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Athens Creece

The Acropolis Museum (Greek:  Mouseio of Akropolis) is an archaeological museum focused on the findings of the archaeological site of the Acropolis of Athens. The museum was built to house every artifact found on the rock and on the surrounding slopes, from the Greek Bronze Age to Roman and Byzantine Greece. It also lies over the ruins of a part of Roman and early Byzantine Athens.
The museum was founded in 2003, while the Organization of the Museum was established in 2008. It opened to the public on 20 June 2009.

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Athens ,Greece

Caryatids

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Athens,Greece

From status collection!

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Athens ,Greece

Olympus Gots!

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National Archaelogical Museum of Athens,Greece 

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National Archaelogical Museum of Athens,Greece 

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The Horse and Jockey

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National Archaeological Museum of Athens,Greece

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National Archaeological Museum of Athens,Greece

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Status od ancient Greek Gots

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National Archaeological Museum of Athens,Greece

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National Archaeological Museum of Athens,Greece

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Kore and Kouros

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Mafra, Portugal

Palace games room.

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Mafra, Portugal

Convent Library

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National Archeological Museum of Athens,Greece

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National Archeological Museum of Athens,Greece

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Epinetra of Aphrodite

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National Archaeological Museum of Athens,Greece

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National Archaeological Museum of Athens,Greece

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The construction of the National archaeological museum's building began in 1866 and was completed in 1889.
During World War II the museum was closed and the antiquities were sealed in special protective boxes and buried, in order to avoid their destruction and looting. In 1945 exhibits were again displayed. The south wing of the museum houses the Epigraphic Museum with the richest collection of inscriptions in the world. The inscriptions museum expanded between 1953 and 1960

The museum has an imposing neo-classical design  The initial plan was conceived by the architect Ludwig Lange . At the front of the museum there is a large neo-classic design garden which is decorated with sculptures.

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Mafra, Portugal

Basilica set of 6 organs.

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National Archaeological Museum of Athens,Greece

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National Archaeological Museum of Athens,Greece

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Status of Zeus

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Athens ,Greece

Status of Kores and Kourous

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Mafra, Portugal

Throne room with crown.

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Mafra, Portugal

The Mafra National Palace is located on the council of Mafra, in the  district of Lisbon, Portugal, about 25 kilometres from Lisbon. It consists of a monumental palace and monastery  in  Joanine Baroque Style, on the German side. The work of its construction began in 1717 at the initiative of King John V by virtue of a promise that made the name of the offspring they came to obtain from Queen Maria Anne of Austria.

The building of the kingdom's chief architect,  João Frederico  Ludovice, occupies an approximate area of four hectares  (37,790 m²). Built in abundant Lioz stone in the Mafra region consists of 1200 divisions, more than 4 700 doors and windows, 156 staircases and 29 courtyards and halls.
It is classified as a Declared National Monument and the 2019 World Heritage Site  by UNESCO, being part of the set designated royal building of Mafra, composed of the palace, basilica (with set of 6 organs and 2 chimes), convent (which includes the library), Garden of the Siege and covered.

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Archeology

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It was opened on 29 April 1856 .
In 1996, the Government of Lithuania granted the museum the status of the National Museum of Lithuania in view of the fact that it held the most important collections of Lithuanian archaeology, history and ethnic culture. The museum is housed in the defensive buildings of the Vilnius Castle Complex.

Today the museum has more than a million exhibits. It holds annual sessions of fieldwork for researchers of ethnic culture and historians, and organises archaeological excavations. More than a half of all exhibits restored in Lithuanian museums are being conserved and restored at the Museum’s Restoration Centre. The Museum also has a specialised library, archive and photo laboratory.

The museum’s work is carried out through specialised departments managing the collections of Archaeology, Medieval and Modern Archaeology, Ethnic Culture, History, Modern History, Iconography and Numismatics.

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History

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Numismatic

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Ethnic culture

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National Historical Museum Athens Greece

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National Historical Museum Athens Greece

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The Museum was established in 1882, with the aim of preserving and promoting the documents that began to be collected by the Historical and Ethnological Society. The Museum is constantly enriched, while at the same time taking care of the maintenance and good preservation of the relics. It organizes periodic exhibitions and publishes publications in order to document historical memory and contribute to national self-knowledge.

