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Stuart Lochhead Sculpture
Stuart Lochhead Sculpture Stuart Lochhead Limited www.stuartlochhead.art 020 3950 2377 [email protected] Auguste Jean-Marie Carbonneaux Paris, 1769-1843 Hercules, after the Antique bronze 73 cm high Signed and dated Carbonneaux 1819 on the right side of the base Related literature ■ E. Lebon, « Répertoire », in Le fondeur et le sculpteur, Paris, Ophrys (« Les Essais de l'INHA »), 2012 [also available online] Stuart Lochhead Limited www.stuartlochhead.art 020 3950 2377 [email protected] Auguste Jean-Marie Carbonneaux is one of the pioneers of the technique of sand-casting for monumental sculpture. Not a lot is known about his life but a recent publication by E. Lebon (see lit.) has shed some light on his career. Born into a family of metal workers, Carbonneaux is known to be active as a founder from 1814. In 1819 at the request of the celebrated sculptor François-Joseph Bosio (1768-1845) he received the prestigious commission to execute the equestrian statue of Louis XIV for the Place des Victoires, Paris, which was unveiled in 1822. Carbonneaux cast the statue and the two men worked together at least one more time since he also executed in bronze Bosio’s large group of Hercules fighting Achelous transformed into a snake, a statue commissioned by the French royal household in 1822, exhibited at the Salon of 1824 and now in the Musée du Louvre, Paris. Clearly recognised as being an excellent founder, Carbonneaux was also selected by the Polish-French count Leon Potocki in 1821 to cast the equestrian portrait of the polish statesman and general Josef Poniatowski by Berthel Thorvaldsen1. -
Download) 5 C A3 London, BM M
REGINA HANSLMAYR DIE SKULPTUREN VON EPHESOS • DIE HERMEN Hermen-Home.indd 1 16.10.16 20:01 FORSCHUNGEN IN EPHESOS Herausgegeben vom ÖSTERREICHISCHEN ARCHÄOLOGISCHEN INSTITUT der ÖSTERREICHISCHEN AKADEMIE DER WISSENSCHAFTEN IN WIEN BAND X/2 Hermen-Home.indd 2 16.10.16 20:01 REGINA HANSLMAYR Die Skulpturen von Ephesos Die Hermen MIT BEITRÄGEN VON GEORG A. PLATTNER, URSULA QUATEMBER Hermen-Home.indd 3 16.10.16 20:01 Vorgelegt von w. M. JOHANNES KODER in der Sitzung vom 28. April 2015 Umschlagabbildung: Schulterhermen aus Ephesos. Wien, Kunsthistorisches Museum, Antikensammlung Inv. I 848 und I 920. Fotos: Niki Gail, © ÖAW/ÖAI Umschlaggestaltung: Büro Pani; A. Sulzgruber Gestaltung der Tafeln: Regina Hanslmayr, Niki Gail Diese Publikation wurde einem anonymen, internationalen Peer-Review-Verfahren unterzogen. This publication has undergone the process of anonymous, international peer review. Bibliografische Information der Deutschen Bibliothek Die Deutsche Bibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie, detaillierte bibliografische Daten sind im Internet über <http://dnb.ddb.de> abrufbar. Die verwendete Papiersorte ist aus chlorfrei gebleichtem Zellstoff hergestellt, frei von säurebildenden Bestandteilen und alterungsbeständig. Alle Rechte vorbehalten. ISBN 978-3-7001-7630-5 Copyright © 2016 by Österreichische Akademie der Wissenschaften, Wien Redaktion und Lektorat: Barbara Beck-Brandt Satz: Andrea Sulzgruber Druck: Prime Rate Kft., Budapest http://epub.oeaw.ac.at/7630-5 http://verlag.oeaw.ac.at Hermen-Home.indd -
Catalogue of Paintings, Sculptures and Other Objects Exhibited During The
ART ' INSTITUTE OF CHICAGO CATALOGUE • OF PAINTINGS, ScuLPTURES AND OTHER OBJECTS EXHIBITED DURING THE WoRLD'S CoNGREssEs MAY 15 TO OCT. 31, 1893. THE ART INSTITUTE, Lake Front, opposite Adams Street, Chicago. THE ART INSTITUTE OF CHICAGO. CATALOGUE -OF- PAINTINGS, SCULPTURES AND OTHER OBJECTS EXHIBITED DURING THE WORLD'S CON- GRESSES. · SEPTEMBER, I893. CHICAGO, LAKE FRONT, HEAD OF ADAMS STREET. TRUSTEES OF THE ART INSTITUTE OF CHICAGO, !892-J. CHARLES L. HUTCHINSON, SAMUEL M. NICKERSON, DAVID W. IRWIN, MARTIN A. RYERSON, EDWARD E. A YER, WILLIAM . T. BAKER, ELIPHALET W. BLATCHFORD, NATHANIEL K. FAIRBANK, JAMES H. DOLE, ALBERT A. SPRAGUE, JOHN C. BLACK, ADOI;PHUS C. BARTLETT, . JOHN J. GLESSNER, CHARLES D. HAMILL, EDSON KEITH, TURLINGTON W. HARVEY. ALLISON V. ARM01J.R, HOMER N. HIBBARD, MARSHALL FIELD, GEORGE N . CULVER, PHILANDER C. HANFORD. OFFICERS CHARLES L. HUTCHINSON, JAMES H. DOLE, President. V{ce-President. LYMAN J . GAGE, N.H. CARPENTER, Treasurer. Secretary. W . M. R. FRENCH, ALFRED EMERSON, Director. Curator of Classical Antiquities. EXECUTIVE COMMITTEE <;HARLES L. HUTCHINSON, CHARLES D. HAMILL, JA)iES H. DOLE, JOHN C. BLACK, ALBERT A. SPRAGUE, MARTIN A. RYERSON, WILLIAM T . BAKER. THE ART INSTITUTE OF CHICAGO was incorporated May 24, 1879, for the purpose of maintaining a Museum and School of Art. The present building is built by the Art Institute and the World's Columbian Exposition jointly, at a cost of ~625,000, upon land granted by the city. At the end of the Fair the building will become the permanent and exclusive possession of· the Art Institute . During the Fair it is occupied by the World's Congresses. -
