Category: History

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Marc Aurel Book 6

Some passages of Book 6 can be understood like quotes of much later works, even like writings of the enlightenment period. Take this one: “If someone can prove me wrong and show me my mistake in any thought or action, I shall gladly change. I seek the truth, which never harmed anyone: the harm is to persist in one’s own self-deception and ignorance.” (para 21 in Penguin Classics version, also in Greek original and French translation).
The same passage in historic English: “If anybody shall reprove me, and shall make it apparent unto me, that in any either opinion or action of mine I do err, I will most gladly retract. For it is the truth that I seek after, by which I am sure that never any man was hurt; and as sure, that he is hurt that continueth in any error, or ignorance whatsoever.” (Para XX in Gutenberg.org online reader).
Why is this already an enlightened vision of truth? In the search for truth, he is open to criticism or doubt by others (maybe even irrespective of societal standing) and, moreover, ready to change his conviction and action. Religious doctrines of the time and many centuries after his writings would not have accepted such a doubtful mind who might change due to (scientific) reasons. Long before “Cogito ergo sum” (René Descartes, (1637), I think, therefore I am, of the early enlightenment, Marc Aurel might be summarized in this paragraph as “Cogito, ergo dubio”, I think, therefore I doubt – and I may change accordingly.
(Image: Ossip Zadkine, Forêt humaine, Musée Zadkine Paris)

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Marc Aurel Book 2-5

There are several translations of Marc Aurel. In the Shakespeare English translation from the Greek original of the Meditations a passage (Book 5 paragraph XXIII) describes or idealises humans as a “reasonable and sociable creature, regulated and directed.” The same short quote of this paragraph in the English translation by Martin Hammond (Penguin Classics p.43) reads: “…my wish is to follow the nature of a rational and social being.” Of course, both translations are pretty similar at first glance, but the difference of “reasonable” versus “rational” and “sociable” versus social” mark very important differences that had and have different impacts throughout the following centuries up to today. As in many other instances going back to the original version in Greek (book link) might clarify the issue, however, the entry barrier is access to the bilingual version and use of an ancient Greek dictionary.
With almost 2000 years of advances in rational approaches and its tools like mathematics, the scope of the rational is huge and the behavioural turn in the social sciences demonstrates the limitations of human’s use of rationality (λογικός) in decision-making. Reasonable seems to come closer in today’s “post-enlightenment” world.
There is also quite a divergent connotation in the simply “sociable” (κοινωνικός) being or the “social” being, which has a wider scope attached to it. Hence, lets be aware of the implicit interpretations of translations. For a start the parallel reading of translation and original (Link) might enhance our understanding and spur even new translations and interpretations, which speak with the classic originals to today’s audiences (with or without AI).
A witty joinder of both previous translations is “And my will is the will of a reasonable and social being”. (Link Book V, paragraph 29 bottom).
From the Greek to French in book V (Link)  with an even broader understanding of the social as “la société universelle”.

(Image: Camille Claudel 1905: “Persée et la Gorgone, Lucile Audouy collection Paris, exhibited in Berlin 2025, Alte Nationalgalerie)

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Marc Aurel AI

In the 21st century it is possible to chat with Marcus Aurelius. Part of the exhibition at the Simeonstift is a chatbot you may freely consult and questions with or about Marc Aurel. Based on your questions the animated screen image of Marc Aurel will reply based on his own writings like the Meditations and (probably) other secondary literature on Marc Aurel. Questions about feminism or slavery are answered based on the original texts. Some of these answers  appeared rather modern like the basic equality of all including women or slaves. The Meditations are an idealistic vision of mankind in the stoic tradition. In practice such ideals have proven very ambitious for the many and growing temptations in the day-to-day lives of ordinary people including their political, religious, business and military leaders. The AI is confronted with the issue to give answers to ethical questions which refer to the time of the author, but not all can apply to today’s ethical standards and basic human rights. Reading the original source, therefore, remains the preferred choice. 

