Ancient Greece
Column of Antonius pius (apotheosis of antonium pius and faustina)
-winged genius carries Antonius and wife faustina to heaven
Venus de Milo
Aphrodite of Milos, better known as the Venus de Milo, is an ancient Greek statue and one of the most famous works of ancient Greek sculpture. Created sometime between 130 and 100 BC, it is believed to depict Aphrodite, the Greek goddess of love and beauty. It is a marble sculpture, slightly larger than life size at 203 cm high. The arms and original plinth were lost following its discovery. From an inscription that was on its plinth, it is thought to be the work of Alexandros of Antioch; earlier, it was mistakenly attributed to the master sculptor Praxiteles. It is currently on permanent display at the Louvre Museum in Paris. The statue is named after the Greek island of Milos, where it was discovered.
Lysippos Apoxyomenos
Apoxyomenos (the "Scraper") is one of the conventional subjects of ancient Greek votive sculpture; it represents an athlete, caught in the familiar act of scraping sweat and dust from his body with the small curved instrument that the Romans called a strigil. The most renowned Apoxyomenos in Classical Antiquity was that of Lysippos of Sikyon, the court sculptor of Alexander the Great, made ca 330 BCE. The bronze original is lost, but it is known from its description in Pliny the Elder's Natural History, which relates that the Roman general Marcus Vipsanius Agrippa installed Lysippos's masterpiece in the Baths of Agrippa that he erected in Rome, around 20 BCE. Later, the emperor Tiberius became so enamored of the figure that he had it removed to his bedroom.[1] However an uproar in the theatre, "Give us back our Apoxyomenos", shamed the emperor into replacing it. The sculpture is commonly represented by the Pentelic marble copy in the Museo Pio-Clementino in Rome, discovered in 1849 when it was excavated in Trastevere (illustration, right). Plaster casts of it soon found their way into national academy collections, and it is the standard version in textbooks. The sculpture, slightly larger than lifesize, is characteristic of the new canon of proportion pioneered by Lysippos, with a slightly smaller head (1:8 of the total height, rather than the 1:7 of Polykleitos) and longer and thinner limbs. Pliny notes a remark that Lysippos "used commonly to say" - that while other artists "made men as they really were, he made them as they appeared to be." Lysippus poses his subject in a true contrapposto, with an arm outstretched to create a sense of movement and interest from a range of viewing angles.
Arch of trajan
Arch of Trajan; Benevento, Italy; ca. 114-118 CE; High Empir Beneventum (Italy), 114-117 C.E. (Roman, Imperial, Trajanic Period). Contains many reliefs of alimenta being given, sacrifice, Victories, military campaigns, etc.
Portrait of Augustus
Augustus was the founder of the Roman Empire and its first Emperor, ruling from 27 BC until his death in AD 14. He was born Gaius Octavius into an old and wealthy equestrian branch of the plebeian Octavii family. His maternal great-uncle Julius Caesar was assassinated in 44 BC, and Octavius was named in Caesar's will as his adopted son and heir. He, Mark Antony, and Marcus Lepidus formed the Second Triumvirate to defeat the assassins of Caesar. Following their victory at Philippi, the Triumvirate divided the Roman Republic among themselves and ruled as military dictators. The Triumvirate was eventually torn apart under the competing ambitions of its members. Lepidus was driven into exile and stripped of his position, and Antony committed suicide following his defeat at the Battle of Actium by Octavian in 31 BC. The child of venus is at his foot.
Corinthian black figure amphora
Black-figure pottery painting, also known as the black-figure style or black-figure ceramic is one of the styles of painting on antique Greek vases. It was especially common between the 7th and 5th centuries BC, although there are specimens dating as late as the 2nd century BC. Stylistically it can be distinguished from the preceding orientalizing period and the subsequent refigure pottery style. 640 BCE
Greek Classical age
Classical Greece was a 200-year period in Greek culture lasting from the 5th through 4th centuries BC.[1] This Classical period saw the annexation of much of modern-day Greece by the Persian Empire[2] and its subsequent independence, and had a powerful influence on the Roman Empire and greatly influenced the foundations of western civilization. Much of modern Western politics, artistic thought (architecture, sculpture), scientific thought, theatre, literature, and philosophy derives from this period of Greek history. In the context of the art, architecture, and culture of Ancient Greece, the Classical period, sometimes called the Hellenic period, corresponds to most of the 5th and 4th centuries BC (the most common dates being the fall of the last Athenian tyrant in 510 BC to the death of Alexander the Great in 323 BC). The Classical period in this sense follows the Archaic period and is in turn succeeded by the Hellenistic period.
