Tuesday, December 31, 2019

Battles with the Amazons of Legend

Hellenistic Culture on Cyprus
Battle of Greeks and Amazons
ca. 350-300 BC
marble sarcophagus relief
Kunsthistorisches Museum, Vienna

Anonymous Italian Artist after Polidoro da Caravaggio
Battle of the Amazons
16th century
drawing
Art Institute of Chicago

Enea Vico after Giulio Romano
Battle of the Amazons
1543
engraving
Art Institute of Chicago

Léon Davent
Battle of the Amazons
1547
etching
Metropolitan Museum of Art, New York

Biagio Pupini
Study for Battle with Amazons
before 1551
drawing
Royal Collection, Great Britain

Nicolas Beatrizet
Battle of the Amazons
1559
engraving (left panel of pair to be joined)
Metropolitan Museum of Art, New York

Nicolas Beatrizet
Battle of the Amazons
1559
engraving (right panel of pair to be joined)
Metropolitan Museum of Art, New York

Antonio Tempesta
Battle of Greeks and Amazons
1600
etching
Harvard Art Museums

"Amazons exist in order to be fought, and ultimately defeated, by men, in an Amazonomachy ('Amazon-battle').  Already in the Iliad we hear of Bellerophon killing them in Lycia, their defeat at the river Sangarios, and a tomb of Myrrhine outside Troy.  In Arctinus' Aethopis their queen, Penthesilea, 'daughter of Ares', arrives to help the Trojans, but Achilles kills her (and Thersites for alleging Achilles loved her).  Heracles' ninth labour was to fetch the girdle of the Amazon queen, Hippolyte, resulting in another Amazonomachy. Theseus joined Heracles and as a result had to defeat an Amazon invasion of Attica, a story told in a late 6th-century BC Theseid."

"Amazons, appropriately for a group inverting normal Greek rules, live at the edge of the world.  Their usual homeland is next to a river Thermodon in the city of Themiscyra in remote Pontic Asia Minor.  Real Amazons would need men for procreation.  Diodorus Siculus' Amazons at the Thermodon cripple their male children, but his second set, in Libya, have house-husbands to whom they return (like Greek males) after their period of military service.  In Pseudo-Callisthenes' Alexander Romance they keep men across a river."  

"Especially since J.J. Bachofen's Mutterrecht (1859) Amazons have been used as evidence for an actual matriarchy in prehistoric times.  This has seemed an attractive counter to modern male prejudices, but mistakes the nature of myth.  Woman warriors and hunters are quite frequent in myth and folk-tale, and inversely reflect the actual distribution of roles between the sexes.  It may be that such inversion in Greece goes back to rituals of the initiation of maidens and youths, where the definition of gender roles is at issue." 

Oxford Classical Dictionary (third edition, 1996)

Johann Wilhelm Baur
Battle of the Amazons
1636
etching
Harvard Art Museums

Gérard de Lairesse
Amazon Battle
ca. 1670
etching
Rijksmuseum, Amsterdam

Anonymous Artist working in Rome
Sarcophagus Relief - Battle of Greeks and Amazons
17th century
drawing
British Museum

Ignaz Elhafen
Battle Scene with Amazons
ca. 1680-85
cedar-wood relief
Kunsthistorisches Museum, Vienna

Lucas Vorsterman after Peter Paul Rubens
Battle of the Amazons
1623
engraving (on six joined sheets)
Harvard Art Museums

Gaspard Duchange after Peter Paul Rubens
Battle of the Amazons
ca. 1778-82
porcelain plaque
Rijksmuseum, Amsterdam

Ancient Marble Amazons (Restored and Reproduced)

Claude Mellan
Antique Statue of an Amazon
(Giustiniani Collection, Rome)
ca. 1636-47
engraving
Rijksmuseum, Amsterdam

Claude Randon
Antique Statue of an Amazon
(Cesi Collection, Rome)
ca. 1704
engraving
Philadelphia Museum of Art

Nicolas Dorigny
Antique Statue of an Amazon
(Mattei Collection, Rome)
ca. 1704
engraving
Philadelphia Museum of Art

Francesco Piranesi after Tommaso Piroli
Antique Statue of an Amazon
(Capitoline Museum, Rome - former Mattei Collection)
1781
etching and engraving
Philadelphia Museum of Art

Anonymous Artist working in Venice
Antique Statues in Niches - Amazon and Silenus
(decorative trompe-l'oeil panel)
18th century
oil on canvas
Moor Park, Hertfordshire

Joseph Karl de Meulemeester after Jean-Pierre Granger
Antique Statue of an Amazon
(Capitoline Museum, Rome - former Mattei Collection)
early 19th century
engraving
Harvard Art Museums

James Anderson
Antique Statue of an Amazon
(Capitoline Museum, Rome - former Mattei Collection)
1859
albumen silver print
Getty Museum, Los Angeles