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Marc Aurel Philosopher

2025-9 marks an additional landmark in the achievements of the late Marc Aurel. In the Roman built city of Trier, 3 museums offer exhibitions on the life, ideas and imperial governance style of Marc Aurel. Libraries and bookshops around the city portray a wealth of books and studies by and about Marc Aurel as well in many languages (image below 2025-9). The stoic author and practitioner has served as an example of a leadership style which became for many subsequent leaders a hard-to-achieve precedent. The writing style of Marc Aurel in short paragraphs and aphorisms proved highly accessible, although his readership swell only after a Latin translation of his Greek original appeared in the 16th century. The title “Meditations” in English, “Pensées pou moi-même” in French or “Selbstbetrachtungen” in German demonstrate the difficulty to get to grips with the author’s intention and objectives in writing down these reflections on life, ethics, humanity and good governance. Through the use of Greek rather than Latin he puts himself in the line of Greek philosophers rather than the succession of Roman emperors. As the numbers of bad leaders still outnumber the good governance style advocated by Marc Aurel, these exhibitions in the Simeonstift, the Landesmuseum and the Stadtbibliothek are a perfect opportunity to demonstrate that good governance is something that can be studied and learned even in the distant Roman history.  

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Vacation Waves

One of the most popular choices for a vacation is in connection with waves. There seems to be something mystical or romantic related to waves, which touches many people irrespective of their background and across continents. This goes much beyond what we know about waves from physics or maths and this is already a fascinating scientific story in itself. Sailing adepts will be able to tell marvellous tales about waves, too. Coming back from a vacation near the sea or a lake, you surely may add another story to the already rich inventory of waves in art or literature. The imagery about waves started early as well, ever since sailors started to conquer the world.

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500 years Motherhood

The history of art is full of depictions of motherhood. The catholic church has largely contributed to this phenomenon. Sandro Boticelli created in 1478 his painting of Maria and the child surrounded by singing angels. As Maria is said to know about the tragic fate of her child, her facial expression is rather sad or apprehensive than full of joy. The public acclaim has lasted already for more than 500 years. The women and people who sympathize with this depiction seem to share some of the worries about the future of both mother and child. Apparently, this has not changed over the course of the centuries. In the 21st century such concerns still have a co-determination effect on women to lead to lower fertility rates in most parts of the world. Fertility depictions in art history might serve as early indicator of behavioral changes. Some take centuries to play out. Technological,  medical devices or social policies can amplify such seminal trends. (Image: Sandro Boticelli and disciples , 1478, Gemäldegalerie Berlin)

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Raffael Madonna

„Mary and the child“ has been the success painting of Raffael around the years of 1500. 3 variants on this topic are presented at the Gemäldegalerie Berlin. Each pose varies only slightly, but each tells a very different story. The Madonna changes the regard from beyond the child, on the child, then to another child. An interesting sequence as such, which puts the relationship with the child also in perspective. The child develops over the sequence from the fast learner into the person with „power grip“ to the one that is spreading benevolence. The different stages of the life course are somehow taking place within a short period of the child. (Image: Raffael, Mary with Child, Gemäldegalerie Berlin)

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Gentileschi Gentileschi

There are 2 Gentileschis that entered the history of art. Orazio the father and his daughter Artemisia. Orazio painted many scenarios based on the bible. The incestuous relationship between Lot and his daughters is difficult one to portray and to do justice to the moral concerns involved. Artemisia, similarly, did not shun away from difficult stories of the bible and added a personal twist to these stories in putting her face into the biblical depiction. The cruelty of the stories become more explicit this way and maybe also her deviant position to the biblical narrative. (Image: Orazio Gentileschi‘ (1622/23) „Lot with his daughters“ Gemäldegalerie Berlin)