Greek Geometric Krater
Date and place: Athens, 740BCE. This barrel is a standard type of the Greek ceramic art. This example was found on the Dipylon graveyard and is 101,25 cm in height. The decoration reflects a funeral procession but the figures are barely shaped. The brim of the crater with the twined design is characteristic of the ancient Greek art. It honors the deceased. the deceased is laying in a funerary table. there are animals under him being offered. checker board cloth on top of the picture it is actually called the death. It has combined view because it shows many features. It is a krater for mixing water and wine. It has no bottom. Meander design.
Etruscan temple
Differences between Greek temples and Etruscan temples: Greek Temples Etruscan Temples Greek: Colonnade: Around entire perimeter. Etruscan: Colonnade: Columns only in front. Greek: Steps: Three steps around perimeter. Etruscan: Steps: Steps on in front. Greek:Porch: In front of, and behind, the cella. Etruscan: Porch: Only in front of the cella. Greek: Podium: Small, consisting of three steps. Etruscan: Podium: Tall, with steps only in front. Greek: Cella: One room. Etruscan: Cella: Three rooms. Greek: Pediment: Closed and decorated with sculpture. Etruscan: Pediment: Open and not decorated. Greek: Sculpture: In pediments, metopes, and frieze. Etruscan: Sculpture: On the roof.
Exekias, Achilles and Ajax playing a dice game
Exekias was an ancient Greek vase-painter and potter who was active in Athens between roughly 540 BCE. Exekias worked mainly in the black-figure technique, which involved the painting of scenes using a clay slip that fired to black, with details created through incision. Exekias is regarded by art historians as an artistic visionary whose masterful use of incision and psychologically sensitive compositions mark him as one of the greatest of all Attic vase painters.
Ixion room
Fresco, painting in field of red and white, Ixion murdered his father-in-law and planned to seduce Hera, strong classical greek influence *Fourth Style,House of the VettiiPompeii, 62-79 C
Colosseum interior
Had 80 entrances, you would have a clay chard instead of a ticket to place you in your seat. Hierarchy level oriented. Inside had paints of gladiators and 4 columnar order.
head of an old man
Head of an old man; Osimo, Italy; mid-first century BC 25- B.C.E.-10 A.D Veristic (super realistic) portraits of old men from distinguished families were the norm during the Republic. The sculptor of this head painstakingly recorded every detail of the elderly man's face
Daedalus
In Greek mythology, Daedalus was a skillful craftsman and artist. He is the father of Icarus, the uncle of Perdix and possibly also the father of Iapyx although this is unclear.
Gigantomachy
In Greek mythology, the Giants or Gigantes (Greek: Γίγαντες, Gigantes, singular Gigas) were a race of great strength and aggression, though not necessarily of great size, known for the Gigantomachy (Gigantomachia), their battle with the Olympian gods.[2] According to Hesiod, the Giants were the offspring of Gaia (Earth), born from the blood that fell when Uranus (Sky) was castrated by their Titan son Cronus.[3] Archaic and Classical representations show Gigantes as man-sized hoplites (heavily-armed ancient Greek foot soldiers) fully human in form.[4] Later representations (after c. 380 BC) show Gigantes with snakes for legs.[5] In later traditions, the Giants were often confused with other opponents of the Olympians, particularly the Titans, an earlier generation of large and powerful children of Gaia and Uranus. The vanquished Giants were said to be buried under volcanos, and to be the cause of volcanic eruptions and earthquakes.
Cubiculum M
In this second style bedroom, the painter opened up the walls with vistas of towns, temples, and colonnaded courtyards. The convincing illusionism is due in part to the use of linear perspective.50-40 BCE
atrium of the House of the vettii
Light, air and rainwate Roman Republic
Arch of Titus
Located at the highest point of the Via Sacra which leads to the Roman Forum, this triumphal arch, with only one passageway, commemorates Titus' conquest of Judea which ended the Jewish Wars (66-70). Engaged fluted columns frame the passageway, the spandrels depict Victories in relief, the attic contains an inscription (see below) and the internal faces of the passageway depict in relief triumphal processions (see below). The arch was erected posthumously, after Titus had already become a "god."
plan of Pergamon acropolis
Pergamon or Pergamum was an ancient Greek city in Aeolis, currently located 26 kilometres from the Aegean Sea on a promontory on the north side of the river Caicus. Today, the main sites of ancient Pergamon are to the north and west of the modern city of Bergama in Turkey.
