Giacobbe Giusti: Bronze Sculpture of the Hellenistic World

Giacobbe Giusti: Bronze Sculpture of the Hellenistic World

 

by Mike Boehm Los Angeles Times

Here’s a paradox: Today’s art lovers would recoil at the thought of travel disasters, building collapses or volcanic eruptions afflicting their own communities. But over the next three months, visitors to the Getty Museum can enjoy a unique display of bronze statuary that was saved for posterity precisely because such calamities befell its ancient owners.

The show is “Power and Pathos: Bronze Sculpture of the Hellenistic World,” running Tuesday to Nov. 1 at the Getty Center in Brentwood — an atypical venue for an ancient-art show, which normally would be seen at the Getty Villa in Pacific Palisades.

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The two Getty curators who spent seven years organizing “Power and Pathos” say the 46 rare bronzes in the show needed to be seen in the best light and from all angles. The special exhibitions galleries in Brentwood afford space and natural lighting that the Villa lacks.

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Having spent up to 2,300 years buried far below the ground or sunken in ocean beds of the Mediterranean Sea, this is art that deserves a deluxe presentation, given all it has been through.

What’s most special about the exhibition, curators Jens Daehner and Kenneth Lapatin say, is that it’s the first to bring together so many prized and exceedingly rare works of its period and kind.

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For scholars it’s an unprecedented opportunity to eyeball one-fourth of the world’s known Hellenistic bronzes in one place, comparing and contrasting and perhaps leading to new understanding of how these works were created and what they meant to their ancient public.

For museum-goers, “Power and Pathos” is a chance to get a good sense of the complex currents that influenced creativity between the golden age of Greece, which historians call the “classical” period, and the dawn of the Roman Empire. The seeds of today’s conceptions about what art is for were planted in the Hellenistic world, as a burgeoning nonroyal upper class formed history’s first art market and began to commission works reflecting themselves rather than their rulers and their gods.

“All of what we have survived by chance, and we’re lucky to have it. How many more statues are under the sea bed or underground waiting to be pulled up, we don’t know.
— Kenneth Lapatin, curator

 

The Hellenistic period spans nearly 300 years, from the death of Alexander the Great in 323 BC to Augustus Caesar’s triumph over Cleopatra and Mark Antony in 31 BC. The Egyptian queen was the last descendant of Ptolemy, one of the generals who had divided Alexander’s empire, which sprawled from Greece to what’s now Pakistan.

With a few exceptions, the statues on display were lost for centuries. Some were excavated starting in the 1700s from sites such as Herculaneum in Italy, which perished along with Pompeii in the eruption of Mt. Vesuvius in A.D. 79. Many were pulled from coastal waters off Italy, Greece, Croatia, Tunisia and Turkey, where ancient cargo ships had been scuttled by pirates or wrecked by storms. One star attraction, a bronze sculpture of a seated boxer with bandaged hands and a battered, broken-nosed face and cauliflower ears, was placed in a deep pit at the bottom of an ancient wall in Rome for reasons that remain a mystery.

“All of what we have survived by chance, and we’re lucky to have it,” said Lapatin, whose vertical shock of hair makes him the Lyle Lovett of antiquarians. “How many more statues are under the sea bed or underground waiting to be pulled up, we don’t know. They were ubiquitous in antiquity, but they are rare today.”

Bronze was valuable and easily repurposed for myriad practical uses, so statues made of the metal became antiquity’s equivalent of the passenger pigeon — except for about 200 known exceptions. “You also had ideological reasons” for their wholesale destruction, Lapatin said. “Early Christians weren’t interested in preserving nude statues of pagan gods, and this was ready cash.”

That disaster kept a precious few bronzes from destruction “is the utter paradox” that underlies the show, said Daehner, an affable, soft-spoken German. “You could call it the paradox of archaeology in general, but for bronze it’s particularly true and poignant.”

