Giacobbe Giusti, Horses of Saint Mark
Bronze. Attributed to the Greek sculptor Lysippos, 4th century BCE.”>
Venice, Basilica of St. Mark
http://ancientrome.ru/art/artworken/img.htm?id=5739
http://www.giacobbegiusti.com
Category Archives: The Metropolitan Museum of Art
Giacobbe Giusti, Found in the Salento Minerva Aeneid: the statue confirmed the landing of Enea
Giacobbe Giusti, Found in the Salento Minerva Aeneid: the statue confirmed the landing of Enea
“These days the temperature reaches the threshold of 35 degrees, if not more. It is a charming place, where the Adriatic sea is the backdrop to the streets where a bright light is combined with limestone houses. A land with strong tourist, rich in culture and history. Meeting the head of the construction site, the archaeologist Amedeo Galati, on Cathedral Square and walk along the short stretch that separates the square from the site of the archaeological excavations. We are stopped a few times by locals trying to know the latest news about the findings. We feel the excitement in the country, because in those ancient stones is reliving a distant history millennia now, the time when the lands of Puglia rang the native language of the Mediterranean: the greek.
They are in Castro because again the epics are borne out in the archaeological finds. Or so it seems. An ancient temple dedicated to the goddess Athena, would be found in Salento, where now stands Castro. That would be the “fortress with the temple of Minerva” where, in the legend told nell”Eneide ‘, Virgil placed the landing of the Trojan hero Aeneas, fleeing the city destroyed by the Achaeans.
From Book III dell”Eneide ‘, “the breezes hanker grow and become closer to open the port and the fortress appears the Temple of Minerva”.
The city, in Roman times, had its name Castrum Minervae. Area of excavations, which is near the Cathedral, spoke recently in a book, ‘Castrum Minervae’ (Farewell, Galatina 2009), Professor Francesco D’Andria, professor of archeology and director of the graduate school in classical and medieval archeology at the University of Lecce. In the text they were collected the results of excavations of 2007-2008. The current excavations, begun years ago, have recovered thanks to a project called “In the footsteps of Aeneas” and that is the implementation of an archaeological park over the area Comunale. Just in recent weeks, the surprise. In the yard directed by the archaeologist Amedeo Galati, the important discovery of the torso, evidence of the presence on the site of a temple dedicated to the goddess Athena, already in age messapica. That is the time when the South was integrated into Italian culture magnogreca. The hypothesis that the artifact represents Athena is corroborated by the correspondence between the setting of the arms on the chest and found that observed in the iconography typical dell’Atena Iliac, the Messapian period, with a strong Eastern influence (see photo for comparison). That is confirmed by the previous discovery, always in the excavations at Castro, in town huts, a bronze statuette depicting the goddess Athena, now housed and displayed in the town museum, housed in the impressive castle, however, very well preserved. The statuette has a Phrygian cap, a clear denunciation of inspiration iconographic Eastern. Moreover, the first settlement in the area affected by messapico gravitated Taranto, Spartan colony. Only in Roman times, the town messapica initially called – in all probability – Lik, would be renamed Castrum Minervae. The ancient name of Castro, Lik, is confirmed by the so-called map of Soleto, a fragment in black paint which is the oldest geographical map from western classical antiquity, currently preserved in the National Archaeological Museum of Taranto and depicting the southern Salento. There they read clearly an indication of the Gulf of Taranto and the position of the city of Otranto (Hydruntum).
