This summer, in 10 posts: post 5 {Boston}

The New England Aquarium

The Trust Family Foundation Shark and Ray Touch Tank
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Στο ενυδρείο της Νέας Αγγλίας, υπάρχει ανοιχτή δεξαμενή με σαλάχια και μικρούς καρχαρίες! Βάζεις το χέρι σου στην επιφάνεια (χωρίς να το τσαλαβουτάς, απλά ακουμπάς απαλά την παλάμη σου στο νερό) και περιμένεις τα σαλάχια, που κολυμπούν κοντά στην επιφάνεια, να περάσουν με το ρεύμα… όχι μόνο δεν φαίνεται να τους ενοχλούν τα αγγίγματα, αλλά πολλά από αυτά τα “επιζητούν” (δεν ξέρω αν τους αρέσουν ή αν κινούν απλά την περιέργειά τους!) και ανταποκρίνονται στην επαφή: στρέφονται προς την παλάμη σου, περνούν ξανά από κάτω —ένα-δύο γυρνούσαν προς το πλάι για να δουν καλύτερα το άτομο που τους έδινε το χέρι του!!— και συνεχίζουν να κολυμπούν κοντά στα τοιχώματα της δεξαμενής για να έρχονται σε επαφή με τον κόσμο!!! :) :) :)
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M. got to touch some stingrays! I never would have thought that, but they actually seemed to “enjoy”/be intrigued by(?) human touch!… a couple of them, after feeling M.’s hand on its back turned around and leaned against the tank wall where M. was resting his hand, to touch his palm again! Then they would swim around the tank and come back for more!! :) :) Boston-Aquarium04 Boston-Aquarium05 Boston-Aquarium06

Now, these guys were my favourites! {Sea Jelly exhibit}
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…ok, these too!!
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“You talking to me? Well, I’m the only one here…. You make the move. You make the move. It’s your move…. You talkin’ to me?
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Check out the piranha!!  {Amazon Rainforest exhibit}Boston-Aquarium16

…and here’s the bloody truth (couldn’t resist, sorry!) about them: “If you mention the word piranha to people, images of razor-sharp teeth and ferocious feeding frenzies are pretty much the norm. These fish have been showcased in films and media as fierce meat-eating machines that will attack in a moment’s notice! And like most monstrous myths, that is quite an exaggeration from the truth. Most piranhas, including the red-bellied piranha (Pygocentrus nattereri) featured at the New England Aquarium, aren’t out looking for a nice human to eat. Instead, they eat small worms, insects or fish, all items they can find throughout the Amazon River Basin. ” {excerpt from the Exhibit Galleries Blog}

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Το Ενυδρείο της Νέας Αγγλίας, άνοιξε το 1969 και θεωρείται ένας από τους πιο σημαντικούς φορείς στην εξερεύνηση των ωκεανών και τη διατήρηση της βιοποικιλότητας των θαλάσσιων οικοσυστηµάτων & της θαλάσσιας ζωής. Διαθέτει ένα εξαιρετικό κέντρο εκπαίδευσης και επαναπροσδιορίζει το τι ακριβώς πρέπει να είναι ένα ενυδρείο στις μέρες μας: συνδυάζει την εκπαίδευση, την ψυχαγωγία αλλά και τη δράση για την αντιμετώπιση των πιο σοβαρών προβλημάτων που αντιμετωπίζουν οι θάλασσες παγκοσμίως. Το ερευνητικό προσωπικό του ενυδρείου έχει συμμετάσχει, όλα αυτά τα χρόνια, σε εκατοντάδες αποστολές, προγράμματα παρακολούθησης, διασώσεις και δράσεις για την προστασία των ωκεανών. Το κεντρικό έκθεμα του ενυδρείου {και πιθανώς το “σήμα κατατεθέν” του} είναι η Γιγαντιαία Ωκεάνια Δεξαμενή, η οποία θεωρείται ένα από τα πιο πολύπλοκα και εξελιγμένα υδρόβια εκθέματα στον κόσμο! Μπορείτε να βρείτε επιπλέον πληροφορίες στην επίσημη σελίδα του ενυδρείου εδώ.

