Naked and Unashamed: a Study of the Aphrodite
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Classical Nakedness in British Sculpture and Historical Painting 1798-1840 Cora Hatshepsut Gilroy-Ware Ph.D Univ
MARMOREALITIES: CLASSICAL NAKEDNESS IN BRITISH SCULPTURE AND HISTORICAL PAINTING 1798-1840 CORA HATSHEPSUT GILROY-WARE PH.D UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2013 ABSTRACT Exploring the fortunes of naked Graeco-Roman corporealities in British art achieved between 1798 and 1840, this study looks at the ideal body’s evolution from a site of ideological significance to a form designed consciously to evade political meaning. While the ways in which the incorporation of antiquity into the French Revolutionary project forged a new kind of investment in the classical world have been well-documented, the drastic effects of the Revolution in terms of this particular cultural formation have remained largely unexamined in the context of British sculpture and historical painting. By 1820, a reaction against ideal forms and their ubiquitous presence during the Revolutionary and Napoleonic wartime becomes commonplace in British cultural criticism. Taking shape in a series of chronological case-studies each centring on some of the nation’s most conspicuous artists during the period, this thesis navigates the causes and effects of this backlash, beginning with a state-funded marble monument to a fallen naval captain produced in 1798-1803 by the actively radical sculptor Thomas Banks. The next four chapters focus on distinct manifestations of classical nakedness by Benjamin West, Benjamin Robert Haydon, Thomas Stothard together with Richard Westall, and Henry Howard together with John Gibson and Richard James Wyatt, mapping what I identify as -
Art 258: Ancient and Medieval Art Spring 2016 Sched#20203
Art 258: Ancient and Medieval Art Spring 2016 Sched#20203 Dr. Woods: Office: Art 559; e-mail: [email protected] Office Hours: Monday and Friday 8:00-8:50 am Course Time and Location: MWF 10:00 – 10:50 HH221 Course Overview Art 258 is an introduction to western art from the earliest cave paintings through the age of Gothic Cathedrals. Sculpture, painting, architecture and crafts will be analyzed from an interdisciplinary perspective, for what they reveal about the religion, mythology, history, politics and social context of the periods in which they were created. Student Learning Outcomes Students will learn to recognize and identify all monuments on the syllabus, and to contextualize and interpret art as the product of specific historical, political, social and economic circumstances. Students will understand the general characteristics of each historical or stylistic period, and the differences and similarities between cultures and periods. The paper assignment will develop students’ skills in visual analysis, critical thinking and written communication. This is an Explorations course in the Humanities and Fine Arts. Completing this course will help you to do the following in greater depth: 1) analyze written, visual, or performed texts in the humanities and fine arts with sensitivity to their diverse cultural contexts and historical moments; 2) describe various aesthetic and other value systems and the ways they are communicated across time and cultures; 3) identify issues in the humanities that have personal and global relevance; 4) demonstrate the ability to approach complex problems and ask complex questions drawing upon knowledge of the humanities. Course Materials Text: F. -
'Stupid Midas'
‘Stupid Midas’ Visualising Musical Judgement and Tim Shephard Patrick McMahon Moral Judgement in Italy ca.1520 University of Sheffield 1. Musical Judgement and Moral Judgement 3. A) Cima da Conegliano, The Judgement Sat at the centre of the painting in contemporary elite of Midas, oil on panel, 1513-17. Statens The Ancient Discourse dress, Midas looks straight at the viewer, caught at the exact moment of formulating his faulty musical judgement. Museum for Kunst, Copenhagen. Harmony is governed by proportion, and so is human tem- perament; thus music can affect human behavior ‘For rhythm and harmony penetrate deeply into the mind and take a most powerful hold on it, and, if education is good, bring an impart grace and beauty, if it is bad, the reverse’ (Plato, Republic) Music should therefore play a role in moral education Suggestive ‘music has indeed the power to induce a certain character of soul, and if it can do that, then An older, more position of clearly it must be applied to education’ (Aristotle, Politics) severe Tmolus, in Pan’s bow more modest makes a direct Good musical judgement engenders good moral judgement contemporary link between ‘the proper training we propose to give will make a man quick to perceive the shortcomings attire, also his musician- of works of art or nature …; anything beautiful he will welcome gladly … and so grow in true goodness of character; anything ugly he will rightly condemn and dislike’ (Plato, Republic) interrogates the ship and his viewer with his sexuality. The Renaissance Discourse gaze. -
