Showing posts with label Egypt. Show all posts
Showing posts with label Egypt. Show all posts

Sunday, April 14, 2024

Ancient Heads - II

Ancient Etruscan Culture
Head of a Young Man
3rd century BC
terracotta
Hermitage, Saint Petersburg

Ancient Greek Culture
Mirror Box with Head of Athena
400-375 BC
bronze
Cleveland Museum of Art

Roman Empire
Bust of Diana
2nd-3rd century AD
marble (heavily restored)
Chrysler Museum of Art, Norfolk, Virginia

Roman Empire
Head of a Lion
3rd century AD
marble (sarcophagus fragment)
Philadelphia Museum of Art

Ancient Greek Culture
Head of a Lion
5th century BC
terracotta
Cleveland Museum of Art

Ancient Egyptian Culture
Pendant
(older lion-head gaming-piece set into later baboon-base)
700 BC
amethyst and gold
Cleveland Museum of Art

Ancient Greek Culture
Pelike
(heads of gryphon, woman and horse)
360-330 BC
painted terracotta
Hermitage, Saint Petersburg

Ancient Greek Culture
Head of Horse
5th century BC
marble
Detroit Institute of Arts

Roman Empire
Bust of Avidia Plautia
(mother of Emperor Lucius Verus)
AD 136-138
marble
Yale University Art Gallery

Roman Empire
Head of Julia Domna
(consort of Emperor Septimius Severus)
AD 203-217
marble
Yale University Art Gallery

Roman Empire
Head of a Woman
AD 117-138
marble
Princeton University Art Museum

Roman Empire
Head of a Woman
AD 117-138
marble
Princeton University Art Museum

Ancient Greek Culture
Head of a Woman
2nd century BC
marble (colossal, heavily restored)
British Museum

Ancient Greek Culture
Head of a Man
320 BC
marble
Walters Art Museum, Baltimore

Roman Empire
Head of a Youth
(the Nelson Head)
AD 150
marble
Museum of Fine Arts, Boston

Roman Empire
Head of a Youth
1st century AD
marble
Princeton University Art Museum

Persistences

Wind, though in the temple,
criticizes the pillars,
from bronze walls and set
floors
takes haze away, a small
flour
given back to the desert:
nuzzles into alcoves and porticoes
as if glad to 
take on the curvature

and drowse
but leaks and brushes away again
restless with what
remains a while:
the theorem of the wind
no pigment, wall, or word
disproves: propositions
scatter before it,
grow up in brier thickets
and thistle thickets:

still, from our own ruins,
we thrash out the
snakes and mice,
shoo the lean ass away,
and plant a row of something:
we know, 
we say to the wind, but we will
come back again and back:
in debris we make a holding as
insubstantial and permanent as mirage.

– A.R. Ammons (1978)

Thursday, December 10, 2020

Tomb Portraits from Roman Egypt

Roman Egypt
Mummy Portrait of Young Woman
AD 190
tempera on wood
Bode Museum, Berlin

Roman Egypt
Mummy Portrait of Young Woman
AD 150
tempera on wood
Musée du Louvre

Roman Egypt
Mummy Portrait of Young Woman
AD 130-150
tempera on wood
Musée du Louvre

Roman Egypt
Mummy Portrait of Young Woman
AD 100-150
tempera on wood
Antikensammlung, Berlin

Roman Egypt
Mummy Portrait of Young Soldier
AD 130
tempera on wood
Antikensammlung, Berlin

Roman Egypt
Mummy Portrait of Young Soldier
AD 100-150
tempera on wood
Antikensammlung, Berlin

Roman Egypt
Mummy Portrait of Young Man
AD 125-150
tempera on wood
Kunsthistorisches Museum, Vienna

Roman Egypt
Mummy Portrait of Young Man
1st century AD
tempera on wood
Oriental Institute Museum
University of Chicago

Roman Egypt
Mummy Portrait of Woman
AD 130-160
tempera on wood
Detroit Institute of Arts