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Υπενθύμιση: Για να δείτε τα βιντεάκια πληκτρολογήστε, με λατινικούς χαρακτήρες, KBtP για να το ξεκλειδώσετε! 
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Reminder: My videos on Vimeo are protected so you need to type in a password to view these! I’m really sorry for making it a little difficult but I want my channel to be exclusively accessible to my readers and not to just anyone! All you have to do is type in “KBtP” (what else?!) and it should be good to go! Enjoy…

New England Aquarium, the Giant Ocean Tank by KBtP on Vimeo.

I hope you’re enjoying all our run-abouts! I sure am, while looking back at all this summer frenzy! Next stop the Old State House. Cheers!
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Η ξενάγηση στη Βοστώνη συνεχίζεται! Καλή εβδομάδα! :)

*images by Athina D. Pantazatou for Kicking Back the Pebbles

Lazy Fridays! {a preview on next week’s posts}

Another sneak peek into next week: the “This summer in 10 posts” series continues and our next stop in Boston will be the New England Aquarium… here are some snippets of what was going on there, at the time! I wish you all an amazing weekend!
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Το tour στη Βοστώνη συνεχίζεται την επόμενη εβδομάδα και πρωτού κατευθυνθούμε στο επόμενο μουσείο θα κάνουμε μια στάση στο διάσημο Ενυδρείο της Νέας Αγγλίας. Μέχρι τη Δευτέρα, πάρτε μια μικρή ιδέα και να περάσετε ένα υπέροχο, φθινοπωρινό Σαββατοκύριακο! :)

Υπενθύμιση: Για να δείτε τα βιντεάκια πληκτρολογήστε, με λατινικούς χαρακτήρες, KBtP για να το ξεκλειδώσετε!
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Reminder: My videos on Vimeo are protected so you need to type in a password to view these! I’m really sorry for making it a little difficult but I want my channel to be exclusively accessible to my readers and not to just anyone! All you have to do is type in “KBtP” (what else?!) and it should be good to go! Enjoy…

New England Aquarium, the Marine Mammal Center by KBtP on Vimeo.

New England Aquarium, the Giant Ocean Tank (snippet) by KBtP on Vimeo.

This summer, in 10 posts: post 4 {Boston}

The Museum of Fine Arts, part 2

…and the roaming through endless galleries continued!…

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Sarcophagus and Lid with husband and wife. Italy (Etruria), late classical or early Hellenistic period, 350-300 BC. From the tomb of the Tetnies family in present-day Vulci. Travertine. Greek Archaic Gallery (Gallery 113).

To get the shot below I stood as close to the pedestal as possible, leaned over the sarcophagus as much as I could without touching it, lifted my camera up in one hand and tried to get it as closer above the heads as possible! Sure enough… I triggered the laser alarm!! Then I looked pretty much like Mr. Bean when he knows he’s in trouble, started fidgeting and expected an angry guard to storm into the gallery… M. pretended he didn’t know me and I’m pretty sure, had I been reprimanded in anyway he would deny having any relationship with me whatsoever! Punishment never came though and I figured I was being watched acting goofy but meaning-no-harm through the camera security system and left alone to die of sheer embarrassment in front of peer-visitors who witnessed the scene…  It’s not even a decent shot, for crying out loud!! Boston-Museum-of-Fine-Arts23

After that little incident was over we proceeded to the next gallery and I got to admire this impressive lady:

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Juno [the Roman equivalent of Hera]. This Roman marble lady is the largest Classical sculpture in any museum in the United States —standing 13 feet tall and weighing in at 13,000 pounds. She was acquired by the MFA from the Brookline estate of the Brandegee family (known as Faulkner farm), where she had been the major ornament of a famous Italianate garden for over 100 years. George D. and Margo Behrakis Gallery (Gallery 207).

We also came across this exciting  piece of news:

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New Gallery: Dionysos and the Symposium. Wine, Poets, and Performers in Ancient Greece. Greek Classical Gallery (Gallery 215B).

And then we moved on to the Michael C. Ruettgers Gallery of Ancient Coins (Gallery 212C) where certain staters and distaters caught my eye…
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The William I. Koch Gallery (Gallery 250) with European Painting 1550–1700 and Hanoverian Silver.

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A handsome pair of silver Baroque trumpets used in royal ceremonies for the German House of Hanover join the Museum’s celebrated collection of Hanoverian silver.