Most of the exhibition concerns the Greek Revolution of 1821. Portraits of the Fighters of 1821 are hosted and many personal items, weapons and military equipment of fighters of the Revolution are exhibited.

The exhibition concludes with national and local costumes from various parts of Greece, embroidery, jewelry and ceramics, as well as furniture from 19th-century historical figures. In most of the rooms there are also paintings by Greek and foreign painters that depict several of the important figures of each period.

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National Historical Museum Athens Greece

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National Historical Museum Athens Greece

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The National Historical Museum was founded in 1882 by the Historical and Ethnological Society of Greece. Its subject matter is the history of modern Hellenism, from the Fall of Constantinople to World War II and the promotion of the political, social and spiritual development of Hellenism from the period of Ottoman rule to the present day.

The National Historical Museum also functions as a research center for modern Greek history. Since 1960, the Museum has been permanently housed in the Palace of the Old Parliament on Stadiou Street (Kolokotroni Square). The same building houses the Archive of Historical Documents, the library and the photographic archive of the Historical and Ethnological Society of Greece.
From Badseed - Self-photographed, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=2174963

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National Historical Museum Athens Greece

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National Historical Museum Athens Greece

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Military equipment of Theodoros Kolokotronis
From Badseed - Self-photographed, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=2559661

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SANSEVERO CHAPEL MUSEUM-Napoli-Italy Christ Veiled 

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SANSEVERO CHAPEL MUSEUM-Napoli-Italy Christ Veiled 

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Giuseppe Sanmartino, 1753.

Sanmartino’s Veiled Christ is one of the greatest sculptures of all time. Since the eighteenth century, travellers of all levels of distinction have come to contemplate this artistic miracle, to be disconcerted and enraptured by it. The fame of the Veiled Christ is growing every day. A survey carried out during the seventeenth edition of the Galassia Gutenberg Book Fair (April 2006) raised it to the level of monument symbolising Naples. Lastly, in the spring of 2008, the Campania Regional Authority chose the photo of Sanmartino’s Christ for its publicity campaign aiming to give new impetus to the city’s image, severely damaged by the well-known refuse emergency.

https://www.museosansevero.it/la-statua/

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Veiled Christ

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National Historical Museum Athens Greece

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National Historical Museum Athens Greece

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The office and the seat of Ioannis Kapodistrias
From 2gymkais2 - Collections of the National Historical Museum of Athens, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=39151247

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HIGH ALTAR

Francesco Celebrano and Paolo Persico, seventeen-sixties.

The high relief, or marble picture, of the Deposition was carved by Francesco Celebrano, but it had been entrusted to Queirolo (and Corradini had already made a clay model). This work, considered by critics to be the best of Celebrano, is a unique exemplar in Naples of a high relief on a high altar, even if the technique can be found in the city in various other contexts.

Celebrano shows his skill by combining late-baroque elements with the rich and fertile elements of the Depositions of the seventeenth century in the Neapolitan area and makes the scene remarkably complex, narratively dramatic, and almost constrained in the limited spaces, including the tabernacle inserted within a shroud supported by two putti and closed by the metal face of Christ.

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National Historical Museum Athens Greece

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National Historical Museum Athens Greece

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Weapons of the Greek revolution
From Badseed - Self-photographed, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=2559654

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The Sansevero Chapel Museum in the historic heart of Naples is a jewel of the world’s artistic heritage. Here, baroque creativity, dynastic pride, beauty and mystery blend to create a unique and almost timeless atmosphere.

With its masterpieces such as the famous Veiled Christ, renowned world over for the remarkable tissue-like quality of the marble, feats of virtuosity such as Disillusion, and enigmatic creations such as the Anatomical Machines, the Sansevero Chapel is one of the most impressive monuments that the human mind has ever conceived.

