Bradpsculptor's Blog

Greek Hellenistic, & Greco Roman Aphrodite sculpture.

Posted on July 11, 2009. Filed under: Sculpture derived from Greek Hellenistic sculpture | Tags: & Greco Roman Aphrodite sculpture., Greek Hellenistic |

 

 

 

 

Aphrodite, FriederichswerderscheKirch, Schinkel Museum designed by Karl Frederich Schinkel – architect 1822 – 1823

 

 

 

 

 

 

 

Aphrodite, FriederichswerderscheKirch, Schinkel Museum designed by Karl Frederich Schinkel – architect 1822 – 1823

 

{This sculpture is influenced by the Venus Callypige, Napoli, Hellenistic sculpture pictured below. The German sculpture of Aphrodite is not as sophisticated in form-content, or as gracefull as the Greek Venus Callypige sculpture.}, bloger, PBP

The National Archaelogical Museum of Naples can be considered one of the most important cultural centres in the world in terms of the quantity and quality of Greek and Roman relics it contains. The museum building was constructed in 1585, on the hill of Santa Teresa, then a solitary spot but now surrounded by the chaotic traffic of the city centre. The building was originally a Cavalry Barracks, built by order of Don Pedro Giron, Duke of Ossuna, viceroy of Naples; was later used as a University, and was finally turned into a museum under Charles of Bourbon.
The National Library was also situated here for a long period, up until 1922 when it was transferred to the Royal Palace. The initial nucleus of the museum was established by Charles of Bourbon to display the Farnese collection which he inherited from his mother. However, the subsequent enlargement of the immense artistic patrimony, determined by the addition of remains found in the archaeological excavations at Pompeii, Herculaneum and Stabia, led to the search for new premises, and

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the transfer to the present building. It is practically impossible to mention every one of the enormous number of relics and works on display here, which makes the National Archaeological Museum of Naples one of the most authoritative and prestigious collections in the world; we will instead limit ourselves to some of the most important artistic works.
It should also be remembered that a change in exhibiting criteria has led, in the last few years, to a new arrangement of the areas open to the public.
Most notable among the various exhibits and rooms are the Farnese Hercules, from the Roman Baths of Caracalla; the Farnese Cup a splendid example of cameo, once a part of the Medici collections; the Halls of Villa Papyri, where numerous sculptural exhibits are displayed, brought here from the excavations at the Herculaneum villa; the Halls of the Temple of Isis, containing frescoes and other material from Pompeii, once kept in the museum’s store-rooms; the Doryphorus, an admirable copy from the original by Polyclitus, from Pompeii; the relief showing the myth of Orpheus and Eurydice; the “Tirannicides”, Aristogeiton and Harmodius, the magnificent Roman copy of a Greek original of the 5th century BC; the Venus Callypige, from an Hellenistic original; the Farnese Bull, also from Capua; the small bronze of the Dancing Faun; the mosaic showing the Battle of Issus. Completing the vast array of exhibits are paintings from Pompeii, Herculaneum and Stabia, sculptures, small bronzes, and a collection of vases. Among the latter, note the vases originating form Etruria, Attica, Lucania, Apulia and Campania. Among the exhibits linked to Etruscan culture, the Small Bronze of a Donor (5th-4th centuries BC) is of considerable importance; it was found in the Commune of Capoliveri (Island of Elba) at the end of the 16th century.

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Aphrodite Kallipygos, National Museum Neapel

 

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Venus de Medici, after Greek Hellenistic, Hellenistic Greek copy during Roman occupation of Greek bronze, Ufizzi, Florence, Italy

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Venus de Medici, Ufizzi, Florence, Italy

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Venus de Medici, Ufizzi, Florence, Italy

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Venus de Medici, after Greek Hellenistic, Hellenistic Greek copy during Roman occupation of Greek bronze, Ufizzi, Florence, Italy

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Aphrodite von Sinuessa

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Aphrodite von Sinuessa

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Aphrodite von Sinuessa

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Aphrodite von Sinuessa,Marble statue, standing, female, garment before the unterbody., Museo Nazionale, Rome, Italy

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Crouching Venus, Rom, Thermenmuseum (Terme, Museum)
Aus der Villa Hadriana, Tivoli.

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APHRODITE “CROUCHING APHRODITE”, Musée du Louvre, Paris, France, “Aphrodite accroupie”, Material: Marble, Height: 0.71 metres, Copy by Greek sculptors of an earlier Greek statue C3rd BC, during Roman Imperial period, Style: Hellenistic, Aphrodite crouching, bathing herself with upraised arm.

