Giacobbe Giusti, Power and Pathos at the Getty Museum

Giacobbe Giusti, Power and Pathos at the Getty Museum

 

Apollo (Apollo di Piombino). 120-100 a.C. circa; bronzo, rame, argento; cm 117 x 42 x 42. Parigi, Musée du Louvre, département des Antiquités grecques, étrusques et romaines, inv. Br 2. Ph. Fernando Guerrini (Archivio Fotografico della Soprintendenza Archeologia della Toscana)

The New York Times

In ‘Power and Pathos,’ Faces Frozen in Time and Bronze at the Getty Museum

Photo

A head of Seuthes III is among more than 50 ancient bronzes at the Getty Museum. Credit Krasimir Georgiev, via National Institute of Archaeology with Museum, Bulgaria

More than 2,000 years ago, artists of ancient Greece and Rome created sculptural representations of human beings that remain as striking for their anatomical and psychological realism as anything produced by Western artists since. The public does not often get to see many masterpieces of that time and place together, so “Power and Pathos: Bronze Sculpture of the Hellenistic World” at the J. Paul Getty Museum (and traveling to the National Gallery of Art in December) will be a once-in-a-lifetime opportunity for comparing and contrasting. The exhibition convenes more than 50 ancient bronzes from the Mediterranean region dating from the fourth century B.C. to the first century A.D. Among them is the famous “Terme Boxer” from the National Roman Museum, a nearly life-size representation of a muscular, bearded athlete seated in a state of exhaustion, his face bruised and bloody, his head turned to his right as if to ask his coach for advice or to plead with the gods for relief from his barbaric plight. (310-440-7300; getty.edu)

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Four of the more than 50 ancient bronzes at the Getty Museum. Credit Clockwise from top left: Marie Mauzy/Art Resource, NY; The Trustees of The British Museum; Kimbell Art Museum, Fort Worh, via Scala, Firenze; Archaeological Museum of Calymnos and Hellenic Ministry of Culture and Sports, via Archaeological Receipts Fund
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Giacobbe Giusti, Power and Pathos at the Getty Center

Giacobbe Giusti, Power and Pathos at the Getty Center

The Getty Center

Portrait of Seuthes III

Portrait of Seuthes III, about 310-300 B.C., bronze, copper, calcite, alabaster, and glass. National Institute of Archaeology with Museum, BAS. Photo: Krasimir Georgiev

GETTY CENTER

Power and Pathos: Bronze Sculpture of the Hellenistic World

GETTY CENTER

Daily, through November 1

Exhibitions Pavilion

Free | No ticket required

During the three centuries between the reigns of Alexander the Great and Augustus, artists around the Mediterranean created innovative, realistic sculptures of physical power and emotional intensity. Bronze—with its tensile strength, reflective effects, and ability to hold the finest detail—was employed for dynamic compositions, dazzling displays of the nude body, and graphic expressions of age and character. This unprecedented international loan exhibition unites about fifty significant bronzes of the Hellenistic age.

This exhibition was organized by the J. Paul Getty Museum, the Fondazione Palazzo Strozzi in Florence, and the National Gallery of Art in Washington with the participation of the Soprintendenza per i Beni Archeologici della Toscana. It is supported by an indemnity from the Federal Council on the Arts and the Humanities.

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http://www.getty.edu/visit/cal/events/ev_425.html

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Giacobbe Giusti, Hermes tying his sandal

Giacobbe Giusti, Hermes tying his sandal

Hermes tying his sandal (egisto.sani) Tags: sculpture paris art greek arte roman louvre du marble hermes parigi greca scultura marmo ermes greekmyths lysippus muse louvre lisippo mitigreci
Bronze original Greek Sculpture

Attributed to Lysippus

4th century BC

Roman sculpture

1st-2nd Cent. AD [?]

Paris, Musée du Louvre

Hermes tying his sandal
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Giacobbe Giusti, The Louvre portrait of Alexander the Great

Giacobbe Giusti, The Louvre portrait of Alexander the Great

Roman marble sculpture

About 1st – 2nd Cent. AA.

From Tivoli, Rome

Original bronze sculpture attributed to Lysippos

About 330 BC.

Paris, Musée du Louvre

 

About 1st – 2nd Cent. AA.

From Tivoli, Rome

Original bronze sculpture attributed to Lysippos

About 330 BC.

