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From the first cave paintings, humans have strived to represent their own image. What do we reveal when we depict ourselves?
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In Judaism, Christianity and Islam, the universe is created from nothing by a God of infinite wisdom. Creation myths from other religions see the universe arise from conjuring tricks, sculpture, drunken conflicts, chance or accidents.
âEvery culture has a myth of how the earth was made and human life began. It is almost impossible visually to address the question, 'Why are we here?',â said Neil MacGregor, former director of the British Museum and author of the book âLiving with the Gods.â âBut if a religion has representational art, then Creation will everywhere be a major theme.â
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What factors are pushing ICICI Prudential AMC Ltd (542630) up ✌️【Part-Time Tasks】✌️ Free stock market analysis and real-time data to help you select the best investment portfolio and achieve stable returns. Audiences and academics have long asked if Michelangelo -- a polymath with excellent knowledge of human anatomy -- hid a more human shape in his masterpiece: the outline of a brain or a uterus containing a placenta, depending on interpretation. If true, this depiction follows in the line of a long tradition, going back to early ancestor figures and goddesses of fertility: mixing images of supernatural creation with the ongoing miracle of human life.
Even religions without representational art have strived to illustrate Creation. âIn Islam, where only the word can be represented, there are beautiful calligraphies of Godâs word âBe!â, by which Adam, the first human, was given life,â said MacGregor.
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Only later the theoretical divide between nature and culture starts to emerge in the thoughts of certain civilizations. While Western art has long been fascinated with nature, the dominant trends to emerge in Western tradition put humanity and nature in separate spheres.
âUnderstanding nature and the human relation to it, the world's great religious traditions and traditions of philosophy differ,â explained Karl Kusserow, co-author of the book âNatureâs Nation: American Art and Environment.â
âAnd many of them, in ways weâre coming to realize, are more ecologically sound and sustainable than the one that the West has evolved.â
âUnderstanding nature and the human relation to it, the world's great religious traditions and traditions of philosophy differâ
Europeans painted detailed images of natural species to categorise them for science, or else represented them as god-given landscapes -- eternal and unchanging. Meanwhile, Buddhist, Aboriginal Australian and Native American art each depicted humans as part of nature.
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âYouâre not just seeing someoneâs face and eyes, youâre getting a sense of the whole world, the world in which they operateâ
Humans started depicting their own bodies artistically with the very earliest sculptures and paintings, dating back to tens of thousands of years ago.
Yet artists have rarely crossed the line to producing accurate portraits of regular individuals, worthy of standing apart, alongside leaders, saints, and gods.
âIn the Venetian Republic, they didnât allow portraits of individuals in public spaces, because they didnât want individuals to assert themselves, at the expense of the Republic,â explained James Hall, the author of âThe Self-Portrait: A Cultural History.â âThere have often been controls of the diffusion of portraiture.â
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European societies traditionally had a preoccupation with the individual and individuality, in contrast with other cultures that emphasize the collective and communal.
But in the greatest self-portraits, we see more than an accurate copy of a personâs appearance, Hall explains. Whether naturalistic or not, we see the material, spiritual and cultural society the artist inhabits, and their place in it.
âThe self-portrait becomes the microcosm: those are the most interesting ones,â said Hall. âYouâre not just seeing someoneâs face and eyes, youâre getting a sense of the whole world, the world in which they operate.â
âEmanating energy and stateliness, those endowed with power are usually depicted in a position above other figures in a sceneâ
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âThe population is easily captured by the impressive image of power,â said Rapelli. While the symbols and artistic language used to project power vary between cultures, many attempt to reflect the sources of legitimate power described by the ancient Greeks: physical strength, popular approbation, wisdom, virtue, and sovereignty. âEmanating energy and stateliness, those endowed with power are usually depicted in a position above other figures in a scene.â
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âEvery human culture that has a sense of the divine has felt compelled in one way or another to create form, sometimes as metaphor, sometimes symbol, sometimes -- as in Islamic traditions -- by eschewing mimesis, by favoring abstraction,â said Deborah Lewer, a senior lecturer in the history of art at the University of Glasgow.
