Category Archives: londra national gallery

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

by in ' Lysippe, 'KRAFT AND PATHOS:BRONZEN DER HELLENISTISCHEN WELT, a new word giacobbe giusti, Ancient Greek sculpture, Archaeological Museum, Archéologie grecque, Art, art museum, artist, Athènes., Athens, ’ first century B.C., best of art, British Museum, bronze, bronze sculpture, bronzi ellenistici, Department of Greek, florence, florenz, Fondazione Palazzo Strozzi, Getty Bronze, giacobbe giusti, Giacobbe Giusti, giacobbe giusti power and pathos, Greek and Roman Art, il Metropolitan di New York, Italy, J. Paul Getty Museum, J. Paul Getty Museum di Los Angeles, Kunsthistorisches Museum, la Galerie des Offices, la National Gallery of Art de Washington et de la Surintendance aux Biens Archéologiques de Toscane, Les Grecs, londra national gallery, Los Angeles, louvre, Musée archéologique national, Musée du Louvre, Musei Vaticani., Museo Archeologico Nazionale, Naples National Archaeological Museum, national gallery london, National Gallery of Art in Washington to the Uffizi in Florence, peggy guggenheim, power and pathos, Puissance et de pathos. Bronzes du monde hellénistique, PUISSANCE ET PATHOS. Bronzes du Monde Hellénistique, Puissance et Pathos. Sculptures en bronze du monde hellénistique", roman art, Rome, rome imperial, The Greeks: Agamemnon to Alexander the Great, the guggenheim museums and fondation, The Metropolitan Museum of Art, the National Archaeology Museum in Naples and in Athens, the National Gallery of Art in Washington DC and the Superintendence for Archaeological Heritage of Tuscany, uffizi, Washington and tagged , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

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

http://www.giacobbegiusti.com

Giacobbe Giusti, Power and Pathos at the Getty Museum

by in ' Lysippe, 'KRAFT AND PATHOS:BRONZEN DER HELLENISTISCHEN WELT, a new word giacobbe giusti, al British Museum, Archaeological Museum, Archéologie grecque, Art, art museum, artist, Athènes., Athens, British Museum, bronze, bronze sculpture, Bronze. Attributed to the Greek sculptor Lysippo, bronzi ellenistici, d’Agamemnon à Alexandre le Grand, Delphi Museum., etruscan art, Getty Bronze, giacobbe giusti, Giacobbe Giusti, Greek and Roman Art, Italy, J. Paul Getty Museum di Los Angeles e National Gallery of Art di Washington con la collaborazione della Soprintendenza per i Beni Archeologici della Toscana, KRAFT UND PATHOS:BRONZEN DER HELLENISTISCHEN WELT, le British Museum et l'Ermitage, Le Louvre, Les Cariatides à l'entrée de l'Érechthéion., Les Grecs, londra national gallery, Los Angeles, louvre, louvre paris, musee louvre, Musei Capitolini, Museo Archeologico Nazionale, museum of art louvre, Naples National Archaeological Museum, national gallery london, National Gallery of Art, National Institute of Archaeology with Museum, paris louvre museum, peggy guggenheim, Power and Pathos: Bronze Sculpture of the Hellenistic World, Puissance et Pathos. Sculptures en bronze du monde hellénistique", Roman, Rome, rome imperial, The Greeks: Agamemnon to Alexander the Great, the J. Paul Getty Museum in Los Angeles in July, The Metropolitan Museum of Art, the Metropolitan Museum of Art in New York, the National Archaeology Museum in Naples and in Athens, the National Gallery of Art in Washington DC and the Superintendence for Archaeological Heritage of Tuscany, uffizi and tagged , , , , , , , , , , , , , , , , , , , , , | Leave a comment

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

JULY 29, 2015

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

Art

By KEN JOHNSON

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)

