Sacred and Stolen is the memoir of an art museum director with the courage to reveal what goes on behind the scenes. Gary Vikan lays bare the messy underbelly of museum life: looted antiquities, crooked dealers, deluded collectors, duplicitous public officials, fakes, inside thefts, bribery, and failed exhibitions. These backstories, at once shocking and comical, reveal a man with a taste for adventure, an eagerness to fan the flames of excitement, and comfort with the chaos that often ensued. A Minnesota kid who started out as a printer’s devil in his father’s small-town newspaper, Vikan ended up as the director of The Walters Art Museum, a gem of a museum in Baltimore. Sacred and Stolen reveals his quest to bring the “holy” into the museum experience as he struggles to reconcile his passion for acquiring sacred works of art with his suspicion that they were stolen. The cast of characters in his many adventures include the elegant French oil heiress, Dominique de Menil, the notorious Turkish smuggler, Aydin Dikmen, his slippery Dutch dealer, Michel van Rijn, the inscrutable and implacable Patriarchs of Ethiopia and Georgia, and the charismatic President of Georgia, Eduard Shevardnadze—along with a mysterious thief of a gorgeous Renoir painting missing from a museum for over sixty years. When the painting suddenly shows up, it’s Vikan who tracks down the culprit. In his afterword Vikan explains his coming to grips with the realities of art dealing in our present dangerous world that includes the fanatical iconoclasm of the Islamic State. We know of the violent destruction and looting of precious treasures of antiquity and unscrupulous black market art dealers who take advantage of international conflicts to possess them. Sacred and Stolen is a truly eye-opening account of art dealing in the modern world.
These sculptures reflect the Blisses' wide-ranging tastes and extraordinary connoisseurship. About a quarter are Greco-Roman; nearly two-thirds of the rest are Late Antique, mostly limestone carvings from Early Byzantine Egypt. Sculpture from the Middle Byzantine period is very rare, making the four pieces in this collection especially significant.
Graceland is much more than a wildly popular historic house and tourist destination associated with a famous entertainer, and Elvis Presley is much more than the King of Rock ‘n’ Roll. As former Walters Art Museum director and medievalist Gary Vikan shows us in his fascinating new book, Graceland, the second-most visited historic house in the U.S., is a locus sanctus —a holy place—and Elvis is its resident saint, while the hordes of fans that crowd Elvis Presley Boulevard in Memphis are modern-day pilgrims, connected in spirit and practice to their early Christian counterparts, sharing a fascination for icons and iconography, relics, souvenirs, votives, and even a belief in miracles. Vikan reveals the emergence of contemporary holy places—Ground Zero in Lower Manhattan, the Lorraine Motel in Memphis, the Grassy Knoll in Dallas, Place de l’Alma in Paris—and shows us that the saints of our day are our “martyred” secular charismatics, from Elvis to John F. Kennedy, Princess Diana, Michael Jackson, and others.
Sacred and Stolen is the memoir of an art museum director with the courage to reveal what goes on behind the scenes. Gary Vikan lays bare the messy underbelly of museum life: looted antiquities, crooked dealers, deluded collectors, duplicitous public officials, fakes, inside thefts, bribery, and failed exhibitions. These backstories, at once shocking and comical, reveal a man with a taste for adventure, an eagerness to fan the flames of excitement, and comfort with the chaos that often ensued. A Minnesota kid who started out as a printer’s devil in his father’s small-town newspaper, Vikan ended up as the director of The Walters Art Museum, a gem of a museum in Baltimore. Sacred and Stolen reveals his quest to bring the “holy” into the museum experience as he struggles to reconcile his passion for acquiring sacred works of art with his suspicion that they were stolen. The cast of characters in his many adventures include the elegant French oil heiress, Dominique de Menil, the notorious Turkish smuggler, Aydin Dikmen, his slippery Dutch dealer, Michel van Rijn, the inscrutable and implacable Patriarchs of Ethiopia and Georgia, and the charismatic President of Georgia, Eduard Shevardnadze—along with a mysterious thief of a gorgeous Renoir painting missing from a museum for over sixty years. When the painting suddenly shows up, it’s Vikan who tracks down the culprit. In his afterword Vikan explains his coming to grips with the realities of art dealing in our present dangerous world that includes the fanatical iconoclasm of the Islamic State. We know of the violent destruction and looting of precious treasures of antiquity and unscrupulous black market art dealers who take advantage of international conflicts to possess them. Sacred and Stolen is a truly eye-opening account of art dealing in the modern world.
In these studies Gary Vikan has opened new perspectives on the daily life and material culture of Late Antiquity - more specifically, on icons and relics, and on objects revealing of the world of pilgrimage, the early cult of saints, and marriage. He contextualizes these familiar categories of object in the patterns of belief and ritual extracted from contemporary texts and the objects themselves, in order to understand their meaning within the everyday lives of those by whom and for whom they were made. The studies give a nuanced delineation of the inherently ambiguous boundary between conventional religion and magic, noting repeatedly those instances wherein the two are invoked in the same breath (and by way of the same art object), toward the same end. From this historically constructed matrix of art, belief, and ritual, the author derives an anthropologically defined paradigm of charisma and pilgrimage (applied in one essay, as an intriguing parallel, to deconstructing the world of a contemporary secular "saint," Elvis Presley).