New York Kouros
Period: Archaic Date: ca. 600 B.C. Culture: Greek, Attic Medium: Marble, Naxian This is one of the earliest marble statues of a human figure carved in Attica. The rigid stance, with the left leg forward and arms at the side, was derived from Egyptian art. The pose provided a clear, simple formula that was used by Greek sculptors throughout the sixth century B.C. In this early figure, almost abstract, geometric forms predominate; and anatomical details are rendered in beautiful analogous patterns. The statue marked the grave of a young Athenian aristocrat. At that time the are trading with the Egyptian and the greek art starting adopting Egyptian features. They also learned from the Egyptians on how to make big sculptures and develop columns.
Old market woman
Period: Early Imperial, Julio-Claudian Date: A.D. 14-68 Culture: Roman Medium: Marble, Pentelic Dimensions: H. 49 5/8 in. (125.98 cm) Classification: Stone Sculpture Credit Line: Rogers Fund, 1909 Accession Number: 09.39 The woman wears a thin elegant dress, thong sandals, and a crown of Dionysiac ivy leaves. She may be dressed for a festival and the birds and basket of fruit she carries might be offerings. Her garment has slipped off her shoulder, a detail often seen in representations of old women that hints at the liberation of the elderly from the restrictions imposed on women of childbearing years. As in many such figures, direct observation of reality lends force to deeper religious implications. The piece may be a copy of an older, Hellenistic model or a creation of the Roman period in a tradition that was still alive. It seems to have been deliberately damaged, probably in late antiquity, when such a pagan image would have provoked hostility.
Hero and centaur
Period: Geometric, Date: mid-8th century B.C.750-730 BC , Culture: Greek, Medium: Bronze. The statuette shows man and centaur locked in battle (most likely Heracles and Nessus). The naked man stands upright and has a broad belt and conical helmet. The work is said to have come from Olympia and is associated with a Laconian workshop
Polykleitos
Polykleitos was an ancient Greek sculptor in bronze of the 5th century BCE. His Greek name was traditionally Latinized Polycletus, but is also transliterated Polycleitus; and due to iotacism in the transition from Ancient to Modern Greek, Polyklitos or Polyclitus. He is called Sicyonius by Latin authors including Pliny the Elder and Cicero, and Ἀργείος by others like Plato and Pausanias. He is sometimes called the Elder, in cases where it is necessary to distinguish him from his son, a major architect but minor sculptor.
Praxiliteles
Praxiteles of Athens, the son of Cephisodotus the Elder, was the most renowned of the Attic sculptors of the 4th century BC. He was the first to sculpt the nude female form in a life-size statue. While no indubitably attributable sculpture by Praxiteles is extant, numerous copies of his works have survived; several authors, including Pliny the Elder, wrote of his works; and coins engraved with silhouettes of his various famous statuary types from the period still exist.
Villa of the mysteries
Preserved ruin of a Roman Villa which lies north-west of Pompeii, southern Italy. Interpretation of the images is scenes of the initiation of a woman into a special cult of Dionysus, a mystery cult that required specific rites and rituals to become a member 60-50 BC
Pediment temple of Aphaia
Records the trojan war.
Pompeii
Roman city near Naples, Italy, which was buried during an eruption of Mount Vesuvius in A.D. 79. Destroyed by a volcanic eruption on Mount Vesuvius
Portrait Bust of Hadrian
Rome, Italy Bust of Hadrian 130-138 A
Procession of the imperial family
Royal family members participating of a procession. coronation ceremony. modeliling in the greek frieze wear.