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Caravaggio Gentileschi

The „Gemäldegalerie“ in Berlin features in the permanent exhibition the famous Caravaggio painting of „Cupid as Victor“ (1601) in the same room with  Orazio Gentileschi‘ (1622/23) „Lot with his daughters“. The paintings show the same technique of painting with the stunning effects of light and shade. Gentileschi‘s own daughter became equally successful as painter applying the same technique and maybe even more recognized as her father. Berlin and Paris jointly allow to trace interesting new perspectives on the history of art from a gender perspective. The male domination in art of the 16th and 17th century was pervasive, but Artemisia Gentileschi a formidable exception. (Image: Caravaggio „Cupid as Victor“, 1601, Gemäldegalerie Berlin)

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Claudel & Hoetger

It is well known that artists joined other artists and groups to get inspired. The entangled relationship between Camille Claudel and Auguste Rodin has become a special example of the tricky relationship between learning and co-creation or inspiration. The role of galerists in building a reputation for artists is less well understood. The “Alte Nationalgalerie“ in Berlin opens up this black box a bit through juxtaposition of Camille Claudel, Bernhard Hoetger as disciples of Auguste Rodin. The influences are rather obvious, yet each disciple developed her/his unique style. The emancipation was not without frictions. The galerist Eugène Blot organized a joint exposition of both disciples in 1905 in Paris, which is partly reproduced in Berlin 2025. Great work by the curators of the exhibition Yvette Deseyve and Sintje Guericke who managed to bring together unique sculptures from 3+ museums and a great explanation of the links between the artists as well as the proximity of ateliers. (Image: view of showroom in Alte Nationalgalerie Berlin, Claudel & Hoetger 2025)

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Jewish Heritage

In the Germany of the 21st century, we have to dig deeper into history to understand the Jewish heritage due to the horrific terror of the Nazi-regime and it’s millions of supporters. The traces can be found in some historic photographs even in the countryside. Marie-Louise Conen and Hilde Weirich (2010) have thoroughly studied such documents for the Moselle village of Lösnich. The little annex to a house served as a Synagogue (image below). The village has a history of Jewish settlements which extended to neighboring villages as well. Interestingly, the heritage of Napoleon’s occupation of the Rhine and Moselle regions brought equally for all men (not yet women) and the separation of the state and religion making Jewish life, property acquisition more easy. The tolerance of the 19th century was then reversed by Nazi Germany again. History is present in many places, where we do not seem to expect it nowadays. 

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Napoleon legacy

It is huge historical project to try to summarize the legacy of Napoleon Bonaparte. AI is by design less hesitant to come up with any length of a summary statement some with good references on which the statement is based. In combination with a visit at Fontainebleau and a first hand impression of the environment of the autocratic ruler, the remainders like the introduction of a Civil Code to guide also administrations to lawful conduct, we still see influences of this legal innovation in many other countries across the globe. The recognition of Jews as equal citizens and to allow equal access to property and many professions have been influential across Europe mostly in occupied territories. Military service for Jews in Napoleon’s army was another consequence, which spread into the Prussian army and the 1st world war. It is in the 21st century that we see shifts towards more authoritarian governance styles spreading again, we did not want to see this happen until Russia‘s war in Ukraine. (Image: La Chair de la forêt, Frénésie des Géants by  Wang Keping Fontainebleau 2025-8)

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Fontainebleau time

In the Chateau Fontainebleau time seems to pass with a different speed compared to the busy times in Paris. Taking a stroll at the park, boating or horseback riding along the endless paths contributes to the perception of wide, open space and a different space-time experience. The measurement of time shown on a fine craftsmanship of a clock in the castle highlights the fact that there is more to time than just seconds and minutes. The hunch of the time that there is maybe a cosmic time beyond our calendar is a precursor of later scientific discoveries. Time in the early 19th century of Napoleon’s reign had just been restored from calendar of the French revolution. Whether time is counted as 2×12 hours or in 24 hours was also a matter of politics rather than rational decision making. The impressive clock in the Chateau Fontainebleau shows ambitious as much as awareness of defining and counting time, just like an absolute ruler might conceive it. 

