Showing posts with label bronze. Show all posts
Showing posts with label bronze. Show all posts

Friday, August 23, 2019

Characters from Classical Antiquity in Three Dimensions

Hans Kels the Younger
Phaedra and Hippolytus
1537
oak relief-carving on token for board game
Kunsthistorisches Museum, Vienna

Hans Kels the Younger
Orpheus and Eurydice
1537
oak relief-carving on token for board game
Kunsthistorisches Museum, Vienna

attributed to Giovanni Caccini
Phalaris and the Bull of Perillus
ca. 1590-1600
terracotta relief
Art Institute of Chicago

Ancient Greece
Stater of Lampsakos with Head of Pan
387-330 BC
gold
Museum of Fine Arts, Boston

Ancient Greece
Obol of Megalopolis with Head of Pan
370-363 BC
silver
Museum of Fine Arts, Boston

An Antique Gesture

I thought, as I wiped my eyes on the corner of my apron:
Penelope did this too.
And more than once: you can't keep weaving all day
And undoing it all through the night;
Your arms get tired, and the back of your neck gets tight;
And along towards morning, when you think it will never be light,
And your husband has gone, and you don't know where, for years,
Suddenly you burst into tears;
There is simply nothing else to do.

And I thought, as I wiped my eyes on the corner of my apron:
This is an ancient gesture, authentic, antique,
In the very best tradition, classic, Greek;
Ulysses did this too.
But only as a gesture, – a gesture which implied
To the assembled throng that he was much too moved to speak.
He learned it from Penelope . . .
Penelope, who really cried.

– Edna St. Vincent Millay (1949)

Ancient Greece
Statuette of Pan
3rd-2nd century BC
bronze
Museum of Fine Arts, Boston

Ancient Rome
Statuette of Phrixos
1st century BC
bronze
Getty Museum, Los Angeles

Ancient Greece
Woman wearing Peplos
ca. 450 BC
terracotta statuette
Museum of Fine Arts, Boston

Attic Greece
Kylix - Hercules and Antaeus (detail)
ca. 500-480 BC
painted terracotta
Kunsthistorisches Museum, Vienna

Attic Greece
Hydria - Achilles dragging the Corpse of Hector behind his Chariot
ca. 520-510 BC
painted terracotta
Museum of Fine Arts, Boston

Attic Greece
Skyphos - Amazon mounted on a Lion, confronting a a Monster
ca. 510-500 BC
painted terracotta
Museum of Fine Arts, Boston

Attic Greece
Neck Amphora - Hercules and Triton
ca. 520 BC
painted terracotta
Metropolitan Museum of Art, New York

François Dumont
Titan struck by a Thunderbolt (detail)
1712
marble
Musée du Louvre

Ancient Rome
Great Eleusinian Relief
(fragment of Roman copy with with Demeter, Triptolemos and Persephone)
ca. 27 BC - AD 14
marble relief-panel
Metropolitan Museum of Art, New York

Monday, August 19, 2019

17th and 18th-century Sculpture by Prominent Academicians

Pierre-François Berruer
Louis XV taking the Académie under his Protection
1770
marble relief
Musée du Louvre

"From the outset, the raison d'être of the Académie was to establish a distinction: to show that painting and sculpture were not repetitive, artisanal activities but, by virtue of their intellectual component, belonged to the liberal arts, since their creation required the concerted action of hand and mind.  Prior to 1667, this was no more than an oft-repeated affirmation backed by examples from antiquity and the old masters.  But in due course the progress of the arts became a political objective.  . . .  The discovery of the rules of art would be a title of glory not only to the Académie but to the kingdom as a whole, and their application would place France at the head of European art.  It is primarily in this respect that we can speak of the monarchy's artistic policy: the fine arts, along with the army, navy, literature, sciences, and manufactories, were intended to establish France as the leading country of Europe."