A noble mausoleum, a temple of initiation, which admirably reflects the multi-faceted personality of its ingenious architect, Raimondo di Sangro, seventh Prince of Sansevero.

https://www.museosansevero.it/cappella-sansevero/

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Volta

Signed and dated by Francesco Maria Russo, the fresco – known as the Glory of Heaven or the di Sangro Paradise – is one of the first works that the Prince of Sansevero commissioned for the Chapel. Of the artist we have little information, but archive sources confirm that Russo had already come into contact with di Sangro in 1743, when – under the direction of the Prince – he had frescoed the ante-sacristy to the Chapel housing the Treasure of San Gennaro. From the symbolic point of view, of particular interest is the triangle which – with the dove – dominates the centre of the scene. This geometrical figure is rich in meaning. If in the Christian sphere it represents the Trinity, in the Pythagorean system the capital letter delta, in the shape of a triangle, is the symbol of cosmic birth, while in Masonic culture it is the symbol of the Venerable Master.

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PIETÀ

Unknown, the second half of the sixteenth century.

There are no elements to allow attribution or a date for this painting representing the Pietà. The author was presumably a mediocre Neapolitan mannerist, and the work was created before 1590. It was around this date, according to the remarkable story of the historian d’Engenio Caracciolo, that the first miracle worked by the sacred image took place. The oval is framed in a fine starburst of stucco angels by Paolo Persico in 1769.

Much more than for its artistic quality, the Pietà is important because of the role it had in the foundation of the di Sangro Chapel. It was around this painting, in fact, that at the end of the sixteenth century, the Duke of Torremaggiore Giovan Francesco would build the first chapel, the enlargement of which would lead to the construction of Santa Maria della Pietà, the Sansevero Chapel’s other name. During the whole of the seventeenth century, the painting must have been in the place occupied by the Deposition, and it was Raimondo di Sangro who moved it up over the Altar and inserted it in Persico’s starburst.

https://www.museosansevero.it/pieta/

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The two Anatomical Machines are among the most enigmatic exhibits in the monumental complex. Even today, over two hundred and fifty years later, the debate continues on the procedures and materials used to obtain such excellent preservation of the circulatory apparatus. Nourishing the “black legend” of Raimondo di Sangro, the Breve nota referred to “injection”, suggesting that, under the Prince’s direction, Salerno had injected a substance into the blood vessels of two bodies in order to cause their “metalisation”. Benedetto Croce too recounts that, according to popular belief, Raimondo di Sangro “had two of his servants killed, a man and a woman, and had the bodies strangely embalmed so that they showed all the viscera, the arteries and the veins”. In reality, the circulatory system is the result of a reconstruction carried out using different materials including beeswax and colourants. What is surprising, however, is the reproduction of the arteriovenous system down to even the finest vessels, showing such incredibly advanced anatomical knowledge for the time, that a research group have recently suggested that experiments with injections had been performed prior to reconstruction.

https://www.museosansevero.it/cavea-sotterranea/

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The site includes the main concentration camp at Auschwitz I and the remains of the concentration and extermination camp at Auschwitz II-Birkenau. Both were developed and run by Nazi Germany during its occupation of Poland in 1939–1945. The Polish government has preserved the site as a research centre and in memory of the 1.1 million people who died there, including 960,000 Jews, during World War II and the Holocaust. It became a World Heritage Site in 1979.
http://auschwitz.org/en/

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Wawel Royal Castle-State Art Collection is a national cultural institution

The Wawel Royal Castle and the Wawel Hill constitute the most historically and culturally important site in Poland. For centuries the residence of kings and the symbol of Polish statehood, the castle is now one of the country’s premier art museums. Established in 1930, the museum encompasses ten curatorial departments responsible for collections of paintings, including an important collection of Italian Renaissance paintings; works on paper; sculpture; textiles, among them the Sigismund II Augustus tapestry collection; goldsmith’s work; arms and armor; ceramics, with significant holdings of Meissen porcelain; and period furniture. The museum’s holdings in Asian and Middle-Eastern art include the largest collection of Ottoman tents in Europe. For conservation reasons the tents are not on permanent display. The collections of the Wawel Royal Castle are presented in several permanent exhibitions that evoke the historic appearance of the royal residence in the 16th, 17th, and 18th centuries.