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Fontainebleau walks

In the Fontainebleau gardens it is easy to reach your daily walking goals of 7000 a 10000 steps/day. Upon entry into the park you walk around the small lake. Towards the far end of the lake you’ll discover a long waterway which takes you beyond your usual walking distance due to the calm and great surroundings. The forests around the Fontainebleau gardens are another great walking or hiking exercise. You might find companions all along the trails. Just take enough water and food with you as there are no shops around, just you and nature. A bit of advance planning is necessary to make it a great experience. 

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Fontainebleau garden

The garden of Fontainebleau is huge. The design by “Le Notre” is splendid in its combination of trees, greens and water reserves. Beyond walking in the park you may enjoy a horse ride ora  tour in a carriage, some even today. Boating is an additional amenity rarely available at other castles. In the Belvedere in the middle of the water basin romantic or secretive diplomatic conversations might take place. Politics and diplomacy have always needed special locations to prepare decisions. This is a historical constant. 

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Fontainebleau library

The “Galerie de Diane” in Fontainebleau has been built during Napoleon’s reign. It hosts the library with a large collection of books. The function of the books seems to be more to intimidate the persons passing by rather than ready for inspection. The globe at the entrance reflects the ambition of the ruler. The fact that you have to walk some stairs upwards increases the impression to be little compared to this universe of knowledge. It is great that libraries have flipped this perspective and today we study the period of Napoleon’s reign with our democratic values in mind. The top-down approach was the incarnation of Napoleon’s style of government. Despite the revival of such governance styles in the 21st century across the globe, they are unlikely to last for more years than Napoleon’s fate. A simple reason for this may be the only representative or intimidating role of knowledge in such forms of governance rather than an open mind approach. 

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Fontainebleau Throne

The French history is full of kings and emperors who have ruled the country. The Chateau Fontainebleau has the longest history of kings who lived there and held office, a pre-modern version of “home office”. The most remarkable and distinguished furniture of a king is the throne reserved for office hours. Napoleon created a special throne room at Fontainebleau which is also the only one preserved in its original form until today. It is just one of the home office rooms of the emperor. The antechambers, council room and study had to be passed before to reach the ear and audience of the emperor. The history of the home office and thrones have been intertwined ever since. 

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Paris Sorbonne

The history of the university on the left bank of “La Seine” dates back to 1257 when Robert de Sorbon an advisor to Louis IX was asked to create a unifying structure of several colleges which provided room and board already. The location on the left bank in Paris allowed these colleges to escape the religious doctrines and archbishop who dominated the right bank. The choice of the name of the advisor rather than the King was already showing early signs of independence which was cherished by generations of students and professors. The Colleges had individual names like “Collège des Bernardins” or “Collège de Navarre” and operated under the title of “La Sobonne”. The “Musée Histoire de Paris Carnavalet” shows an early design of the Collège de Navarre. Independent thinkers and writers were formed there who became very influential later on in their careers. Thomas d’Aquin was one of them.

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Paris Olympics history

The 2024 Paris Olympic Games will go down in history as the event that has achieved to put Olympic Games and Paralympic Games on an equal footing. At least this is the message the  museum of the history of Paris tries to transmit. In the “Musée Histoire de Paris Carnavalet” we find a vase from the Games from 1924 in Paris next to the 2 Olympic torches, one for the Paralympics and one for the Olympics 2024. Both torches are the same only a different logo on them, same message, same spirit. The impact of these games is likely to set an example for many years to come and other hosts of the Games will be measured against this benchmark. Making history is one thing, taking care of the posterior image another one. Paris has taken of this as well.

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liberté urbanité

In the museum of the history of Paris “Musée Histoire de Paris Carnavalet” we find a special place devoted to the commemoration of the terror attacks in Paris in the Bataclan event location and the office of the journal “Charlie Hebdo” (see image below”. The skateboard on the bottom left of the wall raises the value of “urbanité” next to liberté, égalité, fraternité. The attack of an urban living style with youth going out as they like and journalists and caricaturists speaking their minds freely had been attacked, but continues nevertheless. This statement is part of the Paris state of mind. 