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Alcove Bed (lit en niche). France (Paris), 1787. Stamped by Jean-Baptiste-Claude Sené (French), 1747-1803. Gilded beech-wood; modern upholstery. In 18th century France beds ranged from practical cots to extravagant fantasies. This bed was designed to stand lengthwise against the bedroom wall and was set into an alcove curtained off of the room, for privacy. The metal wheels facilitated the easy removal of the bed from its alcove in order to change the linens.  The silk textiles and trimmings ordered for the bed and the alcove represented the greatest expense in the interior decoration of the room. The 18th century upholsterer used a luxurious three-coloured silk to cover the bed, line the walls in the alcove and make the bed curtains; the silk and trims have been exactly reproduced. Ann and William Elfers Gallery (Gallery 245).

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Reed organ (Grand Salon model), about 1878. J. Estey Company, American, active 1863–1959. Walnut, rosewood. David and Stacey Goel Gallery (Gallery 239).

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Sideboard, 1850–60. Ignatius Lutz, American (born in France), 1817–1860. Oak, yellow-poplar, marble. Sideboards trace their form, function, and iconography to noble homes in Europe, where such pieces had been in use since the fifteenth century. Ignatius Lutz was one of several French-trained cabinetmakers who dominated the high-end furniture trade in America, bringing European styles and craftsmanship to a wealthy and fashionable clientele. Lutz’s shop, employing thirty craftsmen, was among the largest in Philadelphia and relied upon handwork rather than power machinery to produce masterpieces such as this sideboard. Forkner and Gill Family Gallery (Gallery 238).

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Jan Havicksz. Steen. Dutch, 1626-1679. Twelfth Night Feast, 1662. Oil on canvas. Twelfth night is observed in early January, marking the end of Christmas season and beginning of Epiphany. It celebrates the arrival (twelve days after Christ’s birth) of the three Kings, led by a star to the newborn Jesus. Here Steen depicts the jovial atmosphere pf a prosperous Dutch family’s celebrations. Notice the painting’s many details: egg shells litter the floor where children play with candles symbolic of the Kings, while at the table, adults carouse as a boy offers the little “king” a bite off his holiday waffle. Art of the Netherlands in the 17th Century Gallery (Gallery 242).

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Meditation by the Sea, early 1860s. Unidentified artist. Oil on canvas. The painter of this moody image based the composition on a printed view of Gay Head, on Martha’s Vineyard. The printed image is relatively bland, but the painting is charged with emotion. The rocks along the horizon, the stylized waves and the barren branches create a disquieting mood, which may reflect the country’s anxiety during the Civil War. Joyce and Edward Linde Gallery (Gallery 237).

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George Hawley Hallowell. American, 1871-1926. Saint Michael Slaying the Dragon, 1925. Oil on canvas. Hallowell painted this for a wall over a large organ at the Boston City Club. The ensemble was dedicated to the memory of club members who had perished in World War I. Hallowell worked as an illustrator, a muralist and a painter; he also designed books, posters and stained glass. Lorraine and Alan Bressler Gallery (Gallery 222).

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Probably made by Boston and Sandwich Glass Company. Paneled door. Massachusetts (Sandwich), about 1845-60. Glass, painted wood. This elegant door, once graced the central hallway of the Dorchester, Massachusetts house of Roswell Gleason, a prosperous manufacturer of pewter and silverplate. According to family tradition, the Boston and Sandwich Glass Company made the glass panels as a tribute to Gleason, who often used their glass in his products. The panels were made using the “overlay” technique, in which sheets of blue and colourless glass were fused together and engraved with a rotating grinding wheel. David and Stacey Goel Gallery (Gallery 239)

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A.L. Jewell and Co. Formal horse with gentleman rider weather vane. Massachusetts (Waltham), about 1860. Painted copper.

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Charles I. D. Looff. American (born in Germany), 1852-1918. Carousel figure of a greyhound. Rode Island (Providence), about 1905-10. Painted wood. At the turn of the twentieth century more than 3000 carousels delighted children in  American amusement parks. All of the carousels featured hand-curved animals and Looff made some of the finest. Perhaps modeled after a Looff family pet, this greyhound wears a fanciful saddle and harness, embellished with cut-glass ornaments that would have sparked under the carousel’s electric lights. Joyce and Edward Linde Gallery (Gallery 237).

If you want to pay the MFA a visit make no mistake: the venue is enormous and you had better plan your visit in advance, especially if you’re visiting with children or wishing to see something particular. There’s a plan-your-visit page (here) on the museum’s website which includes floor-plans and all sorts of useful information that I wish I had known of, before visiting myself!

