Showing posts tagged statue
Marble statue of kouros (a youth)  Greek, Attic  Archaic, 590 - 580 BC  Source: The Metropolitan Museum View high resolution

Marble statue of kouros (a youth) 

Greek, Attic 

Archaic, 590 - 580 BC 

Source: The Metropolitan Museum

Marble statue of the god Dionysos This statue has been extensively repaired in the 18th century but also in ancient times, it’s head is ancient but orginally belonged to another statue. It is, as many roman statues, a copy of a greek statue. The god dionysos is the god of wine and divine intoxication.  Roman Early roman empire, 27 BC - 68 AD, emperor Augustan or Julio-Claudian Source: The Metropolitan Museum  View high resolution

Marble statue of the god Dionysos

This statue has been extensively repaired in the 18th century but also in ancient times, it’s head is ancient but orginally belonged to another statue. It is, as many roman statues, a copy of a greek statue. The god dionysos is the god of wine and divine intoxication. 

Roman

Early roman empire, 27 BC - 68 AD, emperor Augustan or Julio-Claudian

Source: The Metropolitan Museum 

Marble statue of a lion Lions were often placed in tombs as decoration or guardians.  Greek.  Classical Period, 400 - 390 BC Source: The Metropolitan Museum View high resolution

Marble statue of a lion

Lions were often placed in tombs as decoration or guardians. 

Greek. 

Classical Period, 400 - 390 BC

Source: The Metropolitan Museum

Stone statue of Hercules  Parthian Period 1st - 2nd century AD  Source: Tokyo National Museum  View high resolution

Stone statue of Hercules 

Parthian Period

1st - 2nd century AD 

Source: Tokyo National Museum 

Equestrian statue of Marcus Aurelius Sculpture 161-180 AD There is no mention of the equestrian statue dedicated to the Emperor Marcus Aurelius in ancient literary sources, but it was in all likelihood erected in 176 AD, along with numerous other honors on the occasion of his triumph over the Germanic tribes, or in 180 AD soon after his death. There were many equestrian statues in Rome at that time: late-Imperial descriptions of the areas of the city listed 22 such statues, called equi magni, that is larger-than-life-size, just like the monument to Marcus Aurelius. The latter statue, however, is the only one to have survived to the present, and by virtue of its integrity it soon assumed the symbolic value for all those who wished to present themselver as heirs to Imperial Rome. Its location in the Lateran is first recorded in the tenth century, but it is likely that it had been there from at least the end of the eighth century, when Charlemagne wanted to copy the layout of Campus Lateranensis when he transferred a similar equestrian statue, taken from Ravenna, to his palace in Aachen. In 1538 Pope Paul II ordered the Farnese family to have the statue moved to the Capitoline Hill, which had become the head quarters of the city’s authorities in 1143. A year after its arrival, the Roman Senate commissioned Michelangelo to refurbish the statue. The great Florentine artist did not just limit himself to planning an appropriate site for the monument, but made in central element in the magnificent architecutral complex known as the Piazza of the Capitoline Hill. (Source: Musei Capitolini) View high resolution

Equestrian statue of Marcus Aurelius
Sculpture
161-180 AD
There is no mention of the equestrian statue dedicated to the Emperor Marcus Aurelius in ancient literary sources, but it was in all likelihood erected in 176 AD, along with numerous other honors on the occasion of his triumph over the Germanic tribes, or in 180 AD soon after his death. There were many equestrian statues in Rome at that time: late-Imperial descriptions of the areas of the city listed 22 such statues, called equi magni, that is larger-than-life-size, just like the monument to Marcus Aurelius. The latter statue, however, is the only one to have survived to the present, and by virtue of its integrity it soon assumed the symbolic value for all those who wished to present themselver as heirs to Imperial Rome. Its location in the Lateran is first recorded in the tenth century, but it is likely that it had been there from at least the end of the eighth century, when Charlemagne wanted to copy the layout of Campus Lateranensis when he transferred a similar equestrian statue, taken from Ravenna, to his palace in Aachen. In 1538 Pope Paul II ordered the Farnese family to have the statue moved to the Capitoline Hill, which had become the head quarters of the city’s authorities in 1143. A year after its arrival, the Roman Senate commissioned Michelangelo to refurbish the statue. The great Florentine artist did not just limit himself to planning an appropriate site for the monument, but made in central element in the magnificent architecutral complex known as the Piazza of the Capitoline Hill.
(Source: Musei Capitolini)

