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Beyond the Nile- *A MUST SEE* EXHIBIT in LA


“Beyond the Nile” at the Getty Center- A MUST-SEE Exhibit


Leticia Marie Sanchez

Fasten your artistic seat belts.

The Getty Center’s “Beyond the Nile: Egypt and the Classical World” is truly a blockbuster show, spanning more than 2000 years and covering geography ranging from Minoan Crete, Hadrian’s Rome, and Ancient Egypt.

What is inspiring about the exhibit is that the civilizations of Egypt, Rome, and Greece are not viewed as separate entities. In fact, the exhibit’s main theme explores the influence that these cultures had one another. Egypt’s impact went beyond the Nile, and its presence can be seen in the Classical world’s frescoes, coins, sculpture, and pottery in an enriching exploration of artistic cross-pollination during antiquity. 

And there is nothing that Cultural Cocktail Hour enjoys more than a magnificent fusion. It underscores the fact that as human beings, we have more that unites us than separates us. Art is a lens that can depict the thriving connection between distinct cultures.

 Here are some FUN FACTS about the exhibit:

1. A TRULY GLOBAL ENDEAVOR Of the more than 300 works on display, surprisingly only 3 (!) come from the Getty’s collection. Getty Museum Director Timothy Potts revealed that the rest hail from a vast array of museums around the globe, including the British Museum, the Louvre, The National Archaeological Museum of Naples, and the Berlin State Museum.

2. “SCULPT LIKE AN EGYPTIAN” : Senior Curator Jeffrey Spier revealed that Ancient Greek sculpture was heavily influence by Egyptians. The Greeks did not carve stone sculpture prior to the seventh century B.C. But after seeing Egyptian images, the Greeks began creating Kouroi (figures of young men) and Korai (Figures of young women). When observing these Greek sculptures, look for clenched hands held tightly at the sides, the visual links to the Egyptian sources of inspiration.

3. BUDDY, CAN YOU SPARE A HEAD?  Senior Curator Spier also revealed that many of the heads that we see would have been full figured. And in fact, many tombs contained a “RESERVE HEAD” like a “spare tire!”

Julius Caesar(This image is NOT a reserve head. This is JULIUS CAESAR.)

Unknown. The Green Caesar.

1st Century B.C-1st Century A.D. Roman.

Green Slate.

Object. H: 44 X W:26 X D:25cm (17 5/16 X 10 1/4 X 9 13/16 in.)

Photo credit: bpk Bildagentur/Antikensammlung, Staatliche. Museen zu Berlin- PreuBischer Kulturbesitz/Art Resource, NY EX: 2018.4.66



“BEYOND THE NILE” warrants several visits to take in the manifold objects spanning countries and centuries.

DO NOT MISS these highlights on your first visit:


#1. In the Museum Entrance Hall, visitors are greeted by the BENEVENTO OBELISK,

found in Benevento, Italy. This Roman-Egyptian obelisk honors the Emperor Domitian and the Goddess Isis. The obelisk sets the tone for what one will view inside. Isis was a significant goddess in Ancient Egypt, but her popularity transcended the land of the Nile. The Greeks viewed her as manifestation of Aphrodite, and she also gained a cult following in Rome. So, this first piece heralds the notion of cultural fluidity that will be a cornerstone of the exhibit.

OBELISK HONORING EMPEROR DOMITIAN AND THE GODDESS ISIS; Romano-Egyptian, AD 88–89, found in Benevento, Italy; granite. Museo del Sannio, Benevento




Walk like an Egyptian


“Walk like an Egyptian!”

(Cue the Bangles:

“All the old paintings on the tombs/ 

They do the sun dance don’t you know?”)

The intricately designed staircase leading to the exhibit is just one of many creative details at the exhibit.

This transportive staircase allows one to travel back in time with majestic flair, robes fluttering in the LA breeze, like Egyptian deities.