Four of the more than 50 ancient bronzes at the Getty Museum. 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

by in a new word giacobbe giusti, al British Museum, Alexander the Great, Alexander the Great and Augustus, Archaeological Museum, Archéologie grecque, Archéologique de Florence, Art, art museum, artist, Athènes., Athens, ’ third century B.C., ’ third-second century B.C., best of art, British Museum, bronze, bronze sculpture, bronzi ellenistici, Buste d'Alexandre le Grand', c. 100 B.C.E., conçue et produite en collaboration avec le J. Paul Getty Museum de Los Angeles, Etruria | Louvre Museum | Paris, Etruscan, etruscan art, florence, florenz, Fondazione Palazzo Strozzi, Galleria dell'Accademia, giacobbe giusti, Greek and Roman Art, Hellenistic Period (Palazzo Massimo, italian art, Italy, J. Paul Getty Museum, J. Paul Getty Museum di Los Angeles, Kalymnos, KRAFT UND PATHOS:BRONZEN DER HELLENISTISCHEN WELT, Kunsthistorisches Museum, L'Apoxyomenos, la National Gallery of Art de Washington et de la Surintendance aux Biens Archéologiques de Toscane, le British Museum et l'Ermitage, le Kunsthistorisches Museum de Vienne et le Vatican, Le Louvre, Les Grecs, Les Grecs – D’Agamemnon à Alexandre le Grand » à Pointe-à-Callière, londra national gallery, louvre, louvre paris, Musée archéologique national, Musée du Louvre, Musée national archéologique d'Athènes, musee louvre, Musei Vaticani., Museo Archeologico Nazionale., Museo Nazionale della Magna Grecia, museum art paris, museum of art louvre, Naples, Naples National Archaeological Museum, National Archaeological Museum, national gallery, National Gallery of Art, National Gallery of Art di Washington DC, National Gallery of Art in Washington to the Uffizi in Florence, New York, palazzo strozzi, paris louvre museum, peggy guggenheim, power and pathos, Power and Pathos: Bronze Sculpture of the Hellenistic World, Prado, Puissance et de pathos. Bronzes du monde hellénistique, PUISSANCE ET PATHOS. Bronzes du Monde Hellénistique, Puissance et Pathos. Sculptures en bronze du monde hellénistique", Rome, rome imperial, The Greeks: Agamemnon to Alexander the Great, the guggenheim museums and fondation, the J. Paul Getty Museum in Los Angeles, the J. Paul Getty Museum in Los Angeles in July, The Metropolitan Museum of Art, the Metropolitan Museum of Art in New York, the Musée du Louvre in Paris and the Vatican Museums)., the National Archaeology Museum in Naples and in Athens, the National Gallery of Art in Washington DC and the Superintendence for Archaeological Heritage of Tuscany, the paul getty museum, toskanischen Kunst, uffizi, uffizi museum, Vienna, ViennaJens M Daehner and Kenneth Lapatin, Washington, with the collaboration of Soprintendenza per i Beni Archeologici della Toscana., Zurück zur Klassik | Leave a comment

Giacobbe Giusti, Puissance et Pathos, bronzes du monde hellénistique

stimento di Potere e pathosda Palazzo Strozzi (Firenze)
 
 
Allestimento di Potere e pathos
Allestimento di Potere e pathos

http://www.giacobbegiusti.com

http://www.giacobbegiusti.com

Giacobbe Giusti, Apollo of Piombino

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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’

by in Art, art museum, artist, best of art, giacobbe giusti, Giacobbe Giusti, italian art, italian renaissance, Italy, J. Paul Getty Museum, Le Louvre, leonardo da vinci, leonardo da vinci exhibits, leonardo louvre, londra national gallery, louvre, louvre paris, Musée du Louvre, Musei Capitolini, peggy guggenheim, renaissance, Sovrintendenza Capitolina — Musei Capitolini, the guggenheim museums and fondation, The Metropolitan Museum of Art, The Metropolitan Museum of Art, uffizi and tagged , , , , , , , , , , , , | Leave a comment