– The Académie Royale de Peinture et de Sculpture: The Birth of the French School, 1648-1793 by Christian Michel, published in France in 2012, translated by Chris Miller and published by Getty Research Institute in 2018

François Chéron
Portrait Medal of Charles Le Brun
ca. 1681
bronze
Frick Collection, New York

Guillaume Coustou the Elder
Bust of Samuel Bernard
ca. 1727
marble
Metropolitan Museum of Art, New York

Guillaume Coustou the Elder
Marly Horse
(one of two)
1739-45
marble
Musée du Louvre

Guillaume Coustou the Elder
Marly Horse
(one of two)
1739-45
marble
Musée du Louvre

Jean-Louis Lemoyne
Bust of Jules Hardouin-Mansart
1703
marble
Musée du Louvre

Robert Le Lorrain
Apollo bringing Water to the Horses of the Sun
1737
marble relief
Hôtel de Rohan, Paris

Pierre Lepautre
Aeneas and Anchises
ca. 1697
marble
Musée du Louvre

Pierre Lepautre
Faun with Kid
1685
marble
Musée du Louvre

Pierre Lepautre
Arria and Paetus
1685-95
marble
Musée du Louvre

Gaspard Marsy and Anselme Flamen
Abduction of Orithyia by Boreas
1677-87
marble
Musée du Louvre

Jean-Joseph Vinache
Hercules vanquished by Love
1741
marble
Musée du Louvre

Augustin Pajou
Mercury
1780
marble
Musée du Louvre

Augustin Pajou
Neptune
1767
marble
Musée des Beaux-Arts de Lyon

Friday, August 2, 2019

Theseus - Victorian and Modernist

Phoebe Anna Traquair
Theseus offers himself as a sacrifice to the Minotaur
(design for enamelled plaque)
1904
drawing, with watercolor
Victoria & Albert Museum

Phoebe Anna Traquair
Ariadne provides Theseus with a sword to slay the Minotaur
and a ball of thread to escape the Labyrinth

(design for enamelled plaque)
1904
drawing, with watercolor
Victoria & Albert Museum

Phoebe Anna Traquair
Theseus slays the Minotaur
(design for enamelled plaque)
1904
drawing, with watercolor
Victoria & Albert Museum

Phoebe Anna Traquair
Ariadne accompanies Theseus on his way home to Athens
(design for enamelled plaque)
1904
drawing, with watercolor
Victoria & Albert Museum

The Ships of Theseus

The ship wherein Theseus and the youth of Athens returned had thirty oars, and was preserved by the Athenians . . . for they took away the old planks as they decayed, putting in new and stronger timber in their place, insomuch that this ship became a standing example among the philosophers, for the logical question of things that grow; one side holding that the ship remained the same, and the other contending that it was not the same.           
                                                                                              – Plutarch, Vita Thesel 


The answer of course is that the ship
doesn't exist, that "ship"
is an abstraction, a conception,
an imaginary tarp thrown
across the garden of the real.
The answer is that the cheap
peasantry of things toils all day
in the kingdom of language,
every ship a casket
of words: bulkhead, transom,
mast steps. The answer
is to wake again to the banality
of things, to wade toward
the light inside the plasma
of ideas. But each plank
is woven from your mother's
hair. The blade of each oar
contains the shadow of
a horse. The answer
is that the self is the glue between
the boards, the cartilage
that holds a world together,
that self is the wax in
the stenographer's ears,
that there is nothing the mind
won't sacrifice, each item
another goat tossed into
the lava of our needs.
The answer is that this is just
another poem about divorce,
about untombing the mattress
from the sofa, your body
laid out on the bones of the
double-jointed frame, about
separation, rebuilding, about
your daughter's missing
teeth. Each time you visit
now you find her partially
replaced, more sturdily
jointed, the weathered joists
of her childhood being stripped
away. New voice. New hair.
The answer is to stand there
redrawing the constellation
of the word daughter in
your brain while she tries
to understand exactly who
you are, and breathes out
girl after girl into the entry-
way, a fog of strangers that
almost evaporates when
you say each other's
names. Almost, but not quite.
Let it be enough. Already,
a third ship moves
quietly toward you in the night.