"Historically, the intense interest generated by mummy portraits has fueled centuries of collecting, underhanded dealing, and even formal excavations whose material consequences were not greatly distinguishable from all-out looting.  . . .  The loss of so much archaeological context in the excavations of the past – truly the great challenge, bugbear, frustration, and perverse fascination of studying the mummy portraits – has left many questions about them likely, perhaps even doomed, to remain open.  This has not, however, much dampened enthusiasm for the approximately one thousand portraits and fragments known to be extant and scattered throughout the museums of the world.  Indeed, the impassioned intricacies of the many scholarly debates surrounding them have, if anything, only intensified.  This enthusiasm typically features portraits being hailed as "naturalistic," which seems to be generally understood to convey that their execution of the human form largely calls upon Greco-Roman rather than pharaonic Egyptian models as well as to articulate the portrait's capacity to give the impression that one is in the presence of a carefully individualized personality.  The latter effect has culminated in some rather ecstatic, indeed almost mystical strands of criticism.  A characteristic example is given by Euphrosyne Doxiadis, who rhapsodizes, "they are not art, but truth."  . . .  That the mummy portraits are, in fact, the "only corpus of coloured representations of individuals to survive from classical antiquity" is also critical.  The mere fact that they are painted gives them a vibrant novelty so seductively different from, for example, the monochromatic marbles and bronzes of Greece and Rome.  Such sculptures, of course, looked quite different at the time of their creation.  Most would have been brightly painted and many would have had colored inlays; it is only the passage of time that has rendered them monochromatic.  . . .  One wishes that works on mummy portraits pitched to the general public – as many often are – might spare a contextualizing sentence or two to help rectify this skewed perception of ancient aesthetics.  One might also wish treatments of mummy portraits were a little more forthcoming about the extent to which, due to conservation and restoration efforts of the past, we experience the portraits through a materially altered lens.  These factors, perhaps as much as any, are to blame for the "not-art-but-truth" school of responses . . . "

– Alethea Roe, from Not Art but Truth: a Brief History of Mummy Portrait Reception, published in Discentes Journal (2016)

Roman Egypt
Mummy Portrait of Woman
AD 117-138
encaustic on wood
Kunsthistorisches Museum, Vienna

Roman Egypt
Mummy Portrait of Woman
AD 100
encaustic on wood
Getty Museum, Los Angeles

Roman Egypt
Mummy Portrait of Woman
AD 75-100
encaustic on wood
Getty Museum, Los Angeles

Roman Egypt
Mummy Portrait of Woman
AD 60
tempera on wood
Antikensammlung, Berlin

Roman Egypt
Mummy Portrait of Military Officer
AD 150
tempera on wood
Antikensammlung, Berlin

Roman Egypt
Mummy Portrait of Man
AD 100
encaustic on wood
Antikensammlung, Berlin

Tuesday, August 18, 2020

Full Face (before 1800)

Michiel Sweerts
Portrait of a Girl
ca. 1640-50
oil on canvas
New Walk Museum and Art Gallery, Leicester

Joseph Highmore
Head of a Boy
ca. 1735
oil on canvas
Yale Center for British Art

Roman Egypt
Mummy Portrait of a Man with a Wreath
2nd-3rd century AD
encaustic on wood
National Gallery, London

John Hoppner
Sketch for the Portrait of a Lady
ca. 1790
oil on canvas
Maidstone Museum, Kent

Johannes Verelst
Portrait of a Gentleman
1699
oil on canvas
National Trust, Beningbrough Hall, Yorkshire

attributed to George Jamesone
Portrait of a Boy
ca. 1610-20
oil on canvas
National Trust, Anglesey Abbey, Cambridge

from The Old Familiar Faces

How some they have died, and some they have left me,
And some are taken from me; all are departed;
All, all are gone, the old familiar faces.

– Charles Lamb (1798)

Joos van Cleve
Portrait of a Man in Black with an Emerald Ring
ca. 1535-40
oil on panel
National Trust, Petworth House, Sussex

Juan Bautista Maíno
Portrait of a Monk
ca. 1615
oil on canvas
Ashmolean Museum, Oxford

William Dobson
Portrait of Sir Edward Nicholas
ca. 1645
oil on canvas
National Portrait Gallery, London

Hans Memling
Portrait of a Donor
before 1494
oil on panel
(fragment of diptych)
National Trust, Upton House, Warwickshire

Domenico Ghirlandaio
Portrait of a Young Man
ca. 1477-78
tempera on panel
Ashmolean Museum, Oxford
 
Lucas van Leyden
Portrait of a Man
ca. 1521
oil on panel
National Gallery, London

Frans Pourbus the Younger
Portrait of a Man
1591
oil on panel
Temple Newsam House, Leeds

John Russell
King Charles I
ca. 1630
oil on panel
Dover Collections, Kent

attributed to Theodore Russel
Portrait of James Cranfield
ca. 1645
oil on panel
National Trust, Knole, Kent

Tuesday, November 12, 2019

Caesar and Cleopatra (Baroque Tapestry Cycle)

Justus van Egmont (designer)
Caesar in the Gallic Wars 
(The Story of Caesar and Cleopatra)
ca. 1680
wool and silk tapestry, woven in Brussels
Art Institute of Chicago

