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

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

 

Rare Bronze Sculptures from Hellenistic Period on View at National Gallery of Art, Washington, December 13, 2015–March 20, 2016

Unknown Artist (Hellenistic Bronze)
Athlete “Ephesian Apoxyomenos”, AD 1- 90
bronze and copper
Kunsthistorisches Museum, Antikensammlung, Vienna

Washington, DC—An unprecedented exhibition of some 50 rare bronze sculptures and related works from the Hellenistic period will be on view at the National Gallery of Art from December 13, 2015, through March 20, 2016. Previously at the Palazzo Strozzi, Florence, and the J. Paul Getty Museum, Los Angeles, Power and Pathos: Bronze Sculpture of the Hellenistic World showcases bronze sculptures that are remarkably lifelike, often enhanced by copper eyelashes and lips and colored glass or stone eyes. Of the many thousands of bronze statues created in the Hellenistic period, only a small fraction is preserved. This exhibition is the first to gather together so many of the finest surviving bronzes from museums in Europe, North Africa, and the United States.

“We are delighted to present visitors with this rare opportunity to see these dazzling works up close,” said Earl A. Powell III, director, National Gallery of Art, Washington. “We are grateful to the lenders—museums in Austria, Denmark, France, Georgia, Great Britain, Greece, Italy, Spain, Tunisia, the United States, and the Vatican—as well as Bank of America for their generous support.”

During the Hellenistic period—generally from the late fourth century BC to the first century AD—the art and culture of Greece spread throughout the Mediterranean and lands once conquered by Alexander the Great. Through the medium of bronze, artists were able to capture the dynamic realism, expression, and detail that characterize the new artistic goals of the era.

“The works from the Power and Pathos exhibition represent a turning point in artistic innovation during one of the most culturally vibrant periods in world history,” said Rena De Sisto, global arts and culture executive, Bank of America. “We’re thrilled to be the National Tour Sponsor and to help bring this important collection to D.C. in hopes to inspire curiosity and wonder.”

Exhibition Organization and Support

The exhibition was organized by the National Gallery of Art, Washington; the J. Paul Getty Museum, Los Angeles; and the Fondazione Palazzo Strozzi, Florence, in collaboration with the Soprintendenza per i Beni Archeologici della Toscana.

Bank of America is the national sponsor of this touring exhibition.

The exhibition is also made possible through a generous gift from an anonymous donor. The Marshall B. Coyne Foundation has provided additional support through the Fund for the International Exchange of Art. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.

Exhibition Highlights

Power and Pathos brings together the most significant examples of Hellenistic bronze sculpture to highlight their varying styles, techniques, contexts, functions, and histories. The conquests of Alexander the Great (ruled 336–323 BC) created one of the largest empires in history and ushered in the Hellenistic period, which ended with the rise of the Roman Empire. For some 300 years after Alexander’s death, the medium of bronze drove artistic experimentation and innovation. Bronze—surpassing marble with its tensile strength, reflective surface, and ability to hold the finest detail—was used for dynamic poses, dazzling displays of the nude body, and vivid expressions of age and character.

“Realistic portraiture as we know it today, with an emphasis on individuality and expression, originated in the Hellenistic period,” said exhibition curator Kenneth Lapatin.  Jens M. Daehner, co-curator, added, “Along with images of gods, heroes, and athletes, sculptors introduced new subjects and portrayed people at all stages of life, from infancy to old age.” Both Daehner and Lapatin are associate curators in the department of antiquities at the J. Paul Getty Museum.

A widespread ancient phenomenon, Hellenistic art is found not only throughout the Mediterranean, but also in regions far away, such as Thrace in the Balkans, ancient Colchis (in the Republic of Georgia), and the southern Arabian Peninsula. Through several thematic sections, the exhibition emphasizes the unique role of bronze both as a medium of prestige and artistic innovation and as a material exceptionally suited for reproduction. The exhibition is divided into sections as follows:

Introduction: The Rarity of Bronzes: Large-scale bronze statues have rarely survived from antiquity, as most were melted down so that their valuable metal could be reused. Rows of empty stone pedestals can still be seen at ancient sites. Lysippos of Sikyon (c. 390–305 BC), the favorite sculptor of Alexander the Great, created 1,500 works in bronze, according to Pliny the Elder. None survive; their existence is known partly from later copies and statue bases inscribed with the artist’s name, such as the one on view at the beginning of the exhibition. Many bronzes known today have been preserved only because they were accidentally buried or lost at sea, then recovered centuries later by archaeologists, divers, and fishermen.

Alexander and His Successors: Lysippos is credited with creating the image of Alexander the Great that artists have perpetuated through the centuries: a man of vigor, fit and lithe, clean-shaven, with long, windswept hair. The statuette Alexander the Great on Horseback, in bronze with silver and copper inlays, may be a small-scale version of a lost monumental sculpture that Lysippos created to commemorate Alexander’s victory over the Persians in 334 BC. Portraits of Alexander provided the models that his successors would emulate, resulting in the distinctive genre of ruler portraiture that emerged in the Hellenistic period.

