Topic: Visual arts (Page 2)

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๐Ÿ”— Berlin Gold Hat

๐Ÿ”— Germany ๐Ÿ”— Archaeology ๐Ÿ”— Visual arts ๐Ÿ”— Fashion

The Berlin Gold Hat or Berlin Golden Hat (German: Berliner Goldhut) is a Late Bronze Age artefact made of thin gold leaf. It served as the external covering on a long conical brimmed headdress, probably of an organic material. It is now in the Neues Museum on Museum Island in Berlin, in a room by itself with an elaborate explanatory display.

The Berlin Gold Hat is the best preserved specimen among the four known conical golden hats known from Bronze Age Europe so far. Of the three others, two were found in southern Germany, and one in the west of France. All were found in the 19th and 20th centuries. It is generally assumed that the hats served as the insignia of deities or priests in the context of a sun cult that appears to have been widespread in Central Europe at the time. The hats are also suggested to have served astronomical/calendrical functions.

The Berlin Gold Hat was acquired in 1996 by the Berlin Museum fรผr Vor- und Frรผhgeschichte as a single find without provenance. A comparative study of the ornaments and techniques in conjunction with dateable finds suggests that it was made in the Late Bronze Age, circa 1,000 to 800 BC.

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๐Ÿ”— Atari Video Music

๐Ÿ”— Video games ๐Ÿ”— Visual arts

The Atari Video Music (Model C240) is the earliest commercial electronic music visualizer released. It was manufactured by Atari, Inc., and released in 1977 for $169.95. The system creates an animated visual display that responds to musical input from a Hi-Fi stereo system for the visual entertainment of consumers.

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๐Ÿ”— Mail art

๐Ÿ”— Visual arts

Mail art (also known as postal art and correspondence art) is a populist artistic movement centered on sending small scale works through the postal service. It initially developed out of what eventually became Ray Johnson's New York Correspondence School in the 1950s and the Fluxus movement in the 1960s, though it has since developed into a global movement that continues to the present.

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๐Ÿ”— Theft of 'The Weeping Woman' from the National Gallery of Victoria

๐Ÿ”— Australia ๐Ÿ”— Australia/Melbourne ๐Ÿ”— Australia/Australian crime ๐Ÿ”— Visual arts

The theft of The Weeping Woman from the National Gallery of Victoria took place on 2 August 1986 in Melbourne, Victoria, Australia. The stolen work was one of a series of paintings by Pablo Picasso all known as The Weeping Woman and had been purchased by the gallery for A$1.6 million in 1985โ€”at the time the highest price paid by an Australian art gallery for an artwork. A group calling itself "Australian Cultural Terrorists" claimed responsibility, making a number of demands (and insults) in letters to the then-Victorian Minister for the Arts, Race Mathews. The demands included increases to funding for the arts; threats were made that the painting would be destroyed. After an anonymous tip-off to police, the painting was found undamaged in a locker at Spencer Street railway station on 19 August 1986. The theft still remains unsolved.

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๐Ÿ”— Golden hat

๐Ÿ”— Germany ๐Ÿ”— Time ๐Ÿ”— Archaeology ๐Ÿ”— Visual arts ๐Ÿ”— Fashion

Golden hats (or Gold hats) (German: Goldhรผte, singular: Goldhut) are a very specific and rare type of archaeological artifact from Bronze Age Europe. So far, four such objects ("cone-shaped gold hats of the Schifferstadt type") are known. The objects are made of thin sheet gold and were attached externally to long conical and brimmed headdresses which were probably made of some organic material and served to stabilise the external gold leaf. The following Golden Hats are known as of 2012:

  • Golden Hat of Schifferstadt, found in 1835 at Schifferstadt near Speyer, c. 1400โ€“1300 BC.
  • Avanton Gold Cone, incomplete, found at Avanton near Poitiers in 1844, c. 1000โ€“900 BC.
  • Golden Cone of Ezelsdorf-Buch, found near Ezelsdorf near Nuremberg in 1953, c. 1000โ€“900 BC; the tallest known specimen at c. 90ย cm.
  • Berlin Gold Hat, found probably in Swabia or Switzerland, c. 1000โ€“800 BC; acquired by the Museum fรผr Vor- und Frรผhgeschichte, Berlin, in 1996.