Silver lining

The show is itself a silver lining of sorts. It had its genesis in the 2007 settlement of the Italian government’s grievances over looted ancient artworks the Getty had acquired, in which the museum returned 40 suspect pieces to Italy, including some of its most prized holdings. But with the return of comity and cooperation, Getty curators could now approach the great museums of Italy with ideas for art loans and collaboration on exhibitions. In 2008 the Getty entered a pact for art exchanges with the National Archaeological Museum in Florence.

Looking for intersections between the collections, curators noted that each sported magnificent Hellenistic bronzes — among them the “Getty Bronze,” a famous statue of a young athlete that was netted from the Aegean Sea by Italian fisherman, and the “Herm of Dionysos,” a Getty-owned example of one of the quirkiest forms of ancient art.

From there, they approached dozens of other museums, landing loans from 30 institutions in 12 countries — among them the Metropolitan Museum, the Smithsonian Institution, British Museum, the Prado and the Louvre.

“Many are national treasures or highlights of a museum,” Lapatin said. That so many pitched in — often with works never seen before in the United States — shows how strong the exhibition’s allure has been for scholars of ancient art. “It’s a testament to bringing them out of splendid isolation to [the Getty], where they’re talking to each other. No one has ever done this before.”

Today’s international politics kept a few desired sculptures out of reach. “There are pieces in Baghdad and Tehran that would have been very interesting to have in the show,” Daehner said. “In 2008 the world looked very different than it is now,” and getting them momentarily had seemed possible.

The display of the Getty’s two prime Hellenistic bronzes embodies the quest for consonance, comparison and contrast that Daehner and Lapatin were after. Viewers will get a simultaneous glimpse of the life-size “Getty Bronze,” which usually occupies a room of its own at the Villa, alongside similar works from the British Museum and the Museum of Underwater Antiquities in Athens. Together, Daehner said, they reflect the Hellenistic convention of idealizing the human body, yet making it more accessibly natural than would have been the case in the 400s BC and earlier.

Herms were boundary markers with a sculpted head at the top of a narrow pedestal and male genitalia poking out farther down. The genre gets its name from the god Hermes, whose head frequently topped the markers. The Getty’s herm shows a head of the god Dionysos, its hat and beard calling to mind portraits of the English King Henry VIII. To its right stands a near doppelganger fetched from coastal waters of Tunisia.

Were they made by the same sculptor or workshop? If so, why is the coloration so different, and why does the Tunisian herm have subtle, intricate touches — such as a fully detailed head of hair on the back of his scalp — that the Getty version is missing?

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The word “pathos” in the show’s title reflects the objects’ lost-and-found history of past tragedy as well as Hellenistic sculptors’ key aesthetic breakthrough — using bronze, which is more pliable than marble, to register in acute detail the often careworn lives of mere mortals after centuries in which the main purpose of statuary was to capture the otherworldly majesty of gods and heroes.

A gallery devoted to depictions of ordinary humans rather than gods or rulers shows how Hellenistic sculptors began to embody common feelings. The face of a large “Portrait Statue of a Boy,” dug from the sands on the island of Crete, wears a look that projects sneering disgust mixed with an aching throb of sadness. The angsty defiance of adolescents apparently predates Holden Caulfield and Kurt Cobain by two millennia.

“Our modern idea of capturing character or personality is something that happens in the Hellenistic age that isn’t there before,” Daehner said. “Expression, emotion and a certain psychological realism get into a portrait.”

The Hellenistic period was the era when Greece had ceased being a great power in the Mediterranean world, yet it triumphed culturally by spreading its styles and ideas far beyond the reaches of the Athenian empire at its height in the 400s BC.

Alexander, the Macedonian king whose father had conquered Greece, carried his sword — and Greek notions about art and philosophy that he’d learned from his teacher, Aristotle — through most of the world known to ancient Europeans.

Lapatin said that one way to understand what was happening in bronze sculpture during the era is to follow the money.

