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
2000B South Club Drive
Landover, MD 20785
phone: (202) 842-6353
e-mail: pressinfo@nga.gov

Anabeth Guthrie
Chief of Communications – Converged Media
(202) 842-6804
a-guthrie@nga.gov

http://www.nga.gov/content/ngaweb/press/exh/3633.html

http://www.giacobbegiusti.com

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

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, Power and Pathos in Los Angeles

Giacobbe Giusti, Power and Pathos in Los Angeles

EXHIBITIONS

Power and Pathos: Bronze Sculpture of the Hellenistic World

GETTY CENTER

Upcoming, July 28 – November 1

Exhibitions Pavilion

Free | No ticket required

During the three centuries between the reigns of Alexander the Great and Augustus, artists around the Mediterranean created innovative, realistic sculptures of physical power and emotional intensity. Bronze—with its tensile strength, reflective effects, and ability to hold the finest detail—was employed for dynamic compositions, dazzling displays of the nude body, and graphic expressions of age and character. This unprecedented international loan exhibition unites about fifty significant bronzes of the Hellenistic age.

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
http://www.getty.edu/visit/cal/events/ev_425.html
http://www.giacobbegiusti.com

Giacobbe Giusti, ‘Apoxyomenos from Ephesos’

Giacobbe Giusti, ‘Apoxyomenos from Ephesos’

Bronze Statue of an Athlete

This Roman statue from the first century AD, copied from a Greek original from the fourth century BC, has been recreated from 234 fragments; it shows a young athlete cleaning his strigil, an implement used to wash the body after a contest. This motif was well-known and widely popular in the ancient world, and the statue cannot be attributed to any specific Greek artist.
Bronzestatue eines Athleten
Eine aus Bruchstücken zusammengesetzte römische Kopie eines griechischen Originals aus dem letzten Viertel des 4. Jahrhunderts v. Chr., das einen jungen Athleten beim Reinigen seines Schabeisens zeigt, das nach einem Wettkampf verwendet wurde um den Körper zu reinigen (Apoxyomenos). Die Statue kann keinem spezifischen griechischen Künstler zugeschrieben werden, war aber in der Antike ein allgemein bekanntes und beliebtes Motiv.[2]

http://de.wikipedia.org/wiki/Ephesos_Museum
http://www.giacobbegiusti.com

Apoxyomenos (athlete scraping his body with a strigil).  Bronze. Roman copy of the bronze original by Polykleitos ca. 320 B.C.

https://www.tumblr.com/oldpainting/68195222772/atlas-telamon-apoxyomenos-athlete-scraping

http://www.giacobbegiusti.com

http://www.palazzostrozzi.org/immagini/?lang=en&idmostra=1985

Apoxyomenos

aus Wikipedia, der freien Enzyklopädie

Wechseln zu: Navigation, Suche

Apoxyomenos von Ephesos

Apoxyomenos (altgriechisch Ἀποξυόμενος) bezeichnet die Statue eines Athleten, der sich Staub und Schweiß mit Hilfe einer Strigilis von der Haut abstreift. Bekannt sind unter anderem:

• Apoxyomenos des Lysipp: Bronzestatue des Bildhauers Lysipp aus der 2. Hälfte des 4. Jahrhunderts v. Chr., bekannt vor allem durch eine römische Marmorkopie in den Vatikanischen Museen
• Apoxyomenos von Ephesos: Bronzestatue aus Ephesos, heute im Ephesos Museum in Wien
• Kroatischer Apoxyomenos: Bronzestatue, hellenistische Kopie eines verlorenen Originals eines unbekannten Meisters im Palast Kvarner in Mali Lošinj, Kroatien

http://de.wikipedia.org/wiki/Apoxyomenos

http://www.giacobbegiusti.com

http://www.palazzostrozzi.org/immagini/?lang=en&idmostra=1985
http://www.giacobbegiusti.com

Giacobbe Giusti. ‘Michelangelo’s hellenistic archive’

Giacobbe Giusti. ‘Michelangelo’s hellenistic archive’