Paris, Musée du Louvre

 

https://www.google.it/search?q=The+Louvre+portrait+of+Alexander+the+Great&biw=853&bih=439&source=lnms&tbm=isch&sa=X&ved=0CAYQ_AUoAWoVChMI2L6Pmf7sxgIVxp9yCh0Y4goC#imgrc=e1mHSBHwzXkhmM%3A
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Giacobbe Giusti, Horses of Saint Mark

Giacobbe Giusti, Horses of Saint Mark

“Horses of Saint Mark.” Bronze. Attributed to the Greek sculptor Lysippos, 4th century BCE."> Venice, Basilica of St. Mark
Bronze. Attributed to the Greek sculptor Lysippos, 4th century BCE.”>

Venice, Basilica of St. Mark
http://ancientrome.ru/art/artworken/img.htm?id=5739
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Giacobbe Giusti, Found in the Salento Minerva Aeneid: the statue confirmed the landing of Enea

Giacobbe Giusti, Found in the Salento Minerva Aeneid: the statue confirmed the landing of Enea

 

 

 


These days the temperature reaches the threshold of 35 degrees, if not more. It is a charming place, where the Adriatic sea is the backdrop to the streets where a bright light is combined with limestone houses. A land with strong tourist, rich in culture and history. Meeting the head of the construction site, the archaeologist Amedeo Galati, on Cathedral Square and walk along the short stretch that separates the square from the site of the archaeological excavations. We are stopped a few times by locals trying to know the latest news about the findings. We feel the excitement in the country, because in those ancient stones is reliving a distant history millennia now, the time when the lands of Puglia rang the native language of the Mediterranean: the greek.

They are in Castro because again the epics are borne out in the archaeological finds. Or so it seems. An ancient temple dedicated to the goddess Athena, would be found in Salento, where now stands Castro. That would be the “fortress with the temple of Minerva” where, in the legend told nell”Eneide ‘, Virgil placed the landing of the Trojan hero Aeneas, fleeing the city destroyed by the Achaeans.

From Book III dell”Eneide ‘, “the breezes hanker grow and become closer to open the port and the fortress appears the Temple of Minerva”.
The city, in Roman times, had its name Castrum Minervae.

Area of ​​excavations, which is near the Cathedral, spoke recently in a book, ‘Castrum Minervae’ (Farewell, Galatina 2009), Professor Francesco D’Andria, professor of archeology and director of the graduate school in classical and medieval archeology at the University of Lecce. In the text they were collected the results of excavations of 2007-2008. The current excavations, begun years ago, have recovered thanks to a project called “In the footsteps of Aeneas” and that is the implementation of an archaeological park over the area Comunale.

Just in recent weeks, the surprise. In the yard directed by the archaeologist Amedeo Galati, the important discovery of the torso, evidence of the presence on the site of a temple dedicated to the goddess Athena, already in age messapica. That is the time when the South was integrated into Italian culture magnogreca.

The hypothesis that the artifact represents Athena is corroborated by the correspondence between the setting of the arms on the chest and found that observed in the iconography typical dell’Atena Iliac, the Messapian period, with a strong Eastern influence (see photo for comparison). That is confirmed by the previous discovery, always in the excavations at Castro, in town huts, a bronze statuette depicting the goddess Athena, now housed and displayed in the town museum, housed in the impressive castle, however, very well preserved.

The statuette has a Phrygian cap, a clear denunciation of inspiration iconographic Eastern. Moreover, the first settlement in the area affected by messapico gravitated Taranto, Spartan colony. Only in Roman times, the town messapica initially called – in all probability – Lik, would be renamed Castrum Minervae. The ancient name of Castro, Lik, is confirmed by the so-called map of Soleto, a fragment in black paint which is the oldest geographical map from western classical antiquity, currently preserved in the National Archaeological Museum of Taranto and depicting the southern Salento. There they read clearly an indication of the Gulf of Taranto and the position of the city of Otranto (Hydruntum).

Castro-mappa di Soleto
Castro2

The torso found in the excavations at Castro, in town Capanne, has a size of 1.10mx0.90m, suggesting that the whole body should reach about 2.5m high, excluding the base, which are most probably attributed decorations found in the excavations.

Also carry a pretty picture of the time when the body is removed from the floor of the excavation, I had the chance to see, in their stratigraphic complexity, right next to a door of the old city, dating back to IV-III century. B.C.

Castro4- excavations

In recent days, they were also found her hand and left forearm. This gives hope that other surprising discoveries can emerge in further excavations. The history of these lands thousands of years continues to speak.

Castro5- scavi

Below, an aerial image with legend of the excavations in which is found the bust attributed to the goddess Athena.”

Giacobbe Giusti, ‘Dying Gaul ‘

Giacobbe Giusti, ‘Dying Gaul ‘

Dying Gaul Musei Capitolini

The Dying Gaul is one of the best-known and most important works in the Capitoline museum. It is a replica of one of the sculptures in the ex-voto group dedicated to Pergamon by Attalus I to commemorate the victories over the Galatians in the 3rd and 2nd centuries BC. The identity of the sculptor of the original is unknown, but it has been suggested that Epigonus, the court sculptor of the Attalid dynasty of Pergamon, may have been its sculptor.
Date 1st century BC
Medium sculpture in the round / marble
Dimensions Length: 1.865 cm (0.7 in). Height: 0.93 cm (0.4 in). Depth: 0.89 cm (0.4 in).

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