Heracles and Philo of Alexandria: the Son of Zeus Between Torah and Philosophy, Empire and Stage
Chapter 8 Heracles and Philo of Alexandria: The Son of Zeus between Torah and Philosophy, Empire and Stage Courtney J. P. Friesen With few competitors, Heracles was one of the most popular and widely re- vered heroes of Greco-Roman antiquity. Though occupying a marginal place in the Homeric epics, he developed in complex directions within archaic Greek poetry, and in Classical Athens became a favorite protagonist among play- wrights, both of tragedy and comedy. From a famed monster-killer, to the trou- bled murderer of his own children, to the comic buffoon of prolific appetites, Heracles remained fixed in the imagination of ancient Greeks and Romans. Moreover, the son of Zeus was claimed as an ancestor for notable statesmen connected to both Alexandria and Rome (including Philip and Alexander of Macedon, the Ptolemies, and Mark Antony), and he was honored at cultic sites around the Mediterranean, including at the heart of the Roman Empire itself on the Ara Maxima. Jews living around the Greek and Roman world will inevitably have encoun- tered the mythologies and cults of Heracles in various forms. For instance, some Jewish writers, reflecting on this hero in light of their own traditions, made attempts to integrate him within the context of biblical genealogies.1 In addition, a natural correlation existed between Samson and Heracles, and al- ready in antiquity their extraordinary physical might was seen as comparable (Eusebius, PE 10.9.7; Augustine, Civ. 18.19).2 Recently, René Bloch has provided a useful survey of references to Heracles in the writings of Josephus in conjunc- tion with the Jewish historian’s wider engagement with Greek mythology.3 In 1 Cleomedus Malchus has Heracles marry the granddaughter of Abraham (Josephus, AJ 1.240–41); and according to unspecified sources, Heracles was the father of Melchizedek (Epiphanius, Pan. -
Beauty on Display Plato and the Concept of the Kalon
BEAUTY ON DISPLAY PLATO AND THE CONCEPT OF THE KALON JONATHAN FINE Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2018 © 2018 Jonathan Fine All rights reserved ABSTRACT BEAUTY ON DISPLAY: PLATO AND THE CONCEPT OF THE KALON JONATHAN FINE A central concept for Plato is the kalon – often translated as the beautiful, fine, admirable, or noble. This dissertation shows that only by prioritizing dimensions of beauty in the concept can we understand the nature, use, and insights of the kalon in Plato. The concept of the kalon organizes aspirations to appear and be admired as beautiful for one’s virtue. We may consider beauty superficial and concern for it vain – but what if it were also indispensable to living well? By analyzing how Plato uses the concept of the kalon to contest cultural practices of shame and honour regulated by ideals of beauty, we come to see not only the tensions within the concept but also how attractions to beauty steer, but can subvert, our attempts to live well. TABLE OF CONTENTS Acknowledgements ii 1 Coordinating the Kalon: A Critical Introduction 1 1 The Kalon and the Dominant Approach 2 2 A Conceptual Problem 10 3 Overview 24 2 Beauty, Shame, and the Appearance of Virtue 29 1 Our Ancient Contemporaries 29 2 The Cultural Imagination 34 3 Spirit and the Social Dimension of the Kalon 55 4 Before the Eyes of Others 82 3 Glory, Grief, and the Problem of Achilles 100 1 A Tragic Worldview 103 2 The Heroic Ideal 110 3 Disgracing Achilles 125 4 Putting Poikilia in its Place 135 1 Some Ambivalences 135 2 The Aesthetics of Poikilia 138 3 The Taste of Democracy 148 4 Lovers of Sights and Sounds 173 5 The Possibility of Wonder 182 5 The Guise of the Beautiful 188 1 A Psychological Distinction 190 2 From Disinterested Admiration to Agency 202 3 The Opacity of Love 212 4 Looking Good? 218 Bibliography 234 i ACKNOWLEDGEMENTS “To do philosophy is to explore one’s own temperament,” Iris Murdoch suggested at the outset of “Of ‘God’ and ‘Good’”. -
The Nature of Hellenistic Domestic Sculpture in Its Cultural and Spatial Contexts
THE NATURE OF HELLENISTIC DOMESTIC SCULPTURE IN ITS CULTURAL AND SPATIAL CONTEXTS DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Craig I. Hardiman, B.Comm., B.A., M.A. ***** The Ohio State University 2005 Dissertation Committee: Approved by Dr. Mark D. Fullerton, Advisor Dr. Timothy J. McNiven _______________________________ Advisor Dr. Stephen V. Tracy Graduate Program in the History of Art Copyright by Craig I. Hardiman 2005 ABSTRACT This dissertation marks the first synthetic and contextual analysis of domestic sculpture for the whole of the Hellenistic period (323 BCE – 31 BCE). Prior to this study, Hellenistic domestic sculpture had been examined from a broadly literary perspective or had been the focus of smaller regional or site-specific studies. Rather than taking any one approach, this dissertation