It is believed to have been destroyed, but researchers continue to search the photographic record and are studying military iconography and the coinage of the mid-19th century, as well as the styles of carvers, to better reproduce the original design.

On a ribbon under the eagle, barely discernible even at high magnification, were the words of Henry Lee, Washington’s 1799 eulogist: “First in war, first in peace and first in the hearts of his countrymen.”

The painting created another stir when it was presented at the April 1864 Art Exhibition at the Metropolitan Fair in Aid of the United States Sanitary Commission, a benefit for Union soldiers.

It was an immediate sensation, and within four months some 50,000 people had paid to see the painting before it was bought for $10,000 by a collector, Marshall O. Roberts.

Meanwhile, in Long Island City, Queens, a master woodcarver, Félix Terán, has completed a two-foot-long test carving of the frame’s elaborate eagle crest from blowups of the Brady photograph. Working in the 11,000-foot studio space of Eli Wilner & Company, a former eggroll factory, Mr. Terán created the mockup to test the depth of sculptural relief and the placement of the frame’s embellishments.

It’s an experiment,” Dr. Barratt said of the frame-restoration process. “How close can we get to the original from the photograph, and what is our responsibility to the original when we aren’t sure about the level of detail?”

“It took my breath away,” Dr. Barratt said.

Through the centuries the painting has been criticized aesthetically and for historical shortcomings. (The design of the fluttering American flag, for example, was not yet in use.)

Nevertheless the image of the frame has now been digitized, and Eli Wilner — a Manhattan antique-frame dealer whose artisans have made replicas for the Met, the Smithsonian and the White House — expects to be able to discern details “within an eighth of an inch,” he said.

“It’s a challenge to carve, since there isn’t a whole lot of detail in the blowup,” said Mr. Terán, who was born into a family of woodcarvers in a town of woodcarvers, San Antonia de Ibarra, in Ecuador.

She explained that conservators are refining a plan to remove layers of varnish for the painting’s first surface-cleaning in decades.

“It’s like the boat that was built in the basement,” said Carrie Rebora Barratt, curator of the restoration project, who is manager of the Henry R. Luce Center for the Study of American Art at the museum.

The challenge is reminiscent of the construction of the Hayden Planetarium around the 15.5-ton Willamette Meteorite in 1935, a feat repeated in 2000 when the $210 million Rose Center for Earth and Space was built around that same artifact.

It is heavy too, and will be getting heavier, because curators are currently assessing the best way to carve an elaborate new 3,000-pound basswood frame that would replicate the original, missing for more than a century.

That is because the heroic and stupendously popular 1851 “Washington Crossing the Delaware,” familiar to generations of schoolchildren, is one of the largest paintings in the museum, measuring 21 feet wide and 12 feet high.

Hayden Planetarium around the 15.5-ton Willamette Meteorite in 1935,

projects

That is because the heroic and stupendously popular 1851 “Washington Crossing the Delaware,” familiar to generations of schoolchildren, is one of the largest paintings in the museum, measuring 21 feet wide and 12 feet high.

Washington Crossing the Delaware,”

Twenty-nine years ago, Jean-Michel Basquiat died from a heroin overdose in his East Village apartment. His death, at just 27,

On the mercenary side, photographers like Ron Galella (fortunately or unfortunately known as the godfather of paparazzi in America) would shoot the stars for gossip rags and Page Six featurettes, where Basquiat made numerous appearances. According to Galella, the paparazzi game was more dignified back then. “Today they hound celebrities because they are out for money,” he has said. “They seek pictures showing cellulite and fat—I never did that, I wanted beauty.”

Through an apprenticeship with a pyrotechnics company, Chicago learned to set off fireworks herself. She’d always had an interest in the emotional resonance of color, and she began to experiment with tinted smoke. In 1968, she filled Los Angeles’s Brookside Park with ethereal orange clouds (Orange Atmosphere). In 1969, she took the series to the beach in Santa Barbara, where she ignited sublime billows of purple mist (Purple Atmosphere #4). They diffused into the sea air, seeming to rise over the ocean.  

Go inside, however, and you find yourself in a cavernous forest of 10,000 pillars, each gathered from a different variety of tree—from the common to the incredibly historic. Among this collection of samples of trees, one will find traces of Methuselah, the 4,800-year-old bristlecone pine (said to be the world’s oldest tree), and the ginkgo that survived the bombing of Hiroshima. The isolated enclosure provides respite from the open gardens, while offering a humbling reminder of the vast natural history represented in the piece’s walls.