“It’s an economic development,” he said. “In the classical period if you were wealthy you made a donation to the sanctuary” and commissioned a statue of a god. “In Hellenistic times, you could decorate your villa. The wealthy had more options, and a lot was about displaying statues and showing you were wealthy and cultured.” The vast sacked riches of Persia, Alexander’s key conquest, contributed mightily to enlarging this new class of private art consumers, Lapatin said.

The show that brings together so much begins with nothing at all: an empty, broken stone pedestal that, like many others across the landscape from the eastern Mediterranean to central Asia, sports an inscription but no statue.

“It’s signed by Lysippos, the favorite sculptor of Alexander the Great,” Lapatin said. Lysippos was credited in ancient times with having created more than 1,500 bronze statues, “none of which survives,” he said, except via copies made by others.

While Hellenistic artists and their public responded to new cultural currents, they did not turn their backs on tradition. A bust of a man, signed by the Greek sculptor Apollonios, is a blatant knockoff of a famous full-length statue of a spear-carrier by Polykleitos, who’d lived 400 years earlier.

“The original is famous, but it’s a good copy, so he signs it,” Lapatin said. “It’s got the cachet of an old master.” As a business move, that seems downright contemporary.

Although it is organized by the two Getty curators, “Power and Pathos” first was seen at the Palazzo Strozzi in Florence. Its last stop, after the Getty, is the National Gallery of Art in Washington, D.C.

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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.

For additional press information please call or send inquiries to:
Department of Communications
National Gallery of Art
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phone: (202) 842-6353
e-mail: pressinfo@nga.gov

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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/

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Giacobbe Giusti, Ancient bronze sculptures comes to Getty Museum

Giacobbe Giusti, Ancient bronze sculptures comes to  Getty Museum

The Pompeii Apollo”

 

 

Kenneth Lapatin, associate curator at the J. Paul Getty Museum, gestures toward a sculpture which is part of the “Power and Pathos: Bronze Sculpture of Hellenistic World” exhibit in Los Angeles, Monday, July 27, 2015. (AP / Nick Ut)

John Rogers, The Associated Press
Published Tuesday, July 28, 2015 9:35AM EDT

LOS ANGELES — It’s almost as if the dozens of exquisitely detailed, often perfectly intact bronze sculptures on display at the J. Paul Getty Museum disappeared into an ancient witness-protection program — and decided to stay there for thousands of years.

“Power and Pathos: Bronze Sculpture of the Hellenistic World,” which opened at the museum Tuesday, brings together more than 50 bronzes from the Hellenistic period that extended from about 323 to 31 B.C.

Many of them, like the life-size figure of an exhausted boxer, his hands still bandaged from a match, brow cut and bruised, are stunning in their detail. So is the “The Medici Riccardi Horse,” a horse’s head complete with flaring nostrils and a detailed mane. “Sleeping Eros” shows an infant sprawled out sound asleep on a pedestal. One arm is draped across the child’s chest, his tousled hair in gentle repose.

Perhaps even more stunning, however, is the fact that any of these things survived.

Thousands of such beautifully detailed bronzes were created during the Hellenistic Age. Larger works were assembled piece-by-piece and welded together by artisans working in almost assembly line fashion and displayed in both public places and the homes of the well to do.

But most, say the exhibition’s co-curators, Kenneth Lapatin and Jens Daehner, were eventually melted down and turned into something else like coins.

“We know Lysippos made 1,500 bronzes in his lifetime, but not one survives,” Lapatin said of the artist said to be Alexander the Great’s favourite sculptor. “They’ve all been melted down.”

To this day, roads, fields and other public places across Greece and much of the rest of the Mediterranean are dotted with empty stone bases where bronze statues once stood, added Daehner during a walk-through of the stunning, hilltop museum ahead of the exhibition’s opening.

Which is why you rarely see more than one or two when you visit most any museum, said J. Paul Getty Director Timothy Potts.

The nearly 60 that will be on display at the J. Paul Getty until Nov. 1 are believed to represent the largest such collection ever assembled. They have been contributed by 32 lenders from 14 countries on four continents.