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

by in Art, art museum, artist, best of art, giacobbe giusti, Giacobbe Giusti, italian art, italian renaissance, Italy, J. Paul Getty Museum, Le Louvre, leonardo da vinci, leonardo louvre, londra national gallery, louvre, Musei Capitolini, Musei Vaticani., paris louvre leonardo da vinci, renaissance, Roman, Rome, Sovrintendenza Capitolina — Musei Capitolini, The Metropolitan Museum of Art, the Uffizi in Florence and the National Archaeology Museum, uffizi museum and tagged , , , , , , , , , , , , , , , | Leave a comment

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

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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.

Visiting the Getty Center
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Giacobbe Giusti, ‘Defining beauty’

by in a new word giacobbe giusti, and National Gallery of Art, Archaeological Museum, Art, art museum, artist, Athènes., Athens, ’ third century B.C., ’ third-second century B.C., トスカーナの考古学遺産監督と共同でFondazioneストロッツィ宮殿、ロサンゼルスJ.ポールゲッティ美術館、ワシントンの国立美術館主催, パワーと情念, ヘレニズム世界のブロンズ像, best of art, bronze, bronze sculpture, bronzi ellenistici, Defining beauty: the body in ancient Greek art’ is at the British Museum, Getty Bronze, giacobbe giusti, Giacobbe Giusti, Hellenistic Period (Palazzo Massimo, Italy, J. Paul Getty Museum, J. Paul Getty Museum di Los Angeles, Kunsthistorisches Museum, Les Grecs, Les Grecs – D’Agamemnon à Alexandre le Grand » à Pointe-à-Callière, london, londra national gallery, louvre paris, Musée archéologique national, Musée du Louvre, Musei Capitolini, Museo Archeologico Nazionale., museum art paris, museum of art louvre, Naples National Archaeological Museum, national gallery london, National Gallery of Art, National Gallery of Art di Washington DC, New York, New York, paris louvre museum, Roman, rome imperial, The Metropolitan Museum of Art, The Metropolitan Museum of Art, the Metropolitan Museum of Art in New York, the paul getty museum, Washington, 力與悲愴, 權力與悲愴 希臘世界的青銅器, 權力與悲愴 希臘世界的青銅器 and tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Giacobbe Giusti, ‘Defining beauty’

The shock of the nude

 

 

Ian Jenkins, Exhibition Curator, British Museum

I’m currently working on the Museum’s major exhibition Defining beauty: the body in ancient Greek art, which opens 26 March 2015. When you see the sculptures on display, you might be forgiven for thinking that the standard dress for men, in ancient Athens especially, was a state of undress. The Greeks, if their art is anything to go by, spent a lot of time starkers.

Although we must separate art from life, nevertheless, they enjoyed many more occasions for nudity than any other European civilisation before or since. The reason why they performed athletics in the nude was said to be because, in the early Olympic Games, a runner lost his knickers and as a result also lost the race. That story may be true or not but either way, it doesn’t explain the true nature of Greek athletic nudity as an expression of social, moral and political values.

The Westmacott Athlete

 

The circumstances in which men and boys appeared naked were dictated by an exclusive attachment to certain values held by an elite ‘club’ of male citizens. To be naked was not the same as to be nude. The first befits manual workers or those engaged in lewd behaviour. Nudity by contrast was the uniform of the righteous. When a young man in ancient Athens exposed his athletic body to his peers, he was not asserting his sexuality, rather, he was demonstrating his qualification to compete in athletics and at the same time to be worthy of putting on a second skin of bronze and defending his city on the battlefield. Such young men were called Kaloi and Agathoi, that is to say, the beautiful and the good. Death in battle was the Kalos Thanatos or the beautiful death.