John Henry Parker
Antique Statue of an Amazon
(Capitoline Museum, Rome - former Mattei Collection)
ca. 1864-70
albumen print
Victoria & Albert Museum

Adolphe-Alexandre-Joseph Caron
Antique Statue of a Wounded Amazon
(Musée Napoléon, Paris)
ca. 1810-15
engraving
Harvard Art Museums

James Anderson
Antique Statue of a Wounded Amazon
(Vatican Museums, Rome)
1859
albumen silver print
Getty Museum, Los Angeles

W.A. Mansell
Antique Statue of a Dying Amazon
(restored as Nymph playing at Astragali, Villa Verospi, Rome)
ca. 1875
albumen silver print
Fine Arts Museums of San Francisco
(Achenbach Foundation)

Ancient Greece
Wounded Amazon
(from the frieze of the Temple of Artemis at Ephesus)
ca. 400-350 BC
marble relief
Kunsthistorisches Museum, Vienna

from Hyperion

She was a Goddess of the infant world;
By her in stature the tall Amazon
Had stood a pigmy's height; she would have ta'en
Achilles by the hair and bent his neck;
Or with a finger stay'd Ixion's wheel.
Her face was large as that of Memphian sphinx,
Pedestal'd haply in a palace court,
When sages look'd to Egypt for their lore.
But oh! how unlike marble was that face:
How beautiful, if sorrow had not made
Sorrow more beautiful than Beauty's self.
There was a listening fear in her regard,
As if calamity had but begun;
As if the vanward clouds of evil days
Had spent their malice, and the sullen rear
Was with its stored thunder labouring up.
One hand she press'd upon that aching spot
Where beats the human heart, as if just there,
Though an immortal, she felt cruel pain  . . .

– John Keats (1818-19)

Ancient Rome
Wounded Amazon
1st-2nd century AD
marble statue (extensively restored)
Metropolitan Museum of Art, New York

Charles Sheeler
Antique Statue of a Wounded Amazon
(Metropolitan Museum of Art, New York)
before 1965
gelatin silver print
Princeton University Art Museum

Ancient Rome
Wounded Amazon
2nd century AD
marble statue
Kunsthistorisches Museum, Vienna

Monday, December 30, 2019

Images of Amazons from the Ancient World

Attic Greece
Neck Amphora - Herakles battling Amazons
ca. 520 BC
glazed terracotta
Metropolitan Museum of Art, New York

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

Attic Greece
Neck Amphora - Herakles battling an Amazon
ca. 500 BC
glazed terracotta
Metropolitan Museum of Art, New York

Attic Greece
Volute Krater - Mounted Amazons
ca. 500 BC
glazed terracotta
Metropolitan Museum of Art, New York

AMAZONS – A mythical nation of women-warriors, whose headquarters are placed by early Greek legend in Themiscyra on the Thermodon on the southern shore of the Euxine.  In later accounts they also appear on the Caucasus and on the Don, where the nation called Sauromatæ was supposed to have sprung from their union with the Scythians.  They suffered no men among them; the sons born of their intercourse with neighbouring nations they either killed or sent back to their fathers; the girls they brought up to be warriors, burning the right breast off for the better handling of their bow.  Their chief deities were said to be Ares and the Taurian Artemis.  Even in Homer they are represented as making long marches into Asiatic territory; an army of them invading Lycia is cut to pieces by Bellerophon; Priam, then in his youth, hastens to help the Phrygians against them.  They gained a firm footing in Greek song and story through the Arctinus of Miletus, in whose poem their queen Penthesilea, daughter of Ares, as Priam's ally, presses hard on the Greeks, till she is slain by Achilles.  After that they become a favourite subject with poets and artists, and a new crop of fable sprang up: Heracles wars against them, to win the girdle of their queen Hippolyta; Theseus carries off her sister Antiope, they in revenge burst into Attica, encamp on the Areopagus of Athens, and are pacified by Antiope's mediation, or, according to another version, beaten in a great battle.  Grave-mounds supposed to cover the bones of Amazons were shown near Megara, and in Euboea and Thessaly.  In works of art the Amazons were represented as martial maids, though always with two breasts, and usually on horseback; sometimes in Scythian dress (a tight fur tunic, with a cloak of many folds over it, and a kind of Phrygian cap), sometimes in Grecian (a Dorian tunic tucked up and the right shoulder bare), armed with a half-moon shield, two-edged axe, spear, bow, and quiver, etc.