Rulers and Citizens/Likeness and Expression: Realistic features and depictions of emotional states are hallmarks of Hellenistic sculpture. Individualized portraits superseded the largely idealized types of earlier periods. Hellenistic portraits emphasize pathos—lived experience—appealing to viewers’ emotions by conveying an individual’s state of mind or experience of life through facial expression or gestures. Citizens and benefactors honored with statues were shown clothed, while rulers were portrayed nude or in armor, sometimes on horseback. Nudity, traditionally reserved for images of athletes, heroes, and gods, became an artistic attribute of Hellenistic rulers or military leaders.

Bodies Real and Ideal: Hellenistic sculptors continued to create idealized figures, but with a new interest in realistic detail and movement, as seen in the Boy Runner, a statue of a boy athlete shown only at the National Gallery of Art.  Many artists took inspiration from Lysippos, often considered the most important artist of the Hellenistic period. He specialized in athletic figures in their prime, emphasizing their muscles and rendering their hair disheveled from sweat and exercise. Lysippos also introduced new, elongated proportions and smaller heads, making his figures appear taller and more graceful than those of the Classical period.

Apoxyomenos and the Art of Replication: The process of casting bronze statues in reusable molds encouraged the production of multiple copies of the same statue. The image of an athlete known as an Apoxyomenos (“scraper”) appears in two bronze versions: a full-length statue excavated at Ephesos in present-day Turkey (on loan from the Kunsthistorisches Museum in Vienna, Austria) and a bronze head known since the 16th century (now in Fort Worth, Texas), which once formed part of a comparable statue. Athletes competed nude, their bodies coated in oil; after exercising, they scraped themselves clean with a strigil, a curved implement that removed the oil and accumulated dust and grime.

Images of the Divine: The expressive capabilities of bronze and the dynamic styles of Hellenistic sculpture were adapted to representations of divine beings. Their images became less ideal and more realistic or “human.” The statuette Weary Herakles, for example, shows the hero fatigued rather than triumphant after completing the labors that earned him immortality. The love-god Eros, formerly shown as an elegant adolescent, is transformed into a pudgy baby, inspiring Roman images of the god Cupid and putti of the Italian Renaissance. In the Hellenistic era, deities became more accessible, now thought of as living beings with changing physical and emotional states.

Styles of the Past/Roman Collectors and Greek Art: A high regard for history characterizes the Hellenistic period. Artists created statues and statuettes in styles from both the recent and distant past. Statues of Apollo on view echo the stiff frontal figures of youths known as kouroi that were dedicated in Greek sanctuaries and cemeteries throughout the sixth century BC. In contrast, a bust of the Doryphoros (Spear Bearer) copies a work by Polykleitos, one of the most famous classical sculptors of the fifth century BC.  Most of the sculptures in this section adorned the villas and gardens of prominent Romans who eagerly collected Greek works of art, including the famouse statuette known as the Dancing Faun (Pan), found in the atrium of the House of the Faun in Pompeii, another work shown only in Washington.

From the Hellenistic to the Augustan Era: The Augustan era saw a renewed interest in the idealized styles of Classical Greece. Augustus, the first Roman emperor (ruled 27 BC–AD 14), favored the Classical style for much of his official art to associate his reign with the golden age of fifth-century Athens under Pericles. The sculpture of a boy wearing a himation, a large rectangle of cloth wrapped around the waist, and the nude statue of a youth known as the Idolino (“little idol”), exemplify this trend.

Film and Audio Tour

A film produced by the Gallery in conjunction with the exhibition and made possible by the HRH Foundation provides an overview of art of the Hellenistic period. Narrated by actor Liev Schreiber, the film includes new footage of the ancient sites of Delphi, Corinth, and Olympia, which once were crowded with bronze statues.

For the first time, the Gallery is offering a free audio tour that visitors can download to their mobile devices. Narrated by Earl A. Powell III, the tour includes commentary from exhibition curators Jens M. Daehner and Kenneth Lapatin, and bronze specialist Carol C. Mattusch of George Mason University.

Curators and Catalog

The exhibition curators are Jens M. Daehner and Kenneth Lapatin, both associate curators in the department of antiquities at the J. Paul Getty Museum. Susan M. Arensberg, head of the department of exhibition programs, is the coordinating curator for the National Gallery of Art.

Published by the J. Paul Getty Museum, the fully illustrated scholarly catalog is the first comprehensive volume on Hellenistic bronze statuary. It includes groundbreaking archaeological, art-historical, and scientific essays offering new approaches to understanding ancient production of these remarkable works of art. The 368-page hardcover catalog is currently available. To order, please visit http://shop.nga.gov/; call (800) 697-9350 or (202) 842-6002; fax (202) 789-3047; or e-mail mailorder@nga.gov.