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๐Ÿ”— Iron Gall Ink

๐Ÿ”— Visual arts

Iron gall ink (also known as common ink, standard ink, oak gall ink or iron gall nut ink) is a purple-black or brown-black ink made from iron salts and tannic acids from vegetable sources. It was the standard ink formulation used in Europe for the 1400-year period between the 5th and 19th centuries, remained in widespread use well into the 20th century, and is still sold today.

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๐Ÿ”— Mauryan Polish

๐Ÿ”— India ๐Ÿ”— Visual arts

Mauryan polish describes one of the frequent characteristics of architecture and sculptures of the Maurya Empire in India (325 to 185 BCE), which gives a very smooth and shiny surface to the stone material, generally of sandstone or granite. Mauryan polish is found especially in the Ashoka Pillars as well as in some constructions like the Barabar Caves. The technique did not end with the empire, but continued to be "used on occasion up to the first or second century A.D.", although the presence of the polish sometimes complicates dating, as with the Didarganj Yakshi. According to the archaeologist John Marshall: the "extraordinary precision and accuracy which characterizes all Mauryan works, and which has never, we venture to say, been surpassed even by the finest workmanship on Athenian buildings".

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๐Ÿ”— Hockneyโ€“Falco thesis

๐Ÿ”— History ๐Ÿ”— Visual arts

The Hockneyโ€“Falco thesis is a theory of art history, advanced by artist David Hockney and physicist Charles M. Falco. Both claimed that advances in realism and accuracy in the history of Western art since the Renaissance were primarily the result of optical instruments such as the camera obscura, camera lucida, and curved mirrors, rather than solely due to the development of artistic technique and skill. Nineteenth-century artists' use of photography had been well documented. In a 2001 book, Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters, Hockney analyzed the work of the Old Masters and argued that the level of accuracy represented in their work is impossible to create by "eyeballing it". Since then, Hockney and Falco have produced a number of publications on positive evidence of the use of optical aids, and the historical plausibility of such methods. The hypothesis led to a variety of conferences and heated discussions.

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๐Ÿ”— Children's Games (Bruegel)

๐Ÿ”— Visual arts ๐Ÿ”— Belgium

Children's Games is an oil-on-panel by Flemish Renaissance artist Pieter Bruegel the Elder, painted in 1560. It is currently held and exhibited at the Kunsthistorisches Museum in Vienna. The entire composition is full of children playing a wide variety of games. Over 90 different games that were played by children at the time have been identified.

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๐Ÿ”— Phaistos Disc

๐Ÿ”— Writing systems ๐Ÿ”— Archaeology ๐Ÿ”— Visual arts

The Phaistos Disc (also spelled Phaistos Disk, Phaestos Disc) is a disk of fired clay from the Minoan palace of Phaistos on the island of Crete, possibly dating to the middle or late Minoan Bronze Age (second millennium B.C.). The disk is about 15ย cm (5.9ย in) in diameter and covered on both sides with a spiral of stamped symbols. Its purpose and meaning, and even its original geographical place of manufacture, remain disputed, making it one of the most famous mysteries of archaeology. This unique object is now on display at the archaeological museum of Heraklion.

The disc was discovered in 1908 by the Italian archaeologist Luigi Pernier in the Minoan palace-site of Phaistos, and features 241 tokens, comprising 45 distinct signs, which were apparently made by pressing hieroglyphic "seals" into a disc of soft clay, in a clockwise sequence spiraling toward the center of the disk.

The Phaistos Disc captured the imagination of amateur and professional archaeologists, and many attempts have been made to decipher the code behind the disc's signs. While it is not clear that it is a script, most attempted decipherments assume that it is; most additionally assume a syllabary, others an alphabet or logography. Attempts at decipherment are generally thought to be unlikely to succeed unless more examples of the signs are found, as it is generally agreed that there is not enough context available for a meaningful analysis.

Although the Phaistos Disc is generally accepted as authentic by archaeologists, a few scholars believe that the disc is a forgery or a hoax.

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