One feels like a pharaoh and can unleash one’s inner goddess.


alexander the great#3: Unknown MARBLE HEAD OF ALEXANDER THE GREAT 

2nd-1st century B.C, Egyptian, Ptolemaic, Marble. Object: H. 38.1 X W: 22.0 X D: 24.1 cm (15 X 9 X 9 ½ in) © The Trustee of the British Museum. EX 2018.4.28

This is a key figure to recognize! You will see his image throughout the exhibit. In fact, when Ptolemy 1 became the king of Egypt in 305 MC, he elevated Alexander the Great to god-like status with a cult that deified the conquering hero. Some visual clues to Alexander’s portraiture: the leonine hair with curls raised above the forehead and youthful mien. (After all, Alexander created one of the largest empires ever before he reached the ripe old age of 30. Not too shabby).




Getty vase

#4. CUP WITH EGYPTIAN SCENES Roman 25 BC- AD 79; found in Stabiae, Italy. Obsidian with pink and white coral, carnelian, jasper, lapis lazuli, and malachite framed in gold.

This cup captivated the attention of many museum goers at the Getty during my visit; I observed them transfixed by this glowing cup, as they walked around to capture the various angles as light streamed through the obsidian glass. The luster of the glass stems from its origin as black volcanic glass. Its mesmerizing property extends to the colorful semiprecious stones which depict Egyptian scenes, including the sacred Apis bull and Horus falcons. Other symbols include a solar disk with two royal cobras known as uraei.



Mosaic With A View of the Nile

#5 MOSAIC WITH A VIEW OF THE NILE, Roman, 100 BC–AD 100, found in Palestrina, Italy; stone. Staatliche Museen zu Berlin, Antikensammlung. Photo: bpk Bildagentur / Antikensammlung, Staatliche Museen/Photo: Johannes Laurentius /Art Resource, NY

This Mosaic is also not to be missed.

Restored by the Getty, it was originally part of an immense floor mosaic nearly twenty feet long. Thus, the level of detail on this mosaic is breathtaking. Again, the confluence of cultures is evident in this piece which was discovered in present-day Palestrina, east of Rome, yet depicts an Egyptian scene: an Egyptian steers a boat on the Nile, where a festive group is serenaded by musicians. Incidentally, the depiction of the Nile on the original piece extended from Ethiopia in the South to the Egyptian delta on the Mediterranean coast.

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Bach and the Nanny-Goat Bassoonist

Some celebrate BACH’s BIRTHDAY  on March 21st, some on March 31st (due to the differences in the Gregorian and the Julian calendar).

We here at Cultural Cocktail Hour celebrate BACH’s BIRTHDAY  all month long!

In honor of his birthday, here is an anecdote about the musical legend:

Bach…the Brawler?

Did J.S Bach, the eminent composer of such celestial works as the Goldberg Variations, the Well-Tempered Clavier, the Brandenberg concertos, and the Toccata and Fugue in D Minor have an alter ego?

It appears that the clever Kapellmeister, director of heavenly choirs, and the composer of music divine, may have had a mischievous streak.

As choir director in Arnsadt, the 20-year old Bach got into fisticuffs with a student named Johann Geyersbach.

The brawl originated thusly: walking softly and carrying a big stick, Geyersbach approached Bach as he crossed the marketplace with his cousin. Geyersbach accused Bach of having insulted his bassoon skill, 18th century lexicon for “Come at Me Bro.” Bach denied having insulted him. Geyersbach retorted, “Whoever insults my bassoon, insults me.”

He then called Bach a “dirty dog” and Bach drew his sword. The two began wrestling until other students tore them apart.

The nanny goat case was taken to court. The court found Bach guilty of having called Geyersbach “Zippelfagottist,” a nanny goat bassoonist. They told him that a man must learn to accept the less talented.

Did Bach take the court’s advice to heart? A few years later he tore of his wig and hurled it at a musician, telling him he should have gone into cobble making.

Overall, Bach did a good job of hiding his Hyde. Where there is smoke, there is fire. With the embers of genius burning in his brain, it is only natural that Bach had to let off a little steam. If the cost of brilliant intensity is a tossed wig and a nanny-goat epithet, they are minor ducats compared to eternal treasures.

To listen to one of those timeless treasures,  Prelude #15 in G from the Well-Tempered Clavier Book II played by Rosalyn Tureck, click on

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Is an opera singer allowed to smile?