General Information

The National Gallery of Art and its Sculpture Garden are at all times free to the public. They are located on the National Mall between 3rd and 9th Streets at Constitution Avenue NW, and are open Monday through Saturday from 10:00 a.m. to 5:00 p.m. and Sunday from 11:00 a.m. to 6:00 p.m. The Gallery is closed on December 25 and January 1. With the exception of the atrium and library, the galleries in the East Building will remain closed until late fall 2016 for Master Facilities Plan and renovations. For information call (202) 737-4215 or visit the Gallery’s Web site at www.nga.gov. Follow the Gallery on Facebook at www.facebook.com/NationalGalleryofArt, Twitter at www.twitter.com/ngadc, and Instagram at http://instagram.com/ngadc.

Visitors will be asked to present all carried items for inspection upon entering. Checkrooms are free of charge and located at each entrance. Luggage and other oversized bags must be presented at the 4th Street entrances to the East or West Building to permit x-ray screening and must be deposited in the checkrooms at those entrances. For the safety of visitors and the works of art, nothing may be carried into the Gallery on a visitor’s back. Any bag or other items that cannot be carried reasonably and safely in some other manner must be left in the checkrooms. Items larger than 17 by 26 inches cannot be accepted by the Gallery or its checkrooms.

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Giacobbe Giusti, Divine Beauty

Giacobbe Giusti, Divine Beauty

 

 

 

Divine Beauty from Van Gogh to Chagall and Fontana

The Exhibition

Organized by: Fondazione Palazzo Strozzi with the collaboration of Arcidiocesi di Firenze and the support of Banca CR Firenze

By: Lucia Mannini, Anna Mazzanti, Ludovica Sebregondi, Carlo Sisi

Palazzo Strozzi in Florence will be holding an exhibition entitled Divine Beauty from Van Gogh to Chagall and Fontana from 24 September 2015 to 24 January 2016. This outstanding show, with over one hundred works by well-known Italian and international artists, sets out to explore the relationship between art and religion from the mid-19th to the mid-20th century. The exhibition will be hosting work by such major Italian artists as Domenico Morelli, Gaetano Previati, Felice Casorati, Gino Severini, Renato Guttuso, Lucio Fontana and Emilio Vedova, together with works by such international masters as Vincent van Gogh, Jean-François Millet, Edvard Munch, Pablo Picasso, Max Ernst, Stanley Spencer, Georges Rouault and Henri Matisse.

From Morelli’s Realist painting to Vedova’s Informal Art and from Previati’s Divisionism to Redon’s Symbolism and Munch’s Expressionism, or to the experimental approach proper to Futurism, the exhibition analyses and sets in context a century of modern religious art, highlighting different takes on modernity, trends and occasionally even clashes in the relationship between art and religious sentiment.

The show’s star exhibits will include such celebrated works as Jean-François Millet’s Angelus, on exceptional loan from the Musée d’Orsay in Paris, Vincent van Gogh’s Pietà from the Vatican Museums, Renato Guttuso’s Crucifixion from the collections of the Galleria Nazionale d’Arte Moderna in Rome and Marc Chagall’s White Crucifixion from the Art Institute of Chicago. With sections devoted to the crucial themes in the religious and artistic debate, Divine Beauty will provide visitors with a unique opportunity to compare extremely famous works of art observed in a new and different light, alongside pieces by artists whose work is perhaps less well-known today but who, in their own way, have helped to forge the rich and complex panorama of modern art; and this, not only in a religious environment.

The exhibition, which is the product of a joint venture between the Fondazione Palazzo Strozzi, the former Soprintendenza Speciale per il Patrimonio Storico, Artistico ed Etnoantropologico e per il Polo Museale della città di Firenze, the Archdiocese of Florence and the Vatican Museums, is part of a programme of events devised to run concurrently with the Fifth National Bishops Conference. Pope Francis will also attend the conference, to be held in Florence from 9 to 13 November.

http://www.palazzostrozzi.org/mostre/divinebeauty/?lang=en

http://www.giacobbegiusti.com

Giacobbe Giusti, 50 ancient bronzes at the Getty Museum

Giacobbe Giusti, 50 ancient bronzes at the Getty Museum

Photo: Nick Ut, AP
“Athlete, The Croatian Apoxyomenos, Greek, 1st century BC,” is seen at the J. Paul Getty Museum in the “Power and Pathos: Bronze Sculpture of Hellenistic World” exhibit in Los Angeles. The exhibit brings together more than 50 bronzes from the Hellenistic period that extended from about 323 to 31 B.C.