“Many of these are national treasures,” Potts said. “They are the greatest works of ancient art that these nations possess. So it’s been an extraordinary act of generosity for them to be lent to us.”

Many are completely intact, so much so that several still have their eyes, made of tin and glass. The result, they can stare right back in eerie fashion at museum visitors who go to check them out.

That they survived was in most cases the result of simple good fortune on their part, if not their owners’.

“It’s only through shipwrecks, through being buried in the foundations of buildings, being buried by a volcano at Pompeii or landslides that most of these pieces have survived,” said Lapatin.

“Herm of Dionysus,” for example, was believed to have been commissioned by a wealthy Roman homeowner. The detailed work of a bearded man with hat and animated eyes was found in a shipwreck off the coast of Tunisia in 1907.

The sculpture of an athlete raising an arm in victory was uncovered in the Adriatic Sea by Italian fishermen in the 1960s.

“The Pompeii Apollo” was discovered in 1977 in the dining room of a house in Pompeii that had been buried by the volcanic eruption of Mount Vesuvius in 79 A.D.

It is believed to have been used, in a very ungodlike fashion, to hold the room’s lights. That’s something that inspired Lapatin to refer to it as the equivalent of a modern-day lawn jockey.

The exhibition featuring it and the other pieces was organized by the J. Paul Getty Museum, the Fondazione Palazzo Strozzi in Florence and the National Gallery of Art in Washington. It opened at the Palazzo Strozzi earlier this year. After it leaves the Getty, will go on display Dec. 6 at the National Gallery of Art.

It will also be the subject of study when the 19th International Congress on Ancient Bronzes convenes in Los Angeles in October.

http://www.ctvnews.ca/entertainment/ancient-bronze-sculptures-comes-to-l-a-s-getty-museum-1.2490939

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Giacobbe Giusti, Power and Pathos

Giacobbe Giusti, Power and Pathos

THE WALL STREET JOURNAL.

Blockbuster ‘Power and Pathos’ Exhibit to Open in Florence

An extensive new show brings together 50 ancient bronze masterpieces

By

Eben Shapiro

 

Is it possible that the apotheosis of Western sculpture was achieved over 2,000 years ago and it’s been all downhill since then? A new blockbuster exhibit, ‘Power and Pathos: Bronze Sculpture of the Hellenistic World,’ strongly buttresses this view.

Greek bronzes hold a rarified place in the art world, both in terms of quality and scarcity. Most Greek sculpture that has survived is carved from marble. In ancient times, however, bronze was more highly prized and served as the material of choice for the wealthiest patrons and most skilled artists. Unfortunately, bronze was also easily melted down for recycling and most pieces have been lost to time and history. Carol C. Mattusch, a bronze expert at George Mason University, estimates that “There are probably fewer than 200 ancient large-scale bronzes, Greek and Roman, unless you want to count an arm here and a leg there.”

So it’s a remarkable curatorial achievement that ‘Power and Pathos’ brings together 50 or so of the most spectacular surviving masterpieces in one exhibit. The show opens March 14 at the Palazzo Strozzi in Florence, before moving to the J. Paul Getty Museum in Los Angeles in July and then the National Gallery of Art in Washington in December. Classical scholars and sculpture lovers are abuzz over the breadth of the show, declaring it one of those rare museum shows that is worth getting on a plane to see. Adding to the allure of the show, many of the pieces have an exciting back-story: a number have been discovered by fisherman or divers at the bottom of the sea. One of the newer stars of the show is the first century B.C. Croatian Apoxyomenos, or Statue of an Athlete, discovered at a depth of about 150 feet in 1997 in the Northern Adriatic off the coast of Croatia. It is largely intact, making it one of the most striking underwater discoveries of the last 20 years. Indeed, from a preservationist’s point of view, the best thing that could happen to a Greek bronze is that it was lost at sea in a shipwreck or buried in a landslide or earthquake.