With more than 10,000 species that vary in size, use diverse habitats that extend across latitudes and altitudes, consume a wide variety of food items, differ in how they fly (or not), communicate, and reproduce, and have different life histories, birds exhibit remarkable variation in form (anatomy) and function (physiology). Our understanding of how natural selection has generated this variation as birds evolved and as different species adapted to their unique circumstances has grown considerably in recent years. In In a Class of Their Own: A Detailed Examination of Avian Forms and Functions, this variation is explained in great detail, beginning with an overview of avian evolution and continuing with information about the structure and function of the avian skeleton, muscles, and the various body systems. Other chapters focus on avian locomotion (including flight), migration, navigation, communication, energy balance and thermoregulation, and various aspects of avian reproduction, such as nests and nest building, clutch sizes, and parental care. In a Class of Their Own: A Detailed Examination of Avian Forms and Functions will be must reading for anyone, professional or non-professional, who needs or wants to learn more about birds.
These sculptures reflect the Blisses' wide-ranging tastes and extraordinary connoisseurship. About a quarter are Greco-Roman; nearly two-thirds of the rest are Late Antique, mostly limestone carvings from Early Byzantine Egypt. Sculpture from the Middle Byzantine period is very rare, making the four pieces in this collection especially significant.
Gary Vikan examines the portable artifacts of eastern Mediterranean pilgrimage from the 5th to the 7th century, presenting them in the context of contemporary pilgrim's texts & the archaeology of sacred sites.
In these studies Gary Vikan has opened new perspectives on the daily life and material culture of Late Antiquity - more specifically, on icons and relics, and on objects revealing of the world of pilgrimage, the early cult of saints, and marriage. He contextualizes these familiar categories of object in the patterns of belief and ritual extracted from contemporary texts and the objects themselves, in order to understand their meaning within the everyday lives of those by whom and for whom they were made. The studies give a nuanced delineation of the inherently ambiguous boundary between conventional religion and magic, noting repeatedly those instances wherein the two are invoked in the same breath (and by way of the same art object), toward the same end. From this historically constructed matrix of art, belief, and ritual, the author derives an anthropologically defined paradigm of charisma and pilgrimage (applied in one essay, as an intriguing parallel, to deconstructing the world of a contemporary secular "saint," Elvis Presley).
Graceland is much more than a wildly popular historic house and tourist destination associated with a famous entertainer, and Elvis Presley is much more than the King of Rock ‘n’ Roll. As former Walters Art Museum director and medievalist Gary Vikan shows us in his fascinating new book, Graceland, the second-most visited historic house in the U.S., is a locus sanctus —a holy place—and Elvis is its resident saint, while the hordes of fans that crowd Elvis Presley Boulevard in Memphis are modern-day pilgrims, connected in spirit and practice to their early Christian counterparts, sharing a fascination for icons and iconography, relics, souvenirs, votives, and even a belief in miracles. Vikan reveals the emergence of contemporary holy places—Ground Zero in Lower Manhattan, the Lorraine Motel in Memphis, the Grassy Knoll in Dallas, Place de l’Alma in Paris—and shows us that the saints of our day are our “martyred” secular charismatics, from Elvis to John F. Kennedy, Princess Diana, Michael Jackson, and others.
Papers of the Symposium Held May 16-18, 1986, at the Walters Art Gallery, Baltimore, and Dumbarton Oaks, Washington, D.C., Organized by Susan A. Boyd, Marlia Mundell Mango, and Gary Vikan
Papers of the Symposium Held May 16-18, 1986, at the Walters Art Gallery, Baltimore, and Dumbarton Oaks, Washington, D.C., Organized by Susan A. Boyd, Marlia Mundell Mango, and Gary Vikan
The twenty papers included in this volume were presented at an international symposium held in Baltimore and Washington in May, 1986. Planned to coincide with the exhibition of the two largest treasures of Early Byzantine church silver to survive from antiquity, the Kaper Koraon Treasure (found in Syria) and the Sion Treasure (found in Turkey), the symposium sought to place these and other church treasures in their broader contexts examining them from the point of view of economy, history, society, and manufacture. While a number of the papers focus on specific aspects of these two treasures--including six articles devoted to the Sion Treasure--others examine more general questions regarding silver mining, the manufacture of silver vessels, the state control of silver in Byzantium and the Sasanian Empire, the economic and cultural role of silver objects, and the financial power of the institutional church through its vast holdings of silver plate. The precedent offered by pagan cult treasures is also examined. To ensure a broad interdisciplinary approach, the eighteen authors are authorities in the fields of government administration, economic history, cultural history, art history, archaeology, epigraphy, science and conservation.
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