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. -
Il Cortile Delle Statue Der Statuenhof Des Belvedere Im Vatikan
Bibliotheca Hertziana (Max-Planck-Inscitut) Deutsches Archaologisches Instirut Rom Musei Vaticani Sonderdruck aus IL CORTILE DELLE STATUE DER STATUENHOF DES BELVEDERE IM VATIKAN Ak:ten des intemationalen Kongresses zu Ehren von Richard Krautheimer Rom, 21.-23. Oktober 1992 herausgegeben von Matthias Winner, Bernard Andreae, Carlo Pietrangeli (t) 1998 VERLAG PHILIPP VON ZABERN · GEGRUNDET 1785 · MAINZ Ex Uno Lapide: The Renaissance Sculptor's Tour de Force IRVING LAVIN To Matthias Winner on his sixry-fifth birthday, with admiracion and friendship. In a paper published some fifteen years ago, in che coo ccxc of a symposium devoted to artiru and old age, I tried to define what J thoughL was an interesting aspect of Lhc new self-consciousness of che anist that arose in Italy in the Renaissance.' ln the largest sense the phe nomenon consisted in the visual anist providing for his own commemoration, in Lhe fonn of a tomb monument or devoLionaJ image associated with his EinaJ resring place. Although many anists' tombs and commemora tions arc known from antiquity, and some from che middle ages, anises of the Renaissance made such self commemorations on an unprecedented scale and with unprecedented consistency, producing grand and noble works at a time of life when one might have thought that their creative energies were exhausted, or chat they mighL have rested on their laurels. In particular, some of the most powerful works of Italian Renaissance sculp ture were created under these circumstances: the Floren tine Pict.a of Michelangelo, which be intended for his tomb in Santa Maria Maggiore in Rome (fig. -
A Bucchero Pesante Column Krater in Iowa
A BUCCHERO PESANTE COLUMN KRATER IN IOWA (Con le tavv. II-VII f. t.) In 1970 the University of Iowa Museum of Art acquired a large column krater said to have come from Vulci (1). It was presented as part of an exhi- bition of ancient Italian pottery from Midwestern collections in 1971 (2). This article describes the krater and then relates it to other vases of similar type attempting to establish a secure date and provenance. The investigation of parallel examples enables us to determine more specifically the nature of « bucchero pesante » production in the Vulci area and its relationship to Etru- scan pottery manufacture at other sites. Plate II illustrates the vase in its present state (3). Minor breaks along (1) I wish to thank Mr. Ulfert Wilke, Director of the Museum of Art, for per- mission to publish the vase. Special thanks are due Prof. Kyle Μ. Phillips, Jr. of Bryn Mawr College, for reading the manuscript and offering helpful suggestions. Photographs of the Iowa krater are by B. Yarborough; drawings in the text are by the author. Sections of this article appeared in a paper entitled, A Sixth Century Bucchero Pesante Column Krater in Iowa presented by the author at the 73rd Conference of the Archaeolo- gical Institute of America at Cincinnati, 1971. An abstract appears in AJA LXXVI, 1972, p. 208. The manuscript was completed in November, 1972. Funds for photographs were supplied by a stipend from the Graduate College of the University of Iowa. In addition to the St. Etr. standard abbreviations, the following appear in the footnotes: Bartoloni - G. -
ANCIENT TERRACOTTAS from SOUTH ITALY and SICILY in the J
ANCIENT TERRACOTTAS FROM SOUTH ITALY AND SICILY in the j. paul getty museum The free, online edition of this catalogue, available at http://www.getty.edu/publications/terracottas, includes zoomable high-resolution photography and a select number of 360° rotations; the ability to filter the catalogue by location, typology, and date; and an interactive map drawn from the Ancient World Mapping Center and linked to the Getty’s Thesaurus of Geographic Names and Pleiades. Also available are free PDF, EPUB, and MOBI downloads of the book; CSV and JSON downloads of the object data from the catalogue and the accompanying Guide to the Collection; and JPG and PPT downloads of the main catalogue images. © 2016 J. Paul Getty Trust This work is licensed under the Creative Commons Attribution 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042. First