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Le Brun Selfie

The great painter and decorateur of the French monarch Louis XIV was Charles Le Brun. He was careful about the way he wanted to be remembered in history. His late 17th century self portrait is exposed in the Musée Histoire de Paris Carnavalet. Rightfully put in front of elegant red “tapisserie”, the selfie is remarkable for its attention to details. The hair is drawn with high precision and not a single one seems out of place. The painter does not focus on the person in front of him, but rather on some detail next to or behind the depicted Le Brun. The dress chosen is rather an ordinary person’s one or a person devoted to his work and artistic craftsmanship. No hands, no arms, no shoulders. The sole focus is on the head or should we say the brain and facial expression. Realistic painting is probably the closest you can get to today’s selfie-mania. Le Brun’s decoration and paintings in Versailles and churches ate probably some of the most popular backgrounds of selfiies even in the 21st century.

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Paris History

The “Musée Histoire de Paris Carnavalet” is the starting point for visitors of Paris and social scientists to better understand the making of this metropolitan city throughout centuries. The only common factor over the years is the astonishing determination to reinvent the city every 100 years whilst the best features of the previous periods are preserved. It is the concern for the very long-term time horizon that makes the city quite unique. Even a social revolution (1789) unlike most other countries managed to preserve most buildings, churches and royal palaces. Restorations are undertaken with a careful approach to shield its architectural and social heritage. Even the radical transformation by Haussmann over almost 20 years until 1870 to build large corridors in the city is subject to revision in modern visions of the future of Paris. The app of the museum is very helpful to learn more details about each chosen object of the permanent exhibition. The social fabric of the city can be studied further through app’s feature when representatives of local social organizations speak about their personal piece within the huge collection on display. The larger the “fundus”, the more the rationale for selecting pieces becomes an issue. (Image: Musée Histoire de Paris Carnavalet inner court 2025).

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Photographe engagée

Marie-Laure de Decker is featured in the “Musée européenne de la photographie” (MEP) as a photographer committed to capture truth in situations of conflict. She started her career with documentary photos from the Vietnam war. Rather than searching for spectacular scenes, she succeeded in her attempt to capture the more emotional and, therefore, relatable moments for her various audiences. With a firm commitment to the human in her work, the photos by Marie-Laure de Decker reach a level of extraordinary sensitivity to what it means to stay human in violent situations and even military conflict. The portraits of politicians, workers, professions and famous actors applied the same approach. Rather than days or weeks Marie-Laure de Decker spent months or years in the regions of her documentary photo series ranging from Vietnam, South Africa throughout the apartheid regime, Pinochet years of dictatorship in Chile, the 2 parts of Yemen to a prolonged stay in Chad.

The exhibition in the MEP in Paris curated by Victoria Aresheva  raises awareness to the additional fact that photo journalism became an affordable profession only after specialized agencies were created that granted authorship rights to photographers, which ensured later use of their work in edited volumes as well as working for several newspapers or magazines. (Image: Marie-Laure de Decker, self-portraits, MEP Paris exhibits 2025-8). 

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Emotional history

The making of emotional memories of a city is an art in itself. Many cities have professional photographers who accompany all major events in a city over years. Paris has had the chance that artist photographers and film makers have contributed greatly to the emotional history of the city. Agnès Varda was such a formidable person whose images and movies moved people and allowed to share emotions about the city’s busy and diverse neighborhoods. The « Musée Histoire de Paris Carnavalet » combines an autobiographic perspective with the emotional depiction of live in Paris from the 1950s onwards into the late 20th century. (Image: Agnès Varda, 1950 self-portrait, MEP Paris). 

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Gentileschi Heroine

The choice of a woman as heroine in a painting beyond religious topics was innovative in the early 17th century. Artemisia Gentileschi chose Cleopatra as her character in the ultimate scene of Cleopatra‘s life. The heroic act of guiding the poisonous snake to bite her under her arm is the ultimate act of Cleopatra to have served her country and people. As history books are full of male heros Artemisia Gentileschi succeeded in drawing attention to the biased gender stereotypes in art and art history beyond the 17th century.