The city, in Roman times, had its name Castrum Minervae. Area of excavations, which is near the Cathedral, spoke recently in a book, ‘Castrum Minervae’ (Farewell, Galatina 2009), Professor Francesco D’Andria, professor of archeology and director of the graduate school in classical and medieval archeology at the University of Lecce. In the text they were collected the results of excavations of 2007-2008. The current excavations, begun years ago, have recovered thanks to a project called “In the footsteps of Aeneas” and that is the implementation of an archaeological park over the area Comunale. Just in recent weeks, the surprise. In the yard directed by the archaeologist Amedeo Galati, the important discovery of the torso, evidence of the presence on the site of a temple dedicated to the goddess Athena, already in age messapica. That is the time when the South was integrated into Italian culture magnogreca. The hypothesis that the artifact represents Athena is corroborated by the correspondence between the setting of the arms on the chest and found that observed in the iconography typical dell’Atena Iliac, the Messapian period, with a strong Eastern influence (see photo for comparison). That is confirmed by the previous discovery, always in the excavations at Castro, in town huts, a bronze statuette depicting the goddess Athena, now housed and displayed in the town museum, housed in the impressive castle, however, very well preserved. The statuette has a Phrygian cap, a clear denunciation of inspiration iconographic Eastern. Moreover, the first settlement in the area affected by messapico gravitated Taranto, Spartan colony. Only in Roman times, the town messapica initially called – in all probability – Lik, would be renamed Castrum Minervae. The ancient name of Castro, Lik, is confirmed by the so-called map of Soleto, a fragment in black paint which is the oldest geographical map from western classical antiquity, currently preserved in the National Archaeological Museum of Taranto and depicting the southern Salento. There they read clearly an indication of the Gulf of Taranto and the position of the city of Otranto (Hydruntum).
The torso found in the excavations at Castro, in town Capanne, has a size of 1.10mx0.90m, suggesting that the whole body should reach about 2.5m high, excluding the base, which are most probably attributed decorations found in the excavations. Also carry a pretty picture of the time when the body is removed from the floor of the excavation, I had the chance to see, in their stratigraphic complexity, right next to a door of the old city, dating back to IV-III century. B.C. Castro4- excavations In recent days, they were also found her hand and left forearm. This gives hope that other surprising discoveries can emerge in further excavations. The history of these lands thousands of years continues to speak.
Below, an aerial image with legend of the excavations in which is found the bust attributed to the goddess Athena.”
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
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.
Giacobbe Giusti, Egyptian hieroglyphs
Giacobbe Giusti, Egyptian hieroglyphs
Name of Alexander the Great in Egyptian hieroglyphs (written from right to left), c. 330 BC, Egypt. Louvre Museum.
https://en.wikipedia.org/wiki/Alexander_the_Great
Giacobbe Giusti, Alexander the Great
Giacobbe Giusti, Alexander the Great
Statue of Alexander the Great
Giacobbe Giusti, ‘Fragmentary horse’
Giacobbe Giusti, ‘Fragmentary horse’
|
English: Fragmentary horse from the colossal four-horses chariot group which topped the podium of the Mausoleum at Halicarnassos.
Français : Cheval fragmentaire. Faisait partie du groupe colossal du chariot à quatre chevaux qui surmontait le podium du Mausolée d’Halicarnasse.
|
|
| Dimensions | H. 2.33 m (7 ft. 7 ½ in.) |
https://en.wikipedia.org/wiki/Mausoleum_at_Halicarnassus
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.
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
Giacobbe Giusti, ‘Found statue of Minerva, the mythical goddess described in the Aeneid’
Giacobbe Giusti, ‘Found statue of Minerva, the mythical goddess described in the Aeneid’
An extraordinary discovery to these days in Salento. Researchers may have found the statue of Minerva, the goddess told by Virgil in the Aeneid. The statue was found in the historic center of the city of Castro, at a depth of three meters under the ground, the archaeological team led by Amedeo Galati, who for six years working on the site. History and myth intertwine again. Below is the image gallery.
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. The measurements of the statue in its original and not damaged had to be impressive, it is estimated about 4 meters.
Crediti Fotografie: Pasquale Rizzo
The exact spot where it was found the statue
In addition to the historical side of the story the discovery reopens an old debate about taste location of the place that was home to the myth of Aeneas. As informs leccenews24, who is constantly following the developments on the discovery, excavation, financed by the European Union, will continue under the supervision of the University of Salento and the Superintendence for Cultural Heritage.