Alexander Mosaic
The Alexander Mosaic, dating from circa 100 BC, is a Roman floor mosaic originally from the House of the Faun in Pompeii.[1] It depicts a battle between the armies of Alexander the Great and Darius III of Persia and measures 2.72 x 5.13m (8 ft 11in x 16 ft 9in).[2] The original is preserved in the Naples National Archaeological Museum. The mosaic is believed to be a copy of an early 3rd century BC Hellenistic painting,[3] possibly by Philoxenos of Eretria.[4]
athena battling alkyoneos
The Altar of Zeus, erected about 175 BCE on the Pergamon acropolis, is the most famous of all Hellenistic sculptural ensembles and was located on an elevated platform framed by an Ionic stoalike colonnade with projecting wings on either side of a broad central staircase. In contrast to other Greek temples that had sculpture on the pediment, this building had a frieze almost 400 feet long with a hundred larger-than-life-size figures on the altar platform. The choice of subject matter held great symbolic significance for the Attalid kings. The subject is the battle of Zeus and the gods against the giants, a popular topos in Greek art, but this is the most extensive representation of that epic conflict for control of world. The gigantomachy, (meaning a war of giants, particularly the fabulous war of the giants against heaven), was chosen for the Altar of Zeus as a metaphor for the Pergamene victory over the Gauls in Asia Minor. It was also intended to connect the Altar of Zeus to the Athenian Parthenon, and thus the Pergamene kingdom to Athens, whose remarkable defeat of the Persians was legendary. This detail from the gigantomachy frieze shows Athena grabbing the hair of the giant Alkyoneos as Nike flies to crown her, and is a quotation from the Athena on the Parthenon's east pediment. Despite the references to Athenian sculpture, the sculptors of the Altar of Zeus did not just borrow motifs but created a distinct style based on the unprecedented emotional intensity seen in the figures' anguished faces and straining, theatrical poses. Violent movement and swirling draperies create a vivid description of death and suffering, while deep carvings create dark shadows and projecting figures that add to the drama. The Altar of Zeus is a perfect example of the theatricality often seen in the Hellenistic Period. Described as "baroque", these dramatic elements reappear in seventeenth-century European sculpture. Bronze is a greek characteristics while roman works were made out of marble. This sculptures has influences of policleitus idea which means he breaks into 4 quadrants. he has flax leg relaxed leg, flex arms, relaxed arm the lines are deeper than are realistic. (livid adiid)
Ara pacis augustae
The Ara Pacis Augustae is an altar in Rome dedicated to Pax, the Roman goddess of Peace. The monument was commissioned by the Roman Senate on July 4, 13 BC to honor the return of Augustus to Rome after three years in Hispania and Gaul, and consecrated on January 30, 9 BC. The altar reflects the Augustan vision of Roman civil religion. It consists of a traditional open-air altar at its center surrounded by precinct walls which are pierced on the eastern and western ends by openings. The Ara Pacis is perhaps best known for the decoration on the exterior of the precinct walls composed of two tiers of friezes. On the north and south, the upper register depicts the procession of members of the Imperial household and the larger regime, while on the east and west, panels depict allegorical themes of peace and Roman civic ritual. The lower register of the frieze depicts vegetal work meant to communicate the abundance and prosperity of the Roman Peace. The monument as a whole serves a civic ritual function whilst simultaneous operating as propaganda for Augustus and his regime, easing notions of autocracy and dynastic succession that might otherwise be unpalatable to traditional Roman culture.
Artemision Bronze
The Artemision Bronze is an ancient Greek sculpture that was recovered from the sea off Cape Artemision, in northern Euboea. It represents either Zeus or Poseidon, is slightly over lifesize at 209 cm, and would have held either a thunderbolt, if Zeus, or a trident if Poseidon. However, the iconography of Ancient Greek pottery portrays Poseidon wielding the trident, when in combat, in more of a stabbing motion; Zeus is depicted fighting with his arm raised, holding the thunderbolt overhead, in the same position as the Artemision Bronze. The empty eye-sockets were originally inset, probably with bone, as well as the eyebrows, the lips, and the nipples. The sculptor is unknown. The Poseidon/Zeus is a highlight of the collections in the National Archaeological Museum of Athens.
Capitoline Wolf
The Capitoline Wolf is a bronze sculpture of a she-wolf suckling twin human infants, inspired by the legend of the founding of Rome. According to the legend, when Numitor, grandfather of the twins Romulus and Remus, was overthrown by his brother Amulius, the usurper ordered the twins to be cast into the Tiber River. They were rescued by a she-wolf who cared for them until a herdsman, Faustulus, found and raised them. The Capitoline Wolf has been housed since 1471 in the Palazzo dei Conservatori on the Campidoglio, Rome, Italy.
Charioteer of Delphi
The Charioteer of Delphi, also known as Heniokhos, is one of the best-known statues surviving from Ancient Greece, and is considered one of the finest examples of ancient bronze statues. The life-size statue of a chariot driver was found in 1896 at the Sanctuary of Apollo in Delphi. It is now in the Delphi Archaeological Museum.
Colesseum
The Colosseum (Flavian Amphitheatre) https://en.wikipedia.org/wiki/Colosseum
Golden house
The Domus Aurea was a large landscaped portico villa built by the Emperor Nero in the heart of ancient Rome, after the great fire in A.D. 64 had cleared away the aristocratic dwellings on the slopes of the Palatine Hill.