Power and Pathos: Bronze Sculpture of the Hellenistic World is on view through November 1 in the J. Paul Getty Museum at the Getty Center, 1200 Getty Center Drive, Los Angeles. Hours, Tuesday through Friday and Sunday from 10 a.m. to 5:30 p.m., and Saturday from 10 a.m. to 9 p.m. Free; parking $15. For more information or to learn about events related to the exhibition, call (310) 440-7300 or go to getty.edu. ER

http://www.sfgate.com/news/article/Dozens-of-brilliant-bronze-works-on-display-at-6409657.php#photo-8372594

http://www.giacobbegiusti.com

Giacobbe Giusti, Power and Pathos at the Getty Museum

Giacobbe Giusti, Power and Pathos at the Getty Museum

http://www.artribune.com/2015/08/scultura-classica-e-poesia-italiane-si-incontrano-a-los-angeles-gabriele-tinti-protagonista-al-getty-museum-e-allistituto-italiano-di-cultura-ecco-le-immagini/il-pugile-a-riposo-esposto-nella-mostra-power-and-pathos-al-getty-museum/
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Giacobbe Giusti, Power and Pathos: Bronze Sculpture of the Hellenistic World

 

The J. Paul Getty Museum

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

Boy Removing a Thorn from His Foot, “The Spinario,” about 50 B.C., bronze and copper. Musei Capitolini, Rome, Palazzo dei Conservatori, Sala dei Trionfi – foto Zeno Colantoni

July 28–November 1, 2015, Getty Center

During the Hellenistic period from the death of Alexander the Great in 323 B.C. until the establishment of the Roman Empire in 31 B.C., the medium of bronze drove artistic innovation. Sculptors moved beyond Classical norms, supplementing traditional subjects and idealized forms with realistic renderings of physical and emotional states. Bronze—surpassing marble with its tensile strength, reflective effects, and ability to hold fine detail—was employed for dynamic compositions, dazzling displays of the nude body, and graphic expressions of age and character.

Cast from alloys of copper, tin, lead, and other elements, bronze statues were produced in the thousands: honorific portraits of rulers and citizens populated city squares, and images of gods, heroes, and mortals crowded sanctuaries. Few, however, survive. This unprecedented exhibition unites fifty significant bronzes of the Hellenistic age. New discoveries appear with works known for centuries, and several closely related statues are presented side by side for the first time.

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.

Bank of America is the National Sponsor of this touring exhibition. The Los Angeles presentation is also supported by the Getty Museum’s Villa Council, Vera R. Campbell Foundation, and the A. G. Leventis Foundation.

http://www.getty.edu/art/exhibitions/power_pathos/

http://www.giacobbegiusti.com

 

Giacobbe Giusti, Power and Pathos

Giacobbe Giusti, Power and Pathos

First Ever Major Exhibition of Hellenistic Bronze Sculptures Will Travel Internationally

 

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 touring exhibition. The Los Angeles presentation is also supported by the Getty Museum’s Villa Council, Vera R. Campbell Foundation, and the A. G. Leventis Foundation.

http://news.getty.edu/press-materials/press-releases/power-and-pathos-hellenistic-bronze-sculpture.print

http://www.giacobbegiusti.com

Giacobbe Giusti, Power and Pathos

Giacobbe Giusti, Power and Pathos

         

 

Head of Apollo, First century BCE–first century CE, bronze, 51 x 40 x 38 cm. Salerno, Museo Archeologico Provinciale.

By Alain.R.Truong

FLORENCE.- From 14 March to 21 June 2015, Palazzo Strozzi in Florence will be the first venue to host the major exhibition entitled Power and Pathos. Bronze Sculpture of the Hellenistic World organised and produced in conjunction with the J. Paul Getty Museum in Los Angeles, the National Gallery of Art in Washington and the Soprintendenza Archeologica della Toscana, Tuscany’s directorate general for archaeology. After Florence, the exhibition will travel to the J. Paul Getty Museum in Los Angeles from 28 July to 1 November 2015 and then to the National Gallery of Art in Washington, DC, from 6 December 2015 to 20 March 2016.

Statue Base signed by Lysippos, End of fourth–beginning of third century BCE, blue-grey limestone, 30 x 70.5 x 70,5 cm. Corinth, 37th Ephorate of Prehistoric and Classical Antiquities.

This important joint venture reinforces Palazzo Strozzi’s international reputation for excellence. The exhibition will showcase – for the first time in Florence – some of the greatest masterpieces of the ancient world from such leading Italian and international museums as the Museo Archeologico Nazionale in Florence, the Museo Nacional del Prado in Madrid, the Museo Archeologico Nazionale in Naples, the British Museum in London, the Metropolitan Museum of Art in New York, the Galleria degli Uffizi in Florence, the National Archaeological Museum of Athens, the Archaeological Museum of Heraklion (Crete), the Kunsthistorisches Museum in Vienna, the Archaeological Museum of Thessaloniki, the Musée du Louvre in Paris, the Vatican Museums and the Musei Capitolini in Rome.

Portrait Statue of Aule Meteli (Arringatore), Late second century BCE, bronze, 179 cm. Florence, Museo Archeologico Nazionale.

Power and Pathos features about 50 extraordinary sculptures in bronze and tells the story of the artistic achievements of the Hellenistic era (4th to 1st centuries BC), when new bronze-working techniques were developed, new forms of expression were explored, and a first globalized language of art emerged in the Mediterranean and beyond. In this cosmopolitan climate, Greek art, in effect, became an international phenomenon.

Statuette of Alexander the Great on Horseback, First century BCE, bronze, with silver inlays, 49 x 47 x 29 cm. Naples, Museo Archeologico Nazionale.

