The Tsar S Treasure

The Majesty of the Tsars: Treasures from the Kremlin is the Guggenheim Hermitage Museum's companion exhibition to the major show Russia! at the Guggenheim Museum in New York City. This dazzling exhibition focuses on Russia in the 16th and 17th centuries, when the Russian Tsars still resided in Moscow and before the founding of St. Petersburg in the 18th century. It is divided into four sections: "The Royal Family," "The Royal Hunt and Warfare," "The Royal Feast," and "Power and Faith." The show will present rare and beautiful jewelry worn by Tsars, Tsarina's and Patriarchs, elaborate adornments for horses, a small but impressive selection of arms and armor, and iconostasis from the Annunciation Cathedral, the remarkable and highest quality silver serving pieces given to the Tsars by foreign dignitaries, Russian golden tableware and a small selection of portraits. Taken together, these fine and masterful objects will bring the spectacular world of imperial Russia to life.The Majesty of the Tsars includes a chronology of the imperial lineage during this period; an essay by Kremlin Curator Irina Bogronovnitskaya; individual entries by other Kremlin curators on the works; and an introduction to of each theme.

The Tsar's Treasure captures the story of the lost luxury White Star Liner known as the Millionaires' Ship and Capt. Martin's Bayerle 30-year quest to find her fabled treasure. When the RMS Republic sank in 1909, she was the largest ship to sink in history (only to be surpassed by her sibling ship, RMS Titanic, a mere three years later). When Republic sank, she took with her not only all her cargo and passenger effects, but also some politically-sensitive secrets. Rumors of a vast treasure, of "riches beyond most men's wildest dreams," were published the day after her sinking and have persisted for more than 100 years. The Tsar's Treasure documents Capt. Bayerle's personal journey to uncover her secrets along with extensive research in an effort to substantiate or deny the rumors. The result is a deep-sea adventure riddled with subtle clues and impressive historical photos and documents. The reader is invited to examine the evidence and arrive at his or her own conclusions surrounding the century-old mystery of what may become the greatest treasure recovery of all-time.

The story of the Romanov jewels and of Englishman Albert Stopford who risked his life to smuggle millions of pounds worth of of the precious gems from Russia to London in 1917.

The remarkable story of those who battled to save the palaces, not just during and after the war, but during the Revolution and the harsh times that followed.

The worlds fascination with the Russian imperial family endures, and with this stunning book a new spotlight is added. "Jewels of the Tsars," the first book to examine the familys unparalleled collection, is illustrated with extraordinary photographs taken under special conditions at the Kremlins Diamond Fund, and accompanied by 18th- and 19th-century portraits and photographs of the Tsars, their families, and their court. Prince Michael of Greece, a Romanoff descendant, writes with an insiders knowledge of his familys passion for rare and beautiful jewels, and their place in the troubled history of Imperial Russia.

In Mythopoetic Cinema, Kriss Ravetto-Biagioli explores how contemporary European filmmakers treat mythopoetics as a critical practice that questions the constant need to provide new identities, a new Europe, and with it a new European cinema after the fall of the Soviet Union. Mythopoetic cinema questions the perpetual branding of movements, ideas, and individuals. Examining the work of Jean-Luc Godard, Alexander Sokurov, Marina Abramović, and Theodoros Angelopoulos, Ravetto-Biagioli argues that these disparate artists provide a critical reflection on what constitutes Europe in the age of neoliberalism. Their films reflect not only the violence of recent years but also help question dominant models of nation building that result in the general failure to respond ethically to rising ethnocentrism. In close readings of such films as Sokurov's Russian Ark (2002) and Godard's Notre Musique (2004), Ravetto-Biagioli demonstrates the ways in which these filmmakers engage and evaluate the recent reconceptualization of Europe's borders, mythic figures, and identity paradoxes. Her work not only analyzes how these filmmakers thematically treat the idea of Europe but also how their work questions the ability of the moving image to challenge conventional ways of understanding history.