The presented object is a grinder of a woolly mammoth (Mammuthus Primigenius) – an extinct herbivorous mammal of the elephantine family.
Reconstruction of an open grave. By the manner of painting, the artist has emphasised the emotive quality of the represention of a post mortem.
Ichthyosaurs were sea reptiles which evolved in the Middle Triassic, reached the peak of their development in the Jurassic, and became extinct in the Upper Cretaceous. The presented skeleton of an ichthyosaur Ichthyosaurus communis was preserved in slates.
When dying of breast cancer in the sanatorium of Praz-Coutant in France, Szapocznikow was at the age of 47. The cancer first appeared at the beginning of 1969. She underwent successful surgery and therapy, and introduced the theme of illness into her art.
Seductive Salome, as a symbol of a femme fatale, became a character of numerous paintings, sculptures, literary and musical works. She excited the imagination of artists, especially in the decadent period of fin de siècle, when possessive and lethal femininity constituted one of the most important motifs in art.
Is it possible to dry a body in a herbarium? I will ask more expressively: Is it possible to dry a living body in a herbarium? Or even more clearly: Is it possible to dry the body of your own adolescent son in a herbarium?
Pomalowana na czarno szafka służyła do przechowywania w aptece leków o silnym działaniu. Zwykle na takiej szafie umieszczano napis Venena (łac. veneum — trucizna) oraz malowano symbole czaszki i skrzyżowanych piszczeli. Na drzwiach prezentowanej szafki zostały wymalowane białą farbą...
Although today chocolate is associated mainly with pleasure, a pleasure that can be denied to oneself while watching one’s weight or Lent fasting, it used to be recommended by priests during fast days. In the 18th century, together with coffee, chocolate was quite present in pharmacies, used in medicinal mixtures and was approved as a cure for rheumatism and even as a treatment for sore throats.
Tibetan medicine is characterised by a holistic approach. It uses the practice of Buddhist tantras, based on the “Four Medical Tantras”. This is predicated on the belief that everything that exists is a manifestation of one being. Imbalance of one element entails the disease of the entire organism.
The tin mug has a profiled base and bottom part of the body; slightly expanded at the top. The vessel is devoid of decorations.
The porcelain perfume bottle has the form of a bulky, short-necked decanter with no stopper. The upper side of the bottle is decorated with an ornament composed of stylized acanthus leaves, with traces of gilding.
The brass snuffbox has the form of a round pouncet-box. On the lid of the snuffbox, there is a tondo with a miniature portrait of a girl painted with gouache on a sheet of metal by Jan Matejko. The girl, captured en trois quarts, is wearing a blue dress with cleavage and a lace trim...
A container in the shape of a human hand clenched into a fist, intended for storing snuff. It is made of oak, with a rectangular hollowed-out interior, covered with a thin lid. The plate of the lid is mounted on the wrist part with a leather hinge. It is finished with a ledge, which was used to raise the lid with a fingernail. The snuffbox is finished with dark brown French polish.
The image of an unknown young woman is an example of a coffin portrait: a special genre of portraits that emerged in close relation with the funeral customs in the Baroque period.
The AES+F group shows dead bodies dressed in ballroom finery. The dramatic content is emphasised by using f life-size photographs, made all the more realistic by being displayed in lightboxes. The human fear of passing away is hidden behind obsessive adornment of the body. Death is presented in its “luxury” version which, despite all efforts, only serves to emphasize the deadness of the corpse. The series Défilé consists of 7 photographs in lightboxes. Film with the photographic prints has been glued to Plexi and placed in aluminium boxes, lit from behind.
The AES+F group shows dead bodies dressed in ballroom finery. The dramatic content is emphasised by using life-size photographs, made all the more realistic by being displayed in lightboxes. The human fear of passing away is hidden behind obsessive adornment of the body. Death is presented in its “luxury” version which, despite all efforts, only serves to emphasize the deadness of the corpse. The series Défilé consists of 7 photographs in lightboxes. Film with the photographic prints has been glued to Plexi and placed in aluminium boxes, lit from behind.
In the classic Japanese nō theatre, masks are the most important accessories of the leading actor shite. With these masks, an actor is able to impersonate characters of both real and imaginary worlds (e.g. a warrior, a young woman, an old man, as well as a demon, a god or a goddess, etc.). By putting on a mask, the character is transformed and the audience is able to discover their hidden secrets (e.g. the extraterrestrial origin of the character), or fierce feelings tormenting them (sorrow, envy, madness).
A fragment of a clay leg preserved in the form of a bare, right foot. Visible toes marked with short cuts. On the inner side, under the heel, below engraved lines, six short, diagonal lines are visible. The foot is slightly bent inwards; it is narrower at the heel and it widens towards curving arranged fingers.