Exhibitions: Eternal Egypt: Masterworks of Ancient Art from the British Museum

  • 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

On View: Figure of a Mother Holding a Child (Lupingu lwa Cibola)

This ethereal and delicate Lulua maternity figure is considered one of the masterpieces of African art. When a woman lost children through m...

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: Cartonnage Mummy Covering

    In the Ptolemaic Period, separate cartonnage pieces replaced the full-body cartonnage covering such as the one used with the Mummy of the Pr...

     
    Want to add this object to a set? Please join the Posse, or log in.

    close

    ECA_E2001i027.jpg ECA_E2001i026.jpg ECA_E2001i025.jpg ECA_E2001i024.jpg ECA_E2001i023.jpg ECA_E2001i022.jpg ECA_E2001i021.jpg ECA_E2001i020.jpg ECA_E2001i019.jpg ECA_E2001i018.jpg ECA_E2001i017.jpg ECA_E2001i016.jpg ECA_E2001i015.jpg ECA_E2001i014.jpg ECA_E2001i013.jpg ECA_E2001i012.jpg ECA_E2001i011.jpg ECA_E2001i010.jpg ECA_E2001i009.jpg ECA_E2001i008.jpg ECA_E2001i007.jpg ECA_E2001i006.jpg ECA_E2001i005.jpg ECA_E2001i004.jpg ECA_E2001i003.jpg ECA_E2001i002.jpg ECA_E2001i001.jpg ECA_E2001i033.jpg ECA_E2001i032.jpg ECA_E2001i031.jpg ECA_E2001i030.jpg ECA_E2001i029.jpg ECA_E2001i028.jpg

    Eternal Egypt: Masterworks of Ancient Art from the British Museum

    Press Releases ?
    • April 2001: Eternal Egypt: Masterworks of Ancient Art from The British Museum will provide a unique opportunity to view more than 140 masterpieces from the extraordinary holdings of The British Museum. The presentation at the Brooklyn Museum of Art, from November 23 through February 24, 2002, will be the only Northeast venue of this exhibition, drawn from one of the most important collections of ancient Egyptian material in the world.

      The exhibition encompasses the entire period of pharaonic history, from the First Dynasty into the first centuries of the Roman conquest of Egypt, with works of art ranging in size from minute to colossal. Many of these objects have never before traveled outside of Great Britain.

      The exhibition is organized by the American Federation of Arts and The British Museum. Dr. Edna R. Russmann, Curator of the Department of Egyptian, Classical and Ancient Middle Eastern Art at the Brooklyn Museum of Art is the guest curator.

      This exhibition and its national tour are made possible by Ford Motor Company. Additional support is provided by the Benefactors Circle of the AFA.

      “We are delighted to be the northeastern venue for this extraordinary exhibition of Egyptian masterworks from The British Museum,["] said Brooklyn Museum of Art Director Arnold L. Lehman. “It complements the Museum’s own world-renowned holdings of ancient Egyptian art. We are grateful to the American Federation of Arts and the British Museum for organizing this traveling exhibition and to Ford Motor Company for their support in bringing “Eternal Egypt” to the Brooklyn Museum of Art and New York City.”

      “The art of Egypt inspires people of all ages and backgrounds,” said William Clay Ford, Jr., Chairman, Ford Motor Company. “Its appeal crosses boundaries of time, geography, and culture, and for many schoolchildren it is the first exposure to history, art, archaeology, and social studies. Ford is committed to supporting the education and enjoyment that come from experiencing extraordinary cultures, and we are proud to be a partner in this historic exhibition.”

      Most of the statues and reliefs in the exhibition will be arranged chronologically, providing the viewer with a panorama of Egyptian art that spans over 3,000 years of continuous development. Other objects will highlight specific aspect of Egyptian artists’ training, as well as their responses to artistic and technical challenges.

      One of the oldest objects in the exhibition is a small ivory plaque that served as a label for a pair of sandals deposited in the tomb of the first Dynasty king Den, shortly after (or about) 3,000 B.C.