From the outside, Paterson’s Hollow appears deceptively simple—a few posts of unfinished wood forming a hut on the grounds of Bristol’s Royal Fort Gardens. Go inside, however, and you find yourself in a cavernous forest of 10,000 pillars, each gathered from a different variety of tree—from the common to the incredibly historic. Among this collection of samples of trees, one will find traces of Methuselah, the 4,800-year-old bristlecone pine (said to be the world’s oldest tree), and the ginkgo that survived the bombing of Hiroshima. The isolated enclosure provides respite from the open gardens, while offering a humbling reminder of the vast natural history represented in the piece’s walls.

Visitors to the 1889 Exposition Universelle in Paris entered the fairgrounds under the shadow of the newly-built Eiffel Tower—a gleaming marvel of wrought iron lattice that stretched almost a thousand feet into the air.

In 1968, several years after she graduated from the MFA program at UCLA, Chicago had begun a series called “Atmospheres.” In the first iteration, she used smoke machines to cloak a Pasadena street in a shroud of ethereal white mist.

Judy Chicago likes to play with fire. Most of us know her as a fierce ringleader of the 1960s feminist art movement, in which she pushed back against the patriarchal establishment.

But compared to the contemporary ruins in Greece, the Nashville Parthenon boasts a major historical detail: polychromy. Along with parts of the exterior and interior of the building proper, the massive gold Athena statue is painted in bright colors. It’s jarring, and even a bit goofy-looking by today’s standards, given that we’re used to the erroneous idea that ancient times were dominated by a simple, unadorned white marble aesthetic. In actuality, the ancient Greeks painted all of their statues: Seeing them emblazoned in green, red, blue, and other colors is more historically accurate. It also rights the long-held and historically incorrect view of the ancient past as one dominated by whiteness.

Over the course of six months, the Exposition drew almost 2 million people—20 times the population of Nashville at the time. By the time the fair ended, the unique building had grown on the local population. “Who will be the man that will strike the first blow at the Parthenon?” asked Nashville orator Tully Brown at the time.

But Nashville, Tennessee’s full-scale replica of the Parthenon, while seemingly random, isn’t gimmicky. Instead, the structure, created in 1897, provides an awe-inspiring look at the iconic Athens structure badly damaged hundreds of years ago.

Museum officials drew on international models—such as the relationship between the Musée de Louvre in Paris and Le Louvre Lens in Pas-de-Calais, 200 kilometers to the north—to develop integrated programming that would drive some of the National Palace Museum, Taipei’s 6 million annual visitors to the Southern Branch. Taiwanese legislator Weng Chong-Jun has stated that these visitors won’t only benefit Jiayi’s economy through the tourist sector, they will also boost the region’s historic tea industry.

globalization in the abstract, it also positions Jiayi to reap its benefits. By investing over NT$10.9 billion (U.S. $350 million) to create a world-class tourist destination in this southern municipality, the Taiwanese government intentionally placed cultural industries at the center of Jiayi’s 21st-century economic development plan. 

Unlike the older National Palace Museum, Taipei, which showcases objects from the imperial collections of past Chinese dynasties, the Southern Branch is forward-looking, laying the groundwork for a narrative of pan-Asian identity. Driving this shift is Taiwan’s underlying geopolitical strategy to decrease its dependence on Mainland China and increase its ties with the rest of Asia.

With the opening of its Southern Branch in early 2016, a poor Jiayi farmer can access Taiwan’s cultural resources as easily as a wealthy Taipei banker.

such as the crowd-pleasing Jadeite Cabbage, a piece of jade carved into the form of the green vegetable—would make their rounds at the Southern Branch and attract local visitors.

Curators ensured that prized antiquities—such as the crowd-pleasing Jadeite Cabbage, a piece of jade carved into the form of the green vegetable—would make their rounds at the Southern Branch and attract local visitors. The inclusion of a permanent exhibition about tea culture across Asia offered an additional point of entry to residents of these counties, where tea cultivation is a major sector of the local economy.

As Taiwanese society grew more democratic from the 1970s onward, and as Taiwanese identity grew more distinct from Mainland China, the role of Taiwan’s cultural policy also shifted—from elitism toward inclusivity and from cultural chauvinism toward cosmopolitanism.