Posted by : Raffaello Bocciolini

MICHELANGELO’S HELLENISTIC ARCHIVE

At a first sight, the first of these statues immediately recalls Michelangelo: some details remind his famous David, while the position of his arm behind his back looks quite similar to the one we can see in the allegoric statue of the Day or the little Jesus in Michelangelo’s relief known as Madonna della Scala… Nonetheless it is not a Michelangelo’s work: that’s the famous “Hercole Farnese”: a masterpiece of greek hellenistic sculpture that for sure had to be pretty familiar to Michelangelo.
According to Vasari’s biography, Michelangelo admired a lot the greek sculptures that were produced in the hellenistic time: he admired their likeness to reality and, and the same time their idealization that perfectly matched with those ideas of neoplatonic philosophy that Michelangelo had been knowing since he had been hosted in the Medici’s Palace when he was a young boy. The same as the Torso Belvedere, the Laocoonte and other hellenistic statues, the Hercules Farnese too was to Michelangelo much more than a simple model to inspire a pose.
Vasari says that Michelangelo had an extraordinary photographic memory that allowed him to “archive” hundreds of images in his mind. In his “mental archive”he had stored an endless gallery of statues(old hellenistic statues the most, but modern ones as well) and thanks to his sculpural mind he was able to rotate them in his mind so that he could easily use them in a way that no one realized where those images came from. Only few years ago an important scholar such as Antonio Natali realized that the nine persons he painted in his Tondo Doni were inspired, but we could even say -copied and pasted- from as many hellenistic statues that Michelangelo kept in his mental photographic archive, and then regenerated in his personal way…
http://florenaissance.it/michelangelos-hellenistic-archive-2/
http://www.telegraph.co.uk/news/worldnews/1575761/Michelangelos-David-set-for-move.html
http://www.giacobbegiusti.com

http://www.giacobbegiusti.com

Giacobbe Giusti: ‘Laocoön and his sons’

Giacobbe Giusti: ‘Laocoön and his sons’

 

Laocoön and his sons, also known as the Laocoön Group. Marble, copy after an Hellenistic original from ca. 200 BC. Found in the Baths of Trajan, 1506.

Laocoön and His Sons

From Wikipedia, the free encyclopedia

Jump to: navigation, search

Laocoön and His Sons

Material	marble
Dimensions	208 cm × 163 cm × 112 cm (6 ft 10 in × 5 ft 4 in × 3 ft 8 in)[1]
Location	Vatican Museums, Vatican City

Laocoön’s head

The statue of Laocoön and His Sons (Italian: Gruppo del Laocoonte), also called the Laocoön Group, has been one of the most famous ancient sculptures ever since it was excavated in Rome in 1506 and placed on public display in the Vatican,^[2] where it remains. Exceptionally, it is very likely to be the same object as a statue praised in the highest terms by the main Roman writer on art, Pliny the Elder.^[3] The figures are near life-size and the group is a little over 2 m (6 ft 7 in) in height, showing the Trojan priest Laocoön and his sons Antiphantes and Thymbraeus being attacked by sea serpents.^[1]

The group has been “the prototypical icon of human agony” in Western art,^[4] and unlike the agony often depicted in Christian art showing the Passion of Jesus and martyrs, this suffering has no redemptive power or reward.^[5] The suffering is shown through the contorted expressions of the faces (Charles Darwin pointed out that Laocoön’s bulging eyebrows are physiologically impossible), which are matched by the struggling bodies, especially that of Laocoön himself, with every part of his body straining.^[6]

Pliny attributes the work, then in the palace of Emperor Titus, to three Greek sculptors from the island of Rhodes: Agesander, Athenodoros and Polydorus, but does not give a date or patron. In style it is considered “one of the finest examples of the Hellenistic baroque” and certainly in the Greek tradition,^[7] but it is not known whether it is an original work or a copy of an earlier sculpture, probably in bronze, or made for a Greek or Roman commission. The view that it is an original work of the 2nd century BC now has few if any supporters, although many still see it as a copy of such a work made in the early Imperial period, probably of a bronze original.^[8] Others see it as probably an original work of the later period, continuing to use the Pergamese style of some two centuries earlier. In either case, it was probably commissioned for the home of a wealthy Roman, possibly of the Imperial family. Various dates have been suggested for the statue, ranging from about 200 BC to the 70s AD,^[9] though “a Julio-Claudian date [between 27 BC and 68 AD] … is now preferred”.^[10]

Although mostly in excellent condition for an excavated sculpture, the group is missing several parts, and analysis suggests that it was remodelled in ancient times as well as undergoing a number of restorations since it was excavated.^[11] It is on display in the Museo Pio-Clementino, a part of the Vatican Museums

Subject

Oblique view

The other oblique view

The group as it was between c. 1540 and 1957, with Laocoön’s extended arm; the sons’ restored arms were removed in the 1980s.