      From Dynasty 3, the formative period of the early Old Kingdom (ca. 2686–2613 B.C.) comes a seated granite figure of a Third Dynasty ship builder named Ankhwa. Ankhwa’s strong, blunt features and the shape of the chair on which he sits are marks of the archaic style of Egyptian art.

      One of the most remarkable objects in the exhibition, the wooden statuette of Meryrahashtef, was made late in the Old Kingdom, when the sturdy, muscular forms of earlier Old Kingdom sculpture had given way to more slender, elongated figures which were sometimes represented nude. The statue depicts Meryrahashtef as a young man. An asymmetrical torso, which bends forward and slightly to the right, emphasizes his vigorous stride.

      A number of colossal works, many broken in antiquity[,] are included in the exhibition. The largest complete statue is a magnificent over-life-sized red granite lion, one of a pair from the temple of King Amenhotep III at Soleb, in Nubia (now Sudan). Layers of inscriptions testify to this statue’s interesting history, which included restoration under Tutankhamun.

      The exhibition also features a superb collection of sculpture from Dynasty 18 including a graywacke head of Thutmosis III in a white crown, and a figure of Senenmut, Queen Hatshepsut’s steward and the tutor of her only child, Princess Neferure. The little girl sits on her guardian’s lap and, enveloped in his cloak is invisible but for her head and right hand. She holds her forefinger to her mouth, in the emblematic Egyptian gesture of childhood.

      A selection of Middle Kingdom jewelry emphasizes the symbolic, protective qualities of Egyptian ornament. An electrum and gold amulet depicting a loop of papyrus stalks represents an early form of preserver. Also a hieroglyph, for the word sa, “protection,” the amulet provided magical protection through both image and word. The row of images on a curious bangle-like object of gold and silver includes amuletic symbols such as ankh signs and wadjet eyes, interspersed with representations of such dangerous or ill-omened creatures as snakes, turtles and desert hares, thus diverting their power to beneficial purposes.

      In addition to such famous works from the Amarna period such as a stela depicting Amenhotep III and Queen Tiye, there are several lesser-known pieces in the exhibition. One is the molded-plaster face of a young royal person, a tool used by Amarna sculptors to develop portrait images of Akhenaten and his family. The coarseness of the plaster and the soft, sweet features of the face indicate that this example was made near the end of the Amarna period. A strong resemblance to early statues of Tutankhamun suggests that it represents either the young prince or his future queen, Princess Ankhesenpaaten. Another image of Tutankhamun appears on a statue inscribed for King Horemheb. Since the facial features correspond with those on Tutankhamun’s latest sculpture, it seems likely that the king died before the statue could be finished by carving the king’s name.

      The bust of a colossal standing statue represents Ramesses the Great from the temple of Khnum on Elephantine Island. A silver statuette of the god Amun, overlaid with gold, may date to Ramesses’s reign or that of his father, Sety I. Since it was made entirely of precious metals, the figure may have been a cult statue, very few of which have survived. Gold jewelry from the New Kingdom includes three cats on spacer bars from a pair of bracelets made for a Seventeenth Dynasty queen, and an earring with the name of the Nineteenth Dynasty queen, Tauset.

      Several works come from the funerary temple at Deir el Buhri of the early Middle Kingdom king Mentuhotep II. The grand scale of some of this temple’s painted wall reliefs is evident in a fragment depicting dead and dying foreigners. Though sizable, it was only a detail of a much larger composition showing the capture of a Middle Eastern walled city by Egyptian soldiers.

      Additional funerary material in Eternal Egypt includes a shabti inscribed for King Ahmose, the founder of the New Kingdom. This impressive little figure is also an important historical document because it is one of just three statues known to represent Ahmose, and the only one that is complete. Two masks provide a striking contrast: one early example is lavishly gilded while another, painted much later, is entirely Graeco-Roman in style. Both, however, were placed over the head of a mummy.

