Giacobbe Giusti, Bronze Sculpture Discovered in Georgia Goes on Display in Los Angeles

Giacobbe Giusti, Bronze Sculpture Discovered in Georgia Goes on Display in Los Angeles

An ancient statue dating back to the Bronze Age and discovered in Georgia goes on a display among the ancient world’s masterpieces in Los Angeles.

After the long term collaboration of the Georgian National Museum and J. Paul Getty Museum unidentified bronze statue named Torso of a Youth dated 2nd – 1st century BC, discovered in Vani settlement, wester Georgia were available to go on a display at the exhibition in the J. Paul Getty Museum in Los Angeles.

A major exhibition named Power and Pathos: Bronze Sculpture of the Hellenistic World was open at the Los Angeles Getty Museum on July 28 and will last until November 1.

Before moving to Los Angeles, following exhibition was presented at the Palazzo Strozzi in Florence and after Getty Museum, exposition will move to the National Gallery of Art in Washington.

Other pieces which are exhibited at the Los Angeles Getty Museum are from world’s leading ancient museums, such are the British Museum in London, the Metropolitan Museum of Art in New York, the Galleria degli Uffizi and the Museo Archeologico Nazionale in Florence, the Museo Archeologico Nazionale in Naples, the National Archaeological Museum in Athens, the Musйe du Louvre in Paris, and the Vatican Museums.

The exhibition in Los Angeles is 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 Tuscany’s directorate general for archaeology and it represents one of the largest expositions of this kind.

National Museum of Georgia is temporary housing of the statue, but as soon as Otar Lordkipanidze Vani Museum-Reserve will finish its large scale reconstruction works in 2016 the bronze torso of a youth will be returned at the original place.

 

 

 

Georgian National Museum currently takes part in one of the most important international cultural event. From 14 March to 21 June 2015, Palazzo Strozzi in Florence is hosting a major exhibition entitled “Power and Pathos”. Bronze Sculpture of the Hellenistic World, devised and produced in conjunction with the J. Paul Getty Museum in Los Angeles, the National Gallery of Art in Washington and the Soprintendenza per i Beni Archeologici della Toscana, Tuscany’s directorate general for archaeology.  The exhibition showcases a host of outstanding examples of bronze sculpture to tell the story of the spectacular artistic developments of the Hellenistic era (4th to 1st centuries BCE).

The exhibition hosts some of the most important masterpieces of the ancient world from many of the world’s leading archaeological museums including the British Museum in London, the Metropolitan Museum of Art in New York, the Galleria degli Uffizi and the Museo Archeologico Nazionale in Florence, the Museo Archeologico Nazionale in Naples, the National Archaeological Museum in Athens, the Musée du Louvre in Paris, the Vatican Museums and the Georgian National Museum, which  represented bronze torso of a youth dated 2nd – 1st century BC, discovered in Vani settlement (Georgia).

Participation at the exhibition is due to the long term collaboration of Georgian National Museum and J. Paul Getty Museum. After the exhibition at Palazzo Strozzi, all exponents will be showcased at the National Gallery of Art in Washington and J. Paul Getty Museum in Los Angeles in 2016.

As soon as Georgian National Museum Otar Lordkipanidze Vani Museum-Reserve will finish its large scale reconstructive works, bronze torso of a youth will be returned at the original place.

http://museum.ge/index.php?lang_id=ENG&sec_id=72&info_id=13315

http://georgiatoday.ge/news/938/Bronze-Sculpture-Discovered-in-Georgia-Goes-on-Display-in-Los-Angeles

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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)

Photo

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

Giacobbe Giusti, Puissance et Pathos, bronzes du monde hellénistique

Giacobbe Giusti, Puissance et Pathos, bronzes du monde hellénistique

Allestimento di Potere e pathos
Allestimento di Potere e pathos

http://www.giacobbegiusti.com

http://www.giacobbegiusti.com

Giacobbe Giusti, Apollo of Piombino

Giacobbe Giusti, Apollo of Piombino

 

 

 

 

 

In 1977 a similar statue of an archaising Apollo was found at Pompeii in the villa of C. Julius Polybius, and based on photographs the two were soon ‘associated’ … the slight scandal of the Pompeian piece is that it was excavated with tendrils which probably held a wooden tray, and so its nature as a piece of decorative furniture in a fancy Roman house could not be denied.