The vast Hellenistic empire founded by Alexander the Great stretched from Greece and the borders of Ethiopia to the Indus Valley, embracing Egypt, Persia, and Mesopotamia. Thus its astonishing output in the fields of art, history and philosophy enjoyed extensive dissemination. While the Classical Greek world was based essentially on the polis, or citystate, now art served more than the cities and their citizens and focused instead on the courts of Alexander’s successors. Artists devoted their skills to celebrating the rulers and their achievements, adopting and adapting Classical modes of expression to suit new needs.

Horse Head (“Medici Riccardi” Horse), Second half of the fourth century BCE, bronze, 81 x 95 x 40 cm. Florence, Museo Archeologico Nazionale.

The exhibition owes its unique character to bronze, an alloy of copper, tin, and often lead, so significant in ancient technology and art that Pliny the Elder dedicated an entire book to this medium. Bronze works are extremely rare today, and the vast majority of large bronzes from the ancient world are lost because they have been melted down over the centuries so that the metal could be used to mint coins and to manufacture arms. Immediately after casting, bronze was so dazzling that it resembled gold.

Head of a Man with Kausia, Third century BCE, bronze, faïence or alabaster, 32 x 27.9 cm. Pothia, Archaeological Museum of Kalymnos.

One of the reasons this show is an unprecedented, once-in-a-lifetime event is that it will allow visitors to admire works never before seen together: the bronze Apoxyomenos from Vienna alongside the Uffizi’s marble version used in its restoration; the two archaising Apollo-Kouroi from the Louvre and from Pompeii. Although all of these “pairs” have frequently been shown together in photographs, this is the very first time that any of them have been displayed side by side. A large number of the bronzes surviving to this day were found in the sea rather than on dry land. Spectacular underwater finds include the figure of a General (Lucius Aemilius Paullus?) found in the sea off Brindisi in 1992, and the Head of a Man with Kausia (discovered in the Aegean off the island of Kalymnos in 1997).

Portrait of a Diadoch (Demetrios Poliorketes?), 310–290 BCE, bronze, 45 x 35 x 39 cm. Madrid, Museo Nacional del Prado.

The discovery of the head of Apollo in the sea off Salerno in December 1930 was poetically described by Nobel Prize laureate Giuseppe Ungaretti: “Night had almost fallen and the anchovy fishermen were returning to port in single file. Gathering up their nets, one of the fishermen found […] a head of Apollo in his net. Holding it up in the palm of his lined hand and seeing it now imbued with new life in the light and appearing to bleed – where it had been severed at the neck – in the fire of the setting sun, the fisherman thought he was looking at St. John the Baptist. I myself have seen it at the Museum in Salerno; it may be by Praxiteles or possibly Hellenistic […] its indulgent and quivering smile hinting at an ineffable song of youth restored to life!”

Portrait of Arsinoë III, Late third century–early second century BCE, bronze, 30 x 20 x 30 cm. Mantua, Museo Civico di Palazzo Te.

Unlike Classical artists, who sought to convey a sense of balance and serenity, Hellenistic sculptors aimed to capture the full range of human feelings, from anger and passion to joy and anguish. They typically emphasised pathos, or lived experience, in the figures they depicted, and we find this also in the portraits of the men who rose to power in Alexander’s wake. Such portraits were designed to bolster the sitters’ legitimacy and dynastic connections through a combination of individual features both dramatic and idealised. Statues of athletes such as the so-called Apoxyomenos—a figure shown after the competition, holding a small curved instrument called a strigil used to scrape off sweat and dirt from the body— focus on the nude male body in its various forms. Artists no longer represent wholly idealised forms, as in the Classical era, but depict momentary details that vividly express physical and emotional states.

Statue of a Man, Second century BCE, bronze, 127 x 75 x 49 cm h. 30 cm (head). Brindisi, Museo Archeologico Provinciale “F. Ribezzo”.

Curated by Jens Daehner and Kenneth Lapatin of the J. Paul Getty Museum in Los Angeles, the exhibition offers a comprehensive overview of the Hellenistic bronze sculpture in its larger archaeological, cultural and geographical environments.

Portrait of a Man, First century BCE, bronze, 29.5 x 21.5 x 21.5 cm. Malibu, J. Paul Getty Museum.

Monumental statues of gods, athletes, and heroes will be displayed alongside portraits of historical figures—including select sculptures in marble and stone—in a journey allowing visitors to explore the fascinating stories of these masterpieces’ discovery, often at sea (Mediterranean, Black Sea) but also in the course of archaeological digs, thus setting the finds in their ancient contexts. Those contexts could be a sanctuary where they were used for votive purposes, a public space where they celebrated personalities or events, a home where they fulfilled a decorative function, or a cemetery where they commemorated the deceased. A unique feature of the Palazzo Strozzi exhibition is that it sets the works in context by also probing and exploring the production and casting processes and the finishing techniques adopted.

Statuette of a Ruler as Hermes or Perseus, First century BCE–first century CE, bronze, with base 80 x 30 x 25.4 cm. Naples, Museo Archeologico Nazionale.

