Early Techno-Impressionist Art





Most art lovers tend to think of Techno-Impressionism as a fairly recent art movement. However, recent discoveries by archaeologists and art historians are beginning to show that this is not the case.

These revealing new finds, from greatly varied sources, are shedding new light on the true origins of Techno-Impressionism. The art works exhibited here have influenced artists at many different locations and historical periods.

And now, thanks to art historians, cultural anthropologists, and others too numerous to mention, we are proud to present this exhibition which traces Techno-Impressionism back to its earliest roots




This pottery shard is a outstanding example of prehistoric Greek art. It is considered by most art historians to be a part of the "Keros Hoard," which includes fragments of marble figurines and vases from the Cycladic culture of the 3rd millennium BC.

There is some disagreement about the source of this piece, but historians now believe it came from the small uninhabited island of Keros, between Naxos and Amorgos.

It is rumored that at one time, this item was a part of the private collection of Stavros S. Niarchos





This exquisite pottery shard was recently unearthed in a dig inside the Colosseum (referred to by historians as the "Rome Dome") . It is believed to be a fragment of a vessel such as vase or cup, and has been dated at about 70 A.D.

The specimen is on loan from an historical society in Rome.

Art historians agree that it was this sort of art that helped contribute to the decline of the Roman empire. It may also have been responsible for the apocryphal saying:

"All roads lead to Techno-Impressionism."




This specimen was found on the island of Hokkaido, in northern Japan. It is a rare variation of the traditional Japanese art form "Ukiyo-e," commonly referred to by art historians as "Kaki-e" (literally: "oyster art"). This specimen has been placed in the early Meiji period (circa 1890).

Notice how the artist, through an inspired use of "negative space" has managed to give his subject an intriguing three-dimensional quality. The unusual choice of media gives this work a feeling of transparency and lightness.




This intriguing specimen was found in an archeological dig on the Salisbury Plain in Great Britain, the location of the fabled Stonehenge.

Anthropologists agree that it appears to be an example of a druidic mini-totem (sometimes referred to as a "Salisbury stake").

The exact use of this item, within the Druidic culture, is not completely understood, but several leading anthropologists have postulated that it was erected outside the home of an important artist. They speculate that its purpose was to ward off critics.





This is the most unusual specimen in the exhibition. It was picked up with a group of rock samples by the Apollo 17 Moon landing mission in December 1972 at a mountain-ringed valley on the edge of the Sea of Serenity. The drawing on this rock was not noticed until the specimen was examined in a NASA laboratory, back on Earth. Unfortunately, this was the last manned mission to the Moon, so there was no chance to do a follow-up and search for similar specimens.

For a time, this rock resided in a government establishment in Roswell, New Mexico, but recently came to the attention of art historians when this material was declassified.

Radiocarbon dating has placed the age of this specimen at approximately two million years, making it the earliest known example of Techno-Impressionism. However, geologic analysis of this specimen has shown that its actual origin is the planet Mars, and it is likely that some sort of volcanic eruption was responsible for its eventual placement on the Moon.

So, while scientists search for extraterrestrial life, the real question seems to be:

"Is there Techno-Impressionism on other planets?"




The curator wishes to thank the following organizations for their help in preparing this exhibit:

The Metropolitan Museum of Art
National Aeronautic and Space Administration (NASA)
Salisbury University (Archeology Department)
The Japan Ukiyo-e Museum (Sakai Collection)
National Museum of Rome (Palazzo Massimo)
Hokkaido Tokai University (Art History Department)
The Museum of Cycladic Art (Athens)


This exhibit is sponsored by a corporate grant from:
American Business Excuses ("You name it, we blame it.").


Last modified April 17, 1997


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