 

Apollo of Piombino

Lithograph of the Piombino Apollo from Bulfinch Mythology, 1908

The Apollo of Piombino or the Piombino Boy is a famous Greek bronze statuette[1] in late Archaic style that depicts the god as a kouros or youth, or it may be a worshipper bringing an offering.[2] The bronze is inlaid with copper for the boy’s lips, eyebrows and nipples. The eyes, which are missing, were of another material, perhaps bone or ivory.

It was found in 1832 at Piombino (Roman Populonia), in Etruria, in the harbor off the southwest point and was purchased for the Musée du Louvre in 1834. Its archaic style led scholars like Reinhard Lullies and Max Hirmer[3] to date it in the 5th century BCE and place its facture in Magna Graecia, the Hellenic culture area of southern Italy; Kenneth Clark illustrated it in The Nude (1956),[4] Karl Schefold included it in Meisterwerke Griechischer Kunst 1960[5] and casts of it were to be found in university and museum study collections; one made by the Louvre has been returned to Piombino.[6] Instead, B.S. Ridgeway (Ridgeway 1967) proved it to be— not simply an archaising sculpture of the 1st century BCE, of the kind designed to appeal to a Roman with refined tastes— but a consciously fabricated Roman forgery, with a false inlaid inscription of silver in archaic lettering on the left leg. The inscription dedicates this Apollo to Athena, an anomaly.[7] The two sculptors responsible could not resist secreting inside the sculpture a lead tag inscribed with their names, which was found when the sculpture was conserved in 1842.[7] One was a Tyrian émigré to Rhodes. The Louvre’s website adds that a comparable work uncovered in 1977 in Pompeii, in the villa of C. Julius Polybius, corroborates the hypothesis of an archaising pastiche, made for a Roman client in the 1st century BCE.[7]

 

Apollon de Piombino.jpg

The study of ancient Greek sculpture in the last decades has moved away from the traditional practice of identifying sculptures based on brief literary descriptions and attempting to recognize the characteristic manner of some famous names as reflected in reproductions of their work and variants based on their style, to concentrate instead on the socio-political world in which sculpture was created and other less subjective criteria.[8]

 

  1.  1.15 m.
  2.  The latter suggestion is made, for example, by Jaś Elsner, “Reflections of the ‘Greek Revolution’ in art”, in Simon Goldhill and Robin Osborne, eds. Rethinking Revolutions Through Ancient Greece 2006:71; of the bronze ephebe found in the House of the Bronze Ephebe, and identified by Dorothy Kent Hill as having held a lamp (Hill, “Roman domestic garden sculpture”, in Elisabeth B. MacDougall, et al., Ancient Roman Gardens 1981:89); Hill observes “today we can recognize many lamp-bearers of the same ephebe type”, instancing the Apollo of Piombino first among others.
  3.  Lullies and Hirmer, Greek Sculpture, 1960.
  4.  Clark, The Nude: A Study in Ideal Form, 1960, fig 23, p. 60; Clark expressed his reserves with the sculpture in his text, but attributed the “uneasiness” to its archaic stiffness.
  5.  Plate 235.
  6. According to Thomas Hoving, False Impressions: the hunt for big-time art fakes 1996:34; Hoving quotes his previously unpublished impressions of first viewing the Apollo in the early 1960s: “…a simpering Cupid…. the stomach is a muddy landscape of flesh…”
  7.  Musée du Louvre: Apollo of Piombino.
  8. Brunilde Sismondo Ridgway characterized the new directions scholarship in this field was taking in “The Study of Ancient Sculpture” American Journal of Archaeology 86.2 (April 1982), pp. 155-157. A response and dialogue appeared in William Hood, “In Defense of Art History: A Response to Brunilde Ridgway” The Art Bulletin 68.3 (September 1986), pp. 480-482, with a rejoinder by Mrs Ridgeway.

