot fathom where that number comes from. Contemporary art may sell billions a year (lately), but antiquities? No.

In 2015, Christie’s and Sotheby’s combined sales for antiquities (April, June and December sales) totaled less than $25 million. In 2014, the total was jut over $25 million. Add in other auction houses. Add in private dealers, whose books we never see. It is really hard to get to “billions” a year in this category. So what is the source of that number? Is it an exaggeration on purpose or from ignorance? If it’s real, I’d like to know how it was derived.

Clearly something is going on–I’m not suggesting that there’s no trade in illicit antiquities. It has happened in the past, and it’s likely happening now. Furthermore, satellite photos show destruction in ISIS-occupied territory, unquestionably. How much of that has been saved and designated for resale now on the world’s markets remains a mystery. To me, at least.

I would hope we are putting our resources where it can do the most good to save cultural heritage, rather than wasting them chasing a mirage.

You Can Help Stop Cultural Destruction: Chartres Chapter

Universally recognized as a masterpiece of cultural heritage–inscribed on UNESCO’s World Heritage List in 1979–the Cathedral of Our Lady in Chartres is under attack by its would-be restorers. Now maybe you can help stop the dreadful makeover that has been underway for a while.

ChartresLaserMapI wrote about this issue, which was ignited by Martin Filler, last December (see Restoration Scandal at Chartres Cathedral), and today I received an email from a self-described “Physics PhD student at the University of Arizona” named Stefan Evans. Evans, who is studying physics and art history, wrote:

When I saw a photo of Chartres Cathedral a few years ago, an interest in Gothic architecture sparked inside of me; it has since grown into a passion of mine. I read your article on the cathedral’s restoration and was heartbroken when I visited Chartres this summer. Since then I’ve been working on a petition to halt the irresponsible restoration.

He is not alone. As you will remember, Chartres has been praised by many, including Kenneth Clark, who wrote: “Chartres is the epitome of the first great awakening in European civilisation. It is also the bridge between Romanesque and Gothis, between the world of Abelard and the world of St. Thomas Aquinas, the world of restless curiosity and the world of system and order.”
Co-sponsored by art historians, and directed at French officials, you can sign the petition here. It says, in part:

Most alarming is the addition of paint and filling material on walls and columns: 800-year-old windows and floors are in the same setting as surfaces made to appear like they were built yesterday – a shocking contrast. Articles 3 and 6 of the 1964 Venice Charter emphasize historical evidence being as important as the work of art itself, and that “No new construction, demolition or modification which would alter the relations of mass and colour must be allowed”. http://www.icomos.org/charters/venice_e.pdf

The 1964 Charter of Venice is violated not only by the addition of paint and filling material that are not historically accurate, but also by inconsistencies between the cathedral’s history and the attempt to restore its original appearance. In addition to several window replacements in the 14th and 18th centuries, the north tower was constructed in a different style in the 16th century, followed by the choir screen which took over 200 years to complete. The current restoration makes these historical differences unperceivable.

The petition is just getting started, and it may have no impact. But remember that a Change.org petition about the Gemaldegalerie in Berlin help persuade the Germans to leave their Old Master there, in full view, instead of contracting the number on exhibition. That, too, was pushed by Americans.

Meantime, you may be interested in this article about art historians who are using lasers to “unlock mysteries of Gothic cathedrals.”  That’s where I grabbed the picture above.

Photo Credit: Courtesy of National Geographic

Next Page »

Primary Sidebar

About Judith H. Dobrzynski

Now an independent journalist, I've worked as a reporter in the culture and business sections of The New York Times, and been the editor of the Sunday business section and deputy business editor there as well as a senior editor of Business Week and the managing editor of CNBC, the cable TV

About Real Clear Arts

This blog is about culture in America as seen through my lens, which is informed and colored by years of reporting not only on the arts and humanities, but also on business, philanthropy, science, government and other subjects. I may break news, but more likely I will comment, provide

Archives