This article originally appeared on Cultural Cocktail Hour in 2011

by Leticia Marie Sanchez

In 2011 critics blasted Anna Nebtreko, star of Donizetti’s Anna Bolena for daring to smile on opening night at the Metropolitan Opera. The audience wildly cheered Ms. Netrebko after a particularly grueling and moving rendition of the aria Al dolce guidami. Netrebko, who had been gazing upward, briefly smiled, causing the audience to erupt in more cheers.

The critics lambasted her for this gesture, which they claim caused her to break character.

Their negative reaction begs the question: for whom are singers performing: naysaying critics or their beloved audience?

What about the bond between a singer and the audience?

Opera celebrates the wide gamut of human emotions. Why should should natural feelings and spontaneous impulses be constrained?

When a singer is not allowed to acknowledge the connection with their audience or their own emotional triumph, that is a shame.

The critics should realize that one can have vibrant fonts of human emotions or one can have statues.

One cannot have both.

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Wise Woman of the Day: Beverly Sills

“Art is the signature of Civilizations.” 

–Beverly Sills— 

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Mozart’s Mug Shot?

Holy Cadenza!

Do you recognize this guy?

This photo represents a facial composite of  that 21 year old wunderkind Mozart, created in the around 1990s by the Bundeskriminalamt Wiesbaden—the Federal Criminal Police Office of Wiesbaden, Germany—from four portraits painted during the composer’s lifetime, according to the website Dangerous Minds.


What do you think?

Would you trust this guy with a Sonata?

Incidentally, Mozart found forgiveness for one of the few “illegal” activities in which he found himself embroiled. As a 14 year old, he created the first illegal copy of “Misere,” a piece heavily protected by the Vatican. Even copying the piece from memory (as Mozart did) was punishable by excommunication. However, when the Pope met the young prodigy, instead of scolding him, he lavished the youngster with high praise.

But, of course!

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In the news: Rembrandt found under ping pong table fetches millions

 Three brothers from New Jersey discovered a valuable Rembrandt under their Ping Pong Table.

Better than finding toxic mold!

Here is the news link:


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Met Opera Auditions- Western Region Finals- Zipper Hall

This past Sunday was yet another afternoon filled with wonderful talent. Opera Singers from across the Western Region vied for a chance to sing on the Met Stage at auditions held at the Colburn School’s Zipper Hall.

Soprano Julia Metzler garnered the coveted first place! Congratulations! Other standouts included the poised, charming, and vocally impressive Katherine Beck who garnered audience acclaim for her rendition of Rossini’s “Una Voce Poco Fa” from the Barber of Seville. Tenor Brian Michael Moore was another audience favorite at the ripe old age of 25. These young singers give hope to the future of opera. Bravi!

Met Stage 3

Met Stage

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LA Art Show- *A MUST SEE* LA Cultural event

All Photography © 2018 by Leticia Marie Sanchez

Strolling through the LA Art Show, there are delightful surprises around each corner, like the Earthenware by Picasso, who knew?

Picasso Earthenware

Picasso Earthenware 2




“Metamorphosis” by Erika Harrsch in which ”Extinct” Butterflies are created by currency made extinct by the  Euro


And an allusion to Rodin’s “The Thinker” lost in his phone

Rodin on the Phone

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Chagall at LACMA: dreamy and ethereal

Better 2 CostumeAll Photography © 2018 by Leticia Marie Sanchez

This lovely exhibit devoted to Marc Chagall (which ends Sunday January 7th) is filled with a host of costumed characters from “The Magic Flute,” “The Firebird,” “Daphnis and Chloë,” among others…

Chagall BestChagall YellowFLower Red Chagall Chagall Bright greenChagall flower loveliesChagall HarlequinDramatic Costumes

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LA Art Show 2018: Jan 11th- Jan 14th

LA art show 2018


LA Art show



Wednesday, January 10, 2018

Thurs. Jan. 11, 2018 | 11am – 7pm;

Friday, Jan. 12, 2018 | 11am – 7pm;

Sat, Jan. 13, 2018 | 11am – 7pm;

Sunday, Jan. 14, 2018 | 11am – 5pm


Photography and Logo © LA Art Show


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