There is an interesting anecdote recorded in the life of the 5th-century BC philosopher Socrates, when he meets a fellow citizen Epigenes by chance. Socrates remarked tactlessly that his friend was looking rather chubby, which was rich coming from Socrates who, although he was a brave soldier, was notoriously pug-faced and pot-bellied. Epigenes told Socrates it wasn’t his business. He was now not in the army and, as a private citizen, he didn’t have to go to the gymn. Socrates replies that Epigenes owed it to his city and himself to be as fit and beautiful as possible. It was, said Socrates, the moral duty of every citizen to maintain himself in readiness in case called upon to defend his city. And besides, Epigenes was obliged to keep himself as pretty as he could be, while he was still young. The Greek body beautiful was a moral condition and one to which only the Greeks among the peoples of the ancient world were attached. Neither the Egyptians, nor the Assyrians, Persians or the Cypriots cultivated in art and in life ideal nudity.

 

Bronze statuette of a veiled and masked dancer

 

The ideal Greek male body, then, is at the very heart of the Greek experience. Female nudity was much rarer than male nudity and the wives of well-to-do citizens were expected to stay indoors preserving their reputations with their pale complexions. Sculptors become increasingly skilled at showing the body beneath thin tissues of drapery and to judge from such objects as terracotta figurines and white marble sculpture, women were adept at flaunting their figures using drapery as a means of exaggerating their shape and so drawing attention to the body beneath. Aphrodite, goddess of love, is alone among the female Olympian gods in being represented naked. Hers is an ambiguous presence, however, for crouching or standing at her bath she appears to lure us in to erotic pleasure, only then to punish us for having the presumption to gaze upon her divine beauty.

 

Marble statue of a naked Aphrodite crouching at her bath

 

To conclude, the Greek body is a pictorial sign through which the Greek experience is communicated. Nudity in ancient Greece was all part of an obligation to promote moral values that were amplified and endorsed through the culture of athletics and military training.

Defining beauty: the body in ancient Greek art opens 26 March 2015.
Sponsored by Julius Baer
Additional support
In memory of Melvin R Seiden
Mrs Jayne Wrightsman, OBE

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Giacobbe Giusti, ‘Michel-Ange Pietà Rondanini’

by in a new word giacobbe giusti, Art, art museum, artist, best of art, Florence, florenz, Galleria dell'Accademia, giacobbe giusti, hight renaissance, italian art, italian renaissance, italian renaissance, Italy, londra national gallery, louvre, michelangelo buonarroti hellenistic sculpture, Musée du Louvre, Musei Vaticani., national gallery, palazzo strozzi, renaissance, Rome, The Metropolitan Museum of Art, uffizi, uffizi museum and tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Giacobbe Giusti, ‘Michel-Ange Pietà rondanini’

Artiste

Michel-Ange

Date

vers 1564
Dimensions
(H 195 centimètres

 

 

http://www.cbccoop.it/manufatti-lapidei-mosaici/michelangelo.aspx?idmenu=lavori&idmenu2=dt3&idmenucont=38

http://fr.wikipedia.org/wiki/Piet%C3%A0_Rondanini
Le Pietà di Michelangelo Pietà Vaticana, San Pietro, Roma
Pietà di Palestrina, Galleria dell’Accademia Firenze
Pietà per Vittoria Colonna, Isabella Stewart-Gardner Museum, Boston
Pietà Bandini, Museo dell’Opera del Duomo, Firenze
Pietà Rondanini, Castello Sforzesco, Milano

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Giacobbe Giusti, ‘Power and Pathos’

