E. General Subjects
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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. -
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 -
THE APOXYOMENOS of LYSIPPUS. in the Hellenic Journal for 1903
THE APOXYOMENOS OF LYSIPPUS. IN the Hellenic Journal for 1903, while publishing some heads of Apollo, I took occasion to express my doubts as to the expediency of hereafter taking the Apoxyomenos as the norm of the works of Lysippus. These views, how- ever, were not expressed in any detail, and occurring at the end of a paper devoted to other matters, have not attracted much attention from archaeolo- gists. The subject is of great importance, since if my contention be justified, much of the history of Greek sculpture in the fourth century will have to be reconsidered. Being still convinced of the justice of the view which I took two years ago, I feel bound to bring it forward in more detail and with a fuller statement of reasons. Our knowledge of many of the sculptors of the fourth century, Praxiteles, Scopas, Bryaxis, Timotheus, and others, has been enormously enlarged during the last thirty years through our discovery of works proved by documentary evidence to have been either actually executed by them, or at least made under their direction. But in the case of Lysippus no such discovery was made until the very important identification of the Agias at Delphi as a copy of a statue by this master. Hitherto we had been content to take the Apoxyomenos as the best indication of Lysippic style ; and apparently few archaeologists realized how slender was the evidence on which its assignment to Lysippus was based. That assignment took place many years ago, when archaeological method was lax ; and it has not been subjected to sufficiently searching criticism. -
Focus on Greek Sculpture
Focus on Greek Sculpture Notes for teachers Greek sculpture at the Ashmolean • The classical world was full of large high quality statues of bronze and marble that honoured gods, heroes, rulers, military leaders and ordinary people. The Ashmolean’s cast collection, one of the best- preserved collections of casts of Greek and Roman sculpture in the UK, contains some 900 plaster casts of statues, reliefs and architectural sculptures. It is particularly strong in classical sculpture but also includes important Hellenistic and Roman material. Cast collections provided exemplary models for students in art academies to learn to draw and were used for teaching classical archaeology. • Many of the historical casts, some dating back to the eighteenth and nineteenth centuries, are in better condition than the acid rain-damaged originals from which they were moulded. They are exact plaster replicas made, with piece moulds that leave distinctive seams on the surface of the cast. • The thematic arrangement of the Cast Gallery presents the contexts in which statues were used in antiquity; sanctuaries, tombs and public spaces. Other galleries containing Greek sculpture, casts and ancient Greek objects Gallery 14: Cast Gallery Gallery 21: Greek and Roman Sculpture Gallery 16: The Greek World Gallery 7: Money Gallery 2: Crossing Cultures Gallery 14: Cast Gallery 1. Cast of early Greek kouros, Delphi, Greece, 2. Cast of ‘Peplos kore’, from Athenian Acropolis, c570BC c530BC The stocky, heavily muscled naked figure stands The young woman held an offering in her in the schematic ‘walking’ pose copied from outstretched left hand (missing) and wears an Egypt by early Greek sculptors, signifying motion unusual combination of clothes: a thin under- and life. -
SALTES, LA ISLA DE LA ATLANTIDA En Las Citas Que Encabezan Este