Statue of a Young Man, Third–fourth century BCE, bronze, 152 x 52 x 68 cm. Athens, Ephorate of Underwater Antiquities.

Statuette of Hermes, c. 150 BCE, bronze, 49 x 20 x 15 cm. London, The British Museum.

Statuette of the Weary Herakles, Third century BCE or first century CE (?); copy of a fourth-century BCE bronze by Lysippos, bronze, silver, 35.9 x 17.5 x 14 cm h. 39 cm with base. Chieti, Museo Archeologico Nazionale d’Abruzzo.

Statuette of an Artisan, Mid-first century BCE, bronze, silver, 40.03 x 13 x 10.8 cm. New York, The Metropolitan Museum of Art.

Statuette of Herakles Epitrapezios (Herakles seated), First century BCE–first century CE, bronze, limestone, 75 x 67 x 54 cm h. 95 cm with base. Naples, Museo Archeologico Nazionale.

Statue of Eros Sleeping, Third–second century BCE, bronze, 41.9 x 85.2 x 35.6 cm. New York, The Metropolitan Museum of Art.

Portrait of a Man, End of second–beginning of first century BCE, bronze, glass paste, black stone, 32.5 x 22 x 22 cm. Athens, National Archaeological Museum.

Portrait of a Bearded Man, c. 150 BCE, marble, 40.7 x 25 x 31.7 cm. Malibu, J. Paul Getty Museum.

Head of a Votive Statue, 375–350 BCE, bronze, 24.3 x 15.5 x 15.5 cm.London, The British Museum.

Portrait of a Man, Late fourth–third century BCE, bronze, copper, glass paste, 26.8 x 21.8 x 23.5 cm. Paris, Bibliothèque nationale de France.

Portrait Statue of a Young Ephebe, First half of the first century BCE, bronze, with base 140 x 57.2 x 45.1 cm. Heraklion, Archaeological Museum.

Portrait Statue of an Aristocratic Boy, Augustan period (27 BCE–14 CE), bronze, 132.4 x 50.8 x 41.9 cm. New York, The Metropolitan Museum of Art.

Portrait of a Man, First century BCE, bronze, 43 x 26 x 25 cm. Naples, Museo Archeologico Nazionale.

Bust of a Man (Lucius Calpurnius Piso Caesoninus Pontifex), Late first century BCE–early first century CE, 46 x 28 x 23 cm. Naples, Museo Archeologico Nazionale.

Portrait of a Man, 50–25 BCE, bronze, copper, marble, 32 x 22 x 22 cm h. 22.5 cm (head). Copenaghen, Ny Carlsberg Glyptotek.

Statue of an Athlete (Apoxyomenos from Ephesos), 1–50 CE, bronze, 205.4 x 78.7 x 77.5 cm. Vienna, Kunsthistorisches Museum.

Head of an Athlete (Ephesos Apoxyomenos type), Second century BCE–first century CE, bronze, 29.2 x 21 x 27.3 cm h. 51.4 cm with base. Fort Worth, Kimbell Art Museum.

Statue of an Athlete (Ephesos Apoxyomenos type), Second century CE, marble, h. 193 cm. Florence, Galleria degli Uffizi.

Torso of an Athlete (Ephesos Apoxyomenos type), First century CE, basanite, h. 110 cm. Castelgandolfo, Musei Vaticani, Villa Pontificia, Antiquarium.

Herm of Dionysos (Getty Herm), Workshop of Boëthos of Kalchedon (attributed), Second century BCE, bronze, copper, calcitic stone, 103.5 x 23.5 x 19.5 cm. Malibu, J. Paul Getty Museum.

Athena (Minerva of Arezzo), 300–270 BCE, bronze, copper, 155 x 50 x 50 cm. Florence, Museo Archeologico Nazionale.

Medallion with the Bust of Athena, c. 150 BCE, bronze, white glass paste, 27.2 x 27.1 x 19 cm. Thessaloniki, Archaeological Museum.

Head of Aphrodite (?), First century BCE, bronze, 37x 30.5 x 29 cm. London, The British Museum.

Statue of Apollo (Piombino Apollo), 120–100 BCE, bronze, copper, silver, 117 x 42 x 42 cm. Paris, Musée du Louvre.

Statue of Apollo (Kouros), First century BCE–first century CE, bronze, copper, bone, dark stone, glass, 128 x 33 x 38 cm. Pompeii, Soprintendenza Speciale per i Beni Archeologici di Pompei, Ercolano e Stabia.

Torso of a Youth (The Vani Torso), Second century BCE, bronze, 105 x 45 x 25 cm. Tbilisi, Georgian National Museum.

Herm Bust of the Doryphoros, Apollonios (active late first century BCE), Late first century BCE, bronze, 58 x 66 x 27 cm. Naples, Museo Archeologico Nazionale.

Ephebe (Idolino from Pesaro), c. 30 BCE, bronze, copper, lead, h. 148 cm h. 300 cm with base. Florence, Museo Archeologico Nazionale.

Bust of an Ephebe (Beneventum Head), c. 50 BCE, bronze, copper, 33 x 23 x 20 cm. Paris, Musée du Louvre.

