Continuing our visit to the Minneapolis Institute of Arts, I photographed this stele – gravestone. The museum identifies the origin of the stele as the Kerameikos, tombs that sat just outside of the city of Athens. Like the Roman box in my last post, this is also marble, dated to the 5th century B.C.
Archive for the ‘Somewhere other than a cemetery’ Category
This Roman marble box is used to hold cremated remains. The Minneapolis Institute of Art dates the box to the 1st century and states that the inscriptions indicate the remains are that of a man and woman who were freed slaves.
I’m probably going to get back into this slowly, especially since my previous attempt to resurrect the blog didn’t take off.
Last year, I had the opportunity to attend an SCA event in Minneapolis, and I turned it into a long weekend including a trip to the Minneapolis Institute of Arts, where I found this.
It’s a funerary relief from Palmyra, and the informational text specifically mentions that this type of art is the primary form of sculpture we have from Roman Palmyra.
When you mention the Vietnam Veterans’ Memorial in Washington, D.C., most people think of the Wall. There was a lot of controversy concerning that memorial, so let me state that while I’m not showing it here, it is not because I dislike it. The Wall is powerful. But I’ve always been drawn to more literal depictions of things, rather than abstracts, so I wanted to take a moment to look at a second portion of the memorial – the statues of the three solders that stand near the etched roll of names.
On the way home this weekend, we made an impulsive stop at Antietam National Battlefield just outside Sharpsburg, Maryland. It was a whim, but we really couldn’t have picked a better time. Not only was there an artillery demonstration by a crew of re-enactors, but there was a textile display, and one of the central pieces was this quilt. It’s different from what I used to post about. The Pry Memory quilt was created when, following the battle, the Pry family moved to Tennessee. The signatures on the quilt blocks allowed the piece to be traced back to its origins.