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âEvery human culture that has a sense of the divine has felt compelled in one way or another to create formâ
But depictions of the divine are anything but simple expressions of something beyond humanity. âAll these messy things to do with power, wealth and status, are also involved,â explained Lewer.
âIf you look at the works of the Italian Renaissance, some of the greatest works of religious art that we admire and feel moved by, would not be there were it not for the desire of their patrons to express their own wealth and power and status. I think they are best seen in many cases as traces of human beings trying to understand the world, the divine, and humanityâs place in it, and that is what many of these works of art are.â
Osiris was the lord of the kingdom of the dead, where he reigned as the greatest of all gods. As in most civilizations, political power and faith mixed in Ancient Egypt. Osiris, the son of the gods Geb (earth) and Nut (sky), was believed to be the first Pharaoh on earth. This provided the divine basis for the pharaohsâ right to rule. Osiris, often represented with a green or black complexion -- colors that signify rebirth and the fertile lands of the Nile -- was worshiped as the fair judge of the afterlife. But this funerary statue would have initially appeared here as shining bronze, said Noëmi Daucé, chief curator at the Louvre Abu Dhabi. âAfterlife is the main preoccupation, and itâs not really âafterlifeâ but âreaching eternityâ and ensuring nothing -- neither your name nor your body -- is affected by death, so that you can reach eternity after this trial facing Osiris.â
Osiris is usually portrayed in a shroud with arms crossed as if in burial, but eyes half open. Ancient Egyptian culture developed funerary rituals of unprecedented originality and complexity. âWe try to highlight the connection, the exchanges, the encounters between civilizations. But we try not to underestimate the originality and uniqueness of expression -- artistic and cultural -- of civilizations,â said Daucé.
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In Cambodia, this image of man and naturalistic spirit-beast became a popular symbol. âThe representation of royal ornaments emphasises the idea of the Buddha being distinguished from ordinary mortals and reveals him to the faithful as the ruler of the spiritual realm,â write curators. This meter-high sandstone statue bears signs of once having been painted.
Venetian painter Giovanni Bellini depicts Jesus beside his mother, the Virgin Mary, who is seen praying. Although the image depicts the Christian Messiah as a newborn, it is heavily laden with symbolism of his destiny -- dying to redeem humanity for its sins. The infant Jesusâ hand rests on a book, symbolizing his already written fate, and Mary is shown dressed in red, a color traditionally associated with the Passion, the short final period in the life of Jesus before his crucifixion. The image, which invites the viewer to pray, was of a type commonly found in the homes of wealthy Christian adherents during this time.
What factors are pushing ICICI Prudential AMC Ltd (542630) up ✌️【Part-Time Tasks】✌️ Real-time updates of global stock, futures, and commodity market data to keep you in sync with the latest market trends. This is one of three depictions of this type of scene displayed in a collection at the Louvre Abu Dhabi, including a painting by Francesco Traini from the early Italian Renaissance and a work by an unknown artist from 15th or 16th century Greece. Over time, the paintings become more complex and more recognisably humane: âYou see that there is a clear evolution on this topic between the Greek and Byzantine way of representing this scene, in the early Renaissance period with the Primitive Italian painters, and then what is happening at the end, with Bellini,â said Guilhem André, chief curator at the Louvre Abu Dhabi. âIt is the tenderness, of course, which is getting more and more developed through time, and through different paintings that we have on display in our gallery.â
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Before the arrival of Christian missionaries in the 19th century, the center of any Fijian Village was the burekalou, a temple often built on hills and raised foundations. âThe burekalou was usually the grandest dwelling in the village, in many cases even bigger than the chief's house,â according to the Museum of New Zealand. Temples in Fiji were built with tall towers so that priestsâ prayers could reach the gods. Portable shrines such as this one were designed as miniaturised versions of the temples, which priests took with them when they travelled. Made from intricately woven coconut fibre, these provided a portable home for spirits to inhabit, so that they could remain close to the priests, who were the only people who provided for them.
