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Greek Sculpture and the Four Elements Art
University of Massachusetts Amherst ScholarWorks@UMass Amherst Greek Sculpture and the Four Elements Art 7-1-2000 Greek Sculpture and the Four Elements [full text, not including figures] J.L. Benson University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/art_jbgs Part of the History of Art, Architecture, and Archaeology Commons Benson, J.L., "Greek Sculpture and the Four Elements [full text, not including figures]" (2000). Greek Sculpture and the Four Elements. 1. Retrieved from https://scholarworks.umass.edu/art_jbgs/1 This Article is brought to you for free and open access by the Art at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Greek Sculpture and the Four Elements by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Cover design by Jeff Belizaire About this book This is one part of the first comprehensive study of the development of Greek sculpture and painting with the aim of enriching the usual stylistic-sociological approaches through a serious, disciplined consideration of the basic Greek scientific orientation to the world. This world view, known as the Four Elements Theory, came to specific formulation at the same time as the perfected contrapposto of Polykleitos and a concern with the four root colors in painting (Polygnotos). All these factors are found to be intimately intertwined, for, at this stage of human culture, the spheres of science and art were not so drastically differentiated as in our era. The world of the four elements involved the concepts of polarity and complementarism at every level. -
The Sepulchral Symbolism and Workshop Comparison of the Raptus of the Sabines Sarcophagus and the Metilia Acte Sarcophagus
International Journal of Archaeology 2015; 3(1): 1-7 Published online February 5, 2015 (http://www.sciencepublishinggroup.com/j/ija) doi: 10.11648/j.ija.20150301.11 ISSN: 2330-7587 (Print); ISSN: 2330-7595 (Online) The Sepulchral Symbolism and Workshop Comparison of the Raptus of the Sabines Sarcophagus and the Metilia Acte Sarcophagus Fred A. White 1, 2 1Curator-in-Charge of the Archaeological Collections, Florida Archaeological Survey, Gainesville, FL, USA 2Advisory Council and Collections, Appleton Museum of Art, College of Central Florida, Ocala, FL, USA Email address: [email protected] To cite this article: Fred A. White. The Sepulchral Symbolism and Workshop Comparison of the Raptus of the Sabines Sarcophagus and the Metilia Acte Sarcophagus. International Journal of Archaeology. Vol. 3, No. 1, 2015, pp. 1-7. doi: 10.11648/j.ija.20150301.11 Abstract: The sarcophagus illustrating the story of the Sabine Women at the Cornell Fine Arts Museum is believed to have been obtained in Rome between 1899 and 1904 by Alfred Emerson, Professor and Chair of Classical Archaeology at Cornell University, Fellow at John Hopkins University and the Curator of Antiquities at the Art Institute of Chicago. The Metilia Acte sarcophagus illustrating the story of Alkēstis at the Vatican in the Museo Chiaramonti was discovered in Ostia in 1826 by the architect Pietro Hall and Felice Cartoni. The Sabine sarcophagus dates to the second century A.D. and the Alkēstis sarcophagus dates by the inscription to between the years 160-170 A.D. The Sabine story is the Raptus of the Sabine Women while the Alkēstis story is according to Euripides' drama, Alkēstis. -
Sevy 1 Monique Sevy Professor Julianne Sandlin AH 205 11035 8 March 2012 the Augustus of Primaporta: a Message of Imperial Divin
Sevy 1 Monique Sevy Professor Julianne Sandlin AH 205 11035 8 March 2012 The Augustus of Primaporta: A Message of Imperial Divinity The Augustus of Primaporta is a freestanding marble sculpture in the round. The sculpture is a larger than life 6’ 8” tall and is an example of early Roman imperial portrait sculpture. This sculpture is currently displayed in the Braccio Nuovo of the Vatican Museums in Rome, Italy. This marble portrait of the first Roman emperor, Augustus, is a very naturalistic statue. Although the sculpture was carved in the early first century, at the time of the Roman empire, Augustus stands in a Classical Greek contrapposto pose. While the sculptor of this piece is unknown, we do know that he or she followed the canon of the High Classical Greek sculptor named Polykleitos in pose, idealization, and proportion (Stokstad, Cothren 174). The Augustus of Primaporta statue sends not only a message of the Emperor Augustus as an accomplished military leader, but also clearly suggests that the emperor is a divine being. The Augustus of Primaporta is a three-dimensional sculpture. The statue actually occupies space; therefore there is no need to use illusion to create suggested space. However, the statue does use space, both negative and positive, to influence the viewer. The negative space between Augustus’s calves forms an implied triangle, or arrow, directing the viewer’s gaze upward toward the center focal point of the piece, while the positive space of the emperor’s raised and pointed right arm forcefully pierces the space surrounding the piece. -