http://phdiva.blogspot.it/2015/03/hellenistic-bronzes-pride-and-prejudices.html

https://en.wikipedia.org/wiki/Apollo_of_Piombino

http://www.giacobbegiusti.com

 

Giacobbe Giusti, ‘Leonardo da Vinci 1492-1519’

Giacobbe Giusti, ‘Leonardo da Vinci 1492-1519’

Milano, Palazzo Reale, Piazza Duomo
from April 16th to July 19th, 2015

 

leodav

 

As a versatile and highly ingenious man, Leonardo da Vinci perfectly embodied the universalist spirit of his age. A painter, sculptor, engineer, anatomist, musician and inventor, he was active in the diverse fields of art and science and is now considered one of the most famous cultural figures not only of the Renaissance, but of all time and all places.

Promoted by the Municipality of Milan, this monographic exhibition conceived and developed by Palazzo Reale and Skira editore is the most important ever to be organized in Italy. Opening on 15 April 2015, it will provide a unique opportunity to admire and gain an all-round understanding of the extraordinary complexity of this universal genius.

Visitors will be able to discover Leonardo’s versatile work in twelve different sections featuring his original codices, over one hundred autograph drawings (including around thirty from the famous Codex Atlanticus) and a large number of artworks: drawings, manuscripts, sculptures, incunabula and sixteenth-century books from the world’s finest museums and libraries.

A universal genius for a universal exposition, in celebration of the undisputed symbol of Italian art and creativity, whom the international public is able to recognize immediately and who is also a symbol of Milan and its eclectic activity in the field of the arts, industry and technology.
http://www.skiragrandimostre.it/leonardo/?setlang=en
http://www.giacobbegiusti.com

Giacobbe Giusti, Leonardo self-portrait exhibits in Rome

Giacobbe Giusti, Leonardo self-portrait exhibits in Rome

 

Leonardo da Vinci’s self-portrait is located in Turin

Leonardo da Vinci’s self-portrait goes on rare display to the public Tuesday at the Capitoline Museums in Rome starting today until August 3rd. During the exhibit the room where the Leonardo will be shown will be monitored by a climate box that maintains a stable temperature and humidity, said Saccani, adding that monitors in the room will send information to the royal library constantly about its condition.
The Rome Superintendent for cultural heritage, Claudio Parisi Presicce, underlined that the exhibit is the result of an “exceptional loan” by the Royal Library of Turin that is unlikely to be repeated, given the difficulty in transporting the masterpiece. The self-portrait was sent to Rome aboard a Frecciarossa high-speed train under extraordinary security.
Giovanni Saccani, head of the Royal Library, said “normally when it is in the vault of the royal library of Turin it is not visible to the public, it is conserved jealously, there are other exhibits but only occasionally”.
News by ANSA

Giacobbe Giusti, Power and Pathos: Bronze Sculpture of the Hellenistic World

Giacobbe Giusti, Power and Pathos: Bronze Sculpture of the Hellenistic World

 

POWER16

 

First Ever Major Exhibition of Hellenistic Bronze Sculptures Will Travel Internationally

   Images

MEDIA CONTACT:    
Amy Hood
Getty Communications
(310) 440-6427
ahood@getty.edu
Beginning in March 2015, the Palazzo Strozzi, Florence; the J. Paul Getty Museum, Los Angeles; and the National Gallery of Art, Washington, D.C., will present Power and Pathos: Bronze Sculpture of the Hellenistic World, the first major international exhibition to bring together approximately 50 ancient bronzes from the Mediterranean region and beyond ranging from the 4th century B.C. to the 1st century A.D.

