For convenience, read part 1 and part 2.

There is little known about the bird lady from the archeological point of view, nor would one infer much conclusions from a tried observation. When Henri de Morgan in the winter of 1906-1907 found the Terra-cotta statue from a tomb at El Ma'mariya, he did not record much about the excavation procedure, nor the tomb specifics. So There is even no consensus on what we should call her. Bird lady is possibly a pure invention our of one's imagination, but the name fits her well, or should we say in another way that the name does not matter here?

So far, I have heard three different versons of the possible meaning/purpose of the figurine. 

Ann Russmann, the curator, linked her with a pottery vessel from Naqada II period, which also bears a female figure whose arms sweep up like a bird. Because of her prominent proportion compared to the male figure next to her, Ann concluded she must be a goddess although the function is unclear. But the larger-than usual head of the female painted on the vessel is a clear statement that she has blossoming hairs. The bead head of the statue, on the contrary, with some rezin painted in black in a suggestive manner, looks more like from a bird.

Yekaterina Barbash, another curator of Egyptian Art compared her gesture with the funeral mourning convention. It is natural to think a mourner figurine would find her niche in a tomb. But from the available paintings, mourning women ususally pull their hands close in front of the faces or above the heads. In neither position will one see the arms wide open like a bird ready to fly.

The third version is from the book "The Egyptians" by Cyril Aldred published by Thames & Hudson (ISBN 0-500-28036-3). Cyril takes the note that she is wearing a long white skirt as the evidence of dancing. He even suggested the dance may be inspired by the bird-mating since the arms have an unusual upward mometum. With this assumption, he suggested that the fingurine may have magic fertility functions.

I have found none of the inferences totally convincing, nevertheless the figurine is and deserves to be the highlight among all wonderful Egyptian collections in the Brooklyn Museum. 

Unlike the later dynastic Egyptian period when statues are as strict as canonical paintings, the early artworks is from minds of great freedom. In my mind, her slim waist, wide buttock, bead head and peg-like legs connect directly to the spirit of Henry Moore where the rhythms of curves are as expressive and informative as the objects themselves. The arms that intrigues and ponders so many scholars and visitors break the abstract austerity with an unusual curve: bold, dynamic yet still elegant. Could she be just carrying some burden for the deceased? Or maybe the upward arms is a symbol of resurrection? I wondered.

Such artworks may seem too primitive for some visitors who praise the French academy or Roman statues. But the great art always bears some sort of unsolvable mystery as charming as Mona Lisa's smile. It brings unexpected rewards to those who frequent observe them with fresh eyes. And those who have done that enjoy the same degree of happiness as the kids treasure in a magic land. For example, although breasts are made crude and possibly modeled after the body part was completed, the highest point of the figurine -- the fingers -- are beautifully indicated with carefully aligned straight lines. Then as one looks at them and may even try to imitate the movement, here comes the surprise: The thumbs, which are supposed to be in the back in reality when arms reach high in the air, are curiously modeled in the front. Could it a result of ignorance or bluntness of the artist? Or maybe he meant to show us the thumbs in the front view? I don't know.

More than 5000 years have passed, standing quiet in a glass case, its unconventionality still challenges what we see and push us back to re-examine the seemingly gap between avant guard and antiquity.

The 1865 funeral of Seabury Tredwell in the Merchant's House Museum's is just one of the fall events that are sure to give a sense of the more somber traditions of the past.

An Exhibition: A Mid-19th Century House in Mourning is on display through Nov. 11. Seabury Tredwell's funeral is recreated in the parlors as the Museum explores mid-19th century mourning customs. Ghost Tours of the Merchant's House take place on October 29 & 30 with a special Ghost story telling Halloween Evening.

And perhaps the highlight, Sunday's re-enactment of Seabury Tredwell's Funeral followed by a casket-walk to New York City Marble Cemetery where Mr. Tredwell was temporarily interred. MORE

Nov 1 is the first Saturday of the month and one day before the election. Naturally there is a documentary featuring topics related to election.

My favorite pick is Artist Jesper Just discusses the exhibition at 8PM. I can foresee the competition for 30 tickets will be fierce. But if you can make it, go to Brooklyn Museum at 7 and watch a few of his short movies before joining the discussion with him at 8PM. That sounds a perfect plan.

For more information, visit here.

Part 1 is here.

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Even though the market prices of American paintings have gone record high in the past decades, the American Barbizon school nowadays is less known in public and claims little spotlights in the major auction houses. Between the grand panoramic rendering of Hudson River School and exciting, bright-toned eye-candy of American Impressionism, the Barbizon school was short-lived and apparently less appealing to the general public. But these painters quietly testified the statement for the first time of American art history that landscape paintings are and should be subjective and personal. With the advent of early photography, it was not accidental that these painters gave up details in the canvases and opted for the more intangible -- that can only be shown indicatively and suggestively.

