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@kroksg
Rebecca Riel talks tapestries and “mapestries” and how she started her Etsy shop on the blog!  Â
“I had the idea to try to weave a map in the shape of my home province of Manitoba and suddenly people were asking to buy them. It started with friends and family but sort of organically grew into something else. Last fall, after much encouragement from loved ones, I gathered up the courage to open up an Etsy shop and haven’t looked back. That’s how Riel Finishings was born.”Â
Click here to read more
I will always be by your side <3
Elaborate Calendars in Medieval Books of Hours
Claudia Haines : 2018 Archival Scholar, University of Pittsburgh
Through the 2018 Archival Scholars Research Award, I have had the opportunity to do research with the Frick Fine Arts Library’s medieval manuscript facsimile collection, as well as with an authentic book of hours from ca. 1490 held in Special Collections at Hillman Library. Books of hours were hugely popular religious books containing prayers, psalms, hymns, and often elaborate illustrations, and during the Middle Ages they were often counted among people’s most prized possessions. One feature in particular I have noticed in nearly every book of hours I have studied is the calendar.
End of April / beginning of May (Book of hours: for liturgical use in Paris., University of Pittsburgh Special Collections)
In books of hours, calendars served the primary function of highlighting important saint’s days and other church holidays. The saints highlighted were typically those most revered in the region in which the book was used - in the book of hours I’m studying in the most depth, the vast majority of the saints listed are from France, more specifically Paris, which suggests that the book was first made and used there. Particularly important holidays were typically written in red, a practice which has led to the modern phrase “red-letter day.”
February - French saints listed here include Bridget (1st), Theodoire (7th), Iulien (12th), and Lucien (15th) (Book of hours: for liturgical use in Paris., University of Pittsburgh Special Collections)
Because of their elaborate illustration, books of hours were expensive, which meant that their calendars had to be re-used year after year. Consequently, medieval people determined the date using a system that would definitely be unfamiliar to modern people. This system was largely adopted from the Ancient Roman calendrical system, which assigned three fixed points in each month - Kalends (the first day of the month), Ides (the middle of the month), and Nones (the ninth day before the Ides). Each date was counted backwards from the closest of these points.
Each day was also assigned a letter between A and G, as well as a particular Roman Numeral. The letters were used to determine day of the week, and the numbers to determine the phases of the moon. Each new year was assigned a different combination of letters and numbers, which allowed the same calendar to be used in multiple different years. Because of this variation, simply determining the date each day required a lot of work on the part of the medieval reader!
Page from a Book of Hours: Calendar, Albright-Knox Art Gallery, Artstor Database
As I mentioned, the calendars in books of hours were typically accompanied by beautiful illustrations. Certain imagery was common in calendars - each month was accompanied by a picture of the zodiac sign relevant to that month, as well as a depiction of the work or activity that people would have done most frequently during that time of year. In this image, taken from the February section of the calendar in the French book of hours I’ve been studying, the illustrator included images of two people warming their feet by a fire, as well as the zodiac sign Pisces.
Left to right: Grape-stomping (Sept.), Pisces (Feb.), Harvesting (July), Scorpio (Oct.) (Book of hours: for liturgical use in Paris., University of Pittsburgh Special Collections)
Given these features and images, the books of hours that have survived from the Middle Ages have the potential to tell modern scholars a great deal about the motivations, interests, and lives of their owners. You can learn more about medieval calendars here, here, and here. Â
Explore the digitized version of the book of hours I’ve been studying this semester here
Sources:
http://www.medievalbooksofhours.com/tutorial/book-3/page-5
http://medievalwriting.50megs.com/whyread/calendar2.htm
https://www.khanacademy.org/humanities/medieval-world/medieval-europe/v/medieval-calendar
Mini Barn Owl Painting
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Two owls
Field of Flowers
By Ryan Kimba
Mark Dion: Cabinets, Curiosities, Marvels
Caroline Fazzini
Last month the conceptual artist Mark Dion came to Pittsburgh to give a talk at the Carnegie Museum of Art. Dion’s lecture, titled “Cabinet for the Anthropocene: Mark Dion, Unclassified” detailed the history of cabinets of curiosities (a topic he explores frequently in his own work) and their role in the evolution of the modern museum. The presentation was followed by a discussion between Dion and award-winning herpetologist, José Padial.
