viernes, 25 de noviembre de 2022


Irene Cara: Fame singer and actress dies aged 63

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Singer and actress Irene Cara poses for a portrait in Los Angeles in 1983IMAGE SOURCE,GETTY IMAGES

Fame and Flashdance singer Irene Cara has died at the age of 63.

The American singer and actress was best known for her title track in the 1980 film Fame, as well as co-writing and singing the smash hit Flashdance... What a Feeling, for which she won an Oscar and a Grammy.

She later starred in films opposite Clint Eastwood and Tatum O'Neal.

Cara's publicist, who announced her death, said she died at home in Florida but the cause is "currently unknown".

Born in 1959 in the Bronx, New York City, Cara was the youngest of five children and started her career on Spanish-language TV. Her father was Puerto Rican and her mother, Cuban-American.

Having recorded music as a child, both in Spanish and English, she went on to appear in a number of on-and-off Broadway musicals.

But it was in 1980 that Cara shot to fame when she bagged the role of Coco Hernandez - and sung Fame's title track.

Her performance earned her a Best Actress nomination at the 1981 Golden Globe Awards.

Cara later co-wrote and sang the vocals for Flashdance… What A Feeling, from the 1983 blockbuster Flashdance, and won a Grammy Award for Best Female Pop Vocal Performance as well as an Academy Award for Best Original Song.

Télévision > Documentaire « Napoléon, au nom de l'art », avec Jeremy Irons

Vous avez raté le documentaire inédit « Napoléon, au nom de l'art », présenté par l'acteur Jeremy Irons, sur la chaîne Histoire ? Il n'est pas trop tard (si l'on peut dire) : il sera rediffusé sur la chaîne du groupe TF1 jeudi 1er décembre, à 23h45. Les plus chanceux des moins couche-tard auront moyen de l'enregistrer via leur box TV.
En savoir + (avec bande-annonce de 40 sec.)


August 27, 2022–December 30, 2022, University Research Gallery, Harvard Art Museums

Come face to face with portraits of Egyptians who lived during the Roman period and discover what role these images played in funerary rituals as well as what modern technical study can reveal about ancient artistic practices.

Featuring several painted portrait panels, sculptural portraits, and a linen burial shroud, this tightly focused exhibition asks visitors to reflect upon objects that represent the deceased and were once intimately connected with their bodies. 

The exact findspots and details of the excavation and dismantling of these objects were not recorded; and while the portraits present seemingly familiar faces, we can never fully know the people behind them. So what more can we learn from the objects themselves?

The exhibition foregrounds scientific analysis and technical research conducted by staff in the Harvard Art Museums’ Straus Center for Conservation and Technical Studies. 

Their work, part of an international research project, helps illuminate how ancient artists created these painted and plaster faces. 

In-gallery displays of technical images of the objects, samples of artists’ materials such as pigments and binding media, and a sequence of panels illustrating painting techniques provide further context. In recovering the artistic processes, the complicated histories of these objects have also come into view.

The individuals depicted in these portraits lived in the first three centuries CE, when Egypt was a province of the Roman empire, and their burial treatments attest to the multicultural nature of that era. Their bodies were mummified in the Egyptian tradition, but their portraits appear in a Graeco-Roman style. 

They wore clothes, jewelry, and hairstyles that were popular in Rome, while also participating in Egyptian religious institutions. The funerary traditions represented by the objects in this exhibition were elaborate and expensive, privileges of an elite class who could choose how their bodies were treated in death.

We invite visitors to face forward as they explore this exhibition: to engage with the ancient subjects on an equal footing, consider the problematic practices that led to the removal of these objects from their original contexts, and imagine what questions the works and the individuals depicted might generate in the future.

Organized by Susanne Ebbinghaus, George M.A. Hanfmann Curator of Ancient Art and head of the Division of Asian and Mediterranean Art; Georgina Rayner, associate conservation scientist; Kate Smith, conservator of paintings and head of the paintings lab; and Jen Thum, assistant director of academic engagement and assistant research curator.

Support for this exhibition is provided by the Kelekian Fund, the Christopher and Jean Angell Charitable Fund, and the Kornfeld Foundation (through Christopher Angell). Related programming is supported by the M. Victor Leventritt Lecture Series Endowment Fund.

Online Resources

An online digital companion offers insights into the world of the people depicted in the portraits in the exhibition and the artists who painted them. The featured essays, written by specialists at Harvard and elsewhere, investigate the making, meaning, and modern history of these funerary objects. Research is ongoing, and the tool will be updated as new information arises.

Visit the Getty Center’s website to learn more about the research behind this exhibition, part of an international collaborative effort called the APPEAR (Ancient Panel Paintings: Examination, Analysis, and Research) Project.

Materials Lab Workshop: Making Faces

This workshop accompanies the exhibition Funerary Portraits from Roman Egypt: Facing Forward, which invites viewers to ask more about the complicated histories of these portraits and the people they depict. The exhibition explores what can be learned about the artistic process and current condition of these works through scientific analysis and technical research conducted by staff in the Harvard...

Hours: 10:00am - 1:00pm

Date: December 4, 2022

Gallery Talk: Funerary Portraits from Roman Egypt

Funerary Portraits from Roman Egypt: Facing Forward is a team-curated exhibition that brings together art history, Egyptology, and conservation science to illuminate artists’ processes and the life stories of the people depicted in funerary portraits. Join two exhibition curators as they describe what can be learned when close looking, scientific analysis, and community collaboration combine. Our...

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