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Kolekcja Lanckorońskich w Zamku Królewskim na Wawelu to 87 obrazów z okresu od XIII do XVII w. Są to głównie dzieła malarzy włoskich, reprezentujące różne centra artystyczne - nie tylko wiodące ośrodki w Toskanii, Umbrii, Veneto, Lombardii czy Emilii-Romanii, lecz także w Ligurii czy Dalmacji. Cztery obrazy zostały namalowane przez artystów hiszpańskich.

Kolekcja ta, zgromadzona przez Karola Lanckorońskiego w ostatniej ćwierci XIX w. i w pierwszych latach XX w., stanowiła część ogromnych zbiorów, znajdujących się niegdyś w jego pałacu w Wiedniu przy Jacquingasse 18. Zbiory te obejmowały nie tylko malarstwo europejskie, lecz także rzeźbę, sztukę starożytną i orientalną, rzemiosło Dalekiego Wschodu, porcelanę, złotnictwo, miniatury, grafikę, medale. Pochodziły one w części ze spuścizny po przodkach - Rzewuskich i Potockich, w której znalazły się m.in. dzieła zakupione z dawnej kolekcji ostatniego króla Polski, Stanisława Augusta Poniatowskiego. W większości był to owoc kolekcjonerskiej pasji Karola Lanckorońskiego, zwłaszcza jego upodobania do sztuki starożytnej oraz włoskiej, szczególnie do malarstwa okresu Quattrocenta. Jego pałac przy Jacquingasse 18, często porównywany do muzeum, stanowił jedno z ważnych centrów kulturalnych Wiednia, miejsce spotkań elity intelektualnej i artystycznej w ostatnim dwudziestoleciu istnienia monarchii habsburskiej.

Po śmierci Karola Lanckorońskiego w 1933 r. zbiory, które wciąż znajdowały się w wiedeńskim pałacu, odziedziczyły jego dzieci, a pieczę nad nimi sprawował syn Antoni. Wybuch II wojny światowej położył ostateczny kres świetności kolekcji. Jako własność obywatela polskiego została skonfiskowana w 1939 r., po przyłączeniu Austrii do Rzeszy Niemieckiej. Ewakuowana z Wiednia w 1943 r., w obawie zniszczenia podczas alianckich nalotów, nigdy już nie powróciła na swoje pierwotne miejsce. Pałac, znacznie uszkodzony w ostatniej fazie wojny, został rozebrany w latach sześćdziesiątych XX w. Zbiory zwrócone spadkobiercom Karola Lanckorońskiego jesienią 1947 r., wkrótce z Austrii wywieziono i stopniowo rozprzedawano. W posiadaniu rodziny pozostały dzieła sztuki pochodzące ze zbiorów króla Stanisława Augusta oraz kolekcja dawnego malarstwa włoskiego, zdeponowane czasowo w jednym z banków w Zurychu. Decyzją Karoliny Lanckorońskiej, córki Karola, ostatniej z rodu, w 1994 r. zostały przekazane do zbiorów rezydencji królewskich w Warszawie i Krakowie. W ten sposób obrazy włoskie trafiły na Wawel. Stanowią one dziś ważny element wystroju wnętrz Zamku Królewskiego. Najwięcej znajduje się w renesansowych salach I piętra - w tzw. Apartamentach Prywatnych. Są to zarówno obrazy o tematyce świeckiej, pochodzące z włoskich skrzyń posagowych i z dawnego wystroju wnętrz włoskich pałaców XV w., jak też dzieła sztuki religijnej, będące dawniej częścią większych ołtarzy w kościołach i klasztorach Italii - wśród nich m.in.: Orfeusz Jacopa del Sellaio, Przygody Odyseusza Apollonia di Giovanni i Marca del Buono, Anioł Simone Martiniego i Tronująca Madonna z Dzieciątkiem Bernarda Daddi. Jeden niewielki portret można oglądać w przedsionku Kurzej Stopki. Kilka obrazów zdobi Reprezentacyjne Komnaty Królewskie na II piętrze: gabinet w wieży Jordance, Salę Pod Zodiakiem i Salę Pod Planetami, gdzie umieszczony został Jowisz malujący motyle Dossa Dossiego. Ukrzyżowanie Palmy Młodszego znajduje się w stałej ekspozycji w zamku w Pieskowej Skale.