Statue of a Hawk Sculpture End of 4th century BC Black granite Late Period (Source: Musei Capitolini) View high resolution

Statue of a Hawk

Sculpture
End of 4th century BC
Black granite
Late Period
(Source: Musei Capitolini)
Statuette of a Man Mesopotamian (Sumer), Dynastic period c. 3000-2500 B.C. Limestone and shell Found beneath the floor of a temple at Khafaje, northeast of Baghdad, this imposing statuette of a bearded man stands in a posture of austere piety. His carefully patterned beard and fringed skirt identify him as either a high priest or a god. Typical of such votive statues, the figure is highly stylized with little reflection of musculature or naturalistic proportions, its head expressing devotion and power through the exaggeration of facial features. Enlarged, staring eyes made of shell inlaid in bitumen project a concentrated intensity, which is accentuated by crescent-shaped brows. Squared arms and tightly clasped hands add to the figure’s strength. Source: Worcester Art Museum

Statuette of a Man

Mesopotamian (Sumer),

Dynastic period

c. 3000-2500 B.C.

Limestone and shell

Found beneath the floor of a temple at Khafaje, northeast of Baghdad, this imposing statuette of a bearded man stands in a posture of austere piety. His carefully patterned beard and fringed skirt identify him as either a high priest or a god. Typical of such votive statues, the figure is highly stylized with little reflection of musculature or naturalistic proportions, its head expressing devotion and power through the exaggeration of facial features. Enlarged, staring eyes made of shell inlaid in bitumen project a concentrated intensity, which is accentuated by crescent-shaped brows. Squared arms and tightly clasped hands add to the figure’s strength.

Source: Worcester Art Museum

Marble Statue of a Bound Goat 1st - 2nd century AD Roman Imperial This sensitively rendered goat with bound feet realistically evokes the widespread practice of animal sacrifice in ancient Greece. This statue, however, was probably a votive offering, perhaps to a deity with a rustic nature, such as Pan, Artemis, or Dionysos. Source: The Metropolitan Museum View high resolution

Marble Statue of a Bound Goat

1st - 2nd century AD

Roman Imperial

This sensitively rendered goat with bound feet realistically evokes the widespread practice of animal sacrifice in ancient Greece. This statue, however, was probably a votive offering, perhaps to a deity with a rustic nature, such as Pan, Artemis, or Dionysos.

Source: The Metropolitan Museum

Granite statue of a male god New Kingdom, 18th dynasty, ca. 1390 - 1352 BC  The male god is holding a was-sceptre and has the clear facial features of the period of King Amenhotep III.  Egyptian.  Source: The Metropolitan Museum  View high resolution

Granite statue of a male god

New Kingdom, 18th dynasty, ca. 1390 - 1352 BC 

The male god is holding a was-sceptre and has the clear facial features of the period of King Amenhotep III. 

Egyptian. 

Source: The Metropolitan Museum 

Votive Head c. 500 BC Etruscan Votive heads were placed in temples to accompany requests and offerings of thanks to the gods. Stamps and molds were used to produce images of both men and women. On finer examples, such as this head, elements of the face and hair were refined with a pointed tool before firing in the kiln. Traces of paint suggest that the hair was originally painted bright red. The holes in the ears once held earrings. The large, lively eyes and patterned hair are hallmarks of Etruscan figural representation. Source: The Art Institute of Chicago View high resolution

Votive Head

c. 500 BC

Etruscan

Votive heads were placed in temples to accompany requests and offerings of thanks to the gods. Stamps and molds were used to produce images of both men and women. On finer examples, such as this head, elements of the face and hair were refined with a pointed tool before firing in the kiln. Traces of paint suggest that the hair was originally painted bright red. The holes in the ears once held earrings. The large, lively eyes and patterned hair are hallmarks of Etruscan figural representation.

Source: The Art Institute of Chicago

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