SALTES, LA ISLA DE LA ATLANTIDA Y TARTESSOS por Federico Wattenberg "Por lo demás, en la parte vecina a nosotros, poseía la Libia hasta Effipto y la Europa hasta Tirrenia. Ahora bien, esa potencia, concentrando una vez_ todas sus fuerzas, intentó en una sola expedición sojuzgar vuestro país y el nuestro..." (Platón, Timeo, 25b). "... cuando todos los ciudadanos esten mirando ^desde la población cómo el barco llega, lo tornes un peñas(m, junto a la costa, de suerte que guarde la semejanza de una velera nave para que todos los hombres se mara villen..." (Hombro, Odisea, Canto XIII, 172). "Hoy en día, sumergida ya por temblores de tierra, no queda de ella más que un fondo limoso infranquea ble, difícil para los navegantes que h^en sus singla duras desde aquí hacia el gran mar" (Platón, CnUas, 109 a). "Aquí está la ciudad de Gadir, pues ra lengua feni cia se llama Gadir a todo lugar cerrado. Ella fue llama da antes Tartessos, grande y opulenta ciudad en épocas antiguas, ahora pobre, ahora pequeña, ahora aban^- nada, ahora un campo de ruinas" (Avieno, Ora mam- tima, 267-272). En las citas que encabezan este trabajo se halla, en gran parte, la revelación de la localización de Tartessos. Se hacía natural destacar esas aparentes minucias que encierran, en ocasiones, el sortilegio de descubrirnos la conexión de los h más que como una solución a los problemas que plantea la libre interpretación de las fuentes a cada historiador, por el valor que a ultranza reflejan, con ensan o en su sentido toda la verdad asequible en el pasado sobre el vdor de la c tura, de las características geográficas, del emplazamiento o de la historia de aque a fabulosa ciudad. -
Apoxyomenos: Discovery, Underwater Excavation, and Survey Jasen Mesić, MP, Parliament of Croatia, Committee for Science, Education, and Culture
Program as of September 29, 2015; subject to change Tuesday, October 13 --The Getty Center 9:45 a.m. Check-in opens Museum Lecture Hall lobby Viewing of Power and Pathos: Bronze Sculpture of the Hellenistic World Exhibition Pavilion (opens 10:00 a.m.) Lunch on your own 12:30 p.m. Welcome and Introduction – Museum Lecture Hall Timothy Potts, J. Paul Getty Museum Kenneth Lapatin, J. Paul Getty Museum 1:00 p.m. Session I: Apoxyomenoi and Large-Scale Bronzes I – Museum Lecture Hall Chair: Jens Daehner, J. Paul Getty Museum The Bronze Athlete from Ephesos: Archaeological Background and History of its Classification Georg Plattner and Kurt Gschwantler, Kunsthistorisches Museum, Vienna The Bronze Athlete from Ephesos: Restauration History and Stability Evaluation Bettina Vak, Kunsthistorisches Museum, Vienna Apoxyomenos: Discovery, Underwater Excavation, and Survey Jasen Mesić, MP, Parliament of Croatia, Committee for Science, Education, and Culture New Results on the Alloys of the Croatian Apoxyomenos Iskra Karniš Vidovi , Croatian Conservation Institute, Zagreb The Use of Inlays inč Early Greek Bronzes Seán Hemingway and Dorothy H. Abramitis, The Metropolitan Museum of Art, New York Was the Colossus of Rhodes Cast in Courses or in Large Sections? Ursula Vedder, Kommission für Alte Geschichte und Epigraphik des Deutschen Archäologischen Instituts, Munich Break; refreshments served © 2015 J. Paul Getty Trust 19th International Congress on Ancient Bronzes, Oct. 13-17, 2015 Program as of September 29, 2015 Page 1 of 12 Program as of September 29, 2015; subject to change Tuesday, October 13 --The Getty Center (con’t) 3:30 p.m. Session II: Large-Scale Bronzes II – Museum Lecture Hall Chair: Sophie Descamps, Musée du Louvre, Paris A Royal Macedonian Portrait Head from the Sea off Kalymnos Olga Palagia, University of Athens The Bronze Head of Arsinoe III in Mantua and the Typology of Ptolemaic Divinization of the Archelaos Relief Patricia A. -
AP Art History Greek Study Guide
AP Art History Greek Study Guide "I cannot teach anybody anything. I can only make them think." - Socrates (470-399 BCE) CH. 5 (p. 101 – 155) Textbook Timeline Geometric Archaic Early Classical High Classical Late Classical Hellenistic 900-700 600 BCE- 480 Severe 450 BCE-400 BCE 400-323 BCE 323 BCE-31 BCE BCE 480 BCE- 450 BCE BCE Artists: Phidias, Artists: Praxiteles, Artists: Pythokritos, Artists: ??? Polykleitos, Myron Scopas, Orientalizing Lysippus Polydorus, Artists: Kritios 700-600 Agesander, Artworks: Artworks: BCE Artworks: Athenodorus kouroi and Artworks: Riace warrior, Aphrodite of Knidos, korai Pedimental Zeus/Poseidon, Hermes & the Infant Artworks: sculpture of the Doryphoros, Dionysus, Dying Gaul, Temple of Diskobolos, Nike Apoxyomenos, Nike of Samothrace, Descriptions: Aphaia and the Adjusting