PJETgallery

Tumblr page of Paul Jeter, Artist

ancientart:

A brief look at the prehistoric rock art of Laas Geel, Somaliland (East Africa).

Despite already being known to the local inhabitants of the area for centuries, the art was ‘discovered’ by a team of French archaeologists carrying out an archaeological survey in northern Somalia in 2002, thus only recently gaining international recognition. 

Laas Geel is one of the most remarkable archaeological sites in the Horn of Africa, and contains some of the earliest known cave paintings in the region. These paintings are estimated to date to between 9,000-3,000 BCE, and are incredibly preserved considering this.

The artworks, painted in the distinctive Ethiopian-Arabian style, depict predominantly wild animals, decorated cows, and herders, the latter believed to have been the creators of the paintings. Note the herd of cows shown in the first photo, the ceremonial cow shown in the seventh, and the herder shown aside the cow in the final photograph. 

Photos taken by joepyrek.

Recommended reading: Grenier L., P. Antoniotti, G. Hamon, and D. Happe. “Laas Geel (Somaliland): 5000 year-old paintings captured in 3D.” International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences, Volume XL-5/W2 (2013): 283-288.

barakatgallery:

Roman Period Egyptian Mummy Portrait Depicting a Young Man - X.0381Origin: EgyptCirca: 2 nd Century AD  Dimensions: 11.75” (29.8cm) high  Collection: EgyptianMedium: Paint on Wood
Although commonly referred to as “Faiyum portraits,” mummy portraits from Roman Egypt have been found throughout the country, from the Mediterranean coast to the banks of the Nile Valley; however, many of the most celebrated works come from cemeteries in the desert oasis of Faiyum. These fascinating paintings are the product of two worlds, combining Egyptian funerary beliefs with the sophisticated portraiture of the Greco-Roman tradition. The preservation of the physical remains of the deceased was a central focus of Egyptian funerary customs, eventually leading to the creation of mummies. However, mere preservation of the corpse was not sufficient, the mummy itself had to appear alive. Elaborate coffins and funerary masks evolved to present the remains with the appearance of vitality. Although mummification was still practiced during the Roman Period, the techniques had begun to devolve and many of these mummies have since decayed, leaving behind only these haunting portraits. While the painting technique of Faiyum portraits is unmistakably Roman, their presence on or near the remains of the deceased is an Egyptian custom, representing a fusion of technique and belief. The people portrayed were likely the administrative elite and their families who ruled over this multiethnic, multicultural frontier of the Roman Empire. No doubt they held faith in the Ancient Egyptian cults, as evident by their focus on preparing for the afterlife; but they also chose to depict themselves as Romans, wearing customary Roman fashions and jewelry. The heightened realism of the portraits was made possible by the relative fluidity of the encaustic technique where pigments were mixed with hot or cold beeswax as well as other ingredients, producing a medium that is very similar to oil paint. This striking portrait of a young man was painted in the encaustic technique on a panel composed of a series of vertical wooden slats that have been bound together. Although the vibrancy of the hues has diminished somewhat over the centuries, the work remains remarkably well preserved. His dark brown eyes, thick eyebrows, and dark curly hair are all features characteristic of the people depicted on such portraits. The painter has managed to capture the effects of light and shadow on the curves of his face, most noticeable around his mouth and chin. He wears a simple white tunic decorated with a thin blue collar. Like an old photograph that has faded over the years, we recognize something familiar in this work, and in the eyes of this man, something we recognize in ourselves too.

barakatgallery:

Roman Period Egyptian Mummy Portrait Depicting a Young Man - X.0381
Origin: Egypt
Circa: 2 nd Century AD
Dimensions: 11.75” (29.8cm) high
Collection: Egyptian
Medium: Paint on Wood

Although commonly referred to as “Faiyum portraits,” mummy portraits from Roman Egypt have been found throughout the country, from the Mediterranean coast to the banks of the Nile Valley; however, many of the most celebrated works come from cemeteries in the desert oasis of Faiyum. These fascinating paintings are the product of two worlds, combining Egyptian funerary beliefs with the sophisticated portraiture of the Greco-Roman tradition. The preservation of the physical remains of the deceased was a central focus of Egyptian funerary customs, eventually leading to the creation of mummies. However, mere preservation of the corpse was not sufficient, the mummy itself had to appear alive. Elaborate coffins and funerary masks evolved to present the remains with the appearance of vitality. Although mummification was still practiced during the Roman Period, the techniques had begun to devolve and many of these mummies have since decayed, leaving behind only these haunting portraits. While the painting technique of Faiyum portraits is unmistakably Roman, their presence on or near the remains of the deceased is an Egyptian custom, representing a fusion of technique and belief. The people portrayed were likely the administrative elite and their families who ruled over this multiethnic, multicultural frontier of the Roman Empire. No doubt they held faith in the Ancient Egyptian cults, as evident by their focus on preparing for the afterlife; but they also chose to depict themselves as Romans, wearing customary Roman fashions and jewelry. The heightened realism of the portraits was made possible by the relative fluidity of the encaustic technique where pigments were mixed with hot or cold beeswax as well as other ingredients, producing a medium that is very similar to oil paint. This striking portrait of a young man was painted in the encaustic technique on a panel composed of a series of vertical wooden slats that have been bound together. Although the vibrancy of the hues has diminished somewhat over the centuries, the work remains remarkably well preserved. His dark brown eyes, thick eyebrows, and dark curly hair are all features characteristic of the people depicted on such portraits. The painter has managed to capture the effects of light and shadow on the curves of his face, most noticeable around his mouth and chin. He wears a simple white tunic decorated with a thin blue collar. Like an old photograph that has faded over the years, we recognize something familiar in this work, and in the eyes of this man, something we recognize in ourselves too.

pjetgallery:

Affordable Artwork at Investment Prices

Anti-Memories | Facebook

a series of autobiographical illustrations that reflect on childhood experiences, dreams, and things that shaped me. It is a workbook on artistic development. They are 8x10 graphite on paper. I conceived them to be prints for fine art print portfolio collectors.

fossilera:

Some more high quality Megalodon teeth that arrived within the last several days now photographed and listed on FossilEra.com including a 6 1/4 inch monster with razor sharp serrations (first photo)