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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. -
Invention of Hysteria : Charcot and the Photographic Iconography of the Salpêtrière / Georges Didi-Huberman ; Translated by Alisa Hartz
Invention of Hysteria This page intentionally left blank Invention of Hysteria Charcot and the Photographic Iconography of the Salpêtrière Georges Didi-Huberman Translated by Alisa Hartz The MIT Press Cambridge, Massachusetts London, England Originally published in 1982 by Éditions Macula, Paris. ©1982 Éditions Macula, Paris. This translation ©2003 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or infor- mation storage and retrieval) without permission in writing from the publisher. This book was set in Bembo by Graphic Composition, Inc. Printed and bound in the United States of America. Cet ouvrage, publié dans le cadre d’un programme d’aide à la publication, béné- ficie du soutien du Ministère des Affaires étrangères et du Service Culturel de l’Ambassade de France aux Etats-Unis. This work, published as part of a program of aid for publication, received sup- port from the French Ministry of Foreign Affairs and the Cultural Services of the French Embassy in the United States. Library of Congress Cataloging-in-Publication Data Didi-Huberman, Georges. [Invention de l’hysterie, English] Invention of hysteria : Charcot and the photographic iconography of the Salpêtrière / Georges Didi-Huberman ; translated by Alisa Hartz. p. cm. Includes bibliographical references and index. ISBN 0-262-04215-0 (hc. : alk. paper) 1. Salpêtrière (Hospital). 2. Hysteria—History. 3. Mental illness—Pictorial works. 4. Facial expression—History. -
Greek Sculpture Archaic Kore 660 BC to 590 BC • Archaic Period • All Female Youth Sculptures Were Called Kore
Greek Sculpture Archaic Kore 660 BC to 590 BC • Archaic Period • All female youth sculptures were called Kore. • Made of marble • Would have been painted with bright colors and decorated. • Archaic smile-corners of her mouth slightly lifted. • Hair is carved down the back showing Egyptian influence. • Would have been found in and around temples holding an offering in her outstretched hand. • The Kore were always clothed. • Not meant to house the soul or KA at death but may have been used as graver markers. • Represented the ideal female youth. • Flesh would have been painted lighter than the male kouros. Kouros 660 BC to 590 BC • 1st appearance coincides with trade with Egypt. • Usually a votive statue (representing a hero or athlete) or a grave marker. • Represented the god Apollo. • All male statues were called kouros and were nude. • Represented the ideal male youth. • Flesh would have been painted brown or red. classical The Discus Thrower by Myron • 480-440 BC • Roman copy of a Greek sculpture. • Shows an athlete in motion performing the Olympic event discus throwing. • Athletes performed nude • Romans copied all the Greek sculptures. Venus de Milo 150 BC • Classical Period • Sculpted by Alexandros of Antioch • Statue of Aphrodite (Venus) • Located at the Louvre museum in Paris • Found on the island of Milos in 1820 • Milos means “apple” in Greek • Would have been painted and adorned with jewelry • Made of marble • 6’8 feet tall • The arms were lost in transport. • Her face is neutral and drapery is realistic • Known for perfect graceful proportions Doryphorus (the spear bearer) 450 BC-415 BC • Polykleitos of Argos • Bronze • Known for his sculptures of young athletes • Known only through Roman copies • Perfect proportions • Idealized • Classical period • Contrapposto stance Hellenistic The Seated Boxer 225 BC • Votive statue- commemorated a known boxer. -
Arion 9.3 Text Winter 2002
Broken: The Venus de Milo AMELIA ARENAS For Trish The most celebrated statue in the world was bought in 1820 by a French official stationed in the island of Melos for about fifty dollars—and a lucky transaction it was, in more than the obvious sense. The peasant who sold it had found it among the ruins of an ancient theater which the locals were scavenging for old marble to feed to their lime furnaces. Were it not for this bargain, the lovely goddess might have met her fate as septic-tank neutralizer or whitewash. Soon after its arrival in France, the work was presented to Louis xviii, who in turn gave it to the Louvre—an excellent chance to get even with the English, one imagines, who four years earlier had snatched the greatest art treasure in the West- ern world, the sculptures of the Parthenon. And the French got their way. Since then, the Venus de Milo (fig. 1) has been the absolute emblem of classical beauty, ranking far higher in the public’s imagination than the carvings of the Parthenon, which are perhaps superior, and certainly no less beautiful. Think of the three magnificent goddesses who once adorned the tem- ple’s east pediment—faceless, ravaged figures, who still lounge on their pedestal at the British Museum with the ease of teenagers watching tv. Apparently, the world has to thank Lord Elgin for having stolen the sculptures of the Parthenon, or rather, whatever was left of them. In the late seventeenth century, the Ottoman army turned the temple into a gun-powder magazine and was even- tually blown to pieces. -