      The sophistication of Egyptian drawing and painting in the New Kingdom and later is demonstrated by illustrated sheets from several Book of the Dead papyrus rolls, including three from the celebrated Nineteenth Dynasty papyrus of Ani. A vignette from the Book of the Dead of Nakht shows him with his wife on their earthly estate, which includes a rare representation of a house, with ventilator hoods on the roof. The couple worships Osiris, the king of the dead, who is shown in his domain, the mythical West of the Afterworld.

      A colossal Hathor-headed column capital from the temple of the cat goddess Bastet at Bubast is a work of the Third Intermediate Period (ca. 924–850 B.C.)[.] Other examples from this period include the upper part of a large, little-known bronze statue of a man and the head of a Kushite king, almost certainly Shabako.

      A standing statue of a man named Tjayasetimu, closely modeled on much earlier Old Kingdom sculpture, exemplifies the archaism which was characteristic of the Third Intermediate Period and the early Late Period. In a statue made at the end of Dynasty 26 or the early Dynasty 27, the period of the first Persian occupation of Egypt, a priest named Amenhotep from the city of Sais holds a naos containing a figure of the goddess Neith. Though his heavy kilt was formerly considered a Persian style, and his rather mournful expression a response to Persian oppression, we now know that both features had already entered the Egyptian sculptural repertoire during the Twenty-sixth Dynasty.

      Another statue of a priest holding a shrine with a figure of the god Atum is a rare example of a Ptolemaic portrait head still attached to its original body. The statue appears to be the work of two sculptors-a mediocre craftsman who carved the body, while a specialist in portraiture would have carved the finely detailed head to the owner’s specifications.

      The exhibition is accompanied by a richly illustrated catalogue, with two essays on Egyptian art by Dr. Russmann, and a history of the British Museum’s Department of Egyptian Antiquities written by its former Curator, T.G.H. James. The catalogue is supported in part by Helen H. Scheidt.

      Eternal Egypt: Masterworks of Ancient Art from The British Museum will be a ticketed exhibition.

      View Original

    • June 2001: Continuing Exhibitions

      Arts of Africa
      Long-Term Installation

      Leon Golub: Paintings, 1950–2000
      Through August 19, 2001

      Digital: Printmaking Now
      June 22-September 2, 2001

      Upcoming Exhibitions

      My Reality: Contemporary Art and the Culture of Japanese Animation
      July 28-October 7, 2001

      American Identities: A Reinterpretation of American Art at the BMA
      Opens September 5, 2001 (Long-Term Installation)

      Wit and Wine: A New Look at Ancient Iranian Ceramics from the Arthur M. Sackler Foundation
      September 7-December 30, 2001

      Vital Forms: American Art and Design in the Atomic Age, 1940–1960
      October 12, 2001-January 6, 2002

      Eternal Egypt: Masterworks of Ancient Art from The British Museum
      November 23, 2001-February 24, 2002

      Star Wars: The Magic of Myth
      April 5-July, 7 2002

      Exposed: The Victorian Nude
      September 2, 2002-January 5, 2003

      The Last Expression: Art from Auschwitz
      February 28-May 11, 2003

      Great Expectations: John Singer Sargent Painting Children
      September 19-November 30, 2003


      Continuing Exhibitions

      Arts of Africa
      Long-Term Installation
      (African Galleries, 1st floor)
      More than twenty important objects, previously not on view, will be integrated into a major reinstallation of some 225 works from the Museum's exceptional holdings of African art. Although a wide selection from the hundreds of African cultures will be represented, the reinstallation is exceptionally strong in works from Central Africa, particularly those from the Kongo, Luba, and Kuba peoples of the Democratic Republic of the Congo. The majority of the items on display were created for religious or political ceremonial life, but the presentation will also include furniture, textiles, architectural fragments, household items, and objects of personal adornment.
      Organization: The reinstallation has been organized by William C. Siegmann, Chair of the Department of the Arts of Africa and the Pacific Islands at the Brooklyn Museum of Art.