Justus van Egmont (designer)
Caesar defeats the Troops of Pompey
(The Story of Caesar and Cleopatra)
ca. 1680
wool and silk tapestry, woven in Brussels
Art Institute of Chicago

Justus van Egmont (designer)
Triumph of Caesar
(The Story of Caesar and Cleopatra)
ca. 1680
wool and silk tapestry, woven in Brussels
Art Institute of Chicago

Justus van Egmont (designer)
Caesar embarks to join his Army
(The Story of Caesar and Cleopatra)
ca. 1680
wool and silk tapestry, woven in Brussels
Art Institute of Chicago

Justus van Egmont (designer)
Caesar sends a Messenger to Cleopatra
(The Story of Caesar and Cleopatra)
ca. 1680
wool and silk tapestry, woven in Brussels
Art Institute of Chicago

"This tapestry is from the Art Institute's suite of 14 hangings depicting events from the lives of Julius Caesar, Mark Antony, and Cleopatra, whose intertwined love affairs and conflicts have provided material for storytellers from Roman times to the present day.  After Caesar defeated Pompey, his rival for control of the Roman Republic, Pompey fled to Egypt, pursued by Caesar.  In Egypt Pharaoh Ptolemy XIII was fighting a civil war against his sister, wife, and co-regent, Cleopatra VII.  Ptolemy had Pompey murdered, offending Caesar, who then involved himself in the Egyptian civil war.  Caesar deposed Ptolemy and sought an alliance with Cleopatra.  Depicted here [directly above] is Cleopatra receiving Caesar's messenger, the beginning of their alliance and love affair." 

– curator's notes at the Art Institute of Chicago

Justus van Egmont (designer)
Cleopatra enjoys herself at Sea
(The Story of Caesar and Cleopatra)
ca. 1680
wool and silk tapestry, woven in Brussels
Art Institute of Chicago

Justus van Egmont (designer)
Cleopatra and Caesar riding together
(The Story of Caesar and Cleopatra)
ca. 1680
wool and silk tapestry, woven in Brussels
Art Institute of Chicago

Justus van Egmont (designer)
Cleopatra asked to pay Tribute to Rome
(The Story of Caesar and Cleopatra)
ca. 1680
wool and silk tapestry, woven in Brussels
Art Institute of Chicago

Justus van Egmont (designer)
Caesar throws himself into the Sea
(The Story of Caesar and Cleopatra)
ca. 1680
wool and silk tapestry, woven in Brussels
Art Institute of Chicago

Justus van Egmont (designer)
Clodius disguised as a Woman
(The Story of Caesar and Cleopatra)
ca. 1680
wool and silk tapestry, woven in Brussels
Art Institute of Chicago

Justus van Egmont (designer)
Discovery of the Plot to kill Caesar and Cleopatra
(The Story of Caesar and Cleopatra)
ca. 1680
wool and silk tapestry, woven in Brussels
Art Institute of Chicago

Justus van Egmont (designer)
Cleopatra mourns Caesar's Death
(The Story of Caesar and Cleopatra)
ca. 1680
wool and silk tapestry, woven in Brussels
Art Institute of Chicago

Justus van Egmont (designer)
Banquet of Cleopatra and Antony
(The Story of Caesar and Cleopatra)
ca. 1680
wool and silk tapestry, woven in Brussels
Art Institute of Chicago

Justus van Egmont (designer)
Battle of Actium
(The Story of Caesar and Cleopatra)
ca. 1680
wool and silk tapestry, woven in Brussels
Art Institute of Chicago

"During the winter of 42-41 BC, Cleopatra became pregnant with twins.  The following year, however, Antony returned to Rome and prepared a long-awaited campaign against the Parthians.  Yet Octavian failed to support the endeavor.  Disappointed, Antony left Italy and sailed to Alexandria, where he renewed his relationship with Cleopatra.  Meanwhile, the triumvirate disintegrated, and Octavian rose to power in Rome.  Eventually Antony broke off relations with Octavian, and in 31 BC civil war broke out again.  The decisive sea battle was fought at Actium, a promontory in northern Greece.  As depicted in the tapestry [directly above], the Egyptian fleet was destroyed by the Romans, and Antony fled to Egypt in Cleopatra's boat.  In 30 BC, Octavian invaded Egypt.  Rather than surrender to his enemy, Antony committed suicide.  A few days later, Cleopatra followed his example.  Their tragic deaths are not included in this suite."

– curator's notes at the Art Institute of Chicago