her Farnes Herakles Barberini Faun, Idealization, Temple of Sandal Seated Boxer, Old Market Woman, Artemis, Descriptions: stylized, Laocoon & his Sons FRONTAL, Kritios boy Descriptions: NATURAL, humanized, rigid Idealization, relaxed, Descriptions: unemotional, elongation EMOTIONAL, Descriptions: PERFECTION, dramatic, Contrapposto, self-contained exaggeration, movement movement, individualistic Vocabulary 1. Acropolis 14. Frieze 27. Pediment 2. Agora 15. Gigantomachy 28. Peplos 3. Amphiprostyle 16. Isocephalism 29. Peristyle 4. Amphora 17. In Situ 30. Portico 5. Architrave 18. Ionic 31. Propylaeum 6. Athena 19. Kiln 32. Relief Sculpture 7. Canon 20. Kouros / Kore 33. Shaft 8. Caryatid / Atlantid 21. Krater 34. Stele 9. Contrapposto 22. Metope 35. Stoa 10. Corinthian 23. Mosaic 36. Tholos 11. Cornice 24. Nike 37. Triglyph 12. Doric 25. Niobe 38. Zeus 13. Entablature 26. Panatheonic Way To-do List: ● Know the key ideas, vocabulary, & dates ● Complete the notes pages / Study Guides / any flashcards you may want to add to your ongoing stack ● Visit Khan Academy Image Set Key Ideas *Athenian Agora ● Greeks are interested in the human figure the idea of Geometric perfection. -
Euripides and Gender: the Difference the Fragments Make
Euripides and Gender: The Difference the Fragments Make Melissa Karen Anne Funke A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee: Ruby Blondell, Chair Deborah Kamen Olga Levaniouk Program Authorized to Offer Degree: Classics © Copyright 2013 Melissa Karen Anne Funke University of Washington Abstract Euripides and Gender: The Difference the Fragments Make Melissa Karen Anne Funke Chair of the Supervisory Committee: Professor Ruby Blondell Department of Classics Research on gender in Greek tragedy has traditionally focused on the extant plays, with only sporadic recourse to discussion of the many fragmentary plays for which we have evidence. This project aims to perform an extensive study of the sixty-two fragmentary plays of Euripides in order to provide a picture of his presentation of gender that is as full as possible. Beginning with an overview of the history of the collection and transmission of the fragments and an introduction to the study of gender in tragedy and Euripides’ extant plays, this project takes up the contexts in which the fragments are found and the supplementary information on plot and character (known as testimonia) as a guide in its analysis of the fragments themselves. These contexts include the fifth- century CE anthology of Stobaeus, who preserved over one third of Euripides’ fragments, and other late antique sources such as Clement’s Miscellanies, Plutarch’s Moralia, and Athenaeus’ Deipnosophistae. The sections on testimonia investigate sources ranging from the mythographers Hyginus and Apollodorus to Apulian pottery to a group of papyrus hypotheses known as the “Tales from Euripides”, with a special focus on plot-type, especially the rape-and-recognition and Potiphar’s wife storylines. -
Naked and Unashamed: a Study of the Aphrodite
Naked and Unashamed: A Study of the Aphrodite Anadyomene in the Greco-Roman World by Marianne Eileen Wardle Department of Art, Art History and Visual Studies Duke University Date:_______________________ Approved: ___________________________ Sheila Dillon, Supervisor ___________________________ Mary T. Boatwright ___________________________ Caroline A. Bruzelius ___________________________ Richard J. Powell ___________________________ Kristine Stiles Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosopy in the Department of Art, Art History and Visual Studies in the Graduate School of Duke University 2010 ABSTRACT Naked and Unashamed: A Study of the Aphrodite Anadyomene in the Greco-Roman World by Marianne Eileen Wardle Department of Art, Art History and Visual Studies Duke University Date:_______________________ Approved: ___________________________ Sheila Dillon, Supervisor ___________________________ Mary T. Boatwright ___________________________ Caroline A. Bruzelius ___________________________ Richard J. Powell ___________________________ Kristine Stiles