1000 Scupltures of Genius. Patrick Bade
Чтение книги онлайн.
Читать онлайн книгу 1000 Scupltures of Genius - Patrick Bade страница 9
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:
Kore 686, from the Athenian Acropolis, shows elements both from the Archaic style and from the Severe, or Early Classical, style that followed. Her long locks of hair and complex layers of clothing are familiar elements of Archaic sculpture. However, the serious, or “severe,” expression on her face, as well as the strict, vertical folds of her chiton are more typical of the new, more serious aesthetic of the Severe style. Her ornamentation has been reduced; she wears no necklace or bracelets, and her gown has none of the decorative patterning seen on earlier pieces. The head and torso fragment probably belong with a base that is inscribed “Euthydikos, the son of Thaliarchos, dedicated (it).” The statue can thus be understood as a votive offering by Euthydikos, representing a goddess, or perhaps Thaliarchos, his mother.
26. Anonymous. Sarcophagus of a Couple from Cerveteri, c. 520–510 B.C.E. Painted terracotta, 111 × 194 × 69 cm.Musée du Louvre, Paris (France). Etruscan Antiquity.
Though their civilisation flourished alongside that of the Greeks, our limited understanding of Etruscan language and culture has left a veil of mystery over the people who lived in Italy before the Roman Republic. Their art was strongly influenced by that of the Greeks, as evidenced by this terracotta sarcophagus with its echoes of the style of the Greek Archaic period. In Etruscan sculpture, however, we find more lively subjects, like this couple, animated in their easy affection for each other. Like so much of Etruscan art, this is a funerary piece, designed for placement in one of the elaborate tombs the Etruscans carved out of the soft volcanic bedrock of central Italy. It reveals the Etruscan view of the afterlife: an eternal party, where men and women would lounge at a banquet, enjoying good food, drink, and the company of their loved ones.
27. Anonymous. Antefixe, 500 B.C.E. Terracotta. Etruscan Antiquity.
The soft, porous volcanic stone found in Etruria was not suitable for building or carving. Etruscan temples were therefore made mainly out of wood. The wooden structure of the temple was protected by terracotta tiles and ornaments. While wood does not survive the ravages of time, terracotta does, and these small terracotta decorations are often all that remains of the great Etruscan temples of the past. The terracotta pieces on the temples were both functional and decorative. The piece shown is an antefix, an ornament placed at the end of the roofline, hiding the edge of the roof tiles and protecting the wooden framework underneath. Antefixes were often decorated. This one shows the head of a maenad, a woman who worshipped the wine god, Dionysus. Her slight smile and long plaits of hair show the influence of Greek Archaic sculpture.
28. Anonymous. Antefixe with the Head of a Gorgon, 500 B.C.E. Terracotta. Etruscan Antiquity.
29. Anonymous. Kore, Delos (Greece), c. 525–500 B.C.E. Marble, h: 134 cm. National Archaeological Museum, Athens (Greece). Greek Antiquity.
30. Anonymous. Kore 594, Acropolis, Athens (Greece), c. 500 B.C.E. Marble, h: 122 cm. Acropolis Museum, Athens (Greece). Greek Antiquity.
Kore 594 is another of the large group of statues of maidens from the Athenian Acropolis, buried after the destruction of the Acropolis by the Persian army. While the head is not preserved, the piece retains an air of regal elegance, due mainly to the complex folds of richly decorated clothing. Her right arm would have extended outwards, perhaps holding an offering to Athena. While the male statues of this period were completely nude, the female versions were not only clothed, but accessorised with an elaborate array of robes and fancy jewellery. The many patterns, drapes, and folds the sculptor has carved on her garments lend a rich, decorative quality to the piece, heightened by the effect of bright paint, much of which is preserved on her hair and gown.
31. Anonymous. Kore 675, Acropolis, Athens (Greece), c. 520–510 B.C.E. Marble, h: 54.5 cm. Acropolis Museum, Athens (Greece). Greek Antiquity.
32. Anonymous. Kore 685, Acropolis, Athens (Greece), c. 500–490 B.C.E. Marble, h: 122 cm. Acropolis Museum, Athens (Greece). Greek Antiquity.
33. Anonymous. Kore 678, Acropolis, Athens (Greece), c. 530 B.C.E. Marble, h: 96.4 cm. Acropolis Museum, Athens (Greece). Greek Antiquity.
34. Anonymous. Graces with Offerings, Passage of the Theores, Thasos (Greece), c. 480 B.C.E. Marble, 92 × 92 × 33 cm. Musée du Louvre, Paris (France). Greek Antiquity.
35. Anonymous. Hermes and a Grace, Passage of the Theores, Thasos (Greece), c. 480 B.C.E. Marble, 92 × 92 × 33 cm. Musée du Louvre, Paris (France). Greek Antiquity.
36. Anonymous. Apollo and the Nymphs, Passage of the Theores, Thasos (Greece), c. 480 B.C.E. Marble, 92 × 209 × 44 cm. Musée du Louvre, Paris (France). Greek Antiquity.
37. Anonymous. Leda and the Swan, copy after a Greek original created during the first half of the 5th century B.C.E. by Timotheus. Marble, h: 132 cm. Musei Capitolini, Rome (Italy). Greek Antiquity.
38. Anonymous. Youth Clad in Tight Long-Fitting Tunic, called the “Charioteer of Motya”, c. 470 B.C.E. Marble, h: 181 cm. Museo Joseph Whitaker, Motya (Italy). Greek Antiquity.
39. Anonymous. The Charioteer of Delphi, c. 475 B.C.E. Bronze, h: 180 cm. Archaeological Museum of Delphi, Delphi (Greece). Greek Antiquity.
Delphi was a pan-Hellenic sanctuary, a place where people from all over the Greek world would gather to worship, consult the oracle, and participate in the Pythian games, held every four years. The games were comprised of music and sporting events, including chariot racing. This sculpture was part of a group dedicated to commemorate a victory in a chariot race, we are told by the inscription preserved on the piece. In addition to the chariot driver, there were horses, a chariot, and a groom. The lavish expenditure on the life-size monument would have represented not only the victory in the race, but also the great wealth of the donor. The bronze figure was enlivened with inlay of silver, copper, and stone in the teeth, headband, and eyes. The deep, straight folds of the drapery are in keeping with the Early Classical, or Severe, style of sculpture.
40. Anonymous. Birth of Aphrodite, detail of the “Ludovisi Throne”, c. 470–460 B.C.E. Marble, h: 90, l: 142 cm. Museo Nazionale Romano, Rome (Italy). Greek Antiquity.
41. Anonymous. Youth making an Offering, detail of the “Ludovisi Throne”, c. 470–460 B.C.E. Marble, h: 84 cm. Museo Nazionale Romano, Rome (Italy). Greek Antiquity.
42. Anonymous. Nude playing the Double Flute, detail СКАЧАТЬ