The story of Laocoön, a Trojan priest, came from the Greek Epic Cycle on the Trojan Wars, though it is not mentioned by Homer. It had been the subject of a tragedy, now lost, by Sophocles and was mentioned by other Greek writers, though the events around the attack by the serpents vary considerably. The most famous account of these is now in Virgil‘s Aeneid (see the Aeneid quotation at the entry Laocoön), but this dates from between 29 and 19 BC, which is possibly later than the sculpture. However, some scholars see the group as a depiction of the scene as described by Virgil.^[12]

In Virgil Laocoön was a priest of Poseidon who was killed with both his sons after attempting to expose the ruse of the Trojan Horse by striking it with a spear. In Sophocles, on the other hand, he was a priest of Apollo, who should have been celibate but had married. The serpents killed only the two sons, leaving Laocoön himself alive to suffer.^[13] In other versions he was killed for having had sex with his wife in the temple of Poseidon, or simply making a sacrifice in the temple with his wife present.^[14] In this second group of versions, the snakes were sent by Poseidon^[15] and in the first by Poseidon and Athena, or Apollo, and the deaths were interpreted by the Trojans as proof that the horse was a sacred object. The two versions have rather different morals: Laocoön was either punished for doing wrong, or for being right.^[7]

The snakes are depicted as both biting and constricting, and are probably intended as venomous, as in Virgil.^[16] Pietro Aretino thought so, praising the group in 1537:

…the two serpents, in attacking the three figures, produce the most striking semblances of fear, suffering and death. The youth embraced in the coils is fearful; the old man struck by the fangs is in torment; the child who has received the poison, dies.^[17]

In at least one Greek telling of the story the oldest son is able to escape, and the composition seems to allow for that possibility.^[18]

History

Ancient times

The style of the work is agreed to be that of the Hellenistic “Pergamene baroque” which arose in Greek Asia Minor around 200 BC, and whose best known undoubtedly original work is the Pergamon Altar (dated ca 180-160 BC, now Berlin).^[19] Here the figure of Alcyoneus is shown in a pose and situation (including serpents) which is very similar to those of Laocoön, though the style is “looser and wilder in its principles” than the altar.^[20] The execution of the Laocoön is extremely fine throughout, and the composition very carefully calculated, even though it appears that the group underwent adjustments in ancient times. The two sons are rather small in scale compared to their father,^[20] but this adds to the impact of the central figure. The fine white marble used is often thought to be Greek, but has not been identified by analysis.

Pliny

In Pliny’s survey of Greek and Roman stone sculpture in his encyclopedic Natural History (XXXVI, 37), he says:

….in the case of several works of very great excellence, the number of artists that have been engaged upon them has proved a considerable obstacle to the fame of each, no individual being able to engross the whole of the credit, and it being impossible to award it in due proportion to the names of the several artists combined. Such is the case with the Laocoön, for example, in the palace of the Emperor Titus, a work that may be looked upon as preferable to any other production of the art of painting or of [bronze] statuary. It is sculptured from a single block, both the main figure as well as the children, and the serpents with their marvellous folds. This group was made in concert by three most eminent artists, Agesander, Polydorus, and Athenodorus, natives of Rhodes^[21]

It is generally accepted that this is the same work as is now in the Vatican.^[22] It is now very often thought that the three Rhodians were copyists, perhaps of a bronze sculpture from Pergamon, created around 200 BC.^[23][24] It is noteworthy that Pliny does not address this issue explicitly, in a way that suggests “he regards it as an original”.^[25] Pliny states that it was located in the palace of the emperor Titus, and it is possible that it remained in the same place until 1506 (see “Findspot” section below). He also asserts that it was carved from a single piece of marble, though the Vatican work comprises at least seven interlocking pieces.^[26][27] The phrase translated above as “in concert” (de consilii sententia) is regarded by some as referring to their commission rather than the artists method of working, giving in Nigel Spivey‘s translation: ” [the artists] at the behest of council designed a group…”, which Spivey takes to mean that the commission was by Titus, possibly even advised by Pliny among other savants.^[28]

The same three artists’ names, though in a different order (Athenodoros, Agesander, and Polydorus), with the names of their fathers, are inscribed on one of the sculptures at Tiberius’s villa at Sperlonga (though they may predate his ownership),^[29] but it seems likely that not all the three masters were the same individuals.^[30] Though broadly similar in style, many aspects of the execution of the two groups are drastically different, with the Laocoon group of much higher quality and finish.^[31]