Dying Gaul
The Dying Gaul—also called The Dying Galatian or The Dying Gladiator—is an ancient Roman marble copy of a lost Hellenistic sculpture thought to have been executed in bronze. The original may have been commissioned some time between 230 and 220 BC by Attalus I of Pergamon to celebrate his victory over the Galatians, the Celtic or Gaulish people of parts of Anatolia. The identity of the sculptor of the original is unknown, but it has been suggested that Epigonus, court sculptor of the Attalid dynasty of Pergamon, may have been the creator. The celebrated copy was most commonly known as The Dying Gladiator until the 20th century, on the assumption that it depicted a wounded gladiator in a Roman amphitheatre. Scholars had identified it as a Gaul or Galatian by the mid-19th century, but it took many decades for the new title to achieve popular acceptance.
Trajan's Forum Reconstruction (Apollodorus of damascus)
The Forum of Trajan was the last, biggest and most expensive of the imperial fora in Rome. it was an impressive forum that was built to make visitors stand in awe for the greatness and power of the Roman empire and her emperor. The architect of the Forum, Apollodorus of Damascus, had definitly achieved this goal: when the later emperor Constantijn II visited the Forum of Trajan in 357 A.D. for the first time in his life, he was so impressed that he said that the Forum of Trajan was het most beautiful piece of architecture humans ever made or would make.
Ionic column
The Ionic order forms one of the three orders of classical architecture, the other two canonic orders being the Doric and the Corinthian.
Kroisos
The Kroisos Kouros (Ancient Greek: κοῦρος) is a marble kouros from Anavyssos in Attica which functioned as a grave marker for a fallen young warrior named Kroîsos (Κροῖσος).[1][2] The free-standing sculpture strides forward with the "archaic smile" playing slightly on his face. The sculpture is dated to c. 540-515 BC and stands 1.95 meters high.[3] It is now situated in the National Archaeological Museum of Athens (inv. no. 3851). The inscription on the base of the statue reads:"Stop and show pity beside the marker of Kroisos, dead, whom, when he was in the front ranks, raging Ares destroyed".530 BCE. head is more proporcional to the body.
Maison Carée
The Maison Carrée is an ancient building in Nîmes, southern France; it is the best preserved Roman temple façade to be found anywhere in the territory of the former Roman Empire. The ten books of architecture, and it argues that is the real home for people. it was also the time that concrete was created and people were not given much importance to lipids anymore.
Ancient Olympic Games
The Olympic Games were a series of athletic competitions among representatives of city-states and one of the Panhellenic Games of Ancient Greece. They were held in honor of Zeus, and the Greeks gave them a mythological origin. The first Olympics is traditionally dated to 776 BC.
temple of Parthernon
The Parthenon is a former temple on the Athenian Acropolis, Greece, dedicated to the goddess Athena, whom the people of Athens considered their patron. Construction began in 447 BC when the Athenian Empire was at the peak of its power. It was completed in 438 BC although decoration of the building continued until 432 BC. It is the most important surviving building of Classical Greece, generally considered the zenith of the Doric order. Its decorative sculptures are considered some of the high points of Greek art. The Parthenon is regarded as an enduring symbol of Ancient Greece, Athenian democracy and western civilization, and one of the world's greatest cultural monuments. The Greek Ministry of Culture is currently carrying out a program of selective restoration and reconstruction to ensure the stability of the partially ruined structure. no straight lines.
Peplos Kore
The Peplos Kore is the best known - and probably most loved - exhibit in the Museum of Classical Archaeology. She is a type of statue known as a kore (plural: korai), marble representations of young women used to mark graves or, more often, as votive offerings to the gods in the sixth and fifth centuries BCE.The word kore means 'young woman' or 'girl' in ancient Greek; it's a word classical archaeologists use to describe this type of Archaic sculpture. The original Peplos Kore was dedicated to the goddess Athena on the Akropolis in Athens c.530 BCE and now stands in the Akropolis Museum. Ours stands proud in the Cast Gallery - and she is brightly painted in a riot of colour, as the original would have been.