An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosopy in the Department of Art, Art History and Visual Studies in the Graduate School of Duke University 2010 Copyright by Marianne Eileen Wardle 2010 Abstract This dissertation presents a study of the Aphrodite Anadyomene type in its cultural and physical contexts. Like many other naked Aphrodites, the Anadyomene was not posed to conceal the body, but with arms raised, naked and unashamed, exposing the goddess’ body to the gaze. Depictions of the Aphrodite Anadyomene present the female body as an object to be desired. The Anadyomene offers none of the complicated games of peek-a- boo which pudica Venuses play by shielding their bodies from view. Instead, the goddess offers her body to the viewer’s gaze and there is no doubt that we, as viewers, are meant to look, and that our looking should produce desire. -
2014 Emissions Inventory Report
Calendar Year 2014 Greenhouse Gas Emissions Inventory Report Prepared for: The U.S. Overseas Private Investment Corporation Prepared by: FINAL REPORT July 2016 SC&A, Inc. 1608 Spring Hill Rd., Suite 400 Vienna, VA 22182 (703) 893-6600 www.scainc.com i TABLE OF CONTENTS TABLE OF CONTENTS ................................................................................................................................. ii TABLES ......................................................................................................................................................... iii FIGURES ...................................................................................................................................................... iv INTRODUCTION ........................................................................................................................................... 1 Baseline Inventory Development .............................................................................................................. 1 2008-2012 Inventories .............................................................................................................................. 2 2013 Inventory Summary.......................................................................................................................... 3 2014 Inventory Summary.......................................................................................................................... 3 METHODOLOGY ......................................................................................................................................... -
Phryne in Modern Art, Cinema and Cartoon by Eleonora Cavallini The
Phryne in Modern Art, Cinema and Cartoon by Eleonora Cavallini The biographical data antiquity has bequeathed to us about Phryne, the 4th century b.C. Greek courtesan, is so romanced (and romanticized) as to make things very difficult for modern scholars who try to separate reality from fiction with a degree of accuracy. However, I think raising doubts about the historical authenticity of this fascinating yet disquieting female figure would be excessive. Similarly, the scepticism some scholars recently expressed about traditional data, such as Phryne’s famous trial, seems to be too radical.(1)A careful evaluation of the sources is of course mandatory, especially if one considers that these (except for the comic poets Timocles, Amphis and Poseidippus, whom we will discuss later) (2)mostly date from the 1st to the 4th century A.D. -therefore, not only were they written at a much later date than the events they narrate, but they also presumably reflect a penchant for anecdotal and sensational stories that was common among erudite authors of the Hellenistic-Roman period. In fact, when examining ancient documents about Phryne, one gets the impression that the first forger of her ‘myth’ was not a biographer nor a poet, but the woman herself, with her skilful use of provocative statements that were bound to cause a sensation, especially among conformists, as well as a series of carefully contrived, spectacular public appearances. Moreover, the sources emphasize Phryne’s tendency to ‘celebrate’ her own beauty by having expensive images of herself