– Oskar Seyffert, Dictionary of Classical Mythology, Religion, Literature, and Art (1882)

Attic Greece
Oinochoe - Mounted Amazon and Kneeling Warrior
ca. 480 BC
glazed terracotta
Kunsthistorisches Museum, Vienna

Attic Greece
Volute Krater - Battle of Greeks and Amazons
ca. 450 BC
glazed terracotta
Metropolitan Museum of Art, New York

Attic Greece
Rhyton - Mounted Amazon
ca. 425-400 BC
painted and glazed terracotta
Museum of Fine Arts, Boston

Attic Greece
Neck Amphora - Battle of Greeks and Amazons
ca. 400 BC
glazed terracotta
Metropolitan Museum of Art, New York

Greek Culture in South Italy
Statuettes of Amazons
ca. 300-280 BC
painted terracotta
Princeton University Art Museum

Greek Culture in South Italy
Statuette of Amazon
ca. 300-200 BC
terracotta
Getty Museum, Los Angeles

Ancient Rome
Head of Amazon from the Villa of Papyri, Herculaneum
late 1st century BC
bronze
Museo Archeologico Nazionale, Naples

Ancient Rome
Head of Fallen Amazon
late 1st century BC - early 1st century AD
marble
Musei Capitolini, Rome

Ancient Rome
Bust of Amazon
1st century AD
bronze
Metropolitan Museum of Art, New York

Ancient Rome
Parade Mask of Amazon
2nd century AD
bronze
British Museum

Steadfast Love of Tasso's Erminia for Tancred

Anonymous British Needleworker
Erminia carving the name of  Tancred into a Tree Trunk
ca. 1790
embroidery (silk thread)
Museum of Fine Arts, Boston

Tommaso Minardi
Erminia carving Tancred's name on a Tree
ca. 1820
drawing
Philadelphia Museum of Art

from Gerusalemme Liberata

Oftentimes, when under the summer heat the sheep were lying stretch out in the shade, on the bark of a beech or laurel she inscribed the beloved name in a thousand ways, and carved on a thousand trees the bitter issue of her strange and hapless love; and then in reading over her own words she bathed her cheeks with lovely tears.

– Torquato Tasso (1581), translated from Italian verse to English prose by Ralph Nash (1987)

Agostino Carracci after Bernardo Castello
Erminia tending Tancred's wounds
1589-90
engraving
Philadelphia Museum of Art

attributed to Paulus Willemsz van Vianen
Erminia succouring the wounded Tancred
before 1613
stipple-engraving
Rijksmuseum, Amsterdam

Alessandro Turchi
Erminia discovers the wounded Tancred
ca. 1630
oil on canvas
Kunsthistorisches Museum, Vienna

Nicolas Poussin
Tancred and Erminia
ca. 1630
oil on canvas
Hermitage, Saint Petersburg

Nicolas Poussin
Tancred and Erminia
ca. 1634
oil on canvas
Barber Institute of Fine Arts, University of Birmingham

Gerard van der Gucht after Nicolas Poussin
Tancred and Erminia
before 1776
engraving
Harvard Art Museums

Bernardo Cavallino
Erminia tending the wounded Tancred
ca. 1650
oil on canvas
Alte Pinakothek, Munich

Pier Francesco Mola
Erminia tending the wounded Tancred
ca. 1650-60
oil on canvas
Musée du Louvre

from Gerusalemme Liberata

The unfortunate maiden had stopped to gaze upon the fierce warrior when by the sound of the grieving voice she took an arrow through the center of her heart. At the name of Tancred she quickly ran up like one drunken and out of her mind. When she saw the pale and handsome face, she did not descend, she hurled herself from the saddle

and poured out over him tears from an inexhaustible spring, and speech mingled with sobbing: 'Now in what wretched hour does Fortune bring me here? to what sad and bitter spectacle? After so long a time, with much ado, I find you, Tancred, and I see you again, and am not seen. I am not seen by you though I am with you; and finding you I am losing you forever.'

– Torquato Tasso (1581), translated from Italian verse to English prose by Ralph Nash (1987)

Giovanni Antonio Guardi
Erminia finding the wounded Tancred
ca. 1750-55
oil on canvas
Gallerie dell'Accademia, Venice

Anonymous Fan-Painter after Giovanni Antonio Guardi
Erminia finding the wounded Tancred
1767
gouache on vellum, with ivory sticks
Museum of Fine Arts, Boston

Jacques Firmin Beauvarlet after Louis Lagrenée the Elder
Tancred tended by Erminia
1761
etching and engraving
Philadelphia Museum of Art

Francesco Bartolozzi after Giovanni Battista Cipriani
Tancred and Erminia
1784
etching and engraving
Los Angeles County Museum of Art

John Thompson
Erminia cutting off her hair to bind the wounds of Tancred
1817
wood-engraving (book illustration)
British Museum

from Gerusalemme Liberata

She sees that his trouble stems from exhaustion and from too great a loss of blood. But in such a solitary region she has nothing with which to bind his wounds, except a veil. Love invents for her the novel bandages and teaches her unaccustomed arts of mercy. She dried them with her hair and bound them again with the very hair that she had been wishing to cut;

inasmuch as her veil, scanty and thin, could not suffice for so many wounds. Dittany and crocus she had none, but charms she knew for such purposes powerful and magical. Already he shakes off the deadly stupor, already he is able to raises his eyes, luminous and expressive . . .

– Torquato Tasso (1581), translated from Italian verse to English prose by Ralph Nash (1987)