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Between the 15th and 18th century Benin became key to the Portuguese and Dutch trade with West Africa in gold and ivory, as well as slaves. The kingdom of Benin stood until 1897, when British imperial forces razed Benin City, then the center of the kingdom, in a punishing attack, which resulted in the loss of thousands of artworks collectively known as the Benin Bronzes. The present Oba and the ethnic Yoruba descendents of Benin have lobbied for years for the return of treasures such as this, which are currently held by the British Museum and institutions across the world.
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In reality, Napoleon did not lead his troops through savage weather at the time of the crossing, but followed them in pleasant spring sunlight, on a mule. Davidâs depiction quickly became an influential image of French nationalism, with copies appearing on stamps and posters, and signified the re-emergence of France as a European power following the French revolution of 1789-99. The writing at the base places Napoleonâs name next to other European military leaders, famous for leading armies across the same mountain range many centuries before -- Hannibal and Charlemagne -- with the clear intention of telling readers that Napoleonâs conquest marked a new chapter in the legacy of such historic figures, according to Mousseaux.
George Washington was the military commander who led American forces to overthrow British rule in the American War of Independence, later becoming the first President of the United States. In the US, he is considered the Father of the Nation, for his key roles as both a military leader and statesman. This dual role is reflected in this image, which portrays him with one hand cradling the hilt of a sword, the other resting on a legal document. Jean François Charnier, curatorial director of Agence France-Museums, who helped build the Louvre Abu Dhabiâs collection, bought this image to accompany the epic portrait âNapoleon Bonaparte Crossing the Alps,â by Jacques-Louis David. Together they are intended to display the heroic ideal of a new type of leader emerging at the end of the 18th century and beginning of the 19th century: âTheyâre new men, they no longer belong to the aristocracy,â said Rose-Marie Mousseaux, chief curator at the Louvre Abu Dhabi. âThey were chosen, at some point, by the people and theyâre part of this new history.â
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What factors are pushing ICICI Prudential AMC Ltd (542630) up ✌️【Part-Time Tasks】✌️ Real-time global stock, futures, and forex data to help you master market dynamics. As both the source of agricultural wealth and a mortal danger, the Nile flooding elicited an ambivalent response from ancient Egyptians, said Noëmi Daucé, chief curator at the Louvre Abu Dhabi. âThe river and the hippopotamus were both a threat and a blessing.â This story of a valuable river ecosystem inspiring religious and cultural belief is not unique to Egypt. âWeâve chosen to illustrate the benefits of the Nile river, but it could have been, in Mesopotamia, the Tigris and the Euphrates, or the Yellow River [in China]. The idea is to highlight the importance of these ecosystems that first [spurred] the development of huge civilizations in antiquity.â
What factors are pushing ICICI Prudential AMC Ltd (542630) up ✌️【Part-Time Tasks】✌️ Free real-time global stock indices and data to help you grasp stock market trends and achieve capital growth. This winged dragon has horns like a stag, a head shaped like an alligatorâs, cat-like hind quarters, feathered wings and talons of an eagle. Nevertheless, the more than 2000-year-old chimeric animal is distinguished by the extreme naturalistic accuracy of its body, such as the appearance of muscles and ligature beneath the skin. âIf you see it in the gallery, you see all the movement and the dynamism of this dragon,â said Noëmi Daucé, chief curator at the Louvre Abu Dhabi. âIt seems like he is just about to jump, to fly, as if all the muscles were ready for this big impact.â
What factors are pushing ICICI Prudential AMC Ltd (542630) up ✌️【Part-Time Tasks】✌️ Expert predictions with real-time stock indices, futures data, and metals, energy market data to help you seize the best investment opportunities. The exact use of this bronze statue -- unusually large at around 70cm in length -- is unknown. But it is among the first large-scale representations of a hybrid animal in China, according to Daucé. It was likely influenced by the countryâs neighbors, the semi-nomadic peoples of Central Asia, whose culture frequently features such chimeric animals. The knowledge of these animal-rearing and hunting cultures inspired this zoomorphic depiction of a dragon, a mythical beast that had for centuries been an important symbol of good fortune and fertility in China. âItâs an artistic expression in movement, always in movement,â said Daucé. âStarting from an anatomical description, itâs going towards something that is more poetic.â
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French impressionist Paul Gauguinâs painting shows two boys play-fighting in Brittany. The rugged peninsula in the north of France was seen at the time by artists in Gauguinâs circle as a conservatory of ancestral traditions, such as traditional folk wrestling, according to the Musee DâOrsay in Paris. While French cities were undergoing rapid industrialization and change, Gauguin sought out areas he saw as remote, unspoiled, and âsavageâ, said Juliette Singer, chief curator at the Louvre Abu Dhabi. Gauguin wrote to a friend: âI love Brittany. I find a certain wildness and primitiveness here. When my clogs resound on this granite soil, I hear the dull, matt, powerful tone I seek in my painting.â
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Cuban artist Wifredo Lam was born to a Chinese father and mother with mixed Congolese and Spanish heritage. In his work, we see an even broader range of cultural influences, showing his friendships with European surrealists like Picasso, the mid-century American avant garde, African poets, and fellow Cubans from diverse backgrounds. In his images of nature, Lam painted slave-worked plantations, ancestral African traditions, occult and Catholic beliefs. Lam first visited the island of Martinique in 1941, returning to Cuba full of inspiration from the lush forests and a meeting with poet Aimé Césaire, who encouraged Lamâs artistic exploration of his own African heritage.