examines both the literary testimonia and the material record in order to develop as full a picture as possible for the location, function and meaning(s) of these pieces. The study begins with a reconsideration of the literary evidence. The testimonia deal chiefly with the residences of the Hellenistic kings and their conspicuous displays of wealth in the most public rooms in the home, namely courtyards and dining rooms. Following this, the material evidence from the Greek mainland and Asia Minor is considered. The general evidence supports the literary testimonia’s location for these sculptures. In addition, several individual examples offer insights into the sophistication of domestic decorative programs among the Greeks, something usually associated with the Romans. -
The Medici Aphrodite Angel D
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2005 A Hellenistic masterpiece: the Medici Aphrodite Angel D. Arvello Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Arvello, Angel D., "A Hellenistic masterpiece: the Medici Aphrodite" (2005). LSU Master's Theses. 2015. https://digitalcommons.lsu.edu/gradschool_theses/2015 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. A HELLENISTIC MASTERPIECE: THE MEDICI APRHODITE A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The School of Art by Angel D. Arvello B. A., Southeastern Louisiana University, 1996 May 2005 In Memory of Marcel “Butch” Romagosa, Jr. (10 December 1948 - 31 August 1998) ii ACKNOWLEDGMENTS I wish to acknowledge the support of my parents, Paul and Daisy Arvello, the love and support of my husband, Kevin Hunter, and the guidance and inspiration of Professor Patricia Lawrence in addition to access to numerous photographs of hers and her coin collection. I would also like to thank Doug Smith both for his extensive website which was invaluable in writing chapter four and for his permission to reproduce the coin in his private collection. -
E. General Subjects
Index E. General Subjects Academia (of Cicero) 13, 97 books-papyrus rolls-codices 22, 54–56, 65–71, 158–160 Adonis (image of) 48 booty, see plunder Aedes Concordiae, see Index B: Roma Boxers (sculptural group) 72 Akademia, see Index B: Athenai Bronze Age 21 Akropolis, see Index B: Athenai bronze from Korinthos 11, 12, 92 Alexandros the Great (dedications by) 28 bronze horses (statues of) 74 Alexandros the Great (portraits of) 47, 52, 94 bronze sculpture (large) 4, 14, 33, 43, 44, 46, 49, 51, 52, 72, 74, 82, 92, Alexandros the Great (spoliation by) 39, 41, 43, 47 122, 123, 130, 131–132, 134–135, 140, 144, 149, 151, 159, 160 Alexandros the Great’s table 2, 106 bronze sculpture (small) 14, 46, 53, 92, 106, 123, 138, 157 Alkaios (portrait of) 53 bronze tablets 81 altar 2, 42 Altar of Zeus, see Index B: Pergamon, Great Altar cameos 55–70 amazon 14, 134 Campus Martius, see Index B: Roma ancestralism 157, 159 canon 156, 159, 160–162 Antigonid Dynasty 46, 49 canopus 133 antiquarianism 4, 22, 25, 28, 31, 44, 55, 65–66, 73, 80, 81, 82, 156–157, Capitoline Hill, see Index B: Roma, Mons Capitolinus 159–160, 161 Capitolium, see Index B: Roma Anubis (statue of) 75 Carthaginians 9, 34, 104 Aphrodite, see Index C: Aphrodite catalogue, see also inventory, 93 Aphrodite (statue of) 52 censor, see Index D: censor Aphrodite of Knidos (statue of), see Index C: Praxiteles centaur, see Index D: kentauroi Apollon (statue of) 49, 72 Ceres (statue of) 72 Apollonios (portrait of) 53 chasing (chased silver) 104 Apoxyomenos (statue of), see Index C: Lysippos citronwood -
The Mythology of the Ara Pacis Augustae: Iconography and Symbolism of the Western Side
Acta Ant. Hung. 55, 2015, 17–43 DOI: 10.1556/068.2015.55.1–4.2 DAN-TUDOR IONESCU THE MYTHOLOGY OF THE ARA PACIS AUGUSTAE: ICONOGRAPHY AND SYMBOLISM OF THE WESTERN SIDE Summary: The guiding idea of my article is to see the mythical and political ideology conveyed by the western side of the Ara Pacis Augustae in a (hopefully) new light. The Augustan ideology of power is in the modest opinion of the author intimately intertwined with the myths and legends concerning the Pri- mordia Romae. Augustus strove very hard to be seen by his contemporaries as the Novus Romulus and as the providential leader (fatalis dux, an expression loved by Augustan poetry) under the protection of the traditional Roman gods and especially of Apollo, the Greek god who has been early on adopted (and adapted) by Roman mythology and religion. Key words: Apollo, Ara, Augustus, Pax Augusta, Roma Aeterna, Saeculum Augustum, Victoria The aim of my communication is to describe and interpret the human figures that ap- pear on the external western upper frieze (e.g., on the two sides of the staircase) of the Ara Pacis Augustae, especially from a mythological and ideological (i.e., defined in the terms of Augustan political ideology) point of view. I have deliberately chosen to omit from my presentation the procession or gathering of human figures on both the Northern and on the Southern upper frieze of the outer wall of the Ara Pacis, since their relationship with the iconography of the Western and of the Eastern outer-upper friezes of this famous monument is indirect, although essential, at least in my humble opinion. -