Spinario (Spinario Castellani), c. 25–50 CE, marble, cm 69 x 40,5 x 35. London, The British Museum.

https://francescarachelvalle.wordpress.com/2015/03/15/firenze-potere-e-pathos-bronzi/

http://alaintruong.canalblog.com/archives/2015/03/14/31700771.html

http://www.giacobbegiusti.com

Giacobbe Giusti, ‘Augustus’

Giacobbe Giusti, ‘Augustus’

                           

 

Augusto di Via Labicana

Portrait of Augustus as Pontifex Maximus, statue created post-12 BCE.

Because there are entire books and web sites devoted to portraits of Augustus, I have included here only the portrait most similar to Augustus’ portrait on the Ara Pacis. The image on the Ara Pacis is a relief showing Augustus in a procession, whereas the Via Labicana Augustus is a fully rounded, free-standing statue of Augustus alone. Yet both are approximately life-size portraits of the entire figure, showing Augustus in his role as Pontifex Maximus, the highest religious office, robed, his head veiled for a sacrifice. In both, his right hand is extended, possibly holding a patera, a sacrificial cup or offering plate. In both portraits, Augustus is represented in a classicising Greek style rather than with the remarkable verism of the most original Roman portraits. In both Augustus face is slightly more mature than in his most youthful portraits.

Although the carving of the body and toga are merely conventional, a standard workshop job, carved from a large block of Italian Luna marble, the head is the work of a master, one of the most refined examples of Augustan portrait carving. The head and remnant of a forearm are carved from more expensive Greek marble, giving a warmer tone to Augustus’ complexion. In comparison with  other portraits of Augustus, the head is slightly too small for the body.  In some of the photographs below, the separateness of the finely carved neck from the surrounding robe is clear.

This slightly over-life-size statue was rediscovered in 1910 on the slopes of Oppian Hill in the Via Labicana. It is now handsomely displayed in the Palazzo Massimo alle Terme of the National Museum of Rome.

Perceptive readings of this portrait in the evolution of Augustus’ portrait types are given by Galinsky (1996, pp.164-179) and Kleiner (1992).

1000 gray-scale photographs of portrait sculpture of Augustus, most of the highest professional quaity, with authoritative text and catalogue, are reproduced in Boschung, 1993.
250 some photos of “Sculpted Portraits of Augustus” are available on Joe Geranio’s photostream.

Via Labicana Augustus photo May 2010	Via Labicana Augustus photo May 2010	Via Labicana Augustus photo May 2010
Via Labicana Augustus photo May 2010	Via Labicana Augustus photo May 2010	Via Labicana Augustus photo May 2010
Typically, Augustus’ portrait has almond shaped eyes, an aquiline nose, and rounded mouth. photo May 2010	The most distinctive feature of most portraits of Augustus are the pincer-like locks on his forehead. photo May 2010	Typically, Augustus’ head is shaped from a broad cranium to a narrow chin. photo May 2010
Via Labicana Augustus photo May 2010	Via Labicana Augustus photo May 2010	Via Labicana Augustus photo May 2010

http://cdm.reed.edu/ara-pacis/altar/related-material/portrait-of-augustus/

http://www.giacobbegiusti.com

Giacobbe Giusti, ‘Minerva statue found in Italy – where, according to Virgil, Aeneas landed’

Giacobbe Giusti,  ‘Minerva statue found in Italy – where, according to Virgil, Aeneas landed’

The “fortress with the temple of Minerva”, where according to Virgil Aeneas landed after the fall of Troy, could be in Salento. In recent days in Castro a group of archaeologists led by Amedeo Galati has found a mutilated statue female large. The work dates back presumably to the fourth century BC and may represent the goddess Minerva, thus confirming the hypothesis of the discoverers of the find, although the format for short kilt that would assume that this is un’Artemide. In this connection it will be useful the investigations carried out in the near future, in collaboration with the Superintendence of Archaeological Heritage, the University of Salento and the City of Castro. Kept three meters from the ground to the center of Castro, the statue is devoid of the head and other anatomical details, but shows exceptional traces of purple. The continuing discoveries: archaeologists have discovered also the phalanx of a finger and arm, and we hope to find out in time the other elements missing. If it were possible to reassemble the statue would be at least four meters high (text by Lorenzo Madaro, photos of Pasquale Rizzo)

http://bari.repubblica.it/cronaca/2015/07/04/foto/salento_scoperto_il_busto_di_minerva_cantato_nell_eneide-118334961/1/#1

Minerva

This article is about the Roman goddess. For other uses, see Minerva .