edition, 2016 Last updated, December 19, 2017 https://www.github.com/gettypubs/terracottas Published by the J. Paul Getty Museum, Los Angeles Getty Publications 1200 Getty Center Drive, Suite 500 Los Angeles, California 90049-1682 www.getty.edu/publications Ruth Evans Lane, Benedicte Gilman, and Marina Belozerskaya, Project Editors Robin H. Ray and Mary Christian, Copy Editors Antony Shugaar, Translator Elizabeth Chapin Kahn, Production Stephanie Grimes, Digital Researcher Eric Gardner, Designer & Developer Greg Albers, Project Manager Distributed in the United States and Canada by the University of Chicago Press Distributed outside the United States and Canada by Yale University Press, London Printed in the United States of America Library of Congress Cataloging-in-Publication Data Names: J. -
University of Florida Thesis Or Dissertation Formatting
SMATHERS LIBRARIES’ LATIN AND GREEK RARE BOOKS COLLECTION UNIVERSITY OF FLORIDA 2016 1 TABLE OF CONTENTS page LECTORI: TO THE READER ........................................................................................ 20 LATIN AUTHORS.......................................................................................................... 24 Ammianus ............................................................................................................... 24 Title: Rerum gestarum quae extant, libri XIV-XXXI. What exists of the Histories, books 14-31. ................................................................................. 24 Apuleius .................................................................................................................. 24 Title: Opera. Works. ......................................................................................... 24 Title: L. Apuleii Madaurensis Opera omnia quae exstant. All works of L. Apuleius of Madaurus which are extant. ....................................................... 25 See also PA6207 .A2 1825a ............................................................................ 26 Augustine ................................................................................................................ 26 Title: De Civitate Dei Libri XXII. 22 Books about the City of God. ..................... 26 Title: Commentarii in Omnes Divi Pauli Epistolas. Commentary on All the Letters of Saint Paul. .................................................................................... -
Attic Pottery of the Later Fifth Century from the Athenian Agora
ATTIC POTTERY OF THE LATER FIFTH CENTURY FROM THE ATHENIAN AGORA (PLATES 73-103) THE 1937 campaign of the American excavations in the Athenian Agora included work on the Kolonos Agoraios. One of the most interesting results was the discovery and clearing of a well 1 whose contents proved to be of considerable value for the study of Attic pottery. For this reason it has seemed desirable to present the material as a whole.2 The well is situated on the southern slopes of the Kolonos. The diameter of the shaft at the mouth is 1.14 metres; it was cleared to the bottom, 17.80 metres below the surface. The modern water-level is 11 metres down. I quote the description from the excavator's notebook: The well-shaft, unusually wide and rather well cut widens towards the bottom to a diameter of ca. 1.50 m. There were great quantities of pot- tery, mostly coarse; this pottery seems to be all of the same period . and joins In addition to the normal abbreviations for periodicals the following are used: A.B.C. A n tiquites du Bosphore Cimmerien. Anz. ArchaiologischerAnzeiger. Deubner Deubner, Attische Feste. FR. Furtwangler-Reichhold, Griechische Vasenmxlerei. Kekule Kekule, Die Reliefs an der Balustrade der Athena Nike. Kraiker Kraiker,Die rotfigurigenattischen Vasen (Collectionof the ArchaeologicalIn- stitute of Heidelberg). Langlotz Langlotz, Griechische Vasen in Wiirzburg. ML. Monumenti Antichi Pu'bblicatiper Cura della Reale Accadenia dei Lincei. Rendiconti Rendiconti della Reale Accademia dei Lincei. Richter and Hall Richter and Hall, Red-Figured Athenian Vases in the Metropolitan Museum of Art. -
Bareiss Collection Attic Black-Figured Amphorae, Neck-Amphorae, Kraters, Stamnos, Hydriai, and Fragments of Undetermined Closed Shapes