VENUS and ADONIS (Published in 1593) 'Vilia Miretur Vulgus; Mihi
VENUS AND ADONIS (Published in 1593) 'Vilia miretur vulgus; mihi flavus Apollo Pocula Castalia plena ministret aqua. ' TO THE RIGHT HONORABLE HENRY WRIOTHESLY,EARL OF SOUTHAMPTON, AND BARON OF TICHFIELD. RIGHT HONORABLE, I know not how I shall offend in dedicating my unpolished lines to your lordship, nor how the world will censure me for choosing so strong a prop to support so weak a burden: only, if your honour seem but pleased, I account myself highly praised, and vow to take advantage of all idle hours, till I have honoured you with some graver labour. But if the first heir of my invention prove deformed, I shall be sorry it had so noble a god-father, and never after ear so barren a land, for fear it yield me still so bad a harvest. I leave it to your honourable survey, and your honour to your heart's content; which I wish may always answer your own wish and the world's hopeful expectation. Your honour's in all duty, WILLIAM SHAKESPEARE EVEN as the sun with purple-colour'd face Had ta'en his last leave of the weeping morn, Rose-cheek'd Adonis hied him to the chase; Hunting he loved, but love he laugh'd to scorn; Sick-thoughted Venus makes amain unto him, And like a bold-faced suitor 'gins to woo him. 'Thrice-fairer than myself,' thus she began, 'The field's chief flower, sweet above compare, Stain to all nymphs, more lovely than a man, 10 More white and red than doves or roses are; Nature that made thee, with herself at strife, Saith that the world hath ending with thy life. -
The Myth of Aphrodite and Adonis in Roman Mosaics of Jordan, Arabia
JMR 8, 2015 1-16 The Myth of Aphrodite and Adonis in Roman Mosaics of Jordan, Arabia, Antioch, Mauretania Tingitana and Hispania Ürdün, Arabistan, Antakya, Mauretania Tingitana ve Hispanya’daki Roma Mozaikleri Üzerinde Aphrodite ve Adonis Miti José María BLÁZQUEZ* (Received 9 February 2015, accepted after revision 29 October 2015) Abstract The myth of the love between Aphrodite and Adonis has a Syrian origin. It was known in Greece since 700 B.C. The early Greek vases, Athenian black figure vases and Athenian red figure vases do not represent it. It appears in Corinthian mirrors from the mid-4th century B.C. A huge celebration took place in the Ptolemaic court in Alexandria in honour of Adonis. During the Roman Empire it was represented in several Roman mosaics in An- tioch. The myth is not known in mosaics of Orient, Greece and Northern Africa. It was represented in Madaba during the mid-4th century A.D. In Western Roman mosaics it was represented in Lixus, Mauretania Tingitana, and in several mosaics of Hispania. A celebration in honour of Adonis took place in Hispalis in 287 A.D. Keywords: Aphrodite and Adonis, greek vases, mirror of Corinth, Ptolemaios, not Orient, not Northern Africa, Antioch, Lixus, Hispania, Hispalis. Öz Aphrodite ve Adonis arasında yaşanan aşk miti Suriyeli bir kökene sahiptir. Yunanistan’da, İ.Ö. 700’lerden beri bilinmektedir. Erken Yunan vazoları, Atina siyah ve kırmızı figürlü vazolar bu konuyu betimlememektedir. Bu konu, İ.Ö. 4. yüzyıl ortalarında, Korint paralellerinde görünmektedir. İskenderiye’de, Ptolemaios Hanedanı sarayında, Adonis onuruna büyük törenler düzenlenmekteydi. Roma İmparatorluğu Dönemi’nde, Antakya’da birçok Roma mozaiği üzerinde bu konu tasvir edilmiştir. -
Pessoa's Antinous I
Pessoa’s Antinous J. D. Reed* Keywords Antinous, English poetry, Decadent poetry, Modernism, Fernando Pessoa. Abstract Pessoa’s Antinous follows a tradition of poems on mythological dying-god figures mourned by their divine lovers, transferring the tropes of that tradition to the Roman emperor Hadrian and his lover, who had been appropriated by fin-de-siècle literary homoeroticism. Palavras-chave Antinous, Poesia inglesa, Decadentismo, Modernismo, Fernando Pessoa. Resumo O Antinous (Antínoo) de Fernando Pessoa segue uma tradição de poemas sobre deuses mitológicos moribundos sendo lamentados por seus amantes divinos. Pessoa transfere os artifícios dessa tradição para duas personagens, o imperados romano Adriano e seu amante, o qual tinha sido apropriado pelo homoerotismo literário do fim do século XIX. * Professor of Classics and Comparative Literature, Brown University. Reed Pessoa's Antinous I. For the student of Classical reception, Pessoa’s Antinous (1918), with its picture of the Roman emperor Hadrian’s grief for his dead boyfriend, caps a roster of nineteenth-century English poems inspired by “dying god” figures, Greek mythological characters like Adonis, beloved by a powerful deity, lost objects of beauty.1 Examples are Shelley’s “Adonais,” his elegy on Keats under the guise of an Adonis-figure; Keats’s own “Endymion,” particularly the Adonis section; Swinburne’s take on the Tannhäuser legend, “Laus Veneris,” with its heated eroticism and hopeless roster of the vampiric Venus’ cast-off lovers. The “Epitaph on Adonis” of the ancient -