The National Palace Museum, Taipei, is recognized globally as the leading research institution for Chinese art, and the cultural objects housed in it have lent legitimacy to the Taipei government’s claims that it is the true steward of Chinese culture.

芝加哥在她职业生涯的早期，与男性艺术家进行了至少一场战斗。她不是理查德·塞拉 1970年在帕萨迪纳美术馆（现在的诺顿西蒙博物馆）演出的粉丝，他在那里砍下了红木树，并把它们堆在画廊里。两人之间的争吵随之发生：“我被男性建造的环境和男子气概的敲打树木和挖洞的手势吓到了，”她说。

但与希腊的当代废墟相比，纳什维尔帕台农神庙拥有一个重要的历史细节：多色。随着建筑物外部和内部的部分，大量的金色雅典娜雕像以明亮的色彩绘制。这是令人震惊的，甚至有点愚蠢的今天的标准，因为我们习惯了错误的想法，古代被一个简单的，未装饰的白色大理石审美主导。实际上，古希腊人画了他们所有的雕像：看到他们以绿色，红色，蓝色和其他颜色印有更为历史的准确性。它也使古代过去的长期和历史错误的观点受到白色主导的影响。就像原来的那样，纳什维尔帕台农神庙已经成为一个旅游陷阱，但这并不意味着有趣。所以写这个感觉很奇怪，这是真的：在你去田纳西州纳什维尔之前，你还没有真正看到帕台农神庙。

在20世纪60年代，在一个捐赠箱旁边放置了一个捐赠箱，“人们在大约15到20年之内就把它剁碎了”，最终筹集了近3万美元，“帕特农神学院院长佩斯说。这些资金成了用来创造雕像的种子钱。不过，它花了八年多的时间，共计25万美元建造在1990年5月揭幕的雅典娜。今天，游客和田纳西州比纳什维尔的雕像更好看，比古希腊的pleㄧ，他们相信只有在特殊场合才能看到希腊帕台农神庙的内部

建筑物恢复了原来的帕特农神庙遗失或损坏的方面：沿着建筑物外面运行的曲折和山坡上的雕塑，描绘了希腊神话中的各种场景

博物馆官员利用国际模式，例如 巴黎卢浮宫卢浮宫博物馆和卢浮宫之间的关系  ，距离北部200公里的加来海峡，开发综合节目，推动部分故宫博物院，台北市600万游客前往南方分公司。台湾立委翁崇军表示，这些游客不仅将通过旅游业对嘉义的经济有利，还将推动该地区历史悠久的茶业。

投资额达109亿新台币（3.5亿美元）在这个南方市建立世界一流的旅游胜地，台湾政府故意将文化产业置于嘉义21世纪经济发展规划的中心。  台湾政府有意将文化产业置于嘉义21世纪经济发展规划的中心。

南方分会的首例展览展示了以伊斯兰书法为特色的中国和波斯统治家庭赠送的蓝白色瓷器物品 - 日韩陶瓷，强调了中国工匠分享的技术。

南非分公司与前往中国朝鲜皇室收藏品的台北故宫不同，南非分公司是前瞻性的，为亚洲人的身份叙述奠定了基础。推动这一转变是台湾地缘政治的根本策略，减轻对中国大陆的依赖，增加与亚洲其他地区的联系。

随着南部分公司于2016年初开幕，一家可怜的嘉义农民可以像富裕的台北银行家一样轻松访问台湾的文化资源。正确的文化政策，使得台北所在的更发达，大都市北部，更多的农村，农业南部的特权

策展人确保珍贵的古物，例如翡翠圆白菜，一块雕刻成绿色蔬菜的玉石，将在南方分公司轮回，吸引当地游客。在亚洲举办关于茶文化的永久性展览，为这些县的居民提供了额外的入场点，茶叶种植是当地经济的主要部门。

。 台湾最高立法机关新千年开始时， 他立法院， 宣布一项雄心勃勃的项目，为所有公民提供平等获得国家文化遗产的机会

文化管理一直是台湾政府的首要担忧。台北故宫博物院在全球被公认为中国艺术的领先研究机构，其中所存在的文化物品已经使台北政府声称这是中国文化的真正管家者的合法性。