CORPVS VASORVM ANTIQVORVM UNITED STATES OF AMERICA • FASCICULE 23 The J. Paul Getty Museum, Malibu, Fascicule 1 This page intentionally left blank UNION ACADÉMIQUE INTERNATIONALE CORPVS VASORVM ANTIQVORVM THE J. PAUL GETTY MUSEUM • MALIBU Molly and Walter Bareiss Collection Attic black-figured amphorae, neck-amphorae, kraters, stamnos, hydriai, and fragments of undetermined closed shapes ANDREW J. CLARK THE J. PAUL GETTY MUSEUM FASCICULE 1 • [U.S.A. FASCICULE 23] 1988 LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA Corpus vasorum antiquorum. [United States of America.] The J. Paul Getty Museum, Malibu. (Corpus vasorum antiquorum. United States of America; fase. 23- ) Vol. i by Andrew J. Clark. At head of title : Union académique internationale. Includes index. Contents: v. i. Molly and Walter Bareiss Collection: Attic black-figured amphorae, neck-amphorae, kraters, stamnos, hydriai, and fragments of undetermined closed shapes. i. Vases, Greek—Catalogs. 2. Bareiss, Molly—Art collections—Catalogs. 3. Bareiss, Walter—Art collections—Catalogs. 4. Vases—Private collections— California—Malibu—Catalogs. 5. Vases—California— Malibu—Catalogs. 6. J. Paul Getty Museum—Catalogs. I. Clark, Andrew J., 1949- . II. J. Paul Getty Museum. III. Series: Corpus vasorum antiquorum. United States of America; fase. 23, etc. NK4640.C6.U5 fase. 23, etc. 73 8.3'82*0938074 s 88-12781 [NK4Ó24.B3 7] [73 8.3 '82J093 8074019493] ISBN 0-89236-134-4 © 1988 The J. Paul Getty Museum, Malibu, California All rights reserved Library of Congress Cataloging-in-Publication -
Farnese Hercules
FARNESE HERCULES ROMAN, 2ND CENTURY AD MARBLE HEAD RESTORED IN THE 18TH CENTURY HEIGHT: 55 CM. WIDTH: 21 CM. DEPTH: 16 CM. PROVENANCE: IN AN EUROPEAN COLLECTION FROM THE 18TH CENTURY BASED ON THE RESTORATION TECHNIQUES. THEN IN AN AMERICAN PRIVATE COLLECTION FROM THE 1950S. His left leg is forward, slightly flexed, while his supporting leg, the right, is tensed. The position tilts his hips significantly, drawing attention to the prominent muscles of our man’s torso. The inclined line of his hips contrasts with the line of his shoulders, giving the body a pronounced ‘S’ shape. This position, also known as contrapposto, is a Greek invention from the 5th century This statue of a middle-aged man in a BC, introduced by the sculptor Polyclitus. resting position depicts the demi-god At the time, he was looking for the way to Hercules in heroic nudity. Its statuary type perfectly represent the human body and is that of the Farnese Hercules. ultimately devised this new position. 3, Quai Voltaire, 75007 Paris, France – T. +33 1 42 97 44 09 - www.galeriechenel.com Although his head is modern, the craftsmanship is of high quality, reminiscent of late Hellenistic creations. His face and thoughtful, serene expression respect the codes for the representation of the demi- god in statues of this type (Ill. 1). Hercules is hiding his right hand behind his back and, although it is now missing, based on the Farnese Hercules type, we can Ill. 1. Statuette of Hercules resting, Greek, 3rd imagine that he was once holding the apples century BC or Roman replica from the early imperial from the Garden of the Hesperides (Ill. -
Material Culture and the Greek and Latin Classroom
University of Mary Washington Eagle Scholar Classics, Philosophy, and Religion College of Arts and Sciences 2018 Material Culture and the Greek and Latin Classroom Liane Houghtalin Follow this and additional works at: https://scholar.umw.edu/cpr Part of the Ancient History, Greek and Roman through Late Antiquity Commons, Classical Archaeology and Art History Commons, and the Education Commons Teaching Classical Languages Volume 9, Issue 1 Houghtalin 39 Material Culture and the Greek and Latin Classroom Liane Houghtalin University of Mary Washington ABSTRACT Responding to the new Standards for Classical Language Learning, this article emphasizes the importance of material culture to the study of Greek and Latin language and literature at every level, both K-12 and college. Using inscriptions on Greek vases and Roman coins as well as maps and house plans as examples, it demonstrates ways to insert material culture into the Greek and Latin classroom that will enhance a student’s knowledge of the language. It also shows how the use of material culture will help a class meet not only the Cultures goal of the new Standards, but also the Connections, Comparisons, and Communication goals. KEYWORDS Roman coins, material culture, inscriptions, maps, house plans, Standards, Greek vases A student starting French or Spanish can hold a short conversation in the target language after just one week of class. What can we offer students beginning their journey in ancient Greek or Latin? This article will demonstrate ways to insert material culture into high school and college Greek and Latin classrooms through inscriptions on Greek vases and Roman coins and through the exploration of maps and plans.