Pont-du-gard
The Pont du Gard is an ancient Roman aqueduct that crosses the Gardon River in the south of France. Located near the town of Vers-Pont-du-Gard, the bridge is part of the Nîmes aqueduct, a 50-kilometer system built in the first century AD to carry water from a spring at Uzès to the Roman colony of Nemausus Because of the uneven terrain between the two points, the mostly underground aqueduct followed a long, winding route that called for a bridge across the gorge of the Gardon River. The Pont du Gard is the highest of all elevated Roman aqueducts, and, along with the Aqueduct of Segovia, one of the best preserved. It was added to UNESCO's list of World Heritage Sites in 1985 because of its historical importance. They invented the arch.
Riace bronzes
The Riace bronzes, also called the Riace Warriors, are two famous full-size Greek bronzes of naked bearded warriors, cast about 460-450 BC and found in the sea near Riace in 1972. The bronzes are currently located at the Museo Nazionale della Magna Grecia in the southern Italian city of Reggio Calabria, Italy.
Sarcophagus of the Spouses
The Sarcophagus of the Spouses is a late 6th century BC Etruscan anthropoid sarcophagus, in the National Etruscan Museum of Villa Giulia, Rome. It is 1.14 m high by 1.9 m wide, and is made of terracotta which was once brightly painted. It depicts a married couple reclining at a banquet together in the afterlife and was found in 19th century excavations at the necropolis of Cerveteri. The portrayal of a married couple sharing a banqueting couch is distinctly an Etruscan style; in contrast, Greek vases depicting banquet scenes reflect the custom that only men attended dinner parties. tumulus is the name of the sarcophagus for the etruscan nation.
Temple of aphaia
The Temple of Aphaia or Afea is located within a sanctuary complex dedicated to the goddess Aphaia on the Greek island of Aigina, which lies in the Saronic Gulf. Formerly known as the Temple of Jupiter Panhellenius, the great Doric temple is now recognized as dedicated to the mother-goddess Aphaia. It was a favorite of the neoclassical and romantic artists such as J. M. W. Turner. It stands on a c. 160 m peak on the eastern side of the island approximately 13 km east by road from the main port.
Temple of Hera
The Temple of Hera, or Heraion, is an ancient Archaic Greek temple at Olympia, Greece, that was dedicated to Hera, queen of the Greek Gods. The temple was built in approximately 550 BC, but was destroyed by an earthquake in the early 4th century AD. In the Archaic Greek time period, the temple stored items important to Greek culture, and other offerings of the people. In modern times, the torch of the Olympic flame is lit in its ruins. It is a Peripteral temple. The greeks worship in the outside. the serve offerings on the cella.
Temple of Portunus
The Temple of Portunus is an ancient building in Rome, Italy, the main temple dedicated to the god Portunus in the city. It is in the Ionic order and is still more familiar by its erroneous designation, the Temple of Fortuna Virilis given it by antiquaries. Located in the ancient Forum Boarium by the Tiber, during Antiquity the site overlooked the Port Tiberinus at a sharp bend in the river; from here, Portunus watched over cattle-barges as they entered the city from Ostia.
Temple of Vesta
The Temple of Vesta is an ancient edifice in Rome, Italy, located in the Roman Forum near the Regia and the House of the Vestal Virgins. The temple's most recognizable feature is its circular footprint. Since the worship of Vesta began in private homes, the architecture seems to be a reminder of its history. The extant temple used Greek architecture with Corinthian columns, marble, and a central cella. The remaining structure indicates that there were twenty Corinthian columns built on a podium fifteen meters in diameter. The roof probably had a vent at the apex to allow smoke release.
Tomb of the Leopards
The Tomb of the Leopards (Italian Tomba dei Leopardi) is an Etruscan burial chamber so called for the confronted leopards painted above a banquet scene. The tomb is located within the Necropolis of Monterozzi and dates to around 480-450 BC.[1] The painting is one of the best-preserved murals of Tarquinia,[2] and is known for "its lively coloring, and its animated depictions rich with gestures."[3] A psykter found in the Tomb of the Leopards, depicting an athlete, a servant boy, a youth and a dog. The banqueters are "elegantly dressed" male-female couples attended by two nude boys carrying serving implements. The women are depicted as fair-skinned and the men as dark, in keeping with the gender conventions established in the Near East, Egypt and Archaic Greece. The arrangement of the three couples prefigures the triclinium of Roman dining.[2] Musicians are pictured on the walls to the left and right of the banquet.[2] On the right, a komos of wreathed figures and musicians approaches the banquet; on the left, six musicians and giftbearers appear in a more stately procession.