      Leon Golub: Paintings, 1950-2000
      Through August 19, 2001
      (European Painting and Sculpture Galleries, 5th floor)
      This exhibition examines the career of Leon Golub (b. 1922), dean of American political art, whose intense, gritty paintings examine the complexities of power. The artist's raw and expressive canvases span the second half of the twentieth century and explore issues of race, violence, war, and the human condition. The exhibition of some fifty-five works, many of which are mural-sized, includes such monumental paintings as Gigantomachy Il (1966), Vietnam II (1973), and the BMA's own Riot IV (1983). A selection of Golub's lesser-known political portraits and his recent paintings that consider mortality will also be included.
      Organization: Leon Golub: Paintings, 1950-2000 was curated by Jon Bird, an independent, London-based curator, and organized by the Irish Museum of Modern Art in Dublin. Brooke Kamin Rapaport, Associate Curator in the Department of Contemporary Art, organized the presentation at the BMA.
      Support: The BMA presentation is supported, in part, by the BMA's Barbara and Richard Debs Exhibition Fund. Additional support is provided by The Broad Art Foundation and Dr. and Mrs. Philip J. Kozinn. Educational activities are made possible by the Third Millennium Foundation.
      Publication: Leon Golub: Echoes of the Real, with an essay by Jon Bird, includes more than 130 color plates and is published by Reaktion Books, Ltd., London.

      Digital: Printmaking Now
      June 22-September 2, 2001
      (Morris A. and Meyer Schapiro Wing, 4th floor)
      This installment of the Print National, a survey of important developments in the field of printmaking, will focus on the increasing use of computers in the printmaking process. The exhibition, one of the first to address this issue, will include traditionally printed works that have been manipulated digitally and works created entirely by computer.
      Organization: This exhibition was organized by Marilyn Kushner, Curator of Prints and Drawings at the Brooklyn Museum of Art. Support: Digital: Printmaking Now is organized by the Brooklyn Museum of Art. The exhibition is made possible, in part, by the Lily Auchincloss Foundation, Inc., and the BMA's Prints and Photographs Council. Additional support is provided by Marc A. Schwartz, Seymour and Laura Schweber, and Philip and Alma Kalb, and The Fund—created by a gift from the Elizabeth Firestone Graham Foundation. Educational activities are supported by the Third Millennium Foundation. Media sponsors are Artbyte Magazine and Art on Paper.
      Publication: A fully-illustrated color catalogue will be available.


      Upcoming Exhibitions

      My Reality: Contemporary Art and the Culture of Japanese Animation
      July 28-October 7, 2001
      Synergies between Japanese and American popular culture are explored in this showcase of photography, painting, sculpture, and video that investigates the influence of Japanese animation (anime) and techno-culture on art. Anime is incredibly versatile in its ability to comment on social and sexual mores, gender roles, and traditional values in the face of an increasingly alien future. The exhibition features work by Takashi Murakami, Mariko Mori, Paul McCarthy, and Charlie White, among others.
      Organization: My Reality: Contemporary Art and the Culture of Japanese Animation was originally curated by Jeff Fleming, Senior Curator, and Susan Lubowsky Talbott, Director of the Des Moines Art Center. The exhibition is coordinated at the Brooklyn Museum of Art by Charlotta Kotik, Department Chair of Contemporary Art.
      Support: Educational activities for the BMA's presentation are supported by the Third Millennium Foundation. Additional support provided by The Fund—created by a gift from the Elizabeth Firestone Graham Foundation.
      Publication: An illustrated catalogue co-published by the Des Moines Art Center and Independent Curators International accompanies My Reality.