Across the street at the Frick Fine Arts Library, the staff prepared for the lecture by setting up a browsing shelf of catalogs and books dealing with Dion’s exhibitions, installations, and artistic practice. I spend Wednesdays in the library, working on my research project as an Archival Scholar Research Award recipient, for which I am studying the FFA Library’s collection of artists’ books.
On the day of his talk the FFAL head librarian, Kate, informed me that we have one of Dion’s artists’ books in our collection. So, in the spirit of Mark Dion and our mental preparation for his lecture, we put his artist book, The Marvelous Museum, on view in the reference room all day Wednesday. Kate sent out an email to both the Art History and Studio Arts departments inviting them to the viewing session. I had the opportunity to keep an eye on this book as others explored it (and have first dibs on reading it) since I was working with other artists’ books at the same time. Professors from both departments came to examine and interact with the book throughout the afternoon. One professor was so fascinated by the book that he scheduled a time to come back later in the day with his graduate seminar to allow them to study the book as well!
Happy Birthday, Yayoi Kusama
 Lauren Murphy
photo credit / license
Yayoi Kusama is a Japanese artist who works in painting, sculpture, and performance art. Her work is often recognized through obsessive mark making and patterns. Kusama has a special presence in Pittsburgh, the Mattress Factory features two permanent installations of her work, Repetitive Vision and Infinity Dots Mirrored Room, both from 1996. If you haven’t had the chance to check these installations out in person you definitely should! They are beautiful, intricate works (and excellent photo opportunities!)Â
We recently recieved a new (to us) book published in 2012, illustrated by Kusama, that tells the classic story of Alice in Wonderland by Lewis Carroll. This new interpretation of a widely loved story does not disappoint. Kusama enhances the story through her trademark use of colored dots, intricate lines, and mosaic like drawings. Her style complements Alice in Wonderland perfectly, both are dreamy, ethereal, and a little bit weird.Â
This is not Kusama’s only experience illustrating an existing story, just last year (2016) Kusama illustrated the story of The Little Mermaid by Hans Christian Anderse, titled The Little Mermaid : a fairy tale of infinity and love forever. Receiving this book actually prompted us to look into and order Alice in Wonderland. Exploring old stories with new illustrations is fascinating and really alters the story itself through the interpretation of the artist and the mental images they drum up when reading.Â
To celebrate this influential artist’s birthday go out and see the world through dots and specks (as Kusama literally percieves it)! What book illustrators have changed your perception of a story?
Rare Book Files: L’Art Arabe d’Apres les Monuments du Kaire
Kiana Jones
Book Title: L’Art Arabe d’Apres les Monuments du Kaire Depuis le VIIe Siecle Jusqu’a la Fin du XVIIIe
Author: Prisse d’Avennes
Publication Date: 1877
Arab Art as Seen Through the Monuments of Cairo: From the Seventh Century to the End of the 18th is a stunningly produced rare book set of three volumes and an index that illustrate the artistic beauty found in the Islamic art and architecture of Cairo. The work contains 200 full-page plates in all three volumes, most of them created using chromolithography, a technique used in the 18th century to produce prints with multiple colors. Each volume measures nearly 60 cm in height – we had to use our biggest book cradle to hold it! Â
Prisse d’Avennes’ work has been recognized as important in identifying a tripartite breakdown of Islamic history in Egypt, and although little recognized as a founding father of Egyptological science, his role in this area remains notable.
See the following link for more on this beautiful set: https://www.wdl.org/en/item/14760/
Little owl <3Â
Mr. Blue Bird
 versane
St. Barn OwlÂ