The Winged Victory of Samothrace (Nike of Samothrace)
The Winged Victory of Samothrace, also called the Nike of Samothrace, is a 2nd-century BC marble sculpture of the Greek goddess Nike. Since 1884, it has been prominently displayed at the Louvre and is one of the most celebrated sculptures in the world. H.W. Janson described it as "the greatest masterpiece of Hellenistic sculpture."
Chimera of Arezzo
The bronze "Chimera of Arezzo" is one of the best known examples of the art of the Etruscans. It was found in Arezzo, an ancient Etruscan and Roman city in Tuscany, in 1553 and was quickly claimed for the collection of the Medici Grand Duke of Tuscany Cosimo I, who placed it publicly in the Palazzo Vecchio, and placed the smaller bronzes from the trove in his own studiolo at Palazzo Pitti, where "the Duke took great pleasure in cleaning them by himself, with some goldsmith's tools," Benvenuto Cellini reported in his autobiography. Court intellectuals of the time considered the Chimera of Arezzo to be a symbol of the Medici domination of the grand duchy.The Chimera is still conserved in Florence, now in the Archaeological Museum. It is approximately 80 cm in height.
Sleeping satyr (Barberini Faun)
The life-size marble statue known as the Barberini Faun, Fauno Barberini or Drunken Satyr is located in the Glyptothek in Munich, Germany. A Faun is the Roman equivalent of a Greek Satyr. In Greek mythology, satyrs were human-like male woodland spirits with several animal features, often a goat-like tail, hooves, ears, or horns. Satyrs attended Dionysus.
Kritios Boy
The marble Kritios Boy or Kritian Boy belongs to the Early Classical period of ancient Greek sculpture. It is the first statue from classical antiquity known to use contrapposto;[1] Kenneth Clark called it "the first beautiful nude in art"[2] It is possible, even likely, that earlier Bronze statues had used the technique, but if they did, they have not survived[2] and Susan Woodford has speculated that the statue is a copy of a Bronze original.[3] The Kritios Boy is thus named because it is attributed, on slender evidence,[2] to Kritios who worked together with Nesiotes (sculptors of Harmodius and Aristogeiton) or their school, from around 480 BC. As currently mounted, the statue is considerably smaller than life-size at c. 86 cm (3 ft 10 ins),[1][4] including the supports that replace the missing feet.
Lady of Auxerre
The relatively small limestone Cretan sculpture called the Lady of Auxerre, (or Kore of Auxerre), archaic Greek goddess of c. 650 - 625 BC. It is a Kore ("maiden"), perhaps a votary rather than the maiden Goddess Persephone herself, for her right hand touches her solar plexus and her left remains stiffly at her side . They are grave marks
laocoon and his sons
The statue of Laocoön and His Sons (Italian: Gruppo del Laocoonte), also called the Laocoön Group, has been one of the most famous ancient sculptures ever since it was excavated in Rome in 1506 and placed on public display in the Vatican,[2] where it remains. Exceptionally, it is very likely to be the same object as a statue praised in the highest terms by the main Roman writer on art, Pliny the Elder.[3] The figures are near life-size and the group is a little over 2 m (6 ft 7 in) in height, showing the Trojan priest Laocoön and his sons Antiphantes and Thymbraeus being attacked by sea serpents. The group has been "the prototypical icon of human agony" in Western art,[4] and unlike the agony often depicted in Christian art showing the Passion of Jesus and martyrs, this suffering has no redemptive power or reward.[5] The suffering is shown through the contorted expressions of the faces (Charles Darwin pointed out that Laocoön's bulging eyebrows are physiologically impossible), which are matched by the struggling bodies, especially that of Laocoön himself, with every part of his body straining. Pliny attributes the work, then in the palace of Emperor Titus, to three Greek sculptors from the island of Rhodes: Agesander, Athenodoros and Polydorus, but does not give a date or patron. In style it is considered "one of the finest examples of the Hellenistic baroque" and certainly in the Greek tradition,[7] but it is not known whether it is an original work or a copy of an earlier sculpture, probably in bronze, or made for a Greek or Roman commission. The view that it is an original work of the 2nd century BC now has few if any supporters, although many still see it as a copy of such a work made in the early Imperial period, probably of a bronze original.[8] Others see it as probably an original work of the later period, continuing to use the Pergamese style of some two centuries earlier. In either case, it was probably commissioned for the home of a wealthy Roman, possibly of the Imperial family. Various dates have been suggested for the statue, ranging from about 200 BC to the 70s AD,[9] though "a Julio-Claudian date [between 27 BC and 68 AD] ... is now preferred". Although mostly in excellent condition for an excavated sculpture, the group is missing several parts, and analysis suggests that it was remodelled in ancient times and has undergone a number of restorations since it was excavated.[11] It is on display in the Museo Pio-Clementino, a part of the Vatican Museums.
