David Lepeska’s Post

Larger-Than-Life - Q8 - Which imperatives do you employ in rendering your statues ? A8 -  A general perception of classical statuary is defined by the emblematic white marble relics in museums...visual deterioration incurred over time impact on a statues primary objective, which is communication...I render a complete iconography to maximise the gestural potential of a figurative composition.

🌿 Behind every preserved artifact is a team of unsung heroes: Conservators 🌿 Conservation is so much more than just restoring the past—it's about safeguarding our shared cultural heritage for future generations. Whether it's painstakingly repairing delicate textiles, stabilizing centuries-old manuscripts, or ensuring a historic painting survives another hundred years, the work of conservators is rooted in a deep respect for history and meticulous care. Their skill is not only technical but profoundly artistic. Using cutting-edge technology alongside ancient methods, they bridge the gap between the past and the future. Without their dedication, the stories told by the objects in museums, archives, and galleries might fade into obscurity. Let's take a moment to recognize the passion, patience, and precision that go into the preservation of history. The past isn’t just being remembered—it’s being protected. Grateful for the work conservation teams do every day to keep history alive👏 #ConservationMatters #CulturalHeritage #PreservingHistory #MuseumProfessionals #eminspost #eminmuseum #talktothemuseum

Their distinctive style, antiquity and presence in museum collections make them valuable objects of art in the contemporary world, but there has been speculation and debate regarding the original function of these stone dishes. Read this excerpt from MAP Academy's 'Encyclopedia of Art', in ThePrint #PageTurner

The idea that “art should be back to being beautiful” invites a return to the fundamental human connection with beauty—a quality that transcends trends, provokes inspiration, and resonates universally. Beauty in art does not merely mean surface aesthetics or perfection; it encompasses harmony, depth, and the power to evoke awe or contemplation. In recent times, much of contemporary art has leaned toward challenging, conceptual, or provocative expressions, often emphasizing intellectual engagement or societal critique over sensory or emotional appeal. While these forms have their place, the focus on beauty in art serves as a reminder of its ability to uplift, heal, and connect us to something greater than ourselves. Beauty can anchor us amid chaos, offering moments of solace or transcendence in an increasingly fragmented world. Revisiting beauty in art also embraces a diversity of forms and traditions—whether through a breathtaking painting, a haunting piece of music, or a theatrical performance that awakens the senses. It is not about regressing to outdated ideals but instead recognizing that beauty holds timeless relevance. It challenges artists to create works that invite audiences to pause, reflect, and feel deeply, offering a counterbalance to an overstimulated, distracted culture. To make art beautiful again is to prioritize craftsmanship, authenticity, and the pursuit of that ineffable quality that speaks directly to the soul. It encourages an artistic renaissance rooted in awe, wonder, and the universal human desire for connection. It hit a my core! #luchiestevez #artist #backtobeauty

From "Albion Passages" 2024: William Havlicek's paintings are in the permanent collections of: Smithsonian Czech & Slovak Museum, Cedar Rapids Art Museum, Laura Musser Museum & many private collections. #AlbionPassages2024UK I liken this work and others in this set to be like an essence distilled from multiple views and impressions from nature. An aromatic essence or perfume is made by distilling flowers and herbs into a fragrance made from real things. In this way, a perfume is not abstract (or beyond ones grasp) but in fact it is powerfully tangible and tactile. Paintings like mine are based on the natural world and made out of actual pigments extracted from the earth. My intention is to make works that are "more real" not less.

Thinking about the future: Going beyond high watchmaking. "Knowledge is the most precious asset of humanity, even though human beings often forget that. Any initiative whose goal is the preservation and sharing of this knowledge must be celebrated – especially when we are talking about two centennial institutions of the calibre of Vacheron Constantin and the Metropolitan Museum of Art." ____ #essentialalgarve #art #culture #globalart #knowledge #MetropolitanMuseumArt #VacheronConstantin #LouvreMuseum  (Co-financiamento: Cresc Algarve 2020, Portugal 2020 e União Europeia através do Fundo Europeu de Desenvolvimento Regional) #openmediagroup

It's always cool to see the work that my colleagues are doing across Canada, especially a museum which leans in to the advantages of replicas and replica-making! Kudos to USask's Museum of Antiquities for emphasizing the advantages of using replicas for education. https://lnkd.in/gj5MZiHw In my dissertation, I draw on a number of articles (including Erin Thompson's recent article, https://lnkd.in/gWH25gMY, and the work of Constanze Hampp and Stephan Schwan, https://lnkd.in/gGWeJi27) to discuss how replicas can be used in engagement and reconciliation. Understanding the value of replicas for museums is essential to restitution. Restitution is a main focus of many of the stories featured in the Museum of Looted Antiquities.

Vajrapani, the bearer of the thunderbolt, is a prominent figure in Buddhist iconography, consistently depicted alongside the Buddha in sculptures. His weapon, the vajra, is short, flattened, and bone-shaped, symbolising his role as a vigilant attendant and protector of the Master (according to some interpretations). Within the Gandhara School of Art, Vajrapani is portrayed as an inseparable companion of the Buddha, typically shown with a beard, though beardless depictions also exist. In the selected images today, Vajrapani is rendered in a more classically Grecian style, popular within the Gandhara tradition highlighting the variations (cool ones) of Buddhist art. FYI: The GANDHARA SCHOOL OF ART is a significant ancient Indian art style that emerged in the Gandhara region, present-day northwestern Pakistan and eastern Afghanistan. Flourishing between the 1st century BCE and the 5th century CE, it is renowned for its unique blend of Greco-Roman and Indian artistic traditions. Images: 1. Buddha And Vajrapani, Gandhara 2nd Century, photographed at Ostasiatische Kunst Museum, Germany. 2. Two Laymen, Buddha And Vajrapani, Gandhara 2nd Century, currently at the MET Museum, New York. (This depiction is also famous as “The Alms Gift of Dust”) 3. Frieze showing Buddha and Vajrapani flanked by ascetics, Gandhara 2nd to 3rd Century, currently at the British Museum. 4. Details from Image #3. Sources: https://lnkd.in/gRDGErxC https://lnkd.in/gmXamUty https://lnkd.in/g9ewxgHS

This clearly illustrates the next phase of repatriation and the consequences that will follow. I'll be interested to see what happens next here

New blog post! In this post, we discuss the process of taking apart museum habitat dioramas and how through detailed documentation, it is possible to still preserve their legacy Natural History Museum Denmark https://lnkd.in/dgryBnzM