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Quipu in the Cleveland Museum of Art in Cleveland, Ohio.. Quipu (/ ˈ k iː p uː / KEE-poo), also spelled khipu, are recording devices fashioned from knotted cords.They were historically used by various cultures in the central Andes of South America, most prominently by the Inca Empire.
Her research on khipu boards, a herding khipu collected by Max Uhle in 1895, and other khipus surviving in Andean communities led her to argue that the ply direction of knots on khipu cords and the colour of the fibre were significant ways of encoding meaning in khipus. [12] [13] [14]
It also contained holdings from Austrian collections. Initially, in August 1943, art treasures from Austrian churches, monasteries and museums were transferred into the mines for safekeeping, followed by, starting in February 1944, a stock of about 4,700 works of stolen art from all over Europe. [1]
Some human remains at Buchenwald, [1] including a lampshade made of human skin. [2]There are two notable reported instances of lampshades made from human skin.After World War II it was claimed that Nazis had made at least one lampshade from murdered concentration camp inmates: a human skin lampshade was displayed by Buchenwald concentration camp commandant Karl-Otto Koch and his wife Ilse Koch ...
One was exhibited at Auschwitz in 1947, and others were published in 1958 in Warsaw in a book by Stanisław Wrzos-Glinka, Tadeusz Mazur and Jerzy Tomaszewski, 1939–1945: Cierpienie i walka narodu polskiego (published in English as 1939–1945: We Have Not Forgotten). Some of the figures had been retouched to make them clearer.
The photographs the unit produced were used as the basis for at least two contemporary books: Power In the Pacific – compiled by Steichen to accompany an exhibition by the same title at the Museum of Modern Art [4] The Blue Ghost – a record of Steichen's November 1943 tour on board the USS Lexington. [5]
López used the wet-plate collodion process, making and developing his plates in a portable darkroom. The plates were sensitive to blue light only; his darkroom was an orange tent. This was the first time photography had covered South American warfare and his images became iconic. [27]
Fenton's pictures during the Crimean War were one of the first cases of war photography, with Valley of the Shadow of Death considered "the most eloquent metaphor of warfare" by The Oxford Companion to the Photograph. [13] [14] [s 3] Sergeant Dawson and his Daughter: 1855 Unknown; attributed to John Jabez Edwin Mayall [15] Unknown [e]