Minerva
Goddess of poetry, medicine, wisdom, commerce, weaving, crafts and magic.
Member of the Capitoline Triad
Mosaic of the Minerva of Peace
Animals	Owl of Minerva
Parents	Jupiter and Metis
Greek equivalent	Athena
Etruscan equivalent	Menrva

Religion in ancient Rome
Marcus Aurelius (head covered) sacrificing at the Temple of Jupiter
Deities List of Roman deities Twelve major gods Capitoline Triad Aventine Triad underworld gods indigitamenta
Deified emperors Divus Julius Divus Augustus
Related topics
Glossary of ancient Roman religion Roman mythology Ancient Greek religion Etruscan religion Gallo-Roman religion Interpretatio graeca Decline of Greco-Roman polytheism

Minerva (/mɪˈnɜr.və/; Latin: [mɪˈnɛr.wa]; Etruscan: Menrva) was the Roman goddess of wisdom and sponsor of arts, trade, and strategy. She was born with weapons from the head of Jupiter.^[1] After impregnating the titaness Metis Jupiter recalled a prophecy that his own child would overthrow him. Fearing that their child would grow stronger than him and rule the Heavens in his place, Jupiter swallowed Metis whole. The titaness forged weapons and armor for her child while within the father-god, and the constant pounding and ringing gave him a headache. To relieve the pain, Vulcan used a hammer to split Jupiter’s head and, from the cleft, Minerva emerged, whole, adult, and bearing her mother’s weapons and armor. From the 2nd century BC onwards, the Romans equated her with the Greek goddessAthena.^[2] She was the virgin goddess of music, poetry, medicine, wisdom, commerce, weaving, crafts, and magic.^[3] She is often depicted with her sacred creature, an owl usually named as the “owl of Minerva“,^[4] which symbolizes that she is connected to wisdom.

• 1 Etruscan Menrva
• 2 Worship in Rome
• 3 Universities and educational establishments
• 4 Use by societies and governments
• 5 Public monuments, places and modern culture
• 6 See also
• 7 References and sources
• 8 External links

Etruscan Menrva

Main article: Menrva

Stemming from an Italic moon goddess *Meneswā (‘She who measures’), the Etruscans adopted the inherited Old Latin name, *Menerwā, thereby calling her Menrva. It is assumed that her Roman name, Minerva, is based on this Etruscan mythology, Minerva was the goddess of wisdom, war, art, schools and commerce. She was the Etruscan counterpart to Greek Athena. Like Athena, Minerva was born from the head of her father, Jupiter (Greek Zeus).

By a process of folk etymology, the Romans could have linked her foreign name to the rootmen- in Latinwords such as mens meaning “mind”, perhaps because one of her aspects as goddess pertained to the intellectual. The word mens is built from the Proto-Indo-European root *men- ‘mind’ (linked with memory as in Greek Mnemosyne/μνημοσύνη and mnestis/μνῆστις: memory, remembrance, recollection, manush in Sanskrit meaning mind).

Worship in Rome

Raised-relief image of Minerva on a Roman gilt silver bowl, 1st century BC

Temple of Minerva in Sbeitla, Tunisia

Minerva was part of a holy triad with Tinia and Uni, equivalent to the Roman Capitoline Triad of Jupiter-Juno-Minerva. Minerva was the daughter of Jupiter.

As Minerva Medica, she was the goddess of medicine and doctors. As Minerva Achaea, she was worshipped at Lucera in Apulia where votive gifts and arms said to be those of Diomedes were preserved in her temple.^[5][6]

A head of “Sulis-Minerva” found in the ruins of the Roman baths in Bath

In Fasti III, Ovid called her the “goddess of a thousand works”. Minerva was worshiped throughout Italy, and when she eventually became equated with the Greek goddess Athena, she also became a goddess of war, although in Rome her warlike nature was less emphasized.^[7] Her worship was also taken out to the empire — in Britain, for example, she was conflated with the local wisdom goddess Sulis.

The Romans celebrated her festival from March 19 to March 23 during the day which is called, in the neuter plural, Quinquatria, the fifth after the Ides of March, the nineteenth, an artisans‘ holiday . A lesser version, the Minusculae Quinquatria, was held on the Ides of June, June 13, by the flute-players, who were particularly useful to religion. In 207 BC, a guild of poets and actors was formed to meet and make votive offerings at the temple of Minerva on the Aventine Hill. Among others, its members included Livius Andronicus. The Aventine sanctuary of Minerva continued to be an important center of the arts for much of the middle Roman Republic.

Minerva was worshipped on the Capitoline Hill as one of the Capitoline Triad along with Jupiter and Juno, at the Temple of Minerva Medica, and at the “Delubrum Minervae” a temple founded around 50 BC by Pompey on the site now occupied by the church of Santa Maria sopra Minerva facing the present-day Piazza della Minerva. When it was founded the emperor himself was present and was applauded and seen to be a god for this act.

Universities and educational establishments

Main article: Minerva in the emblems of educational establishments

As patron goddess of wisdom, Minerva frequently features in statuary, as an image on seals, and in other forms, at educational establishments.

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

http://www.giacobbegiusti.com

Giacobbe Giusti, Puissance et Pathos, bronzes du monde hellénistique

Giacobbe Giusti, Puissance et Pathos, bronzes du monde hellénistique

stimento di Potere e pathosda Palazzo Strozzi (Firenze)

 

 

http://www.giacobbegiusti.com

http://www.giacobbegiusti.com