I © 2016 ANNE MALTEMPI ALL RIGHTS RESERVED
© 2016 ANNE MALTEMPI ALL RIGHTS RESERVED i SICILIANITÀ IN THE RENAISSANCE: SICILIAN NATIONAL IDENTITY IN THE WRITINGS OF SICILIAN HUMANISTS TOMMASO SCHIFALDO AND LUCIO MARINEO SICULO A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Arts Anne Maltempi July, 2016 i SICILIANITÀ IN THE RENAISSANCE: SICILIAN NATIONAL IDENTITY IN THE WRITINGS OF SICILIAN HUMANISTS TOMMASO SCHIFALDO AND LUCIO MARINEO SICULO Anne Maltempi Thesis Approved: Accepted: Advisor Dean of the College of Arts and Sciences Dr. Michael Levin Dr. John C. Green Faculty Reader Dean of the Graduate School Dr. Martha Santos Dr. Chand Midha Department Chair Date Dr. Martin Wainwright ii ACKNOWLEDGEMENTS There are many people to whom I owe a great deal of thanks, and all of my gratitude for helping me through the process of completing my Master’s degree in History. First I would like to thank all of the professors in the History Department at the University of Akron, I have learned so much from all of them. I would like to extend a special thanks to my advisor Dr. Michael Levin, and my second reader Dr. Martha Santos whose classes and encouragement have helped me grow as a scholar, and whose advice in revising and editing this manuscript were essential to the completion of this project. I would also like to thank my peers and colleagues who inspire me and help learn new things every day including Dr. Tom Weyant, Kathryn Mcdonald-Miranda, Nathaniel Bassett, Suraj Lakshminarasimhan, Brittany Amiet, Kenneth Kosovich, Devaun Tyler, and so many others. -
Chapter 5 Th a F a I G E Art of Ancient Greece (Iron Age)
Chapter 5 The Art of A nci ent G reece (Iron Age) Famous Greeks: Playwriters: Aeschylus (“father of Greek tragedy”), Sophocles (Antigone, Oedipus), Euripides, Aristophanes (Comedies. Lysistrata) Philosophers: Heraclitus (“You can never step into the same river twice”) Plato,,, Socrates, Aristotles Mathematicians and scientists: Archimedes, Pythagoras, Aristotles, Euclid Authors and poets: Homer (Odyssey and Iliad), Sappho of Lesbos, Aesop Historians: Herodotus ("The Father of History,"). Thucydides The Greek World GtiPid(9Geometric Period (9-8th c. BCE) Early Geometric Krater. C. 800 BCE Krater A bowl for mixing wine and water Greek key or Meander An ornament consisting of interlocking geometric motifs. An ornamental pattern of contiguous straight lines joined usually at right angles. Geometric krater, from the Dipylon cemetery, Athens, Greece, ca. 740 BCE. Approx. 3’ 4 1/2” high. Metropolitan Museum of Art, New York. Geometric krater, from the Dipylon cemetery. Detail. Hero and Centaur (Herakles and Nessos? Achilles and Chiron?) ca. 750–730 BCE. Bron ze, a pprox. 4 1/2” high. Metropolitan Museum of Art, New York. Geometric krater, from the Dipylon cemetery, Athens, Greece, ca. 740 BCE. Approx. 3’ 4 1/2” high. Hero and Centaur (Herakles and Nessos? Achilles and Chiron?) ca. 750–730 BCE. Bronze, approx. 4 1/2” high. Greek Vase Painting Orientalizing Period (7th c. BCE) Pitcher (olpe) Corinth, c. 600 BCE Ceramic with black-figure decoration, height 11½ " British Mus . London Rosette: A round or oval ornament resembling a rose Comppyarison: Assyrian.. Lamassu, ca. 720–705 BCE. Pitcher (olpe) Corinth, c. 600 BCE Ceramic with black-figure decoration, height 11½" British Mus. -
Introduction
Introduction Ancient Western history is largely defined by three civilizations: Egypt, Greece, and Rome. The Egyptians endured for thousands of years, while the Romans established a reputation for ruthless conquest and impeccable organization, but the Greeks, bookended by the Egyptians before them and the Romans who followed, did not make their name through long legacies nor, with the brief exception of Alexander the Great, worldwide conquest. The true reputation of the Greeks was one of fierce independence and a great thirst for knowledge. Though the Greek civiliza- tion began and ended with kings, its golden years were forged in the time of the city-state, when common men from cities like Athens, Sparta, Corinth, and Thebes set their minds to learn everything they could about the