      American Identities: A Reinterpretation of American Art at the BMA
      September 5, 2001-Long Term
      (Luce Center for American Art, 5th floor)
      This reinstallation of approximately 350 works from the permanent collections will present an innovative thematic survey of American paintings, sculpture, and decorative arts from the early eighteenth century to the present. An orientation gallery will introduce the visitor to the scope of the collections, showcasing a number of icons in a Brooklyn context. The galleries will be organized in a general chronological fashion with richly interpreted installations devoted to such themes as Dutch New Yorkers, Shaping American Landscapes, The Civil War Era, Women's Worlds, Urban Experiences, and The Drive toward Abstraction.
      Organization: This project is a collaboration among curators of American Paintings and Sculpture: Teresa A. Carbone, Project Director; Linda S. Ferber and Barbara Dayer Gallati; Decorative Arts: Kevin L. Stayton, Chair of Department of Decorative Arts, Barry R. Harwood; Contemporary Art: Charlotta Kotik; Arts of Americas: Susan Kennedy Zeller
      Support: American Identities: A Reinterpretation of American Art at the BMA is supported by a generous grant from the Independence Community Foundation for the Museum's project American Identities: Building Audiences for the Future, and by the National Endowment for the Arts.

      Wit and Wine: A New Look at Ancient Iranian Ceramics from the Arthur M. Sackler Foundation
      September 7-December 30, 2001
      (Robert E. Blum Gallery, 1st floor)
      This exhibition comprises forty-five pottery vessels—most for holding or pouring wine—from ancient Iran, ranging in date from the fifth millennium B.C. to the third century A.D. Demonstrating the extraordinary range of Iranian pottery, the exhibition includes such whimsical examples as a juglike vessel in the shape of human feet, and sculptural works in the shape of camels and bulls. Some containers clearly imitate early metal prototypes, with their unusually thin walls and long spouts, while others are painted with sophisticated ornamental designs depicting the animals of the Iranian highland. The Brooklyn Museum of Art is the last scheduled venue for this traveling exhibition.
      Organization: The exhibition has been organized by the Arthur M. Sackler Foundation and curated by Dr. Trudy S. Kawami. James F. Romano, Curator of Egyptian, Classical, and Ancient Middle Eastern Art at the BMA, will organize the presentation at the Brooklyn Museum of Art.

      Vital Forms: American Art and Design in the Atomic Age, 1940-1960
      October 5, 2001-January 6, 2002
      (Grand Lobby, 1st floor; Morris A. and Meyer Schapiro Wing, 4th floor)
      This interdisciplinary exhibition will present 250 of the most innovative works of the 1940s and 1950s that embraced a vocabulary of organic, or vital, forms. Through architecture, decorative and industrial arts, graphic design, painting, photography, and sculpture, Vital Forms will examine the use of nature-based imagery during the postwar era. The exhibition will show how this aesthetic development represented an affirmation of life in the face of the Cold War and at the dawn of the nuclear age. Exploring the organic visual language adopted by some of the era's most progressive creators, the exhibition will include works of art and design such as paintings by Willem de Kooning and Mark Rothko, the "Predicta" television set, images of Eero Saarinen's TWA Terminal at JFK International Airport, Tupperware, the "Slinky," and the Ford Thunderbird. Additionally, the exhibition will trace how that visual vocabulary was applied to objects of popular culture, such as Formica countertop laminate and paperback book covers. The exhibition is the third in a series organized by the BMA that began with The American Renaissance, 1876-1917 (1979) and continued with The Machine Age in America, 1918-1941 (1986).
      Organization: This exhibition will be organized by Brooke Kamin Rapaport, Associate Curator of Contemporary Art, and Kevin Stayton, Department Head and Curator of Decorative Arts at the Brooklyn Museum of Art. Martin Filler and Mildred Friedman are consulting co-curators, and Dr. Paul Boyer is the project's cultural historian.
      Publication: A full-color catalogue published by the Brooklyn Museum of Art and Harry N. Abrams, Inc., will accompany the exhibition.
      Tour:
      Brooklyn Museum
      of Art:
      October 12, 2001-January 6, 2002