It used to be thought that honorific inscriptions found at Lindos in Rhodes dated Agesander and Athenedoros, recorded as priests, to a period after 42 BC, making the years 42 to 20 BC the most likely date for the Laocoön group’s creation in the view of some scholars.^[23] However the Sperlonga inscription, which also gives the fathers of the artists, makes it clear that at least Agesander is a different individual from the priest of the same name recorded at Lindos, though very possibly related. The names may have recurred across generations, a Rhodian habit, within the context of a family workshop (which might well have included the adoption of promising young sculptors).^[32] Altogether eight “signatures” (or labels) of an Athenodoros are found on sculptures or bases for them, five of these from Italy. Some, including that from Sperlonga, record his father as Agesander.^[33] The whole question remains the subject of academic debate.

http://en.wikipedia.org/wiki/Laoco%C3%B6n_and_His_Sons
http://www.giacobbegiusti.com

Giacobbe Giusti: Chimera of Arezzo

Giacobbe Giusti: Chimera of Arezzo

Year	c. 400 BC
Type	bronze
Location	Museo Archeologico Nazionale, Florence

Unknown maker, The Chimaera of Arezzo, Etruscan, about 400 B.C., Bronze Object (greatest extent): H: 78.5 x L: 129 cm, Museo Archeologico Nazionale di Firenze, Florence, Italy, Inv. 1, Photo by Ferdinando Guerrini, VEX.2009.2.1.

Unknown maker, The Chimaera of Arezzo, Etruscan, about 400 B.C., Bronze Object (greatest extent): H: 78.5 x L: 129 cm, Museo Archeologico Nazionale di Firenze, Florence, Italy, Inv. 1, Photo by Ferdinando Guerrini, VEX.2009.2.1.

http://arttattler.com/archivechimaera.html

http://www.giacobbegiusti.com

Attributed to the La Tolfa Group, Storage Jar with Chimaeras, Etruscan, 550-525 B.C., Terracotta, Object (approx.): H: 32.4 x Diam. (greatest extent): 23 cm, Antikenmuseum Basel und Sammlung Ludwig, Basel, Switzerland, Inv. Zü399, VEX.2009.2.10.
http://arttattler.com/archivechimaera.html
The Chimaera of Arezzo explores the myth of the Greek hero Bellerophon and the Chimaera over five centuries of classical art. Ancient artists embraced this compelling tale of triumph over adversity. Illustrations of the myth first appeared in Greek art in the early seventh century B.C., soon after the legend gained currency in the epic poetry of Homer and Hesiod. Commanded by King Iobates to kill the Chimaera, which was ravaging the countryside, Bellerophon rode into battle on his winged horse, Pegasus. Hurling a spear from above, the young noble slew the formidable beast, winning Iobates’ kingdom of Lycia (present-day Turkey) and the hand of his daughter, Philonoë.

Few ancient works of art have a modern history as long and well-documented as the Chimaera. Dated to around 400 B.C., the Chimaera of Arezzo is the only surviving large-scale representation of this composite creature. Hollow cast in bronze, the figure is an outstanding example of the Etruscans’ renowned skill in metalwork. Glaring up at an unseen adversary, the monster’s defensive posture suggests that it was originally part of a larger composition that once included the figures of Bellerophon mounted on Pegasus. On November 15, 1553, the statue was discovered in a cache of votive offerings outside the San Lorentino gate in Arezzo. No trace of the equestrian group, however, was found. Immediately transported to Florence, the Chimaera and several smaller bronze statuettes deposited with it were installed in the Palazzo Vecchio, the residence of Cosimo I de’ Medici.

Inaugurating the J. Paul Getty Museum’s partnership with the Museo Archeologico Nazionale in Florence, The Chimaera of Arezzo features a masterpiece of Etruscan bronzework known as the Chimaera of Arezzo. This large-scale sculpture of a triple-headed, fire-breathing monster is comprised of three incongruous animal forms: a lion, a goat, and a serpent. Interweaving archaeology, mythology, religion, and conservation, the exhibition narrates the life and afterlife of this Etruscan icon.

“Impressive in scale and dynamic in conception, the Chimaera of Arezzo is a tour de force of Etruscan bronze sculpture. We are delighted that our partnership with the Museo Archeologico is bringing to Los Angeles for the first time one of the most important objects of Etruscan art in the world,” said Michael Brand, director of the J. Paul Getty Museum.

