The Riace Bronzes
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Antiquities Were One of the Most Important Elements of the Collection That Mr
DATE: March 12, 2007 FOR IMMEDIATE RELEASE COLLECTIONS ART FROM THE ANCIENT WORLD IS INSTALLED BY THEME IN RENOVATED GALLERIES AT THE GETTY VILLA LOS ANGELES—The J. Paul Getty Museum’s permanent collection of Greek, Roman, and Etruscan antiquities will be installed at the Getty Villa in galleries that are now organized by theme for easier accessibility. These groupings of objects will shed light on different aspects of life in the ancient world: from sports to religion, family, war, theater, and more. This approach enables visitors to easily view the artworks in the context of their use in classical societies, encouraging a deeper understanding of the period. Over 1,200 objects will be on view, out of approximately 44,000 in the Getty’s antiquities collection. The works will be presented in 23 galleries, with an additional six galleries devoted to changing and loan exhibitions that will allow for the presentation of focused shows, often featuring materials on loan from other institutions. These exhibitions may also incorporate works from the special collections of the Research Library at the Getty Research Institute (GRI) and reflect the scholarly activities of the Museum, the GRI, and the Getty Conservation Institute. Other highlights of the Museum include the Family Forum, a hands-on space for families filled with fun activities that encourage shared learning and discovery; and -more- Page 2 the TimeScape Room, a permanent installation that explores time, place, and artistic style in the ancient Mediterranean through interactive exhibits. FLOOR 1 GALLERIES Terracotta and Marble Vessels Ancient artisans shaped terracotta and marble to imitate the shapes and decorative schemes of vessels fashioned from metal, including precious gold, silver, and bronze. -
Creating the Past: Roman Villa Sculptures
��������������������������������� Creating the Past: Roman Villa Sculptures Hadrian’s pool reflects his wide travels, from Egypt to Greece and Rome. Roman architects recreated old scenes, but they blended various elements and styles to create new worlds with complex links to ideal worlds. Romans didn’t want to live in the past, but they wanted to live with it. Why “creating” rather than “recreating” the past? Most Roman sculpture was based on Greek originals 100 years or more in the past, but these Roman copies, in their use & setting, created a view of the past as the Romans saw it. In towns, such as Pompeii, houses were small, with little room for large gardens (the normal place for statues), so sculpture was under life-size and highlighted. The wall frescoes at Pompeii or Boscoreale (as in the reconstructed room at the Met) show us what the buildings and the associated sculptures looked like. Villas, on the other hand, were more expansive, generally sited by the water and had statues, life-size or larger, scattered around the gardens. Pliny’s villas, as he describes them in his letters, show multiple buildings, seemingly haphazardly distributed, connected by porticoes. Three specific villas give an idea of the types the Villa of the Papyri near Herculaneum (1st c. AD), Tiberius’ villa at Sperlonga from early 1st century (described also in CHSSJ April 1988 lecture by Henry Bender), and Hadrian’s villa at Tivoli (2nd cent AD). The Villa of Papyri, small and self-contained, is still underground, its main finds having been reached by tunneling; the not very scientific excavation left much dispute about find-spots and the villa had seen upheaval from the earthquake of 69 as well as the Vesuvius eruption of 79. -
The Sculptures of Upper Summit Avenue
The Sculptures of Upper Summit Avenue PUBLIC ART SAINT PAUL: STEWARD OF SAINT PAUL’S CULTURAL TREASURES Art in Saint Paul’s public realm matters: it manifests Save Outdoor Sculpture (SOS!) program 1993-94. and strengthens our affection for this city — the place This initiative of the Smithsonian Institution involved of our personal histories and civic lives. an inventory and basic condition assessment of works throughout America, carried out by trained The late 19th century witnessed a flourishing of volunteers whose reports were filed in a national new public sculptures in Saint Paul and in cities database. Cultural Historian Tom Zahn was engaged nationwide. These beautiful works, commissioned to manage this effort and has remained an advisor to from the great artists of the time by private our stewardship program ever since. individuals and by civic and fraternal organizations, spoke of civic values and celebrated heroes; they From the SOS! information, Public Art Saint illuminated history and presented transcendent Paul set out in 1993 to focus on two of the most allegory. At the time these gifts to states and cities artistically significant works in the city’s collection: were dedicated, little attention was paid to long Nathan Hale and the Indian Hunter and His Dog. term maintenance. Over time, weather, pollution, Art historian Mason Riddle researched the history vandalism, and neglect took a profound toll on these of the sculptures. We engaged the Upper Midwest cultural treasures. Conservation Association and its objects conservator Kristin Cheronis to examine and restore the Since 1994, Public Art Saint Paul has led the sculptures. -