      Walker Art Center:
      February 16-May 12, 2002

      Frist Center for the Visual Arts:
      June 21-September 15, 2002

      Los Angeles County Museum of Art:
      November 17, 2002-February 23, 2003

      Phoenix Art Museum:
      April 4-June 29, 2003

      Support: Vital Forms: American Art and Design in the Atomic Age, 1940-1960 was organized by the Brooklyn Museum of Art. The exhibition was made possible, in part, by generous grants from the National Endowment for the Humanities and the National Endowment for the Arts. Additional support was provided by the Mary Jean and Frank P. Smeal Foundation, The Samuel I. Newhouse Foundation, and the Gramercy Park Foundation. Support for the catalogue was provided through the generosity of Furthermore, the Publication Program of the J.M. Kaplan Fund, as well as a BMA publications endowment created by the Iris and B. Gerald Cantor Foundation and the Andrew W. Mellon Foundation.

      Eternal Egypt: Masterworks of Ancient Art from The British Museum
      November 23, 2001-February 24, 2002
      (Beatrice and Samuel A. Seaver Gallery, 5th floor)
      This exhibition will provide a unique opportunity to view more than 140 ancient Egyptian masterpieces from The British Museum in London, many of which have never before traveled to the United States. Many large-scale works will be presented, including the capital of a temple column with a monumental carving of the goddess Hathor, as well as a world-famous portrait statue of the great pharaoh Sesostris III, royal jewelry, and paintings on papyrus illustrating scenes from The Book of the Dead. The exhibition will span the entire pharaonic period, from Dynasty I (about 3100 B.C.) to the period of Roman rule (4th century A.D.).
      Organization: This exhibition was organized by the American Federation of Arts and the British Museum, with guest curator Edna R. Russmann, Curator of Egyptian, Classical, and Ancient Middle Eastern Art at the Brooklyn Museum of Art, and W. V. Davies, the British Museum's Keeper of Egyptian Antiquities.
      Support: This exhibition and its national tour are made possible by Ford Motor Company. The official hotel of the Brooklyn leg of exhibition is the New York Marriott Brooklyn. Promotional support for the BMA's presentation is provided by Bloomingdale's. Additional support has been provided by the Benefactors Circle of the AFA.
      Publication: A fully illustrated catalogue accompanies this exhibition.

      Star Wars: The Magic of Myth
      April 5-July 7, 2002
      (Morris A. and Meyer Schapiro Wing, 4th & 5th floors)
      The exhibition showcases original artwork, props, models, costumes, and characters used to create the original Star Wars trilogy—Star Wars: A New Hope, The Empire Strikes Back, and Return of the Jedi—as well as Episode I: The Phantom Menace. Included will be over 30 mannequins, 35 models, and 50 pieces of framed artworks. Among them will be R2-D2, C-3P0, Darth Vader, Yoda, Boba Fett, and Yoda as well as Princess Leia's Slave Girl Costume, Han Solo frozen in carbonite, the Millennium Falcon, and one of Queen Amidala's royal gowns. Interpretive panels throughout the exhibition trace the mythological and literary sources that transform Star Wars into a timeless epic. Drawing upon the work of Joseph Campbell in his book The Hero with a Thousand Faces, the exhibition shows how the themes of the young hero, the faithful companions, the endangered maiden, the wise guide, and others resonate through the Star Wars saga and give it an enduring universality. The exhibition will include a 26-minute documentary film, which will play continuously, on the making of the Star Wars saga.
      Organization:
      Star Wars: The Magic of Myth was developed by the Smithsonian's National Air and Space Museum. The exhibition was organized for travel by the Smithsonian Institution Traveling Exhibition Service (SITES). All artifacts in this exhibition are on loan from the archives of Lucasfilm Ltd. The Brooklyn Museum of Art will be the final stop of a national tour. Catalogue: An illustrated catalogue accompanies the exhibition, entitled Star Wars: The Magic of Myth, by Mary Henderson, exhibition curator from the National Air and Space Museum of the Smithsonian Institution.