The Garden of Adonis
造 園 雑 誌42(3):10-17,1979 THE GARDEN OF ADONIS by Yong Soo KIM* ア ドニ ス 園 に つ い て 金 龍 沫 I. INTRODUCTION killed by Hephaestus, the God of hunting. This study is a research into the origin and de- Panyasis (Hav)a w.)*4), a Greek scholar who lived velopment of the Garden of Adonis and a considera- around the 6th century B. C., however, had a diffe- tion of its historical importance in the beginning of rent opinion about the myth. Thiantos (Oeiavzoa), pot gardening in Greece. King of Assyria, became so angered by the adultery The custom of the Garden of Adonis is a folk of Smyrna, his daughter, with Zeus, that he threa custom which, being handed down from Ancient tened to kill her. She went to the Gods for help. Greece, still remains in the life of the Greeks today. The Gods turned her into a Smyrna tree. Tenf In ancient times, Greek women celebrated the Festival months later, the tree split and the newborn Adonis of Adonis in midsummer. Around a statue of Adonis was found there. Aphrodite concealed the infant in they placed earthen, pots filled with soll in which a box, which she gave in charge to Persephone they sowed fennel and lettuce as well as wheat and (II E. , Queen of the Underworld. But when barleyX1'. Even now women sow quick-growing seeds Persephone opened the box and saw the beauty o in pots during the festival in the village of Serres the baby she refused to return him to Aphrodite. -
Roman Art Kindle
ROMAN ART PDF, EPUB, EBOOK Paul Zanker | 216 pages | 10 Jan 2012 | Getty Trust Publications | 9781606061015 | English | Santa Monica CA, United States Roman Art PDF Book If you don't know about Paracas textiles Construction of the Baths of Diocletian , for instance, monopolised the entire brick industry of Rome, for several years. Roman aqueducts , also based on the arch, were commonplace in the empire and essential transporters of water to large urban areas. The Romans also made frequent use of the semicircular arch, typically without resorting to mortar: relying instead on the precision of their stonework. The heads of the Marcus Aurelius figures are larger than normal, to show off their facial expressions. However it never lost its distinctive character, especially notable in such fields as architecture, portraiture, and historical relief. This led to a popular trend among the ancient Romans of including one or more such statues in the gardens and houses of wealthier patrons. With the authenticity of the medallion more firmly established, Joseph Breck was prepared to propose a late 3rd to early 4th century date for all of the brushed technique cobalt blue-backed portrait medallions, some of which also had Greek inscriptions in the Alexandrian dialect. They also served an important unifying force. Useing vivid colours it simulates the appearance of marble. From Wikipedia, the free encyclopedia. Sculpture: Types and Characteristics. A higher relief is used, permitting greater contrast between light and shadow. Further information: Roman portraiture. As another example of the lost "Golden Age", he singled out Peiraikos , "whose artistry is surpassed by only a very few But flagship buildings with domes were far from being the only architectural masterpieces built by Ancient Rome. -
Roman Art and Architecture: from Julius Caesar to Hadrian Spring 2011 HIAA 0340 a – CRN 25363
Roman Art and Architecture: From Julius Caesar to Hadrian Spring 2011 HIAA 0340 A – CRN 25363 Prof. Rebecca Molholt, List 406 Class time: Monday and Weds 11-11:50; List 120 Office hours: Weds. 12-2pm, and by appt. email: [email protected] T.A.: Chris Geggie, Macfarlane House, 102 Sections: Fridays, 11-11:50, and TBA Office hours: Weds. 9-11am, and by apt. email: [email protected] Course Description This course provides an introduction to some of the riches of Roman material culture, especially the art and architecture of Republican Italy and the Roman Empire up to the age of the emperor Hadrian. The class structure is generally chronological, and one within which specific themes can be brought to the foreground. Such themes include housing, urban development in an imperial context, the effects of social status and gender on the form and content of art, and the historically changing style of portraits, monuments and civic priorities. A further aim of this course is to examine critically the process of interpreting works of art, and to explore how the jumbled fragments of the past are sorted into historical narratives by scholars. Course Objectives Upon successful completion of this course, students will: • have a thorough understanding of Roman material culture, especially the art and architecture of Republican Italy and the Roman Empire up to the age of the emperor Hadrian. • be able to discuss themes including housing, urban development in an imperial context, spectacles, the effects of social status and gender on the form of art, and the historically changing style of portraits, monuments and civic priorities. -
