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Maria de Lourdes Riobom

Maria de Lourdes Riobom

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Licenciada Historia,Mestre História da Arte Contemporânea,Doutorada em Ciências da Educação/His Quer conhecer melhor a arte e a cultura portuguesas?

Quer aprofundar os seus conhecimentos no domínio da arte? Quer oferecer uma visita a um museu, uma exposição ou um monumento a amigos portugueses ou estrangeiros? Aos seus clientes para lhes dar a conhecer a variedade do património do nosso país? Já pensou que podemos organizar visitas a exposições, museus ou monumentos para os seus colaboradores ou realizar pequenos cursos na sua empresa, de modo

14/06/2026

From his taut, sun-kissed portraits of LA to his vast psychedelic Yorkshire landscapes to his 70m iPad Normandy epic – here’s our pick of David Hockney's best works

From an early age, Alberto Giacometti became interested in ancient Egyptian art through books and European museums.   The Egyptian statues he saw in Italy as a young artist made a lasting impression on his visual repertoire as he was drawn to their stillness, rigid frontality, and enduring composure.   In co-organization with the Fondation Giacometti (@fondation_giacometti), this exhibition brings together for the first time at The Met the work of Giacometti in one of New York’s most iconic spaces. 17 figures will stand alone or in groups on “The Temple of Dendur’s” platform—a presentation that echoes the artist’s own compositions of figures as well as the life around the temple.   Now open! See “Giacometti in the Temple of Dendur” on view through September 8. ——— Installation views of “Giacometti in the Temple of Dendur,” on view June 12 through September 8, 2026 at The Metropolitan Museum of Art. Photo by Anna-Marie Kellen. 14/06/2026

From an early age, Alberto Giacometti became interested in ancient Egyptian art through books and European museums.   The Egyptian statues he saw in Italy as a young artist made a lasting impression on his visual repertoire as he was drawn to their stillness, rigid frontality, and enduring composure.   In co-organization with the Fondation Giacometti (@fondation_giacometti), this exhibition brings together for the first time at The Met the work of Giacometti in one of New York’s most iconic spaces. 17 figures will stand alone or in groups on “The Temple of Dendur’s” platform—a presentation that echoes the artist’s own compositions of figures as well as the life around the temple.   Now open! See “Giacometti in the Temple of Dendur” on view through September 8. ——— Installation views of “Giacometti in the Temple of Dendur,” on view June 12 through September 8, 2026 at The Metropolitan Museum of Art. Photo by Anna-Marie Kellen.

14/06/2026
À Barcelone, Léon XIV entre foot et Sagrada Familia 14/06/2026

À Barcelone, Léon XIV entre foot et Sagrada Familia À Barcelone, Léon XIV entre foot et Sagrada Familia👉 Le récit et ...

Piero della Francesca, The Flagellation of Christ (detail), c. 1455–1460. Galleria Nazionale delle Marche, Urbino. For centuries, scholars have tried to unravel the mystery of The Flagellation. Yet what captivates me most is not the scene of Christ’s suffering in the background, but the three silent figures occupying the foreground. They stand together, absorbed in a conversation we cannot hear, seemingly untouched by the drama unfolding nearby. Piero constructs a world governed by perfect order, luminous geometry, and absolute calm. Yet beneath this serenity lies a profound tension. The painting invites us to ask whether the greatest mysteries of history occur in distant events or in the quiet decisions, reflections, and silences of ordinary human beings. The more I look at this masterpiece, the less it feels like a painting meant to be solved. Instead, it becomes a meditation on uncertainty itself. Some works reveal their meaning over time. Others preserve their secrets and, in doing so, remain eternally alive. Perhaps that is why The Flagellation continues to fascinate us after more than five centuries. Its mystery is not a problem waiting for an answer. It is part of its beauty. ── If these reflections on art inspire you, consider supporting this page with a small donation. ☕ Buy Me a Coffee or Ko-fi (link in bio) ── 14/06/2026

Piero della Francesca, The Flagellation of Christ (detail), c. 1455–1460. Galleria Nazionale delle Marche, Urbino. For centuries, scholars have tried to unravel the mystery of The Flagellation. Yet what captivates me most is not the scene of Christ’s suffering in the background, but the three silent figures occupying the foreground. They stand together, absorbed in a conversation we cannot hear, seemingly untouched by the drama unfolding nearby. Piero constructs a world governed by perfect order, luminous geometry, and absolute calm. Yet beneath this serenity lies a profound tension. The painting invites us to ask whether the greatest mysteries of history occur in distant events or in the quiet decisions, reflections, and silences of ordinary human beings. The more I look at this masterpiece, the less it feels like a painting meant to be solved. Instead, it becomes a meditation on uncertainty itself. Some works reveal their meaning over time. Others preserve their secrets and, in doing so, remain eternally alive. Perhaps that is why The Flagellation continues to fascinate us after more than five centuries. Its mystery is not a problem waiting for an answer. It is part of its beauty. ── If these reflections on art inspire you, consider supporting this page with a small donation. ☕ Buy Me a Coffee or Ko-fi (link in bio) ──

14/06/2026

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