Natalina's Taste of Calabria Trip Itinerary
B R I N G I N G H O M E M AD E B A C K Natalina's Taste of Calabria Taste Your Way through Natalina’s Ancestral Region… Limited to 18 persons maximum, 10 guests required to guarantee departure Calabria is one of the best kept secrets of Italy. Often overlooked for the more “famous” regions of Italy, Calabria is an uncharted territory for culinary enthusiasts’ worldwide - which is why we are so excited to share our Calabria journey with you. We travelled there in early 2018 to seek out the very best food experiences for our inaugural Taste of Calabria tour. A one-of-a-kind experience created to immerse you in this beautiful region. We know you’ll fall in love with this off-the-beaten path culinary adventure! This 10-day/9-night tour includes: • Group Airport Transfers in Italy (Pre- and Post-Airport Transfers not included, but can be arranged) • All accommodations are 4 star or more • 9 breakfast, 7 lunches (with wine), 6 dinners (with wine) • All taxes, meal gratuities and gratuities for local guides and coach driver • All guided tours outlined in the itinerary, with a local, English-speaking guide • Your Hosts for the duration of the tour are Natalina and/or Silvia, our long-time, Italian guide. Natalina is fluent in Italian, an expert in Italian food & wine culture and has traveled to this Region many times. Trip Itinerary B = Breakfast L = Lunch D = Dinner Day 1 Depart from your home airport for your overnight flight to Lamezia Terme, Calabria, with a connection in Europe. -
Elenco Strade Percorribili RC
Coordinate Inizio Coordinate Fine legenda: 0 = Circolazione vietata al transito Trasporti eccezionali per l'intero tratto Macch. Trasp. Trasp. Pre25mx1 Pre25mx1 Pre35mx1 N DENOMINAZIONE KM LatitudineLongitudineLatitudineLongitudine 33t 40t 56t 75t 100t 6m 7m Trasp pali trasp carri Agric. Coils MO72t 08t 08t 08t Inn. SS 18 (Gioia Tauro) – Inn. SP 1 44,77 38,236700 16,258938 38,358111 16,024371 SS 106 (Locri) Inn. SP 2 (S. Cristina) – Inn. SP SP 1 Dir 16,42 38,263987 15,993913 38,357978 16,023907 1 (Taurianova) Inn. SS 18 (Pellegrina di SP 2 Bagnara) – Inn. SS 106 94,107 38,151821 16,170050 (Bovalino M.na) Bivio Cosoleto (Inn. SP 2) – SP 2 Bis Madonna dei Campi (Inn. SP 1 15,462 Dir) Inn. SP 2 (Natile Nuovo) – Inn. SP 2 Dir 10,272 SS 106 (Bovalino Marina) Inn. SP 1 (Taurianova) – SP 4 Confine prov.le (Dinami) con 39,871 Circonvallazione di Polistena Inn. SS 18 (Rosarno) – Inn. SS SP 5 53,171 106 (M.na Gioiosa Jonica) Inn. SS 18 (Villa S. Giovanni) – SP 6 27,51 Inn. SP 3 (Bivio per Gambarie) Inn. SS 18 (Gallico Marina) – SP 7 15,432 Inn. SP 3 (Gambarie) Inn. SP 5 (S.Antonio) – Confine SP 008 21,663 provinciale (Passo Croceferrata) Inn. SS 106 (Monasterace SP 9 38,916 Marina) - Confine provinciale Inn. SP 9 (B. Mangiatorella) – SP 9 Dir 3,951 Ferdinandea Terreti – Bivio Ortì - Bivio S. SP 10 16,584 Angelo - Lestì Bivio S. Angelo - Cerasi - SP 11 6,61 Podargoni – Inn. SP 7 Gallico - Villa S. Giuseppe – SP 12 3,761 Villamesa Inn. -
A Work of Art Website Link
ESLeschool.com Ready-made Classroom Activities Upper Intermediate Level A Work of Art Website Link Contents Magazine Article 2 Gap Fill 3 Language - Cloze 4 Circle the correct word 5 Insert the vowels 6 Punctuate the text and add capitals 7 Put a slash (/) where the spaces are 8 All mixed up 9-10 Free Writing Practice 11 Answers 12 Magazine Article A Work of Art The ability to make a work of art is one of the most creative things anyone can do. It doesn't matter, whether it is a painter creating a landscape painting, or a sculptor carving a marble statue, as all artists share the same passion to capture a moment in their life that has inspired them. Every artist needs to start somewhere. The moment may be at home with their first painting set, or in their first art class, but when it comes it will never leave them. However, what is unique for every artist; is the journey that drives them to complete their creation. There are some artists who just keep their art at home, whereas others try to earn a living from it. You can take a visit to the local art gallery to purchase one. If you are fortunate, you may find yourself a bargain. And who know this artist may be the next Picasso or Van Gogh? Upper Intermediate: A Work of Art 2 More resources available at http://www.esleschool.com- Copyright @ ESLeschool Gap Fill A Work of Art The (1) __________ to make a work of art is one of the most creative things anyone can do. -
A Story of Five Amazons Brunilde S
