1000 Scupltures of Genius. Patrick Bade
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Название: 1000 Scupltures of Genius
Автор: Patrick Bade
Издательство: Parkstone International Publishing
Жанр: Энциклопедии
Серия: The Book
isbn: 978-1-78310-933-3, 978-1-78310-407-9
isbn:
90. Anonymous. Belvedere Apollo, copy after a Greek original by Leochares created around c. 330 B.C.E. Marble, h: 224 cm.Museo Pio Clementino, Rome (Italy). Greek Antiquity.
The Belvedere Apollo has long enjoyed fame, known as the prototypical work of Greek art. This fame springs from its rediscovery during the Renaissance of the fifteenth century. At that time, wealthy Italian nobles began to collect ancient sculpture that was being discovered in the ruins of Roman Italy. The Belvedere Apollo went to the collection of the Pope, and was displayed in the courtyard of the Belvedere villa in the Vatican. There, it was seen by countless visitors and visiting artists, who sketched the piece. Copies were made for various courts of Europe. The proud, princely bearing of the figure, along with the delicate beauty of Apollo’s face, had great appeal among the aristocratic classes of the sixteenth and seventeenth centuries, and to the Romantics of the eighteenth and nineteenth centuries.
91. Anonymous. Meleager, copy after a Greek original created around c. 340 B.C.E. by Skopas. Marble, h: 123 cm. Arthur M. Sackler Museum, Harvard (United States). Greek Antiquity.
92. Anonymous. Athenian Tombstone, c. 340 B.C.E. Marble, h: 168 cm. National Archaeological Museum, Athens (Greece). Greek Antiquity.
93. Anonymous. Tombstone from Mnesarete, c. 380 B.C.E. Marble, h: 166 cm. Glyptothek, Munich (Germany). Greek Antiquity.
94. Anonymous. Demeter of Knidos, c. 340–330 B.C.E. Marble, h: 153 cm. The British Museum, London (United Kingdom). Greek Antiquity.
95. Anonymous. Capitoline Venus, Roman copy after a Greek original created around the 3rd century B.C.E. by Praxiteles. Marble, h: 193 cm. Musei Capitolini, Rome (Italy). Greek Antiquity.
96. Anonymous. Playing Girls, end of the 4th century-beginning of the 3rd century B.C.E. Terracotta, h: 26 cm. The State Hermitage Museum, St Petersburg (Russia). Greek Antiquity.
97. Anonymous. Sarcophagus of Velthur Partunus, so-called “Magnate”, third quarter of the 4th century B.C.E. Painted marble and limestone, Museo Archeologico di Tarquinia, Tarquinia (Italy). Etruscan Antiquity.
98. Anonymous. Sarcophagus of Laris Pulenas from Tarquinia, 3rd century B.C.E. Nenfro. Museo Archeologico di Tarquinia, Tarquinia (Italy). Etruscan Antiquity.
99. Anonymous. Venus and Cupid, Roman copy after a Greek original created at the end of the 4th century B.C.E., restored at the end of the 17th century by Alessandro Algardi. Marble, h: 174 cm. Musée du Louvre, Paris (France). Greek Antiquity.
Aphrodite became a common subject for Greek sculptors in the fourth century B.C.E. and later, because her renowned beauty provided an acceptable excuse for an erotic representation of the female body. She is sometimes shown, as here, with her son Eros, known to the Romans as Cupid, and in later art as “putti,” the winged babies symbolising earthly and divine love. In Roman art and mythology, Aphrodite became Venus, goddess of love. To the Romans she had a more elevated status, seen as the progenitor of the line of Caesar, Augustus, and the Julio-Claudian emperors, and by extension as an embodiment of the Roman people. This playful depiction of Aphrodite and Eros, or Venus and Cupid, is more suggestive of the Greek view of Aphrodite, who saw her not only as the symbol of sensual beauty, but also as occasionally silly and humorous.
100. Anonymous. Hermes with the Infant Dionysos, copy after an original created at the end of the 4th century B.C.E. by Praxiteles. Marble, h: 215 cm. Archaeological Museum, Olympia (Greece). Greek Antiquity.
101. Anonymous. Silenus with the Infant Dionysos, Roman copy after a Greek original created during the 4th century B.C.E. Marble, h: 190 cm. Musée du Louvre, Paris (France). Greek Antiquity.
102. Anonymous. Artemis with a Hind, called “Diane of Versailles”, Roman copy after an original created around 330 B.C.E. by Leochares. Marble, h: 200 cm. Musée du Louvre, Paris (France). Greek Antiquity.
This depiction of a strong, striding Artemis hunting with a deer by her side is thought to derive from a Greek original of the fourth century B.C.E. Artemis was one of the virgin goddesses, a huntress and protector of the wild and of fertility; her association with fertility made her also the goddess of childbirth. She was a twin to the god Apollo, and copies of this statue are often paired with copies of the Belvedere Apollo. Her dual role as a hunter and a protector of animals is seen in this piece. Although she is hunting, she is accompanied by a deer, or hind, which is under her protection. With one hand, she reaches for an arrow. The other hand has been restored and may have originally held a bow. Her energetic stride, and the movement of her short dress as she walks, is typical of the new variety of poses seen in statues of the fourth century and later.
103. Anonymous. The Barberini Faun, c. 220 B.C.E. Marble, h: 215 cm. Glyptothek, Munich (Germany). Greek Antiquity.
The wealth of the Hellenistic period meant that many people could afford sculpture for their private houses and gardens. Consequently, more profane, even erotic, subjects were introduced to the repertoire of Greek art. Here, a sleeping, and probably drunk, satyr lounges sprawled out on an animal skin. The pose is unabashedly erotic, the figure’s nudity no longer signalling simply that he is a hero, athlete, or god, but rather suggesting his sexual availability. The naturalistic and idealised manner of depiction of the body of the satyr is a legacy of High Classical sculpture.
104. Anonymous. Dying Gaul, Roman copy after a bronze original erected by the kings of Pergamon Attalus I and Eumenes II around 240 B.C.E. Marble, h: 93 cm. Musei Capitolini, Rome (Italy). Greek Antiquity.
105. Anonymous. Battle between the Romans and the Germans, Ludovisi Sarcophagus, 3rd century B.C.E. Marble. Museo Nazionale Romano, Rome (Italy). Roman Antiquity.
106. Anonymous. Nike of Samothrace, c. 190 B.C.E. Marble, h: 328 cm. Musée du Louvre, Paris (France). Greek Antiquity.
Following the conquest of Greece, the Near East, and Egypt by Alexander the Great towards the end of the fourth century B.C.E., Greek art entered a new cosmopolitan age, when the wealth and exotic tastes of great foreign kingdoms brought new flair to Greek sculpture and architecture. One of the most dynamic examples of this Hellenistic art is the Nike of Samothrace, which was part of a large installation at a sanctuary on the island of Samothrace in the northern Aegean Sea. In its original setting, the Nike was alighting on the prow of a warship, signalling victory. The prow, carved out of stone, served as the base for the dramatic figure. СКАЧАТЬ