The way Albert Bierstadt or Edwin Church orchestrated the elements with exceptional details and minutiae to extricate dramatic settings challenge the eyes more than the minds. We see apocalyptic clouds, we see also the leaves of the foreground vegetations. All are given in a scientific exactness, all given are the God's garden in God's perspective.; however, what is missing is the room for the minds to roam around. There is a peculiar contrast between the immense scales of the canvases and the aloofness of human feelings. Here are we, the onlookers at the mercy of the splendid techniques of the painters., whose intricate compositions are of great intellectual, but again we do not and need not have the role of participation.

Then came the late Inness, whose canvases have nothing solid and everything seems to be floating and out of focus. The lack of focus points forces the eyes to view the canvases in the whole, which were usually painted in a unified hue. Henry Ward Ranger started the painting with a special brownish varnish to which he attributed the magic glow inhis autumnal landscapes. Other painters like Dwight Tryon or John Francis Murphy used limited pallet with subdued colors. Quite often, the picture is medium dark, almost bordering murkiness. In viewing these pictures, the consciousness of audience has naturally changed from grasping what is offered in Hudson River school paintings to examine what can be explored in Barbizon paintings; in other words, our minds search instead of catch.

Such an ironic comparison can also be applied to infer the difference between Barbizon school and its succeeder - Impressionism. I have been fond of Impressionism and find that the best impressionistic paintings do not suppress the proactive thinking, the take-charge initiative from the audience by their pure visual pleasure. Too often, I have seen some modern Impressionism paintings with brilliant broken colors, or complimentary excitement; but there is nothing evocative beyond that point. And quite often the eyes get exhausted after experiencing a kaleidoscopic showcase of color range.

If the reduced color pallet and muted darkened tones in Barbizon paintings intrigue us into the depth of the canvas and the whole effect of the suggestive moods, then the typical subjects that are chosen by these group of painters bring us an infinite degrees of intimacy. Instead of the bird view of the grandeur that is supposed to be only enjoyed by the God, a closely acquainted or familiar scenes are frequently painted by Ranger, Tryon, and Murphy, etc. There are deep woods where we have trotted; or the brook that quenches both the cattles and travelers. The marshland of Murphy's paintings reminds the New Yorkers the nature of Long Island; while the old Church under the brush of Henry Golden Dearth stands for our unpretentious daily life. But contrary to the Impressionists, who preferred strong lightand shadow, Barbizon school would find its ideal in dusks or evenings when even the mundane objects bear a touch of tenderness or nostalgia. It is true that the foreground is most likely to be all muddily indistinguishable; yet the remains of the light is at once mysterious and momentary but also recalls something eternal and recurrent in one's subconsciousness. The profound sentimentality springs out when the unvarying surroundings take a softer form that combines the ordinary and the accustomed with the unanticipated. We've seen the trees growing taller as the sun sinks off the horizon, but only under the brush of the Barbizon painters do we really behold and enjoy the beauty of such sunset. In front of such paintings, we are encouraged to perceive out of the vagueness and to seek deeply into our profound memory because of the tendered moods, the suggestive brush strokes and the routine scenery which we think we know from the heart and which surprises us when filtered through painters' eyes.

In someway, Inness and his followers painted with a continuum of pianissimo. It is said: When volumes of the sounds are toned down, we hear our own internal echos, in a definite resonant.

Keep reading part 3 here. 

From my few words to dealers, it seemed that things weren't so great in terms of sales last weekend at the Gramercy Antiques Show. One dealer had been coming for more than ten years, but this was probably the worst. This informal survey was confirmed by the fact that I was there twice, probably for some four hours and didn't notice anyone leaving with anything.

If you read Maine Antiques Digest, you might notice some bargains going through auction. One example in the most recent issue is a Philadelphia Chippendale Chair, estimated at three times its selling price. A Belter table, one that would hve brought $20,000 or more a few years back, went for $8,000.

That the mid-market isn't good isn't news. Now it seems even the high-end isn't so hot. Take for example the recent news from Sotheby's.

Have antiques just fallen out of favor? Perhaps for now. I do think low to mid-range buyers are squeezed in places like New York by housing costs. The trendy glass condo look has encouraged shopping at Ikea rather than a flea market or antique shop. At the mid to high end, especially in terms of American antiques, there's just not a good feeling about the country and its heritage right now, and aside from the economy, that's not helping. But as JP Morgan noted long ago about markets, whether they be finance or antiques, they will fluctuate.