world around them, to colonize and spread their culture all across the ancient world, and to create governments that would be models to the world for centuries to come. While they lacked the unity of other great kingdoms, in many ways that was the very thing that allowed this tiny country filled with individualistic people to be listed among the greatest civilizations the world has ever seen. Each lesson in this Project Passport includes fact-filled, engaging text, created to be all you need for a compact assignment. Should you or your child wish to expound on a subject, a variety of books, videos, and further avenues of research are available in the “Additional Resources” section. This study can also act as an excellent accompaniment to any world history program. You will want to print out the “Travel Tips” teacher helps beforehand and brief yourself on the lessons and supplies needed. -
Venus De Milo’ in 19Th-Century France
Lathers 1 Marie Lathers Case Western Reserve University October 2003 **Not for citation or reproduction without consent of author** Venus Restored: The ‘Venus de Milo’ in 19th-Century France Normally slides would accompany this talk If they hang around long enough, works of art all become objects of restoration. I thus begin my talk with a discussion of the term restoration and its multiple meanings during the decades surrounding the French Revolution of 1789. The talk is divided into three sections: after the first, I present in “Discovery of Venus” a brief history of the Venus de Milo, a work of art brought to France in 1821 and that illustrated the several meanings of “restoration” at the time. In the third section, “Reception and Deception,” I examine the reassessment of the statue in the late 19th century, one that turned a “classical” work of the 4th century BCE into a “Hellenistic” one of the 1st to 2nd centuries BCE. In this last section I also analyze the reception of the statue by the public and, briefly, its appearance in literature. I. Restoration At least three discourses privileged the term restoration during the late 18th and early 19th centuries: that of the nascent discipline of art history; that of the equally nascent national and public art museum; and that of the political regime of 1815-30 called the Restoration. The second use of the term links the first and third: the museum is the site on which art history and politics collide and collaborate. Lathers 2 A. Art history. As Frances Haskell and Nicholas Penny note in their study Taste and the Antique, the European restoration of found works of statuary was first systematic in Italy in the 1520s and 30s. -
Twisted: Literal & Phenomenal
Twisted: Literal & Phenomenal Ramiro Diaz-Granados Design Faculty, Southern California Institute of Architecture Principal, Amorphis Twist: To form (something) into a particular shape by all but been exhausted in the past two decades of archi- taking hold of one or both ends and turning them; Turn or tectural production. Examples abound worldwide and at bend into a specified position or in a specified direction; To various scales, and not for unwarranted reasons. A sim- move one’s body so that the shoulders and hips are facing ple twist to a material, form, or body can yield powerful in different directions; Cause to rotate around something effects. The dance craze “the twist” became an overnight that remains stationary; To wring or wrench so as to dislo- sensation throughout the U.S. and Europe when, in one cate or distort; To alter the meaning of: pervert; To cause to summer of the late 1950s, Chubby Checker performed take on moral, mental, or emotional deformity. it on Dick Clark’s “American Bandstand.”4 The main part of its appeal to teens and young adults is that it perverted ‘Turn,’ ‘bend,’ ‘distort,’ ‘pervert.’ These terms are but some what was considered socially acceptable movement be- of the ones selected from definitions of the word twist tween male and female: the gyrating and twisting action found in the Oxford and Merriam-Webster dictionaries. of the body on the dance floor suggested sexual activity “The French translations are: tordre, torquere. Torquere and desire, which dislocated the metaphysic of dancing. (similar to the English torque/torsion) means to turn, to In architecture, a specific kind of dislocation occurs in turn around, to torture. -
Hellenistic Science