“The representation of the human figure is central to the art of almost all ancient cultures, but nowhere did it have greater importance, or more influence on later art history, than in Greece,” says Timothy Potts, director of the J. Paul Getty Museum. “It was in the Hellenistic period that sculptors pushed to the limit the dramatic effects of billowing drapery, tousled hair, and the astonishingly detailed renderings of veins, wrinkles, tendons, and musculature, making the sculpture of their time the most life-like and emotionally charged ever made, and still one of the highpoints of European art history. At its best, Hellenistic sculpture leaves nothing to be desired or improved upon. The 50 or so works in the exhibition represent the finest of these spectacular and extremely rare works that survive, and makes this one of the most important exhibitions of ancient classical sculpture ever mounted. This is a must-see event for anyone with an interest in classical art or sculpture.”

Potts continues: “The Getty Museum is proud to be collaborating on this project with our colleagues in Florence at the Palazzo Strozzi, the Museo Archeologico Nazionale, and the Soprintendenza per i Beni Archeologici della Toscana, along with the National Gallery of Art in Washington D.C..”

During the Hellenistic era artists around the Mediterranean created innovative, realistic sculptures of physical power and emotional intensity. Bronze—with its reflective surface, tensile strength, and ability to hold the finest details—was employed for dynamic compositions, graphic expressions of age and character, and dazzling displays of the human form.

From sculptures known since the Renaissance, such as the Arringatore (Orator) from Sanguineto (in the collection of the Museo Archeologico Nazionale, Florence), to spectacular recent discoveries that have never before been exhibited in the United States, the exhibition is the most comprehensive museum survey of Hellenistic bronzes ever organized. In each showing of the exhibition, recent finds—many salvaged from the sea—will be exhibited for the first time alongside famous works from the world’s leading museums. The works of art on view will range in scale from statuettes, busts and heads to life-size figures and herms.

Power and Pathos: Bronze Sculpture of the Hellenistic World is especially remarkable for bringing together works of art that, because of their rarity, are usually exhibited in isolation. When viewed in proximity to one another, the variety of styles and techniques employed by ancient sculptors is emphasized to greater effect, as are the varying functions and histories of the bronze sculptures.

Bronze was a material well-suited to reproduction, and the exhibition provides an unprecedented opportunity to see objects of the same type, and even from the same workshop together for the first time.

The travel schedule for Power and Pathos: Bronze Sculpture of the Hellenistic World is:

Palazzo Strozzi, Florence, Italy
March 14 – June 21, 2015
http://www.palazzostrozzi.org

J. Paul Getty Museum, Los Angeles, CA
July 28 – November 1, 2015
http://www.getty.edu

National Gallery of Art, Washington, D.C.
December 6, 2015 – March 20, 2016
http://www.nga.gov

This exhibition is curated by Jens Daehner and Kenneth Lapatin of the J. Paul Getty Museum and co-organized by the J. Paul Getty Museum, Los Angeles; the Fondazione Palazzo Strozzi, Florence; and the National Gallery of Art, Washington, D.C.; with the participation of Soprintendenza per i Beni Archeologici della Toscana. It is supported by an indemnity from the Federal Council on the Arts and the Humanities.

Bank of America is the National Sponsor of this exhibition. The Los Angeles presentation is also supported by the Getty Museum’s Villa Council.

# # #
Image: Portrait of a Man, about 100 B.C. Bronze, white paste, and dark stone, 32.5 x 22 x 22 cm. Courtesy of the National Archaeological Museum, Athens. Photo: Marie Mauzy/Art Resource, NY
# # #
The J. Paul Getty Trust is an international cultural and philanthropic institution devoted to the visual arts that includes the J. Paul Getty Museum, the Getty Research Institute, the Getty Conservation Institute, and the Getty Foundation. The J. Paul Getty Trust and Getty programs serve a varied audience from two locations: the Getty Center in Los Angeles and the Getty Villa in Malibu.The J. Paul Getty Museum collects in seven distinct areas, including Greek and Roman antiquities, European paintings, drawings, manuscripts, sculpture and decorative arts, and photographs gathered internationally. The Museum’s mission is to make the collection meaningful and attractive to a broad audience by presenting and interpreting the works of art through educational programs, special exhibitions, publications, conservation, and research.

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