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Gentileschi Selfie

Today the production of „selfies“ is all around us. Selfies are shot almost instantaneously and several times a day by use of modern smartphones. About 400 years ago the first woman to produce a selfie was Artemisia Gentileschi. As (one of) the first female painter in art history to have created a painted image of herself (which is transmitted today) Artemisia Gentileschi made history. Her unique biography, style and craftsmanship of the early 17th century in Italy made herself a renowned painter. Her choice to depict herself rather than somebody nobel or rich was quite unusual for the time. The audacious choice of herself as her „sujet“ became even her trademark. Later paintings by her with biblical topics were also subject to her reinterpretation based on herself as the female character in the narrative and image. In this respect her work appears so much ahead of her time that her impressive work speaks to all generations today. (Image: extract of Jael and Sisera by Artemisia Gentileschi 1620, Musée Jaquemart André“ in Paris 2025-8)

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Gentileschi Iconologia

Ever since the publication of Cesare Ripa’s „Iconologia“ (1593) the codes of art had become subject of a coded production and interpretation of art. Attributes of power or wealth like palms, scepters or crowns, decorated with gold and diamonds spoke a language easily understood by onlookers irrespective of time periods. Orazio and his daughter Artemisia applied this Iconologia throughout their work. The apparently simple depiction of bad weather became a sign of trouble ahead in a person‘s life, office or reign. From the success of Caravaggio‘s paintings, the application of light and shadow became another stylistic feature of especially Artemisia‘s work. Whereas the application of these techniques is a sign of craftsmanship, the own contributions like a more emotional and emancipatory repertoire of Artemisia make her an artist of her own kind. (Image Artemisia Gentileschi, Madelaine pénitante 1625, Musée Jacquemart André“ in Paris 2025-8) 

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Women artists

The history of art has been dominated in public opinion for centuries by men. However, recently art historians have drawn our attention to the numerous works of women who took Centre stage with their art during the last 500 years. Flavia Frigeri (2019, 2024) begins her history of women artists with Lavinia Fontana (1552-1614) followed by Artemisia Gentileschi (1593-1652). Both painters produced extraordinary paintings which brought their own touch to the paintings at a time when an independent expression through art was still largely reserved for men. The subjects of Gentileschi were greatly influenced by her experiences as a woman in a male dominated society in the 17th century in Europe. Her choice of subjects for her paintings added a female vision and depiction of biblical and historical narratives that were unique. The „Musée Jacquemart André“ in Paris featured a great retrospective of her art work in 2025. The catalog of the exhibition allows to enter into the art and wit of this early woman artist. 

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Zadkine museum

In the middle of Paris you will find a small former atelier of Zadkine. Transformed into a museum, the place is a cosy place to learn about sculpture and the different materials used. The preparations in form of designs or smaller trials with other materials are common practice to arrive at the sometimes monumental pieces. The visit of the permanent collection is even free of charge. A splendid experience in a surprising spot of silence next to buzzing city streets. Depicting musicians and musical instruments has been Zadkine’s shared passion with Valentine Prax. Great that he managed to reach the USA in time before the Nazi persecution could reach him. However, exile often means hardship as well. 

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Zadkine Prax

Ossip Zadkine and Valentine Prax once had their atelier next door to each other at art school. This established a lasting link between the 2. Whereas Zadkine became best known for his sculptures, Prax became famous as a painter. It appears that influences from one to the other are present in the works and several sculptures or preparations for sculptures were collected by Prax and found their way into the permanent exhibition of the museum. Intertwined biographies of artists are an inspiring reminder that art is not created only within a single mind, but many references or inspirations come from joint conversations or just working next to each other for some time. The social part of creating art is visible in this exceptional exhibition. Valentine Prax is honored with a presence in the Zadkine museum as well.

Image: Valentine Prax