      Exposed: The Victorian Nude
      September 2, 2002-January 5, 2003
      (Schapiro Galleries, 4th floor)
      The nude figure was one of the most controversial subjects in Victorian England. It fired the Victorian imagination as the central focus of arguments about aesthetics, morality, sexuality, and desire—issues that continue to provoke debate. Exposed: The Victorian Nude is the first exhibition to survey the full range of representations of the nude in Victorian art. While the exhibition concentrates mainly on the "high arts" of painting and sculpture, photography, popular illustrations, advertising, and caricature are included to demonstrate the prevalence of the nude in Victorian visual culture and the meaning it held.
      Organization: Exposed: The Victorian Nude has been organized by Tate Britain. Barbara Dayer Gallati, Curator of American Paintings and Sculpture, will coordinate the presentation at the Brooklyn Museum of Art.
      Publication: A fully illustrated catalogue will be available.
      Tour: The Brooklyn Museum of Art will be the only North American stop of this exhibition tour.

      The Adventures of Hamza
      November 1, 2002-January 26, 2003
      (Blum Gallery, 1st floor)
      The Adventures of Hamza (or Hamzanama) is a fantastic adventure story about the exploits of Hamza, uncle of the Prophet Muhammad, who traveled throughout the world spreading the doctrines of Islam. The narrative tells of encounters with giants, demons, and dragons; of abductions and hair - raising chases; and of believers, as well as those who resisted Islam. A favorite story for illustration, it was also recited in coffeehouses from Iran to northern India. The greatest illustrated manuscript of the Hamzanama was made in India for the Mughal Emperor Akbar (reigned 1556-1605) when he was still a teenager. It originally contained 1,400 enormous illustrations, about a tenth of which have survived today. This exhibition brings together some 70 of these illustrations from collections all over the world, and places them alongside new translations of the related text passages. Organization: The Adventures of Hamza has been curated by Dr. John W. Seyller and organized by the Freer Gallery of Art and the Arthur M. Sackler Gallery, at the Smithsonian Institution. Amy G. Poster, Chair of the Asian Art Department at the Brooklyn Museum of Art, will coordinate the exhibition at the BMA.
      Publication: A fully illustrated catalogue will accompany this exhibition.

      Great Expectations: John Singer Sargent Painting Children
      September 19-November 30, 2003
      (Schapiro Galleries, 4th floor)
      John Singer Sargent is best known for his portraits of society women. This exhibition will assemble some forty depictions of children by Sargent to present an unexpected and revealing examination of his art. Rather than presenting children in the saccharine, sentimentalized fashion of the day, Sargent often captured them in moments of sober contemplation. Portraying his young subjects as psychologically complex individuals, Sargent redefined children's portraiture, which typically treated childhood as a generic age of innocence.
      Organization: This exhibition will be organized by Barbara Dayer Gallati, Curator of American Paintings and Sculpture, at the Brooklyn Museum of Art.
      Publication: A fully illustrated color catalogue will accompany this exhibition.

      The Last Expression: Art from Auschwitz
      February 29-May 11, 2003
      The Last Expression: Art from Auschwitz will feature two- and three-dimensional art produced by interned victims of Auschwitz and other camps. Artwork served different functions in the camps—catharsis, documentation, resistance, decoration, and official commissions. This exhibition will present the role of visual arts in concentration camps. The works of Jewish inmates, as well as that of resistance fighters from throughout Europe, will be included in this show.
      Organization: The Last Expression: Art from Auschwitz will be organized by the Mary and Leigh Block Museum of Art at Northwestern University. Marilyn Kushner, Curator of Prints and Drawings, will be managing the project at the Brooklyn Museum of Art.

      Brooklyn Museum Archives. Records of the Department of Public Information. Press releases, 1995 - 2003. 2001, 070-077 View Original 1 . View Original 2 . View Original 3 . View Original 4 . View Original 5 . View Original 6 . View Original 7 . View Original 8

    Press Coverage of this Exhibition ?