The works in the show come from “thirty-four museums in thirteen countries on four continents who have entrusted us with many of their most celebrated treasures,” according to the exhibition catalog.

Related Reading

• The Louvre’s ‘Winged Victory of Samothrace’ Is Set for a Restoration
• Greece Seeks Unesco’s Aid to Regain Elgin Marbles From U.K.

The show is a veritable Murderers’ Row of Greek bronzes, pieces that have been famous for centuries, including the Terme Boxer, from Rome, Sleeping Eros, from New York’s Metropolitan Museum of Art and Boy with Thorn, also from Rome. The piece also contains some memorable newer discoveries that have never traveled before. The Getty, which was the driving force behind the exhibition, custom-built specially reinforced shipping crates for the different works and provided them to the different museums for transport.

Large-scale ancient bronzes rarely come to market and the works in the show are literally priceless. In 2007, an anonymous bidder paid about $28 million for a bronze Artemis and the Stag. Using that as a rough, crude measure, there is about $1.5 billion worth of ancient art in the show. Timothy Potts, director of the J. Paul Getty Museum, declines to put a dollar amount on the art in the show, but notes that the Artemis piece was a Roman bronze, and thus had a “frankly lower” value than the older Greek bronzes in the show.

Not every piece will travel to every location on the tour. For instance, the Getty Bronze, a statue of a naked youth crowning himself with a wreath (300-100 B.C.), is claimed by Italy. Mr. Potts says the piece will travel to D.C., but not to Italy. “It’s an object that’s still going through the court system in Italy,” he says. Unlike other pieces that the Getty returned to Greece and Italy for lacking proper title, the Getty says that the bronze was found in international waters and Italy has no legal claim to the piece. A spokesman for Italy’s Culture Ministry said that Italy still claims the statue and that it is currently awaiting a ruling by Italy’s highest appeal’s court. Despite the one contested piece, the Getty and a number of Italian museums are working closely on the exhibit.

The exhibit focuses on works made in the Hellenistic age versus the earlier Classical period, which portrayed subjects in an idealized fashion—godlike rulers and athletes with unattainable abs and cheek bones, much like a fashion magazine cover. The art in the show dates roughly from the death of Alexander the Great (323 B.C.) to the ascent of Rome over Greece in the first century A.D., when artists began to make their work more life-like and individualistic. The Getty’s Mr. Potts argues that the sculptures of that period are the “most life-like and emotionally charged ever made, and still one of the highpoints of European art history.”

http://www.wsj.com/articles/blockbuster-power-and-pathos-exhibit-to-open-in-florence-1426093935

The Boxer is filled with pathos. The bruised, aging fighter has a broken nose, battered ears and blood and sweat dripping from his body. The hyperrealism and emotional content of these pieces has an electrifying impact on contemporary audiences. When the Boxer was on loan to the Met in 2013, guards had to constantly stop people from impulsively touching the statue.

Other pieces show wild beards, crow’s feet and other wrinkles, veins and tendons. “The head of the man from Delos is one of the great examples of individual portraiture from any era,” says Jens M. Daehner, one of the curators of the show. “It really embodies our modern idea of what a portrait is—something that originated in Hellenistic time.”

 

http://www.wsj.com/articles/blockbuster-power-and-pathos-exhibit-to-open-in-florence-1426093935

http://www.giacobbegiusti.com

 

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

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

 

 

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 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
The Getty Center is open Tuesday through Friday and Sunday from 10 a.m. to 5:30 p.m., and Saturday from 10 a.m. to 9 p.m. It is closed Monday and most major holidays. Admission to the Getty Center is always free. Parking is $15 per car, but reduced to $10 after 5 p.m. on Saturdays and for evening events throughout the week. No reservation is required for parking or general admission. Reservations are required for event seating and groups of 15 or more. Please call (310) 440-7300 (English or Spanish) for reservations and information. The TTY line for callers who are deaf or hearing impaired is (310) 440-7305. The Getty Center is at 1200 Getty Center Drive, Los Angeles, California.

