VISUALIZATION OF THE SCENE FEATURING A PERSON FALLING SICK ON THE SEAL IMPRESSION ON THE CUNEIFORM TABLET’S ENVELOPE FROM KULTEPE (COLLECTION OF THE PUSHKIN STATE MUSEUM OF FINE ARTS, I 2 B 1589)

Статья посвящена публикации фрагмента конверта от клинописной таблички с изображением интереснейшей композиции магического характера. В результате исследования выявлено, что сцена заболевания человека является центральной в сюжете. Нергал, бог Подземного мира, которого мы можем распознать по его символу - двуглавому скипетру, насылает на грешника львиноголового демона для причинения наказания - вызывания болезни у человека. Причина многих болезней по представлениям жителей Древней Месопотамии - гнев божества. Главной аналогией данному изображению является композиция на еще одной старовавилонской печати. На фрагменте конверта I 2 б 1589 присутствуют также два символа - сосуд и жезл с шаром. Установлено, что комбинация этих символов наиболее часто встречается на печатях из Сиппара или области Диялы, что может говорить о происхождении исследуемой печати либо резчика, ее изготовившего, с севера Нижней Месопотамии. The article is devoted to the publication of a fragment of a cuneiform tablet’s envelope with the image of interesting composition of a magical nature (Fig. 1; 2). The study revealed that the plot’s central scene is the scene depicting the process of getting sick. Nergal, the god of the Underworld, whom we can recognize by his symbol -a two-headed scepter, sends a lion-headed demon on the sinner to inflict punishment by making the sinner fall ill (many diseases were caused by anger of a deity according to the Ancient Mesopotamian conceptions/ideas). The main analogy to this image is the composition on another Old Babylonian seal (Fig. 3). The fragment of the envelope I 2 b 1589 also contains two symbols - a vessel and a ball-staff. It has been established that the combination of these symbols is most often found on seals from Sippar or the Diyala region, which implies that either the studied seal or its carver came from the northern part of Lower Mesopotamia.

Reading the rebate: information at the edges of 20th century photographs

Using the photography collection in the Museum of Fine Arts, Houston (MFAH) as a primary source, this thesis explores the use of photographic rebate as found in the work of seven major twentieth century photographic artists working between 1920 and 1980. Investigating the use of rebate as both a manifestation of technology, and as an expressive tool employed by post-war photographers, this paper looks at the physical character of rebate in silver-gelatin prints and its role in augmenting the photographic image. This research elucidates the collection at MFAH, the history of photographic printing in the 20th century and provides a guide to future researchers about how rebate can be used to glean technical data and artistic intent.

Reading the rebate: information at the edges of 20th century photographs

Using the photography collection in the Museum of Fine Arts, Houston (MFAH) as a primary source, this thesis explores the use of photographic rebate as found in the work of seven major twentieth century photographic artists working between 1920 and 1980. Investigating the use of rebate as both a manifestation of technology, and as an expressive tool employed by post-war photographers, this paper looks at the physical character of rebate in silver-gelatin prints and its role in augmenting the photographic image. This research elucidates the collection at MFAH, the history of photographic printing in the 20th century and provides a guide to future researchers about how rebate can be used to glean technical data and artistic intent.

An Optical Revolution and an “Unfortunate” Exhibition: “Van Eyck: An Optical Revolution,” Museum of Fine Arts, Ghent

Review of: “Van Eyck: An Optical Revolution,” Museum of Fine Arts, Ghent

Focus: architecture in photographic exhibitions 1858–1861 An exhibition proposal for the Museum of Fine Arts, Houston

This thesis consists of a proposal for an exhibition titled Focus: Architecture in Photographic Exhibitions 1858–1861. Drawn from the collection of almost three hundred nineteenth-century architectural photographs at the Museum of Fine Arts, Houston, the exhibition explores the topic of architectural photographs exhibited between 1858 and 1861. This two-part thesis first approaches the exhibition from a practical side, outlining the steps in preparing the photographs for display. An essay follows, investigating the role of the Architectural Photographic Association in the context of the photographic market of this time. The thesis also includes appendices relating to various aspects of the exhibition design process, including an object checklist, matting and framing recommendations, condition reports, wall labels, wall elevations, and an informational brochure.

Focus: architecture in photographic exhibitions 1858–1861 An exhibition proposal for the Museum of Fine Arts, Houston

This thesis consists of a proposal for an exhibition titled Focus: Architecture in Photographic Exhibitions 1858–1861. Drawn from the collection of almost three hundred nineteenth-century architectural photographs at the Museum of Fine Arts, Houston, the exhibition explores the topic of architectural photographs exhibited between 1858 and 1861. This two-part thesis first approaches the exhibition from a practical side, outlining the steps in preparing the photographs for display. An essay follows, investigating the role of the Architectural Photographic Association in the context of the photographic market of this time. The thesis also includes appendices relating to various aspects of the exhibition design process, including an object checklist, matting and framing recommendations, condition reports, wall labels, wall elevations, and an informational brochure.

Коллекция документов Ивана Абрамовича Морозова в отделе рукописей Государственного музея изобразительных искусств им. А.С. Пушкина

The famous collections of new art works of the late 19th – early 20th centuries of the great collectors S.I. Shchukin and I.A. Morozov have a pronounced individual character. The documentary materials of these collectors, stored in the Department of manuscripts of the Pushkin State Museum of Fine Arts, are also distinct. The preservation, number and typology of documents reflect not only the personality and fate of the collectors, but also the history of the country. The first special address to the history of formation and the composition of I.A. Morozov's documents collection complements the collector's way and the fate of his collection. Leaving practically no personal and family documents, I.A. Morozov carefully handed over business papers to the museum curators, confirming the immaculate provenance of his collection. Drawing attention to personal provenance funds brings to the fore the importance of their acquisition and preservation. Знаменитые собрания произведений нового искусства конца XIX – начала XX века великих коллекционеров С.И. Щукина и И.А. Морозова носят ярко выраженный индивидуальный характер. Также непохожи и документальные материалы этих собирателей, хранящиеся в отделе рукописей Государственного музея изобразительных искусств им. А.С. Пушкина. Сохранность, численность и типология документов отражают не только личность и судьбу коллекционеров, но и историю страны. Первое специальное обращение к истории формирования и составу коллекции документов И.А. Морозова дополняет коллекционерский путь собирателя и судьбу его коллекции. Не оставив практически никаких личных и семейных документов, И.А. Морозов бережно передал музейным хранителям деловые бумаги, подтверждающие безупречный провенанс его коллекции. Привлечение внимания к фондам личного происхождения актуализирует важность их комплектования и сохранения.