If that Aeneas is a legend or not does not matter, the discovery now allows us to date and circumscribe a place really existed and described more than two thousand years ago, linked to the most fascinating episodes narrated in the Aeneid: the return of the Trojan hero in Italy .
http://www.ufoonline.it/2015/07/05/statua-di-minerva-eneide/
Giacobbe Giusti, Antikythera Ephebe
Giacobbe Giusti, Antikythera Ephebe
The Antikythera Ephebe is a bronze statue of a young man of languorous grace that was found in 1900 by sponge-divers in the area of the ancient Antikythera shipwreck off the island of Antikythera, Greece. It was the first of the series of Greek bronze sculptures that the Aegean and Mediterranean yielded up in the twentieth century which have fundamentally altered the modern view of Ancient Greek sculpture.[1] The wreck site, which is dated about 70–60 BC, also yielded the Antikythera Mechanism, an astronomical calculating device, a characterful head of a Stoic philosopher, and a hoard of coins. The coins included a disproportionate quantity of Pergamene cistophoric tetradrachms and Ephesian coins, leading scholars to surmise that it had begun its journey on the Ionian coast, perhaps at Ephesus; none of its recovered cargo has been identified as from mainland Greece.[2]
The Ephebe, which measures 1.94 meters, slightly over lifesize, was retrieved in numerous fragments. Its first restoration was revised in the 1950s, under the direction of Christos Karouzos, changing the focus of the eyes, the configuration of the abdomen, the connection between the torso and the right upper thigh and the position of the right arm; the re-restoration is universally considered a success.[2]
The Antikythera Ephebe
The Ephebe does not correspond to any familiar iconographic model, and there are no known copies of the type. He held a spherical object in his right hand,[3] and possibly may have represented Paris presenting the Apple of Discord to Aphrodite; however, since Paris is consistently depicted cloaked and with the distinctive Phrygian cap, other scholars have suggested a beardless, youthful Heracles with the Apple of the Hesperides.[2] It has also been suggested that the youth is a depiction of Perseus holding the head of the slain Gorgon.[2] At any rate, the loss of the context of the Antikythera Ephebe has stripped it of its original cultural meaning.
The Ephebe, dated by its style to about 340 BC, is one of the most brilliant products of Peloponnesian bronze sculpture; the individuality and character it displays have encouraged speculation on its possible sculptor. It is, perhaps, the work of the famous sculptor Euphranor, trained in the Polyclitan tradition, who did make a sculpture of Paris, according to Pliny:
“By Euphranor is an Alexander [Paris]. This work is specially admired, because the eye can detect in it at once the judge of the goddesses, the lover of Helen, and yet the slayer of Achilles.“[4]
The Antikythera Ephebe is conserved in the National Archaeological Museum of Athens.[5]
Notes
- Other well-known underwater bronze finds have been retrieved, generally from shipwreck sites: the Mahdia shipwreck off the coast of Tunisia, 1907; the Marathon Boy off the coast of Marathon, 1925; the standing Poseidon of Cape Artemision found off Cape Artemision in northern Euboea, 1926; the horse and Rider found off Cape Artemision, 1928 and 1937; the Getty Victorious Youth found off Fano, Italy, in 1964; the Riace bronzes, found in 1972; the Dancing Satyr of Mazara del Vallo, near Brindisi, 1992; and the Apoxyomenos‘ recovered from the sea off the Croatian island of Lošinj in 1999.
- Myers 1999
- Minute fragments of bronze adhere to the fingers (Myers 1999).
- Natural Histories, 34.77: Euphranoris Alexander Paris est in quo laudatur quod omnia simul intelliguntur, iudex dearum, amator Helenae et tamen Achillis interfector.
- Inv. no. 13396.
Giacobbe Giusti, Puissance et Pathos, bronzes du monde hellénistique
Giacobbe Giusti, Puissance et Pathos, bronzes du monde hellénistique
Giacobbe Giusti, a new world 