Additional information is available at http://www.getty.edu.
Sign up for e-Getty at http://www.getty.edu/subscribe to receive free monthly highlights of events at the Getty Center and the Getty Villa via e-mail, or visit http://www.getty.edu for a complete calendar of public programs.

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

Giacobbe Giusti, Croatian Apoxyomenos

Giacobbe Giusti, Croatian Apoxyomenos

 

Statue of an athlete scraping himself or scraping his strigil.

Statue d’un athlète se raclant la peau ou raclant son strigile.

l’Apoxyomène de Croatie a été découvert en 1996 en mer Adriatique, remonté en 1999 et restauré jusqu’en 2005^[19]. Son apparence est proche de l’Apoxyomène d’Éphèse et de la tête se trouvant au musée d’art Kimbell de Fort Worth (Texas). La particularité de l’Apoxyomène de Croatie est d’être pratiquement complet (il lui manque l’auriculaire de la main gauche), dans un état de conservation exceptionnel et d’avoir encore sa plinthe antique^[20].

http://fr.wikipedia.org/wiki/Apoxyom%C3%A8ne

http://www.giacobbegiusti.com

Giacobbe Giusti, ‘ Lysippe, Buste d’Alexandre le Grand’

Giacobbe Giusti, ‘ Lysippe, Buste d’Alexandre le Grand’

 

 

Le buste d’Alexandre le Grand par le sculpteur grec Lysippe que nous connaissons grâce à plusieurs copies, telles que celles de la glyptothèque de Munich, du musée du Louvre, du musée de l’Acropole d’Athènes ou du musée archéologique d’Istanbul, est l’un des chefs-d’œuvre du portrait hellénistique et un modèle pour les futurs portraits des rois et des princes, à la fois dans la période hellénistique et romaine et au-delà.

Sommaire

 [masquer] 

• 1 Contexte
• 2 Notes et références
• 3 Bibliographie
• 4 Voir aussi
• 5 Source de la traduction

Contexte

La grande personnalité de Lysippe et les conditions sociales et culturelles changeantes des contemporains permettent de surmonter les dernières réticences de l’art grec pour le portrait physionomique et autorisent des représentations fidèles de la condition physique et spirituelle des individus.

En créant le portrait d’Alexandre le Grand, l’artiste transforme le défaut physique qui contraint le conquérant, selon les sources, à garder la tête inclinée de manière significative sur l’épaule, en une attitude ascendante qui semble évoquer un ravissement céleste, « une conversation silencieuse avec la divinité »^[1]. Les épaisses boucles de cheveux sont traitées naturellement avec une double toupet sur le front et la surface lisse est traitée avec un dégradé mesuré, mais suffisamment marqué pour éviter un aplatissement désagréable.

Cette œuvre est la base du portrait du souverain « inspiré » dont influence perdure dans les portraits officiels au-delà de l’époque hellénistique.

La version du Louvre

http://fr.wikipedia.org/wiki/Buste_d%27Alexandre_le_Grand

http://www.giacobbegiusti.com

Giacobbe Giusti, ‘The Dying Galatian’

Giacobbe Giusti, ‘The Dying Galatian’

The Dying Galatian[1] is a Roman marble copy of a Hellenistic work of the late 3rd century BC. Capitoline Museums, Rome.

The Dying Gaul—also called The Dying Galatian^[1] (in Italian: Galata Morente) or The Dying Gladiator—is an ancient Roman marble copy of a lost Hellenistic sculpture thought to have been executed in bronze.^[2] The original may have been commissioned some time between 230 and 220 BC by Attalus I of Pergamon to celebrate his victory over the Galatians, the Celtic or Gaulish people of parts of Anatolia (modern Turkey). The identity of the sculptor of the original is unknown, but it has been suggested that Epigonus, court sculptor of the Attalid dynasty of Pergamon, may have been the creator.