    • International Datebook: Nov. 11 to 24October 14, 2001 "NOV. 11, ST. MAARTEN/ST. MARTIN St. Martin Day. The whole island, Dutch and French, celebrates the island's sighting by Christopher Columbus in 1493 with an around-the-island relay race, a parade, music, dance, poetry readings, beach volleyball, dominoes, boxing, fireworks. (212) 953-2084. NOV. 12 TO 18, LONDON Olympia Fine Art and Antiques Fair...."
    • FootlightsNovember 20, 2001 By LAWRENCE VAN GELDERJonathan Griffith will lead choruses from Maryland, Missouri, New York, Oregon, South Carolina, Texas and New England Symphonic Ensemble in Goossen's Edition of Handel's Messiah; orchestration by Sir Eugene Goossens, commissioned by Sir Thomas Beecham in 1959, includes every note Handel wrote and seeks to modernize instrumentation with aim of stimulating audiences; more than 50 prints and drawings of 16th and 17th-century Dutch artists will be exhibited at Yale University Art Gallery; photo; annotated copy from which Charles Dickens gave public readings of A Christmas Carol will be displayed at New York Public Library; Brooklyn Museum will exhibit art treasures dating from ancient Egypt's First through Third pharaonic dynasties, through February 25; photo (M)
    • ART REVIEW; The Timeless Spell of EmpireNovember 23, 2001 By ROBERTA SMITH"BY now, the movement of portions of famously stationary museum collections across international borders is a familiar occurrence. In recent years, despite debate about the risk-benefit ratio of such projects, the Hermitage, the Vatican and the Barnes Collection have all sent some of their most important art on the road. Still, certain collections..."
    • ART GUIDENovember 30, 2001 "A selective listing by critics of The Times of new or noteworthy art, design and photography exhibitions at New York museums and art galleries this weekend. Addresses, unless otherwise noted, are in Manhattan. Most galleries are closed on Sundays and Mondays, but hours vary and should be checked by telephone. Gallery admission is free. * denotes a..."
    • ART GUIDEDecember 7, 2001 "A selective listing by critics of The Times of new or noteworthy art, design and photography exhibitions at New York museums and art galleries this weekend. Addresses, unless otherwise noted, are in Manhattan. Most galleries are closed on Sundays and Mondays, but hours vary and should be checked by telephone. Gallery admission is free. * denotes a..."
    • ART GUIDEDecember 14, 2001 "A selective listing by critics of The Times of new or noteworthy art, design and photography exhibitions at New York museums and art galleries this weekend. Addresses, unless otherwise noted, are in Manhattan. Most galleries are closed on Sundays and Mondays, but hours vary and should be checked by telephone. Gallery admission is free. * denotes a..."
    • ART GUIDEDecember 21, 2001 "A selective listing by critics of The Times of new or noteworthy art, design and photography exhibitions at New York museums and art galleries this weekend. Addresses, unless otherwise noted, are in Manhattan. Most galleries are closed on Sundays and Mondays, and most museums and galleries will close on Christmas Day, so holiday hours should be..."
    advanced 106,538 records currently online.

    Separate each tag with a space: painting portrait.

    Or join words together in one tag by using double quotes: "Brooklyn Museum."


    Recently Tagged Exhibitions

    Warning: Invalid argument supplied for foreach() in /home/www/default/views/opencollection/_tags_list.php on line 15

    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"
    By shelley

    "Hi, I am trying to find the name of the artist who took and is in the photograph that follows- http://www.brooklynmuseum.org/opencollection/exhibitions/664/Global_Feminisms_Remix/image/216/Global_Feminisms_Remix._%7C08032007_-_03032008%7C._Installation_view. I believe the artist takes pictures of herself dressed as a man but then exposes her femaleness, as in the photo of her dressed as an Ascetic Jew exposing her breast. Can you help me find her information? Thanks in advance- Aimee Record"
    By Aimee Record

    "For more information on Louis Schanker and the New York Art Scene of the mid 1900's go to http://www.LouisSchanker.info "
    By Lou Siegel

    Join the posse or log in to work with our collections. Your tags, comments and favorites will display with your attribution.


    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.