Zamek Królewski na Wawelu zyskał kolekcję malarstwa, jakiej nie posiadał nawet w okresie swojej świetności za panowania ostatnich Jagiellonów. Dzięki przeprowadzonej digitalizacji kolekcji Lanckorońskich i najnowszej technologii cyfrowej budowania interaktywnych prezentacji zaistniała możliwość jej wirtualnego zwiedzania.

oprac. Joanna Winiewicz-Wolska
na podstawie: Maria Skubiszewska, Kazimierz Kuczman, Obrazy z kolekcji Lanckorońskich z wieków XIV-XVI w zbiorach Zamku Królewskiego na Wawelu, Kraków 2008; Andrea De Marchi, Pittura devozionale e secolare nell'arte italiana tra XIV e XV secolo: alcuni casi di studio nella collezione Lanckoroński, Studia Waweliana XVIII, Kraków 2017, s. 29-48.

The Lanckoroński Collection at Wawel Royal Castle comprises 87 paintings dating from the thirteenth through the seventeenth centuries. Most are by Italian painters working in Tuscany, Umbria, the Veneto, Lombardy and Emilia-Romagna, but there are also some from Liguria and Dalmatia. A further four are by Spanish artists.

This group of paintings, amassed by Karol Lanckoroński in the late nineteenth and early twentieth century, was once part of a vast collection housed in his palace at Jacquingasse 18 in Vienna. Poland was divided between Russia, Prussia and Austria at that time. However, from the 1860s onwards, Poles enjoyed autonomy within the Austrian partition, known as the kingdom of Galicia, where indeed the majority of Karol Lanckoronski's estates lay. Poles rose to ever more prominent positions within the Austro-Hungarian Empire, as reflected by a number of great residences in Vienna. Lanckoroński's collection encompassed European painting and sculpture, ancient and oriental art, Far Eastern decorative art, porcelain, goldsmith's work, miniatures, prints, and medals. Part of the collection, which included works purchased from the sale of the collection of Poland's last king, Stanisław August Poniatowski, he had inherited from his Rzewuski and Potocki ancestors. The lion's share, however, was the fruit of Karol Lanckoroński's passion for collecting. His two loves were ancient art and the painting of the Italian Quattrocento. His home, which was often compared to a museum, was one of the leading cultural centres of Vienna. It was a meeting place for the intellectual and artistic elites in the last two decades of the Habsburg monarchy.

Poland regained independence in 1918 and the Lanckoroński family acquired Polish citizenship. After the death of Karol Lanckoroński in 1933, the collection, which was still housed in his Viennese residence, passed to his children, with his son Antoni acting as its steward. The eruption of the Second World War marked the beginning of the end for the splendid collection. As the property of a Polish citizen, it was confiscated in 1939 after Nazi Germany annexed Austria. It was evacuated from Vienna in 1943 for fear of allied bombing raids, never to return. The Lanckoroński palace was heavily damaged in the last phase of the war and was demolished in the 1960s. The collection had been returned to Karol Lanckoroński's heirs in the autumn of 1947 and shortly thereafter transported out of Austria. Unable to return to communist Poland after the war and having lost their properties, the family settled abroad. Over the ensuing years, part of the collection was incrementally sold off. The family kept the works of art from the former collection of King Stanisław August Poniatowski and the collection of Italian pictures, which were deposited in a bank vault in Zurich. In 1994, Karolina Lanckorońska, Karol's daughter, an art history professor and the last scion of the Lanckoroński family, donated the collection to Wawel Royal Castle in Cracow and the Royal Castle in Warsaw. The Italian paintings came to Wawel and constitute an important part of the castle's decoration. Most of the paintings are exhibited in the Renaissance rooms on the first floor of the castle - the Royal Private Apartments. There are pictures with secular themes that once adorned Italian dowry chests and the interiors of fifteenth-century Italian palaces, such as Jacopo del Sellaio's Orpheus and The Adventures of Odysseus by Apollonio di Giovanni and Marco del Buono, as well as religious paintings that were once parts of altarpieces found in Italian churches and monasteries, such as Simone Martini's Angel and Bernardo Daddi's Virgin and Child Enthroned. A small portrait hangs in the vestibule to the Hen's Foot Tower, while several adorn the State Rooms on the second floor, where they are displayed in the small study in the Jordanka Tower, the Zodiac Room, and the Planet Room where Dosso Dossi's Jupiter Painting Butterflies is exhibited. The Crucifixion by Palma the Younger is on view in Pieskowa Skała Castle.