The copy was most commonly known as The Dying Gladiator until the 20th century, on the assumption that it depicted a wounded gladiator in a Roman amphitheatre.^[3] Scholars had identified it as a Gaul or Galatian by the mid-19th century, but it took many decades for the new title to achieve popular acceptance.

Description

The white marble statue which may have originally been painted depicts a wounded, slumping Celt with remarkable realism and pathos, particularly as regards the face. A bleeding sword puncture is visible in his lower right chest. The figure is represented as a Celtic warrior with characteristic hairstyle and moustache and has a torc around his neck. He lies on his fallen shield while his sword, belt, and a curved trumpet lie beside him. The sword hilt bears a lion head. The present base was added after its 17th-century rediscovery.

Discovery and expatriation

Back of the sculpture.

The Dying Galatian is thought to have been rediscovered in the early 17th century during some excavations for the foundations of the Villa Ludovisi, then a suburban villa in Rome. It was first recorded in a 1623 inventory of the collections of the powerful Ludovisi family. The villa was built in the area of the ancient Gardens of Sallust where, when the Ludovisi property was built over in the late 19th century, many other antiquities were discovered,^[4] most notably the “Ludovisi Throne“. By 1633 it was in the Ludovisi Palazzo Grande on the Pincio. Pope Clement XII acquired it for the Capitoline collections. It was then taken by Napoleon’s forces under the terms of the Treaty of Tolentino, and displayed with other Italian works of art in the Louvre Museum until 1816, when it was returned to Rome.

Portrayal of Celts

Detail showing his neck torc.

The statue serves both as a reminder of the Celts’ defeat, thus demonstrating the might of the people who defeated them, and a memorial to their bravery as worthy adversaries. The statue may also provide evidence to corroborate ancient accounts of the fighting style—Diodorus Siculus reported that “Some use iron breast-plates in battle, while others fight naked, trusting only in the protection which nature gives.”^[5] Polybius wrote an evocative account of Galatian tactics against a Roman army at the Battle of Telamon of 225 BC:

“The Insubres and the Boii wore trousers and light cloaks, but the Gaesatae, in their love of glory and defiant spirit, had thrown off their garments and taken up their position in front of the whole army naked and wearing nothing but their arms… The appearance of these naked warriors was a terrifying spectacle, for they were all men of splendid physique and in the prime of life.”^[6]

The Roman historian Livy recorded that the Celts of Asia Minor fought naked and their wounds were plain to see on the whiteness of their bodies.^[7] The Greek historian Dionysius of Halicarnassus regarded this as a foolish tactic: “Our enemies fight naked. What injury could their long hair, their fierce looks, their clashing arms do us? These are mere symbols of barbarian boastfulness.”^[8]

Detail showing the face, hair style and torc of the sculpture.

The depiction of this particular Galatian as naked may also have been intended to lend him the dignity of heroic nudity or pathetic nudity. It was not infrequent for Greek warriors to be likewise depicted as heroic nudes, as exemplified by the pedimental sculptures of the Temple of Aphaea at Aegina. The message conveyed by the sculpture, as H. W. Janson comments, is that “they knew how to die, barbarians that they were.”^[9]

Influence

The Dying Galatian became one of the most celebrated works to have survived from antiquity and was engraved^[10] and endlessly copied by artists, for whom it was a classic model for depiction of strong emotion, and by sculptors. It shows signs of having been repaired, with the head seemingly having been broken off at the neck, though it is unclear whether the repairs were carried out in Roman times or after the statue’s 17th century rediscovery.^[11] As discovered, the proper left leg was in three pieces. They are now pinned together with the pin concealed by the left kneecap. The Gaul’s “spiky” hair is a 17th-century reworking of longer hair found as broken upon discovery.^[12]

During this period, the statue was widely interpreted as representing a defeated gladiator, rather than a Galatian warrior. Hence it was known as the ‘Dying’ or ‘Wounded Gladiator’, ‘Roman Gladiator’, and ‘Murmillo Dying’. It has also been called the ‘Dying Trumpeter’, because one of the scattered objects lying beside the figure is a horn.