– Steve Gehrke (2013)

Edwin Austin Abbey
Enter Theseus
(illustration for A Midsummer Night's Dream)
ca. 1896
gouache on paper
Yale University Art Gallery

Lovis Corinth
Theseus and Ariadne
1914
drypoint
Cleveland Museum of Art

Antoine-Louis Barye
Theseus slaying the Centaur Bianor
ca. 1850
bronze
Minneapolis Institute of Art

Antoine-Louis Barye
Theseus and the Minotaur
ca. 1860
bronze
Los Angeles County Museum of Art

Edward Burne-Jones
Theseus and the Minotaur in the Labyrinth
(design for glazed tile)
1861
wash drawing
Birmingham Museum and Art Gallery (West Midlands)

Jacques Lipchitz
Theseus
1943
etching, engraving and aquatint
Fine Arts Museums of San Francisco
(Achenbach Foundation)

Jacques Lipchitz
Theseus
ca. 1944
etching
Art Institute of Chicago

Juan Junyer
Man in Helmet - Theseus
1947
screenprint
Art Institute of Chicago

Keith Vaughan
Theseus
(final study for 'Dome of Discovery' at the Festival of Britain)
ca. 1950
oil on panel
Ingram Collection, London

Keith Vaughan
Theseus
(study for painting)
1950
drawing
Victoria & Albert Museum

Keith Vaughan
Theseus
(study for painting)
1950
drawing
Victoria & Albert Museum

Monday, July 29, 2019

Jason (Grecian Hero) - I

Etruscan Maker
Jason being swallowed by the Dragon
ca. 480-450 BC
carnelian intaglio
Museum of Fine Arts, Boston

Anonymous Artist
Jason being regurgitated by the Dragon, with Athena in attendance
(copy of design from the Etruscan-made Douris Cup in the Vatican Museums, ca. 480-470 BC)
undated drawing
Wellcome Collection, London

Roman Empire
Sarcophagus fragment - Jason and the Golden Fleece
ca. AD 150-200
marble relief
Palazzo Altemps, Rome

pseudo Antonio da Brescia
Jason and the Dragon
ca. 1520
bronze medallion
National Gallery of Art, Washington DC

Michel Wolgemut
Jason
(book illustration from the Nuremberg Chronicle)
1493
woodcut and letterpress
Rijksmuseum, Amsterdam

from The Jew of Malta

Content, but we will leave this paltry land,
And sail from hence to Greece, to lovely Greece;
I'll be thy Jason, thou my golden fleece;
Where painted carpets o'er the meads are hurled
And Bacchus's vineyards o'er-spread the world,
Where woods and forests go in goodly green,
I'll be Adonis, thou shalt be Love's Queen;
The meads, the orchards, and the primrose lanes
Instead of sedge and reed bear sugar-canes;
Thou in those groves, by Dis above,
Shalt live with me and be my love.

– Christopher Marlowe (first published 1633)

(Ithamore, a Machiavellian Turkish slave, addresses this ironic romantic pledge to Bellamira, a greedy urban courtesan, as the two plot to overthrow Ithamore's master, Barabas)

Hans Collaert after Lambert Lombard
Jason
ca. 1580
engraving
Rijksmuseum, Amsterdam

Anonymous Italian printmaker after Parmigianino
Jason with the Golden Fleece
16th century
chiaroscuro woodcut
Museum of Fine Arts, Boston

Pietro Francavilla
Jason with the Golden Fleece
1589
marble
Palazzo del Bargello, Florence

Budtz Müller & Co, Copenhagen
Statue of Jason with the Golden Fleece (1803) by Bertel Thorvaldsen 
ca. 1860-80
stereograph
Rijksmuseum, Amsterdam

Bertel Thorvaldsen
Jason with the Golden Fleece
1803
marble
Thorvaldsens Museum, Copenhagen

Walter Lenck
Jason and the Bulls of Aeëtes
1909
bronze
photographed in 1927 in front of the Elephant House at the Berlin Zoo

Walter Lenck
Jason and the Bulls of Aeëtes
1909
bronze
since 1928 installed at the Leipzig Zoo

Jean-François de Troy
Jason taming the Bulls of Aeëtes
1742
oil on canvas
Barber Institute of Fine Arts, University of Birmingham

Joseph Mallord William Turner
Study from a cast of an antique marble statue of Jason
(alternatively known as Cincinnatus)
ca. 1791-92
drawing
Tate Gallery

Johann Christian Wilhelm Beyer
Jason with the Golden Fleece
ca. 1775-80
marble
Schönbrunn Palace, Vienna