The custom of creating death masks of important figures became especially popular in the 19th century, although the very tradition of creating such likenesses can be traced back to ancient Rome, where wax casts of the emperor’s face (effigies) were presented for public viewing. According to common practice...
According to the legend of the beginnings of nō, the Okina mask fell from the sky, which confirms its extra-terrestrial origin (it is assumed that the nō theatre has its origins in secret ceremonies, to which only men were admitted). The stone, which marks the spot where it fell to earth — called the grave of the mask — today stands in the village of Kawanishi.
One of some one hundred figures made during Althamer’s project Almech at the Deutsche Guggenheim. From his father’s plastics-manufacturing company, the artist transferred some machines to the gallery. The exhibition space was turned into a sculptor’s studio, where factory machines and molten plastic poured over a metal frame replaced chisel and marble.
A mask in the nō theatre is a privilege on the one hand, and a restriction on the other. Its donning is accompanied by a special ritual, which always takes place in the mirror room, off stage; the actor enters dressed in costume. Accepting the mask — the new identity — is the last and most important element of embodying the character. Earlier, the actor bows to the mask, to express his respect to the ancestors who had donned it before.
In Jadwiga Sawicka’s works, individual objects and phenomena appear belonging to everyday life, as well as words and phrases taken out of context, from newspapers, commercials or electronic media. Items of clothing, such as a shirt, trousers, skirt, gloves, and a jacket assume the painted form of a simplified, monochromatic image of clothing, having no particular features; they become more concrete while being photographed. In a series of photos from 1997, presenting casual clothing separately, they are captured on a uniform background of plastic foil and artificial leather: a leather coat, a colourful dress, a suit, trousers, a bathing suit.
“Pseudo-mummy”, formed of Nile silt mixed with resin and germinating seeds, molded and then wrapped in linen bandages. Silver mask with traces of gilding in the place of the face. Eyes marked with drawn out corners, eyebrows painted brown, small nose and prominent ears. The crown of Upper Egypt on its head and a hole for the beard in the chin. Silver masks, unlike the waxen ones, are extremely rare in this kind of objects.
On 8 October 1905 in Cukiernia Lwowska Jana Michalika (a Lviv Confectionery run by Jan Michalik) the first performance of the Green Balloon cabaret was staged. The name of the cabaret arose by accident. After one of the meetings of ”the painter’s table”, where the idea of the cabaret originated, the artists saw a boy with a bunch of green balloons on Floriańska Street and then someone said: “That is our name: «Green Balloon»!”.
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).
On 8 October 1905 in Cukiernia Lwowska Jana Michalika [a Lviv Confectionery run by Jan Michalik] the first performance of the Green Balloon cabaret was staged. The name of the cabaret arose by accident. After one of the meetings of ”the painter’s table”, where the idea of the cabaret originated, the artists saw a boy with a bunch of green balloons on Floriańska Street and then someone said: “That is our name: «Green Balloon»!”.
Few mementoes and works of art directly associated with Karol Szymanowski have been preserved to this day. Therefore, the posthumous mask makes for quite a unique document. Suffering from tuberculosis, Szymanowski died in Le Signal hospital in Lausanne. The mask was made right after his death by a Swiss sculptor, Lucien Jules Delerse.
The gilded cartonnage was found during the excavations conducted in 1907 in el-Gamhud by the first Polish Egyptologist, Tadeusz Smoleński. The openwork cartonnage is made up of several layers of linen stuck together. On the front and on the reverse, chalk undercoat was placed as the base for polychrome.
The monument to Mickiewicz which was unveiled in Kraków in 1889 was not the only honour given to the poet after his death. Over the 34 years that passed since the 26th of November 1855 (the date of his death), the poet’s body and his person, reproduced in depictions and photographs, was idealised. With time, it became less and less similar to the original. It entered the sphere of myth and interpretation.