All information on selected items is quoted from the museum’s section/object labels & credit panels ~ Οι πληροφορίες σε επιλεγμένα αντικείμενα/φωτογραφίες είναι ακριβείς παραθέσεις από τις ταμπέλες των εκθεμάτων.
*images by Athina D. Pantazatou for Kicking Back the Pebbles

This summer, in 10 posts: post 3 {Boston}

The Museum of Fine Arts, part 1

So after touring Athens from end of July till mid-August, we were on the road again –or should I say “in the air” again– and flew to the US to visit family in one of my favourite cities in the world: Boston. While there, we roved through some very interesting staples and if you had been following me on IG at the time {http://instagram.com/kickingbackthepebbles}, you may have caught a “live tour” around the city. Here’s a more detailed account of what we’ve been up to: first stop the Museum of Fine Arts.

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Bass Drum. Boston Massachusetts, about 1815. Made by Frederick Lane (American, 1791-1865). Ash, calfskin. Drums were essential signaling equipment for militia units in all early American towns. Records provided by the selectmen of Alna, Maine, indicate that a bass drum -quite possibly this one- was purchased for that towns militia company in September 1820. The painted eagle and shield on this drum are typical decorations. Musical Instrument Gallery (Gallery 103D).

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Music Glasses (armonica). Probably Germany, early 19th century. Mahogany, lead glass. Invented by Benjamin Franklin in about 1761, the armonica consists of a set of granulated glass bowls mounted concentrically on an axle and rotated by means of a foot pedal and flywheel. When the player lightly touches the moving glass rims with moistened fingers, the instrument produces an unusual, ethereal tone. Mozart and Beethoven wrote pieces for this instrument, which was briefly in vogue in both Europe and America. Musical Instrument Gallery (Gallery 103D).

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The museum was founded in 1870 and opened in 1876. It was originally located in a brick Gothic Revival building on Copley Square. In 1907, plans were laid to build a new home for the museum on Huntington Avenue. Museum trustees hired architect Guy Lowell to create a master plan for the museum that could be built in stages as funding was obtained for each phase. In 1909, the first section was completed; it featured a 500-foot (150 m) facade of cut granite along Huntington Avenue, the Grand Rotunda, and the associated exhibition galleries. The museum moved in later that year. In the second phase of the construction a wing was built along the Back Bay Fens to house painting galleries. It opened in 1915. From 1916 through 1925, John Singer Sargent created the art that lines the Rotunda and the associated colonnade. Numerous additions/wings enlarged the building throughout the years. In the mid-2000s, the museum launched a major effort to renovate and expand its facilities. The work included a new Art of the Americas Wing that shows art from North, South, and Central America. Ultimately, the project added 133,500 square feet (12,400 m2) of space, enlarging the building by 28%. The Stairway leading to the Grand Rotunda & the Rotunda Dome can be seen below…
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This is a “true” close-up shot of the Dome, while looking straight up…
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…and this is a shot through the horizontal mirror that’s installed at the center of the ground floor reflecting the Dome, from down below!
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And then we got lost -both literally & metaphorically- for hours on end, through the innumerable galleries…

Elephant goad. South India, Nayaka period, probably early 17th century. Steel. In India, elephants are symbols of royal splendor, the preferred mounts of gods and kings. Almost every surface of this extraordinary goad -an implement for steering elephants- is covered with mythical creatures, earthly animals and gods. It was surely commissioned by royalty, who would have carried it during a courtly procession. Corridor between Islamic Gallery and Huntington Lobby ( 183).

Ανάμεσα στα αμέτρητα εκθέματα που μου τράβηξαν την προσοχή, το παρακάτω Συριακό κηροπήγιο με άφησε ακόμα πιο άφωνη όταν διάβασα το ταμπελάκι με τις πληροφορίες: είναι διακοσμημένο με δύο τύπους αραβικής καλλιγραφικής γραφής, τη γωνιώδη κουφική γραφή και τη μεταγενέστερη, πιο στρογγυλεμένη και κυρτή, νάσκι αλλά και με αναπαραστάσεις των Ελλήνων Ολύμπιων θεών, καθώς και με τα σύμβολα των ζωδίων!!! Ο πολυπολιτισμικός χαρακτήρας της εποχής (το κηροπήγιο χρονολογείται περίπου γύρω στο 1250) αντικατοπτρισμένος σε ένα αντικείμενο, σε βάζει σε σκέψεις!