The artistic quality and expressive pathos of the statue aroused great admiration among the educated classes in the 17th and 18th centuries and was a “must-see” sight on the Grand Tour of Europe undertaken by young men of the day. Byron was one such visitor, commemorating the statue in his poem Childe Harold’s Pilgrimage:

I see before me the gladiator lie
He leans upon his hand—his manly brow
Consents to death, but conquers agony,
And his drooped head sinks gradually low—
And through his side the last drops, ebbing slow
From the red gash, fall heavy, one by one…^[13]

It was widely copied, with kings,^[14] academics and wealthy landowners^[15] commissioning their own reproductions of the Dying Gaul. Thomas Jefferson wanted the original or a reproduction at Monticello.^[16] The less well-off could purchase copies of the statue in miniature for use as ornaments and paperweights. Full-size plaster copies were also studied by art students.

It was requisitioned by Napoleon Bonaparte by terms of the Treaty of Campoformio (1797) during his invasion of Italy and taken in triumph to Paris, where it was put on display. The pieced was returned to Rome in 1816.^[16] From December 12, 2013 until March 16, 2014 the work was on display in the main rotunda of the west wing of the National Gallery of Art in Washington D.C.. This temporary tenure marked the first time the antiquity had left Italy since it was returned in the second decade of the nineteenth century.^[16]

http://en.wikipedia.org/wiki/Dying_Gaul

http://www.giacobbegiusti.com

Giacobbe Giusti, Puissance et Pathos

Giacobbe Giusti, Puissance et Pathos

Le Palazzo Strozzi accueille une exposition majeure intitulée majeure “Puissance et Pathos. Sculptures en bronze du monde hellénistique”, conçue et produite en collaboration avec le J. Paul Getty Museum de Los Angeles, la National Gallery of Art de Washington et de la Surintendance aux Biens Archéologiques de Toscane, la direction générale de Toscane pour l’archéologie. L’exposition présente une foule d’ exemples remarquables de la sculpture en bronze pour raconter l’histoire des développements artistiques spectaculaires de l’époque hellénistique (4ème-1er siècles av.J.-C.), lorsque de nouvelles formes d’expression ont commencé à prévaloir dans tout le bassin méditerranéen et au-delà, à cheval d’un bond extraordinaire dans l’évolution technologique pour former la première instance de la mondialisation de la langue de l’art dans le monde connu. L’utilisation de bronze, avec ses caractéristiques uniques, a permis aux artistes pour conférer un niveau de dynamisme à leurs statues en chiffre et le naturalisme sans précédent pour leurs portraits dans laquelle l’expression psychologique devenue une caractéristique du style.
L’exposition accueille certains des plus importants chefs-d’œuvre du monde antique de beaucoup de musées archéologiques leaders mondiaux

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), when new forms of expression began to prevail throughout the Mediterranean basin and beyond, riding on the back of an extraordinary leap forward in technological development to form the first instance of globalisation of the language of art in the known world. The use of bronze, with its unique characteristics, allowed artists to impart an unprecedented level of dynamism to their full-figure statues and naturalism to their portraits in which psychological expression become a hallmark of the style.
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 Georgian National Museum, the Musée du Louvre in Paris and the Vatican Museums. Monumental statues of gods, athletes, and heroes stand alongside portraits of historical figures to take visitors on a breathtaking journey exploring the fascinating stories of these masterpieces’ discovery, often at sea but also in the course of archaeological digs, thus setting the findings in their ancient contexts like sanctuaries, private houses, cemeteries, or public spaces.

Palazzo Strozzi
Piazza Strozzi
Florence – Italie

De 9h à 20h
Jusqu’à 23h le jeudi

-Palazzo Strozzi, Florence, Italy
March 14 – June 21, 2015

Home

-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
http://www.artcover.com/index.adml?id=1700&h=2
http://www.giacobbegiusti.com