A New Athenian Gymnasium from the 4Th Centrury
Ada Caruso A New Athenian Gymnasium from the 4th Century BC? Summary Literary sources attest that the gymnasium of the Athenian rung der beiden Bauten. Es wird gezeigt, dass der Hof des süd- Academy was used from the 6th century BC to at least the 2nd lichen Baus in die Spätantike gehört und nicht als Palaestra century AD. The site, located based on texts and a horos stone, fungiert haben kann. Stattdessen ist der quadratische Bau, des- has been variously explored since 1929. Of the excavated struc- sen Peristyl von Räumen umgeben und der ins 4. Jh. v.Chr. zu tures, a rectangular courtyard building in the South has com- datieren ist, anhand von Plan und Inschriften als Palaestra zu monly been identified as the palaestra of the Academy gym- identifizieren. nasium, whereas a large square peristyle building (so-called Keywords: Athen; Akademie; Gymnasium; Palästra; Tetrago- Tetragonos Peristylos) in the North has received little atten- nos Peristylos tion. This paper critically revises the identification of these two buildings and argues that the southern building, whose court- yard belongs to the Late Antique period, cannot have func- For the accomplishment of this study many thanks are due tioned as a palaestra. Instead, the square peristyle building, to: Prof. Emanuele Greco, former Director of the Italian Ar- which was surrounded by rooms and dates to the 4th century chaeological School of Athens, who supported it, as well as BC, should be identified as a palaestra, due the plan and epi- Prof. Panos Dimas (Norwegian Institute of Athens); Dr. Aris graphic evidence. Koronakis, Effie Lygkouri Tolia, Effie Baziotopoulou-Valavani, and Dr. -
Depictions of the Female Nude and Sexuality in Ancient Greek Sculpture
Portland State University PDXScholar University Honors Theses University Honors College 2016 Aphrodite of Knidos, Trendsetter: Depictions of the Female Nude and Sexuality in Ancient Greek Sculpture Krista Buell Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/honorstheses Let us know how access to this document benefits ou.y Recommended Citation Buell, Krista, "Aphrodite of Knidos, Trendsetter: Depictions of the Female Nude and Sexuality in Ancient Greek Sculpture" (2016). University Honors Theses. Paper 252. https://doi.org/10.15760/honors.265 This Thesis is brought to you for free and open access. It has been accepted for inclusion in University Honors Theses by an authorized administrator of PDXScholar. For more information, please contact [email protected]. Aphrodite of Knidos, Trendsetter: Depictions of the Female Nude and Sexuality in Ancient Greek Sculpture by Krista Buell An undergraduate honors thesis submitted in partial fulfillment of the requirements for the degree of Bachelor of Arts in University Honors and Art History Thesis Adviser Susanne Tringali Portland State University 2016 Contents List of Images ..............................................................................................................iii Introduction ...................................................................................................................1 Depictions of Women on Pottery ..................................................................................9 The History of Aphrodite -
BM Tour to View
08/06/2020 Gods and Heroes The influence of the Classical World on Art in the C17th and C18th The Tour of the British Museum Room 2a the Waddesdon Bequest from Baron Ferdinand Rothschild 1898 Hercules and Achelous c 1650-1675 Austrian 1 2 Limoges enamel tazza with Judith and Holofernes in the bowl, Joseph and Potiphar’s wife on the foot and the Triumph of Neptune and Amphitrite/Venus on the stem (see next slide) attributed to Joseph Limousin c 1600-1630 Omphale by Artus Quellinus the Elder 1640-1668 Flanders 3 4 see previous slide Limoges enamel salt-cellar of piédouche type with Diana in the bowl and a Muse (with triangle), Mercury, Diana (with moon), Mars, Juno (with peacock) and Venus (with flaming heart) attributed to Joseph Limousin c 1600- 1630 (also see next slide) 5 6 1 08/06/2020 Nautilus shell cup mounted with silver with Neptune on horseback on top 1600-1650 probably made in the Netherlands 7 8 Neptune supporting a Nautilus cup dated 1741 Dresden Opal glass beaker representing the Triumph of Neptune c 1680 Bohemia 9 10 Room 2 Marble figure of a girl possibly a nymph of Artemis restored by Angellini as knucklebone player from the Garden of Sallust Rome C1st-2nd AD discovered 1764 and acquired by Charles Townley on his first Grand Tour in 1768. Townley’s collection came to the museum on his death in 1805 11 12 2 08/06/2020 Charles Townley with his collection which he opened to discerning friends and the public, in a painting by Johann Zoffany of 1782.