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Candlestick. Syria, about 1250. Brass incised and inlaid with silver and copper. Arabic calligraphy encircles the body of this candlestick, offering wishes of wealth, power and good fortune to the candlestick’s owner, sentiments that often appear on works of Islamic art. The artist used two different styles of script: angular Kufic above and shapely Naskh below. Between the calligraphic bands are large roundels depicting classical Greek gods [!!!] and symbols of the zodiac. Islamic Gallery (Gallery 175).

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Commemorative head of an Oba. Late 16th century. Copper alloy, iron. When the Oba [king] joins the ancestors, his senior son succeeds him. To honor his father and celebrate his accomplishments, historically the new Oba would commission a bronze head representing ideal kingship.  The heads were part of an ancestral altar ensemble in the palace and supported decorated ivory tusks —a valuable material associated with royal power. Through rituals and sacrifices at the altar the living monarch communicated with the royal ancestors and assured the well-being of the kingdom. Benin Kingdom Gallery (Gallery 172).

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Drinking cup in the shape of a fist. Central Turkey, Hittite, probably reign of Tudhaliyas Ill, about 1400-1380 BC. Silver. Surviving Hittite objects in precious metal are very rare. This cup was evidently used for rituals connected with the weather god, Tarhuna, who appears holding a bull in the frieze around the rim. The named donor of the cup was “Great King Tudhaliyas,” who is shown leading priests and musicians from a city over a mountain, personified as a human figure covered with leaves. The fist shape probably evoked a Hittite hieroglyph meaning “strength,” and the cup may have been presented to the god so that he would grant strength to the royal donor when the contents were drunk. Ancient Near East Gallery (Gallery 110).

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Libation bowl. Inscription: The sons of Kypselos dedicated [this bowl] from Heraclea. Greek, said to have been found at Olympia. Archaic period, 7th century BC. Gold. This bowl is an example of an extremely valuable offering made at Olympia. According to the inscription, it was dedicated by the ruling family of Corinth. Most precious offerings of this kind were later looted. Greek Archaic Gallery (Gallery 113).

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Bowl. Iran (Kashan), late 12th-early 13th centuries. Stonepaste body; overglaze decoration. The most common form of enameled ceramic is a bowl decorated with figures in the center. The figures are often grouped in scenes showing hunting, enthronements and lovers. This one appears to depict the hero Feridun (who carries an ox-headed mace) surrounded by his court. Islamic Gallery (Gallery 175).

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[From left to right] •Mask (bikeghe). Fang peoples. Gabon, 20th century. Wood, pigment. Masks such as this one were part of Fang rituals initiating young men into adulthood and also appeared on other ceremonial occasions —the community called upon them for protection in times of crisis. •Helmet mask (lipiko). Makonde peoples, Tanzania or Mozambique, 20th century. Wood, hair, pigment. Mapiko (singular: lipiko) is the name for male helmet masks and female face masks worn during initiation festivals. This male mask of thin, lightweight wood has naturalistic features and eyebrows and coiffure inlaid with human hair. In performance the costumed dancer looked through the small mouth opening. Masquerade and figurative carving traditions are rare in eastern and southern Africa, the area where this mask comes from. •Double mask (enyi ima). Eket people, Nigeria, 19th-early 20th centuries. Wood, pigment. Members of the Ekong society, wearing enyi ima masks, appear at funerals and entertain during agricultural festivals and other celebrations. Studies by researchers suggest that the masks’ round shape may reference the moon, thought to be the creator goddess in Eket belief. Double masks such as this one are rare. Richard B. Carter Gallery (Gallery 171).

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Altar (asen). Fon peoples, Republic of Benin, late 19th-early 20th centuries. Iron, pigment. Forged iron staffs, called altars, served as memorials to the dead family shrines. This work comes from Quidah, an important coastal trading town with close connections to Europe. The platform tableau consists of a central figure —a well-to-do gentleman with a European top hat and a pipe— seated on a Chippendale chair before a table arrayed with glass containers and flanked by sacrificial animals, flags and a cross. This altar attests to the linkages of the African coast with Europe and other parts of the world the creative adoption of foreign elements into the local visual repertoire. Richard B. Carter Gallery (Gallery 171).