Roots of European Civilisations Lectures 2 – 3 Classic Greece and Hellenistic Era Grecja klasyczna ● Around 1100 B.C. - Doric invasion ● Destruction of Mycenae Greece ● Beginning of Dark Age in Greece ● Since around VIII c. B.C. – resurrection of Greek culture ● Greek expansion in Mediterranean: – Coasts of Black Sea, – Sicily – Southern Italy (Magna Graecia - Megalê Hellas) – Southern Gaul – Massalia Greek world before Persian Wars Main achievements of Classical Period Greece ● Polis ● Concept of democracy ● Concept of barbarism ● Philosophy ● Historiography Polis ● Mainland Greece was divided into many little states called polis (poleis) ● This term, at the beginning referring to city, later meant body of citizens. Acropolis in Athens Characteristic of a polis ● All adult citizens (only males) were supposed to participate in agora – a meeting that decided about all public matters of a polis ● Forigners were not citizens even after many years – they were so called metoikos. ● All citizens were suppose to serve in the polis' army Democracy ● The best known example of polis is Athens. ● Athens' political system in its “golden age” was democracy. ● However ancient Greek's understanding of democracy was different than today, main differences were: ● Direct rules of citizens ● Lack of distinction between public and Periclesprivate – Athenian life. politician Greeks and Barbarians ● Word barbarians (barbaroi) originates from onomatopoeia „bar bar” - meaning non understandable speech. ● For Greeks all non Greeks were barbarians. ● In spite of their bond with particular polises Greeks were aware of their common culture. ● Greeks considered barbarians slaves to their rulers, unlike their own race. Sanctuary in Delphi Greeks and Barbarians ● Persian War makes a symbol of a conflict between free Greeks and barbaric slaves of the East. -
Portfolio Apr 20 Culture - Daniel Arsham.Pdf
ISSUE 38 APRIL 2020 GOING PLACES ASHISH MANCHHARAM I GUY BEDARIDA I NICOLE MIDORI WOODFORD SUSTAINABILITY IN LUXURY TRAVEL OLIVIA LEE I DANIEL ARSHAM 98 99 PORTFOLIO PORTFOLIO CULTURE TIME TRAVEL DANIEL ARSHAM New York City–based American artist Daniel Arsham fashions sculptures of objects dating from classical antiquity to the present day that appear to have been unearthed by archaeologists years from now, thereby confounding the past, present and future BY Y-JEAN MUN-DELSALLE 100 101 PORTFOLIO PORTFOLIO rchitecture was Mr. Daniel Arsham’s first love. be coaxed into forming, a lot of it is a kind of material science,” he DANIEL ARSHAM AT GALERIE PERROTIN, 2020 However, as fate would have it, his application explains. “These crystals that are in the works are real geological to architecture school at The Cooper Union materials that have their own chemical properties that react in New York City was rejected, so he ended differently to heat and temperature inside the mold, so not every up studying at the college’s equally well-known type of mineral that I’ve tested works. Also, the process of creating art school instead. “I also didn’t get in initially molds of some of these pieces, just the ability within my studio to to the art program, so I applied again and eventually got in,” the physically make some of the works, I couldn’t have done them 10 Cleveland-born,A Miami-raised artist, 39, discloses. “I don’t know years ago because I didn’t have the knowledge set.” if I would have lasted in architecture school there. -
On Ancient Greece
ANCIENT I ' . A Historical Overview of Greece Greece is located on a peninsula jutting out into the Mediterranean Sea. The Aegean Sea is to the east and the Ionian Sea is to the west. A thin strip of land connects Greece's northern mainland to the Peloponnesus, which is another name for southern Greece. Here the climate and land are poor for farming, but this location is perfect for seafaring-the Greeks have al ways been excellent fishermen and sailors. Around 2000 B.C., a tribe called Mycenaeans settled in the Peloponnesus. In 1194 B.C., they attacked the city of Troy on the eastern coast of the Aegean Sea. This began the Trojan War. A blind poet named Homer re- ...______________ .. corded the deeds of the heroes of the Trojan War in the llliad. Homer's other famous epic poem, the Odyssey, told the adventures of a Trojan War hero as he traveled home to Greece after the war. Ancient Greeks believed many gods and goddesses controlled the world and lived in the sky on Mt. Olympus. The mountains and valleys on the mainland of Greece isolated people from each other and caused them to form their own city-states. Everyone thought that their city-state was the best. The Greeks' pride in their own city-state kept them from uniting into a strong country. II. T.S. Denison & Co., Inc. 5 Ancient Civilizatwns-{;reece One of these important city-states was Athens. The people of Athens were divided into three social classes: the upper class, free male land holding citizens born in Athens; the middle class, foreign-born merchants; and the lower class, which were slaves.