THE ORIGINALITY of ROMAN SCULPTURE* Anthony Bonanno
THE ORIGINALITY OF ROMAN SCULPTURE* Anthony Bonanno RIGINALITY in itself is an absolute quality; it is either there or not there. O It can be present in some aspect, or aspects, and not in others. But its presence or absence can be determined only by relating the artifact which is supposed to contain it (be it a poem, a work of figurative art, a patented idea, or even a philosophical thought) with others preceding it in time. An industrial design presented for patent registration has to be original, otherwise it does not qualify as a new device, a new contribution to science or technology; it is worthless because it is only a repetition of something else that was created before it. So, even here, originality is judged by comparison with what precedes it. But it is rarely or never the case that the entire design, or designed object, is entirely new. Originality generally resides only in a part of the whole, but that partial novelty is conventionally accepted as constituting a new design, a new device. Apart from the common place and far from poetical analogy, I believe that more or less the same thread of thought can be applied to the task of establishing whether Roman art is an original art, and thus qualifying it as something distinctly Roman, or whether it is merely an extension of another art. And to establish one or the other, the comparison has to be made with the art that precedes it in time. The prehistoric cave art of the Franco-Cantabrian region with which we are all familiar has no predecessor, at least according to the present state of our knowledge of Palaeolithic man and his art; therefore, it stands to reason that this art could not be other than original. -
Chicago Demotic Dictionary (CDD)
oi.uchicago.edu chicago demotic dictionary c hicago demotic dictionary (cdd) François gaudard and Janet h. Johnson The staff of the Chicago Demotic Dictionary, namely, Janet Johnson, François Gaudard, Brittany Hayden, and Mary Szabady, spent the year checking drafts of entries for the last letter files in progress. We have been assisted by Oriental Institute docent Larry Lissak, who scanned photographs of various Demotic texts and also part of Wilhelm Spiegelberg’s Nachlasse. Letter files P (183 pages), M (312 pages), and, more recently, ʾI (250 pages) have been posted online. As for the last two letters, T (297 pages) has been entirely checked and will be posted after a final style check, and S (400 pages), by far the largest of all the files, is currently being worked on. The numbers file (154 pages) is in the process of being double- checked. We would like to thank all our colleagues for their useful comments and suggestions, in particular, Joachim Friedrich Quack, Friedhelm Hoffmann, and Eugene Cruz-Uribe. Special thanks go to Veena Elisabeth Frank Jørgensen for providing us with various references from the files in Copenhagen. In addition to everyday words, the CDD also includes specialized vocabulary (e.g., reli- gious, legal, and mathematical terminology). Although we don’t incorporate personal names unless there is a word of special interest in the name (the recently completed Demotisches Namenbuch1 is an excellent resource), we do include many royal names and epithets, espe- cially those of the Ptolemies and of the Roman emperors. For the latter, the various forms of an epithet or royal name are given for each emperor who bore them. -
Reading Death in Ancient Rome
Reading Death in Ancient Rome Reading Death in Ancient Rome Mario Erasmo The Ohio State University Press • Columbus Copyright © 2008 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Erasmo, Mario. Reading death in ancient Rome / Mario Erasmo. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8142-1092-5 (cloth : alk. paper) ISBN-10: 0-8142-1092-9 (cloth : alk. paper) 1. Death in literature. 2. Funeral rites and ceremonies—Rome. 3. Mourning cus- toms—Rome. 4. Latin literature—History and criticism. I. Title. PA6029.D43E73 2008 870.9'3548—dc22 2008002873 This book is available in the following editions: Cloth (ISBN 978-0-8142-1092-5) CD-ROM (978-0-8142-9172-6) Cover design by DesignSmith Type set in Adobe Garamond Pro by Juliet Williams Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI 39.48-1992. 9 8 7 6 5 4 3 2 1 Contents List of Figures vii Preface and Acknowledgments ix INTRODUCTION Reading Death CHAPTER 1 Playing Dead CHAPTER 2 Staging Death CHAPTER 3 Disposing the Dead 5 CHAPTER 4 Disposing the Dead? CHAPTER 5 Animating the Dead 5 CONCLUSION 205 Notes 29 Works Cited 24 Index 25 List of Figures 1. Funerary altar of Cornelia Glyce. Vatican Museums. Rome. 2. Sarcophagus of Scipio Barbatus. Vatican Museums. Rome. 7 3. Sarcophagus of Scipio Barbatus (background). Vatican Museums. Rome. 68 4. Epitaph of Rufus.