With the Lanckoroński donation, Wawel Royal Castle acquired a collection of paintings surpassing even that of its golden age under the Jagiellonian Dynasty. The digitization of the collection and modern virtual visit technology, enable us to make this splendid collection available to an even broader audience.

Written by Joanna Winiewicz-Wolska
Based on: Maria Skubiszewska and Kazimierz Kuczman, Obrazy z kolekcji Lanckorońskich z wieków XIV-XVI w zbiorach Zamku Królewskiego na Wawelu, Kraków 2008; Andrea De Marchi, "Pittura devozionale e secolare nell'arte Italiano tra XIV e XV secolo: Aluni casi di studio nelle collezione Lanckoroński," Studia Waweliana XVIII, Kraków 2017, pp. 29-48.

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Kolekcja Lanckorońskich w Zamku Królewskim na Wawelu to 87 obrazów z okresu od XIII do XVII w. Są to głównie dzieła malarzy włoskich, reprezentujące różne centra artystyczne - nie tylko wiodące ośrodki w Toskanii, Umbrii, Veneto, Lombardii czy Emilii-Romanii, lecz także w Ligurii czy Dalmacji. Cztery obrazy zostały namalowane przez artystów hiszpańskich.

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National Museum under Market Squere in Krakow

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National Museum under Market Squere in Krakow

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The Sukiennice (Cloth Hall) is a large market hall erected in the 13th century in the middle of the Market Square, extended in the 14th century in the Gothic style and remodelled in the mid-16th century after Renaissance fashion. Following its restoration in the years 1875-1879, it began to serve a representative function and became a venue for grand balls and patriotic celebrations. Due to their location and character, the halls on the first floor of the Sukiennice building became the first seat of the National Museum in Krakow. Initially, the Museum shared this space with the Society of Friends of Fine Arts.
The exhibition in the Sukiennice is presented in the following four rooms:

The Bacciarelli Room: the Enlightenment – which displays the art of the second half of the 18th century and the early 19th century

The Michałowski Room: Romanticism. Towards National Art – which focuses on national themes in art,

The Siemiradzki Room: Around the Academy – which presents issues relevant to the academic curriculum in the second half of the 19th century,

The Chełmoński Room: Realism, Polish Impressionism, Beginnings of Symbolism – which displays the works that herald the art of Młoda Polska (Young Poland) movement, exhibited in the main building of the Museum.

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The Galicia Jewish Museum exists to commemorate the victims of the Holocaust and celebrate the Jewish culture of Polish Galicia, presenting Jewish history from a new perspective. An innovative and unique institution located in Kazimierz, the Jewish district of Kraków, Poland, the Museum is a registered charity in Poland. The objectives of the Museum are to challenge the stereotypes and misconceptions typically associated with the Jewish past in Poland and to educate both Poles and Jews about their own histories, whilst encouraging them to think about the future.

Home to the internationally acclaimed permanent photographic exhibition, Traces of Memory, the Museum also shows an exciting range of temporary exhibitions, both curated in-house and sourced from around the world. The Museum’s Cultural and Education Programme is one of the most extensive in Poland, providing a range of services for both individual and group visitors, and the Media Resource Centre houses a growing archive of films on Jewish and Holocaust-related subjects. As well as engaging in primary research and publishing, the Museum also operates one of the largest Jewish bookshops in Poland, and the Museum café serves a range of hot and cold drinks and snacks, and offers a range of catering options for visiting groups.

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Żydowskie Muzeum Galicja jako wieloletni partner Festiwalu Kultury Żydowskiej także w tym roku przygotowało program wydarzeń towarzyszących festiwalowi. ...