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Classical and Near Eastern Archaeology Faculty Classical and Near Eastern Archaeology Research and Scholarship 1974 A Story of Five Amazons Brunilde S. Ridgway Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/arch_pubs Part of the Classical Archaeology and Art History Commons, and the History of Art, Architecture, and Archaeology Commons Custom Citation Ridgway, Brunilde S. 1974. A Story of Five Amazons. American Journal of Archaeology 78:1-17. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/arch_pubs/79 For more information, please contact [email protected]. A Story of Five Amazons* BRUNILDE SISMONDO RIDGWAY PLATES 1-4 THEANCIENT SOURCE dam a sua quisqueiudicassent. Haec est Polycliti, In a well-knownpassage of his book on bronze proximaab ea Phidiae, tertia Cresilae,quarta Cy- sculpturePliny tells us the story of a competition donis, quinta Phradmonis." among five artists for the statue of an Amazon This texthas been variously interpreted, emended, (Pliny NH 34.53): "Venereautem et in certamen and supplementedby trying to identifyeach statue laudatissimi,quamquam diversis aetatibusgeniti, mentionedby Pliny among the typesextant in our quoniamfecerunt Amazonas, quae cum in templo museums. It may thereforebe useful to review Dianae Ephesiaedicarentur, placuit eligi probatis- brieflythe basicpoints made by the passage,before simam ipsorum artificum, qui praesenteserant examining the sculpturalcandidates. iudicio,cum apparuitearn esse quam omnes secun- i) The Competition.The mention of a contest * The following works will be quoted in abbreviated form: von Bothmer D. -
On April 20Th, Dr. Anja Slaw
“How fast does a city recover from destruction? A new view of the creation of the Severe Style” On April 20th, Dr. Anja Slawisch, a research fellow at University of Cambridge, presented her careful reconsideration of the transition from Archaic period to Classical period in art, especially in sculpture. I will first give some historical background and conventional understanding of this transition, and then elaborate on her argument. Conventionally, the sack of Athens during the Persian War in 480 BCE spurred the artistic development from austere Archaic style (see statues of Kleobis and Biton below1) to the Severe Style (see Harmodius and Aristogeiton, the tyrannicides2), and hence marks the transition from Archaic period into Classical period in art. The most important feature that sets severe style apart from the Archaic is a more naturalistic depiction of the human anatomy. For statues of the tyrannicides, the human bodies were made as an organic system - their pelves shift according to their stances, as opposed to the awkward posture of Kleobis and Biton. In this widely-accepted narrative, the destruction of Athens, heavily influencing the psyche of Athenians, stimulated these stark changes and inventions in artistic style. As a consequence, 480 BCE became a reference point for archaeologists in dating these statues according to their features. Statues of Kleobis and Biton Harmodius and Aristogeiton 1 Statues of Kleobis and Biton (identified by inscriptions on the base) dedicated to Delphi by the city of Argos, signed by [Poly?]medes of Argos. Marble, ca. 580 BC. H. 1.97 m (6 ft. 5 ½ in.), after restoration. -
I Territori Della Città Metropolitana. Le Aggregazioni a Geometria Variabile
1 Gruppo di lavoro Riccardo Mauro - Vicesindaco Città Metropolitana di Reggio Calabria Fabio Scionti - Consigliere Metropolitano - coordinamento attività Esperti ANCI Esperti ANCI: Maria Grazia Buffon - Erika Fammartino - Raffaella Ferraro - Domenica Gullone Tutti gli elaborati sono frutto di un lavoro comune e condiviso dal Gruppo di lavoro. Elaborazione documento a cura di:Maria Grazia Buffon Elaborazioni e cartografie (ad eccezione di quelle di cui è citata la fonte) a cura di: Maria Grazia Buffon Copertina e grafica a cura di: Erika Fammartino 2 3 I Territori della Città Metropolitana di Reggio Calabria LE AGGREGAZIONI DEI COMUNI A GEOMETRIA VARIABILE Analisi a supporto della tematica inerente alla Governance e al Riordino istituzionale INDICE 1. PREMESSA ................................................................................................................................................ 6 2. AGGREGAZIONI POLITICO-ISTITUZIONALI ................................................................................. 7 2.1.Unione di Comuni ..................................................................................................................................... 7 2.2. Associazioni di Comuni ........................................................................................................................... 9 2.3. I Comuni ricadenti nel Parco Nazionale dell'Aspromonte e i Landscape dell'Aspromonte Geopark ........................................................................................................................................................ -
A Mystery in Marble: Examining a Portrait Statue Through Science and Art
