Exhibitions: Faces in Stone

  • 1st Floor
    Arts of Africa, Steinberg Family Sculpture Garden
  • 2nd Floor
    Arts of Asia and the Islamic World
  • 3rd Floor
    Egyptian Art, European Paintings
  • 4th Floor
    Contemporary Art, Decorative Arts, Elizabeth A. Sackler Center for Feminist Art
  • 5th Floor
    Luce Center for American Art

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This cup comes from the burial of a woman named Nesikhonsu. She was the daughter of one high priest of the god Amun-Re, the Wife of another,...

Hiroshige's One Hundred Famous Views of Edo

Hiroshige's 118 woodblock landscape and genre scenes of mid-nineteenth-century Tokyo, is one of the greatest achievements of Japanese art.

    On View: Paddle Doll

    "Paddle dolls" earned their nickname because of their resemblance to modern Ping-Pong paddles. They all show exaggerated depictions of femal...

     

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    Faces in Stone

    Press Releases ?
    • Summer approximately 1947: The Brooklyn Museum opened a new exhibition FACES IN STONE to the public today. The exhibition includes sculpture from the Museum collection from many ages and cultures, and will remain on view through the summer months through September 1, in the Entrance Hall and Special Exhibition Gallery. The exhibition offers a splendid opportunity to view the stone sculpture of many lands brought together under this general theme. We can easily compare the work of the artists of ancient Egypt with modern Americans or the work of Pre-Spanish Costa Rican sculptors, with sculpture from the Far East. The exhibition covers the period from 2500 B.C. to the present day. The cultures of Egypt, Central America (ancient), American Indian, and the Far East, are well represented in the show as well as the Italian Renaissance, and many Modern American sculptors. “Head of Walt Whitman” by Ahron Ben-Shmuel, “Archangel Gabriel” by Ivan Mestrovic, and “Senegalese Soldier” by Malvina Hoffman illustrate the wide variety of expression in the modern group.

      Representing the culture of ancient Central America is a large figure depicting the Apotheosis of a Huaxtec chieftain, about 1450 A.D. Many other distinguished sculptures of deities and Kings from this important division of the Museum collection are also shown. From the strong, rough textured feeling of the work of Central America, the scene changes swiftly to the highly stylized and sophisticated work of ancient Egypt. In this section some of the most important pieces in the Museum collection are shown.

      The squatting Sen Befni (XII Dynasty, about 2,000 - 1800 B.C.) and Irukaptah, the Superintendent of the royal granary, a V Dynasty (2560 - 2420 B.C.) work are only two examples from this section of the exhibition. Three, perhaps, our attention is drawn to a Bodhisattva of the II Century or a Head of Buddha from China, T’ang Dynasty, or to a Rennaisance piece, “The Angel in Adoration" by Giovanni D. Montorsoli.

      The custom of remaining open on Tuesday evenings until 9:30 P.M. has been temporarily discontinued for the summer but will be resumed on September 16. Regular Museum Hours, during the summer will be: Weekdays, 10 to 5; Sundays & Holidays, 1 to 5. Admission free at all times.

      Brooklyn Museum Archives. Records of the Department of Public Information. Press releases, 1947 - 1952. 04-06/1947, 092-3. View Original 1 . View Original 2

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      Recent Comments

      "Hi Aimee, I think you mean Oreet Ashery? More information can be found in her profile on the Feminist Art Base: http://www.brooklynmuseum.org/eascfa/feminist_art_base/gallery/oreet_ashery.php?i=266"
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      The Brooklyn Museum Archives maintains a collection of historical press releases. Many of these have been scanned and made available on our Web site. The releases range from brief announcements to extensive articles; images of the original releases have been included for your reference. Please note that all the original typographical elements, including occasional errors, have been retained. Releases may also contain errors as a result of the scanning process. We welcome your feedback about corrections.
      For select exhibitions, we have made available some or all of the informative text panels written by the curator or organizer. Called "didactics," these panels are presented to the public during the exhibition's run, and we reproduce them here for your reference and archival interest. Please note that any illustrations on the original didactics have not been retained, and that the text may contain errors as a result of the scanning process. We welcome your feedback about corrections.
      For select exhibitions, we have made available some or all of the objects from the Brooklyn Museum collection that were in the installation. These objects are listed here for your reference and archival interest, but the list may be incomplete and does not contain objects owned by other institutions or lenders.
      This section utilizes the New York Times API in order to display related materials in New York Times publications.