by in Archaeological Museum, Archéologie grecque, Art, art museum, artist, Athènes., Athens, ’ third century B.C., best of art, bronze, bronze sculpture, bronzi ellenistici, cité d’archéologie et d’histoire de Montréal, d’Agamemnon à Alexandre le Grand, Defining beauty: the body in ancient Greek art’ is at the British Museum, Etruscan statue of Athena so called Minerva of Arezzo, florence, Florence, florenz, Fondazione Palazzo Strozzi, Getty Bronze, giacobbe giusti, giacobbe giusti etruscan, giacobbe giusti power and pathos, Giacobbe Giusti: Power and Pathos in Florence, Italy, J. Paul Getty Museum di Los Angeles e National Gallery of Art di Washington con la collaborazione della Soprintendenza per i Beni Archeologici della Toscana, Kunsthistorisches Museum, Les Grecs, londra national gallery, louvre paris, minerva of arezzo, Musée archéologique national, Musée canadien des civilisations, Musée des Tombes Royales d’Aigai, Musée du Louvre, Musei Capitolini, Musei Vaticani., Museo Archeologico Nazionale, Museo Nazionale della Magna Grecia, Museo Nazionale Romano di Palazzo Massimo, museum art paris, Naples National Archaeological Museum, National Archaeological Museum. Origin: From the Farnese collection, national gallery, national gallery london, National Gallery of Art, palazzo strozzi, Portrait of a Young Man, Power and Pathos: Bronze Sculpture of the Hellenistic World, Rome, rome imperial, Sovrintendenza Capitolina — Musei Capitolini, the J. Paul Getty Museum in Los Angeles, The Metropolitan Museum of Art, the Musée du Louvre in Paris and the Vatican Museums)., the Musée du Louvre in Paris and the Vatican Museums)Apollo (Kouros). [Soprintendenza Speciale per i Beni Archeologici di Pompei, the National Archaeology Museum in Naples and in Athens, the National Gallery of Art in Washington DC and the Superintendence for Archaeological Heritage of Tuscany, the Uffizi in Florence and the National Archaeology Museum, Tuscany’s directorate general for archaeology). Works are on loan from some of the most important museums in the world (the British Museum in London and tagged , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Giacobbe Giusti, ‘Power and Pathos’

POWER PP

The J. Paul Getty Museum
19th International Congress on Ancient Bronzes
October 13-17, 2015

J. Paul Getty Museum at the Getty Villa (top) and the Getty Center (bottom). Image in banner: Herm of Dionysos (detail), attributed to the Workshop of Boethos of Kalchedon, Greek, Asia Minor, 100-60 B.C., bronze and stone.

Archaeologists, art historians, conservators, curators, scientists, and students will convene at both the Getty Villa in Malibu and the Getty Center in Brentwood to investigate the artistry, craftsmanship, production, conservation, and science of ancient bronzes.

The Congress is organized to coincide with, and be energized by, the exhibition Power and Pathos: Bronze Sculpture of the Hellenistic World on view at the Getty Center July 28 through November 1, 2015. The exhibition will provide an extraordinary opportunity to see important new finds and many of the best-known ancient bronzes displayed side-by-side for the first time.

THEME
Artistry in Bronze: The Greeks and their Legacy
The study of large-scale ancient bronzes has long focused on aspects of technology and production. Analytical work regarding casting cores, alloys, joins, and patinas has significantly advanced our understanding of materials, processes, and techniques involved in this medium. Most recently, the restoration history of bronzes has established itself as a distinct area of investigation. How does this scholarship bear on the understanding of bronzes within the wider history of ancient art? How do these technical data relate to our ideas of styles and development? How has the material bronze affected ancient and modern perceptions of form, value, and status of works of art?

CALL FOR PAPERS (CLOSED)
The 2015 Congress, held in conjunction with an unprecedented exhibition of Hellenistic bronze statuary, invites presentations of new research with an emphasis on art-historical, aesthetic, and chronological issues regarding Greek bronze sculptures, as well as questions of their reception in later periods and cultural contexts, beginning with the Hellenistic and its disparate centers of bronze working. Presentations addressing other topics are also welcome.
Submission process and guidelines for paper and poster presentations »

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Please send inquiries to BronzeCongress2015@getty.edu.
The Getty Villa
The Getty Villa is located at 17985 Pacific Coast Highway in Malibu, California, approximately 25 miles west of downtown Los Angeles. Plan your visit.The Getty Center
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