Cosimo’s lead architect, Giorgio Vasari (1511-1574), first published the extraordinary bronze as the Chimaera of the Bellerophon myth. Court scholars were fascinated by the Etruscan inscription on its right foreleg, which identifies the statue as an opulent religious offering to the supreme Etruscan god Tinia (equivalent to the Greek Zeus and the Roman Jupiter). Vasari designed Cosimo’s study as a private museum, called the Scrittoio della Calliope, which held figurines found in Arezzo as well as later Tuscan works. He commissioned celebrated goldsmith Benvenuto Cellini (1500-1571) to assist in restoring them. Around 1558 the Chimaera was mounted in the grandly frescoed apartments of the Medici pope Leo X, where it was admired by distinguished visitors, artists, and writers. An emblem of Florentine political power and cultural heritage on a par with Rome’s famed Capitoline She-Wolf, the figure was hailed by Cosimo as a symbol of his dominion “over all the chimaeras,” a reference to his conquered foes. The sculpture remained in the Palazzo Vecchio until 1718, when it was transferred to the Uffizi Palace.

“From its origins in Greek literature, to its realization by an Etruscan sculptor steeped in the artistic ambiance of southern Italy, the myth of the Chimaera has endured as an allegory — of culture versus nature, spirit over matter, and right over might,” explains Claire Lyons, the Getty Museum’s Curator of Antiquities, who curated the exhibition with assistance from Seth Pevnick.

This extraordinary bronze will be displayed alongside antiquities from the Getty Museum’s collection, together with loans from museums in Rome, Naples, Basel, New York, Boston, and Atlanta, which situate the sculpture in its ancient Italian context. In addition to its Etruscan masterpiece, the Museo Archeologico has generously lent ancient coins from the Medici collection that depict the Chimaera as well as bronze statuettes of a youth, a bearded man, and mythical monsters, some of which came from the same votive context as the Chimaera. Illuminated manuscripts from the Getty Museum and historical engravings and books from the Getty Research Institute illustrate the legacy of the Chimaera myth in Medieval Christian imagery and its reception during the Renaissance. Among the highlights from the Getty Research Institute’s own collection is a 1582 sketch of the Etruscan inscription on the Chimaera’s foreleg, made by the noted classical scholar Alfonso Chacón. “Chacón’s illustration — the earliest graphic record of the sculpture — was discovered in the Library of the Getty Research Institute,” adds Lyons. “It demonstrates the burgeoning interest of Renaissance historians in ancient Etruria.”

Established in 1870 in Florence, the Museo Archeologico hosts one of the most important collections of Etruscan art in the world. The Medici and Lorraine family collections of Etruscan and Roman art constitute the foundation of the museum, which was expanded in the first half of the 18th century with a section dedicated to Egyptian art — now the second largest collection of Egyptian artifacts in Italy. From 1880, the collection has been housed in the Palazzo della Crocetta at Piazza Santissima Annunziata (formerly the hunting lodge of Lorenzo the Magnificent, which was renovated in 1620 by the architect Giulio Parigi for Princess Maria Maddalena de’ Medici, the sister of Cosimo II).
http://www.giacobbegiusti.com

Giacobbe Giusti: Riace bronzes

Giacobbe Giusti: Riace bronzes

Riace bronzes

Year	460-450 BC
Type	Bronze Sculptures
Location	Museo Nazionale della Magna Grecia, Reggio Calabria, Italy

The Riace bronzes (Italian Bronzi di Riace), also called the Riace Warriors, are two famous full-size Greek bronzes of naked bearded warriors, cast about 460–450 BC^[1] and found in the sea near Riace in 1972. The Bronzi are currently located at the Museo Nazionale della Magna Grecia in the southern Italian city of Reggio Calabria, Italy.

The Bronzi are on display inside a microclimate room on top of an anti-seismic Carrara marbled platform. Along with the Bronzi, the room also contains two head sculptures: “la Testa del Filosofo” and “la Testa di Basilea”^{[dead link]}, which are also from the 5^th century BC.

Although the Bronzi were rediscovered in 1972, they did not emerge from conservation until 1981. Their public display in Florence and Rome was the cultural event of that year in Italy, providing the cover story for numerous magazines. Now considered one of the symbols of Calabria, the bronzes were commemorated by a pair of Italian postage stamps and have also been widely reproduced.

The two bronze sculptures are simply known as “Statue A”, referring to the one portraying a younger warrior, and “Statue B”, indicating the more mature-looking of the two. Statue A is 203 centimeters tall while Statue B stands 196.5 centimeters tall.

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

http://www.giacobbegiusti.com

Giacobbe Giusti : Power and Pathos

Giacobbe Giusti : Power and Pathos

Minerva di Arezzo un originale di III secolo a.C proveniente dal Museo Archeologico di Firenze
http://www.controradio.it/palazzo-strozzi-potere-e-pathos-bronzi-del-mondo-ellenistico/
http://www.palazzostrozzi.org
http://www.giacobbegiusti.com