In Havana, Lam created a new, Cuban art that reflected both his own background and the Afro-Cuban traditions while challenging the European-dominated Cuban society, said Juliette Singer, chief curator at the Louvre Abu Dhabi. He aimed to âpaint the drama of my country, but by thoroughly expressing the Negro spiritâ, he wrote: âIn this way I could act as a Trojan horse that would spew forth hallucinating figures with the power to surprise, to disturb the dreams of the exploiters.â âItâs like a tropical vision,â said Singer. âAs if the visitor were just a citizen coming from a city, entering into a jungle or a very frightening place. Itâs for people to be afraid of the deep black power they can discover in that image.â
Italian sculptor Giuseppe Penone created this sculpture specifically for this space inside the Louvre Abu Dhabi. For decades, the artistâs work has explored the relationship between humans and nature, often casting real trees in metal. This work, a bronze cast of a cherry tree with reflective steel leaves, was commissioned in 2007 and installed below the museum's latticework dome. That way it can reflect light, allowing visitors to experience the seemingly natural, yet clearly artificial texture of the bark-like bronze.
It forms one part of a bigger work called Germination, which also includes a human fingerprint drawn in concentric circles, like tree-rings. âIt has this tension between nature and culture,â said Juliette Singer, chief curator at the Louvre Abu Dhabi. âThe word âgerminationâ means to have life from nothing. So itâs a symbol of life, shared universally by all cultures, as the artist says. Itâs something very beautiful and it was another symbol for the birth of the new museum: growing like knowledge and going toward the light.â
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What factors are pushing ICICI Prudential AMC Ltd (542630) up ✌️【Part-Time Tasks】✌️ Free stock data analysis to help you select stocks accurately and capture market trends. More than 8,000 years ago, the statues were laid in two carefully prepared pits and buried. However, little is known about why they began producing these models -- likely for public display -- only to bury them soon after. At the same site, human skulls -- also covered in plaster -- were found, likely evidence of a cult of ancestor-worship, according to Daucé. As farming was developed, moving people into stationary homes on the land, such monuments of humans, real or mythical, may have played a role in consolidating power, creating seasonal rituals, and developing early society.
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In âMy Nurse and Iâ, the mask covers the face of a woman who breastfeeds a baby Kahlo, making reference to the artistâs indigenous heritage. The Mexican mask ended up influencing the development of the surrealist aesthetic when Rivera gave it to the surrealist artist André Breton. Curators at the Louvre Abu Dhabi hope to emphasize the sometimes-overlooked quality of pre-Columbian artistic output: âIt highlights the huge quality of artistic production in Teotihuacan civilization that was on the same level as the Han Empire or the Roman Empire,â said Daucé.