A Mystery in Marble: Examining a Portrait Statue through Science and Art lisa r. brody and carol e. snow Suffering from exposure to the elements, the purchased by a French private collector who unidentified woman was wrapped in a blan- placed the statue in a Parisian garden, where ket and shipped across the English Channel it endured two more decades of outdoor to an undisclosed location in Paris, her exact exposure to urban pollutants and acid rain. age and identity unknown. Later, traveling In December 2007, the piece was shipped with a French passport, she arrived in the to Sotheby’s in New York to be sold at an United States and made her way through the auction of Greek and Roman antiquities.2 streets of Manhattan to an elegant building Looking beyond the superficial, curators on the Upper East Side. Standing in a hall- and conservators from the Yale University way there on a cold December afternoon, the Art Gallery discerned the figure’s full poten- woman’s discolored appearance and awkward tial as a fine example of Roman sculpture pose attracted little attention (fig. 1). and arranged for its final journey to New The story of the Roman marble statue Haven, Connecticut. There, the story of a woman that is the subject of this article would continue to unfold through scholarly has the plot twists and intricacies of a pop- research, scientific analysis, and a lengthy ular novel. Although the very beginning conservation treatment. remains unwritten, the ending is a happy one The six-foot-tall marble statue of a for Yale. -
Urban Form, Public Life and Social Capital - a Case Study of How the Concepts Are Related in Calabria, Italy
EXAMENSARBETE INOM SAMHÄLLSBYGGNAD, AVANCERAD NIVÅ, 30 HP STOCKHOLM, SVERIGE 2019 Urban form, public life and social capital - a case study of how the concepts are related in Calabria, Italy SOFIA HULDT KTH SKOLAN FÖR ARKITEKTUR OCH SAMHÄLLSBYGGNAD Abstract The aim of this thesis is to investigate the urban structure of two Italian towns based upon physical structure and social function. The towns are Bova and Bova Marina in the ancient Greek part of Calabria, Area Grecanica. This is done by answering the research questions about how the urban structures are and what preconditions there are for public life and in extension social capital. This is also compared to the discourse in research about Calabria as a region lacking behind as well as the Greek cultural heritage. The thesis was conducted during one semester spent in the area and based upon qualitative research in form of observations of the towns, mapping, textual analysis and interviews. The results showed that the urban form of the two towns differ from each other because of their history and their localisation. Bova is an ancient town in the mountains that is separated through topography, and therefore conserved with many old structures but few inhabitants, suffering from out-migration. Bova Marina is placed on the coast of the Ionic Sea, south of Bova and connected to the region by train and roads, while Bova is mainly connected to Bova Marina. Bova Marina was founded as a town in late 19th century and expanded a lot because of the railroad. It is a town with inconsistent walking network, a lot of traffic and houses in bad condition. -
Greek Bronze Yearbook of the Irish Philosophical Society 2006 1
Expanded reprint Greek Bronze 1 In Memoriam: John J. Cleary (1949-2009) Greek Bronze: Holding a Mirror to Life Babette Babich Abstract: To explore the ethical and political role of life-sized bronzes in ancient Greece, as Pliny and others report between 3,000 and 73,000 such statues in a city like Rhodes, this article asks what these bronzes looked like. Using the resources of hermeneutic phenomenological reflection, as well as a review of the nature of bronze and casting techniques, it is argued that the ancient Greeks encountered such statues as images of themselves in agonistic tension in dynamic and political fashion. The Greek saw, and at the same time felt himself regarded by, the statue not as he believed the statue divine but because he was poised against the statue as a living exemplar. Socrates’ Ancestor Daedalus is known to most of us because of the story of Icarus but readers of Plato know him as a sculptor as Socrates claims him as ancestor, a genealogy consistently maintained in Plato’s dialogues.1 Not only is Socrates a stone-cutter himself but he was also known for his Daedalus-like ingenuity at loosening or unhinging his opponent’s arguments. When Euthyphro accuses him of shifting his opponents’ words (Meletus would soon make a similar charge), Socrates emphasizes this legacy to defend himself on traditionally pious grounds: if true, the accusation would set him above his legendary ancestor. Where Daedalus ‘only made his own inventions to move,’ Socrates—shades of the fabulous Baron von Münchhausen—would thus be supposed to have the power to ‘move those of other people as well’ (Euth.