Calf Bearer
The statue of a moschophoros, or calf bearer, was found in the Athenian acropolis (today, it can be found in the Acropolis Museum, in Athens, Greece). An inscription on the base of the marble statue (not visible in the picture above) states that a man named Rhonbos dedicated the statue. Scholars are almost certain that Rhonbos is the calf bearer. He is bringing the calf to goddess Athena as an offering. Archaic smile, simbolizes that the sculpture should celebrate being alive. The calf bearer is similar to the traditional kouroi and earlier Egyptian sculptures as he stands in the same "left foot forward" manner. He is similar to Greek kouroi in that they are all depicted nude. There are, however, key differences. The calf bearer has a beard, indicating that he is no longer in his youth. Also, he wears a thin cloak (which was originally painted, creating an even greater contrast with his nude body). Although no one in ancient Athens dressed this way, the artist clothed him because it would have been considered extremely disrespectful and inappropriate to be nude while presenting an offering to a god. date: 600 BCE
Column of Antonius pius (Decursio)
This monumental column of red granite was erected in memory of Antoninus Pius (A.D. 138-161) by his two adopted sons, Marcus Aurelius and Lucius Verus.
Triumph of Titus
This scene depicts the actual triumphal procession with the toga-clad Titus in the chariot, but with the addition of allegorical figures--the winged Victory riding in the chariot with Titus who places a wreathe on his head, the goddess leading the horses (identified by some scholars as Roma, others as Valor [Virtus]), and the semi-nude Genius of the People. Because the reliefs were deeply carved, some of the forward heads have broken off.
Head of Alexander the great
Title: Portrait of Alexander the Great Artist/Maker: Unknown Culture: Greek Place: Greece (Place created) Date: about 320 B.C. Identified by his mass of leonine hair, his young idealized face, and his deep-set, upturned eyes, Alexander the Great was the first Greek ruler to understand and exploit the propagandistic powers of portraiture. Ancient literary sources say that he let only one sculptor carve his portrait: Lysippos, who created the standard Alexander portrait type. In general such portraits incorporated characteristics that had been used earlier for the representation of gods and heroes. This practice was part of Alexander's adoption of the Near Eastern idea of honoring rulers as if they were gods. This life-size head, said to have been found in Megara, was part of a multi-figured group, which probably served as a funerary monument for some courtier who wanted to associate himself with the ruler. The Getty Museum has over thirty fragments of this group, which might have depicted a sacrificial scene. The participants include Alexander, his companion Hephaistion, a goddess, Herakles, a flute player, and several other figures, as well as animals and birds. The head was re-carved in antiquity. The left ear was added, the right sideburn shortened, and the lower eyelids recut.
markets of trajan
Trajan's Market (Latin: Mercatus Traiani, Italian: Mercati di Traiano) is a large complex of ruins in the city of Rome, Italy, located on the Via dei Fori Imperiali, at the opposite end to the Colosseum. The surviving buildings and structures, built as an integral part of Trajan's Forum and nestled against the excavated flank of the Quirinal Hill, present a living model of life in the Roman capital and a glimpse at the continuing restoration in the city, which reveals new treasures and insights about Ancient Roman architecture. Made of red brick and is open because they found out that they prefer to shop in a open space.
Pantheon
a select group of illustrious people who have done the same thing A domed temple in Rome that was completed in 27 BCE, and still stands today. A circular temple at Rome with a fine Corinthian portico and a great domed roof.
dying warrior
archaic smile and doesn't look like he is dying
portrait of a husband and wife
c. 70-79 BC This husband and wife wished to present themselves to their guests as thoughtful and well-read. The poses and the attributes are conventional. Wall painting, Pompeii, ca., 70-79 BCE • Portrait of a husband and wife; from Pompeii, Italy; ca. 70-79 CE; fresc
Herculaneum
first style of wall painting
hegemony
leadership or dominance, especially by one country or social group over others:
dying warrior II
more dying features. wear a helmet
Doric column
the first of the five classical orders of architecture, characterized by fluted columns with a rounded molding at the top and no base. Doric is associated with democratic society.the triangular shape is called the .
Pediment
the triangular upper part of the front of a building in classical style, typically surmounting a portico of columns. In this pediment we see medusa with her children and lions. with the archaic smile.