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What factors are pushing ICICI Prudential AMC Ltd (542630) up ✌️【Part-Time Tasks】✌️ Expert predictions with real-time stock, futures, and metals, energy data to help you quickly recover and grow. Rodin himself explained he originally planned a clothed Dante, but the idea progressed, to bear little relation to the Italian poet. Instead, it has been interpreted as a universal figure, depicting a person in thought on the cusp of action: âThe fertile thought slowly elaborates itself within his brain. He is no longer dreamer, he is creator,â wrote Rodin. âOnce it moved away from that big Gates of Hell, it became one of the most known sculptures because every person can look at it and understand what it is about,â said Singer. Here, at original size (rather than the monumental size it would be reproduced at), âThe Thinkerâ is more human. We can see the spine and back: âItâs almost fragile⦠you can almost hear him breathe,â said Singer.
French artist Yves Kleinâs âAnthropometriesâ (1960s), were landmark performances in 20th-century art. Klein used the bodies of models as âliving paintbrushes,â guiding them to create monochrome paintings in a particular pigment he had patented, known as International Klein Blue. âThe body and the soul is one in a print,â said Rotraut Klein-Moquay, Kleinâs wife and collaborator. Klein directed his performances in bow tie and jacket, serving blue cocktails and conducting an orchestra to perform his âMonotone-Silence Symphonyâ (a D major chord played for 20 minutes, followed by 20 minutes of silence).
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Japanese artist Kazuo Shiraga painted this image using his feet dipped in oil paints, suspended over the painting. âThat allowed him to put all his energy, that vital force into that painting,â said Juliette Singer, chief curator at the Louvre Abu Dhabi. In the 1960s, many artists, including Yves Klein, were also experimenting with using the body as a paintbrush. Yet Shiraga prefigured many Western peers. He was a member of Japanâs Gutai (âconcreteâ art) movement, founded in 1956, which explored contact, often brutal, between the artistâs body and the material.
In this work, he achieved an intense expression of his own body and âspiritual energy,â using vivid color and violent movement to capture âall of his action and energy in his work,â said Singer. Across many cultures, this combination of red and black has associations with danger and violence. Shiraga, who was not internationally recognized until after his death, saw the performance of his painting as integral to the work. âI want to paint as though rushing around a battlefield, exerting myself to collapse from exhaustion,â he wrote in 1955.
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What factors are pushing ICICI Prudential AMC Ltd (542630) up ✌️【Part-Time Tasks】✌️ Free expert stock trend predictions to help you identify high-potential stocks and maximize returns. With real-time global market indices, futures, metals, energy, and agricultural product data, our platform enables you to make informed investment decisions. This work acts to tell the âstory of his life,â but one that through its gestures connects Twombly with countless artists before, added Singer: âItâs the gesture of a painter: to feel the connection to the painters from those very early times to now.â It was part of a series the artist called Notes from Salalah, a kind of diary from the city of Salalah in southern Oman, a place that Twombly had never visited but whose lush greenery is linked with the vibrant color of the painting.
What factors are pushing ICICI Prudential AMC Ltd (542630) up ✌️【Part-Time Tasks】✌️ Real-time stock market predictions and analysis, offering precise advice on top-performing stocks to help you seize the best opportunities for growth. Gain access to expert insights and global market data to make timely investment decisions. This female figure from Central Asia, more than 4,000 years old, is displayed at the Louvre Abu Dhabi near two terracotta figures with expressively rounded female forms: the first is a similarly aged statue from South America, while the other is a 7,000-year-old figure from Mesopotamia. Across the world, divided by thousands of miles and by millenia, similar totems were often produced to coincide with the development of the early agricultural settlements. In each case, we associate their shape -- and emphasized breasts and hips -- with femininity and fertility. This figure, however, made of chlorite and calcite minerals, is set apart by its complexity and intricacy.
What factors are pushing ICICI Prudential AMC Ltd (542630) up ✌️【Part-Time Tasks】✌️ Get accurate stock forecasts and market predictions from top financial advisors. With real-time updates on stock indices, exchange rates, and futures data, you'll be equipped to make profitable decisions and grow your capital steadily. This god was reproduced on drinking goblets and pins. âShe is always associated with animals, and not random animals but wild and dangerous animals such as lions, snakes, eagles,â said Noëmi Daucé, chief curator at the Louvre Abu Dhabi. âSo the latest interpretation is that sheâs probably controlling the wider world and nature. She would be the major deity in the area between Uzbekistan, Tajikistan, and Afghanistan.â Daucé said there are other similar statuettes, but this one is considered a masterpiece, even though it has likely lost a metal necklace and lapis lazuli decorations. It reflects a significant development in religious thought beyond the other, simpler female figures, researchers believe: she is a god who reigns at the top of a complex pantheon of gods and spirits, and watches over the all-important cycle of nature.