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Beadnet dress, 2551–2528 BC. Depictions of women in Egyptian art occasionally feature garments decorated with an overall lozenge pattern. This design is believed to represent beadwork, which was either sewn onto a linen dress or worked into a separate net worn over the linen. This beadnet dress is the earliest surviving example of such a garment. It has been painstakingly reassembled from approximately seven thousand beads found in an undisturbed burial of a female contemporary of King Khufu. Although their string had disintegrated, a few beads still lay in their original pattern on and around the mummy, permitting an accurate reconstruction. The color of the beads has faded, but the beadnet was originally blue and blue green in imitation of lapis lazuli and turquoise. Egypt: Old Kingdom Funerary Arts Gallery (Gallery 105B).

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Oh, well… I kind of wanted to leave with that dress —and I couldn’t care less if it had been worn by a mummy!!
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Το Μουσείο Καλών Τεχνών της Βοστώνης στη Μασαχουσέτη, είναι ένα από τα μεγαλύτερα μουσεία των Ηνωμένων Πολιτείων. Ιδρύθηκε το 1870 και λειτούργησε το 1876. Στεγαζόταν αρχικά σε ένα κτήριο στην πλατεία Copley αλλά το 1907, υπήρξαν οι πρώτες σκέψεις για ένα καινούργιο κτήριο στη λεωφόρο Huntington. Οι διαχειριστές του Μουσείου προσέλαβαν τον  αρχιτέκτονα Guy Lowell για να δημιουργήσει ένα σχέδιο που θα επέτρεπε στο μουσείο να κατασκευαστεί σε στάδια, ούτως ώστε να εξασφαλίζονται οι χρηματοδοτήσεις που θα απαιτούνταν για την κάθε φάση. Το 1909 ολοκληρώθηκε το πρώτο τμήμα, που περιελάμβανε την 150 μέτρων, γρανιτένια πρόσοψη κατά μήκος της Huntington Avenue, τη Μεγάλη Ροτόντα [φωτό. 6,7 & 8] και συναφείς εκθεσιακούς χώρους. Το μουσείο μεταφέρθηκε από την πλατεία Copley αργότερα εκείνο το έτος. H δεύτερη φάση της κατασκευής περιελάμβανε πτέρυγα κατά μήκος του πάρκου Back Bay Fens που στεγάσε γκαλερί ζωγραφικής και άνοιξε το 1915. Από το 1916 μέχρι το 1925, ο διάσημος Αμερικανός ζωγράφος John Singer Sargent φιλοτέχνησε την Ροτόντα. Με την πάροδο των χρόνων το μουσείο διευρύνθηκε. Στα μέσα της δεκαετίας του 2000,  ξεκίνησε μια μεγάλη προσπάθεια για να ανακαινιστεί και να επεκταθούν περαιτέρω οι εγκαταστάσεις του. Τελικά, προστέθηκαν συνολικά 12.400 τετραγωνικά μέτρα (ανάμεσα τους και η πτέρυγα Εγγενούς Αμερικανικής Τέχνης με συλλογές από τη Βόρεια, Νότια και Κεντρική Αμερική) διευρύνοντας το κτήριο κατά 28%. Σήμερα το μουσείο περιλαμβάνει αμέτρητες μόνιμες συλλογές ανεπτυγμένες σε αναρίθμητες αίθουσες {Αμερικανικής Τέχνης, Ευρωπαϊκής, Ασιατικής, Τέχνες της Αφρικής & της Ωκεανίας, Τέχνες της Αρχαιότητας —με πάνω από 83.000 έργα από την αρχαία Αίγυπτο, τη Νουβία, την Ελλάδα, την Ιταλία, την Κύπρο & την Ανατολία, από το 6500 π.Χ. έως το 600 μ.Χ. από τη Βρετανία μέχρι το Αφγανιστάν— τη συλλογή Σύγχρονης Τέχνης, Φωτογραφίας, Χαρακτικών & Σχεδίων, Μουσικών Οργάνων, Υφασμάτων & Μόδας, Κοσμημάτων κ.ά.}, δύο βιβλιοθήκες και πάνω από 450.000 εκθέματα. Επισκεφθείτε το στο http://www.mfa.org/

All information on selected items is quoted from the museum’s section/object labels & credit panels ~ Οι πληροφορίες σε επιλεγμένα αντικείμενα/φωτογραφίες είναι ακριβείς παραθέσεις από τις ταμπέλες των εκθεμάτων.
*images by Athina D. Pantazatou for Kicking Back the Pebbles