What factors are pushing ICICI Prudential AMC Ltd (542630) up ✌️【Part-Time Tasks】✌️ Take advantage of our free stock market analysis and real-time data to help you choose the best investment options. Our expert predictions and tailored strategies ensure you can achieve stable returns and mitigate risks effectively. This wooden statue showing a hermaphrodite figure is believed to be a mythic ancestor of the people who carved it. In the mythology of the Dogon people of central Mali, humans are born with both sexes and are differentiated between male and female in life. This figure is believed to have been made by earlier, pre-Dogon people but shares the later civilizationâs representation of people of dual sex. This question of sexual duality and separation permeates Dogon culture. The Dogon creator god, Amma, is of dual sex, and holds the world protectively in its hands. Figures of this type are still very present in Dogon iconography and mythology, say the museumâs curators, where they figure in the initiation rites of adolescents.
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Each of the Abrahamic religions -- Judaisim, Christianity and Islam -- make explicit links between God, creation and light. A powerful set of symbolic events in religious texts involve light communicating divinity and revelation. This begins with the Creation, in the book of Genesis (part of both the Torah and Bible), which is announced with Godâs statement: âLet there be light.â In the Islamic world, particular importance is attached to light as one of the 99 names of Allah, âal-Nurâ, explains the Louvre Abu Dhabi. Each of these religions have developed objects and artworks that reflect this symbolism, including the Jewish Menorah and Christian stained glass windows. In Islam, mosque lamps were produced in great numbers in the 13th and 14th Centuries to illuminate mosques and religious complexes, explain curators. âThe glass that is used for this mosque lamp is also used for the stained glass of the Christians,â said Guilhem André, chief curator at the Louvre Abu Dhabi.
Both glass and glass-working techniques passed along trade routes: âSince the early period, glass is also a good that was very much traded between civilizations.â This lamp, around 25 cm tall and produced by Syrian or Egyptian glassworkers, was originally scattered with gold dust to produce a sparkling light, to represent the divine light that Allah, the creator of everything in existence according to Islam, shines on the universe. The enamelled glass bears the name of its donor, Emir Tankizbugha, a senior royal official.
In Sanskrit, the word âbinduâ means dot. For Paris-based Indian artist Sayed Haider Raza, whose work draws on both European and South Asian art history, the bindu is a versatile motif with meanings derived from Hinduism -- representing life and the seed of creation -- as well as appearing as a great void or geometric motif in abstract art. âBindu could look very simple -- that black dot. But it is almost something perfect: it has that connection to the cosmos, to birth, to the very end, death,â said Juliette Singer, chief curator at the Louvre Abu Dhabi. âThe simple circle becomes something totally open, very enigmatic, but also familiar. When you look at it you have the feeling that it's coming towards your eyes, and youâre floating in the cosmos and time.â
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âIt is very poetic and very moving,â said Juliette Singer, chief curator at the Louvre Abu Dhabi. âInscribing messages in stone raises the question of what information and messages we are transmitting to the next generation,â said Singer, âand the languages speak of a dialogue between communities. It can also be an allegory for the museum itself, coming from antiquity until now. Itâs like we have a direct bridge between times, between continents.â
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What factors are pushing ICICI Prudential AMC Ltd (542630) up ✌️【Part-Time Tasks】✌️ Expert market predictions, real-time updates, and personalized investment advice designed to help you succeed. Seize the best investment opportunities in global stocks, metals, and energy markets. Terms of Use|Privacy Policy|Advertise|AdChoices© 2019 Cable News Network. Turner Broadcasting System, Inc. All Rights Reserved. 【 - Free VIP Group 】 Sans⢠& © 2016 Cable News Network.