 

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Crouching Aphrodite. Marble, Greek sculptors hired during the Imperial Era after a Hellenistic type: the goddess is raising her left hand towards her neck whereas the protype used to cross her arms on her breast., H. 71 cm, Collections of Louis XIV of France; seized during the French Revolution (27 ¾ in.), Department of Greek, Etruscan and Roman Antiquities, Sully, ground floor, room 17, Louvre Museum, Paris France

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Crouching Aphrodite. Marble, Greek sculptors hired during the Roman period to copy a sculpture of the 2nd century CE after a Hellenistic original of the 3rd century BC, loosely derived from the Cnidian Aphrodite by Praxiteles., H. 71 cm (27 ¾ in.), Department of Greek, Etruscan and Roman Antiquities, Sully, ground floor, room 17, Louvre Museum, Paris, France

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Venus de Vienne

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Venus de Vienne

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Venus de Vienne, Crouching Venus, Louvre, Museum, Paris, France

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Crouching Aphrodite. Marble, Roman copy of the 1st-2nd century CE after a Hellenistic original of the 3rd century BC, loosely derived from the Cnidian Aphrodite by Praxiteles. From Sainte-Colombe, Isère, France., H. 96 cm (37 ¾ in.), Gerantet Collection; purchase, 1878, Department of Greek, Etruscan and Roman Antiquities, Sully, ground floor, room 17, Louvre Museum, Paris, France

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Crouching Aphrodite. Marble, Roman copy of the 1st-2nd century CE after a Hellenistic original of the 3rd century BC, loosely derived from the Cnidian Aphrodite by Praxiteles. From Tyre, Lebanon., H. 74 cm (29 in.), Purchase, 1887, Department of Greek, Etruscan and Roman Antiquities, Sully, ground floor, room 17, Louvre Museum, Paris, France

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Crouching Aphrodite, Naples Natinal Archaeology Museum, Naples, Italy

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APHRODITE “CROUCHING APHRODITE”, Museum Collection: British Museum, London, UK (on loan from Queen Elizabeth II), Catalogue Number: London GR 1963.10-29.1, Title: “Aphrodite accroupie”, Material: Marble, Height: 1.12 metres, Copy: Roman copy of Greek statue after Doedalsas of Bithynia ca 250 BC, Style: Hellenistic, Date: C2nd AD
Period: Imperial Roman, Aphrodite crouching at her bath, covering her nakedness with enclosing arms.

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So-called “Lely’s Venus”: Aphrodite surprised as she bathes. Marble, Roman copy from the 2nd century BC after an Hellenistic original., H. 1.12 m (3 ft. 8 in.), Former collection of Sir Peter Lely; lent by H.M. Queen Elizabeth II, Main floor, room 23, Greek & Rome, British Museum, London, United Kingdom

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Crouching Aphrodite, Ufizzi Museum, Florence, Italy

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Franz Alexander Friedrich Wilhelm Wolff (* 6. April 1814 in Fehrbellin; † 30. Mai 1887 in Berlin) -Bacchantin mit dem freilich hundezahmen Panther, 1869, FriederichswerderscheKirch, Schinkel Museum designed by Karl Frederich Schinkel – architect 1822 – 1823, Berlin, Germany

{This is an example of the sculpture enclosed within a geometric shape (an alignment within and through a portion of a platonic solid), and elements of the combined mass of the female figure and the panther reflect the shape geometry of the forms of the female (Bacchantin). Part of this combined shape of the Bacchantin and panther start at the lateral proximal left external oblique (where the narrowing of the waist ends and the waist begins to proceeds out) of Bacchantin which proceeds in a horizontal arch accross Bacchantin’s torso, over her right wrist / hand to the top head of the panther, down with and at the angle of the folds of drapery, accross the vertical stump element, including the panther torso, hip, pre tail at tail base, to leg angled forward; the opposite side being the hip, and legs of Bacchantin through the ankle accross to the lower forward fold of cloth at the center base, and including the front turning of the square base. This shape is also demensional – the interior portion of this shape area: the panthers right elecronon (elbow) area, and Bacchantin’s left patella (knee) area, project forward together representing the same geometry as the glabella – between the supercilliary promenence’s (forhead shape projection forward between eyebrows region). /// The same geometry of the whole shape of the panther & Bacchantin first described can be seen in the head of Bacchantin as seen at the narrow top of Bacchantin’s head just past the coronal suture / proximal parietal down both sides of the head to the lateral lower cheek bones, zygomatic and mass of the cheeks angled inward as proceeding distally / lower cheeks aligned with the lower nose, because of foreshortening the appearence of the shape ending at the lower lip / proximal mentalis (top chin). //// The proximal zyphoid around to both side of the projected 7th. intercostal out to the external mass of the rib cage and returning to the proximal (top) platform of the belly button tranverse ligiment, – reflect the same shape again, in the same right side up position as the panther Bacchantin shape element already mentioned.

All through this specific geometry is diplayed. Because photography flattens shape, and only shows gradations of light, not geometric form, these examples are a bit difficult to see three dimensionally. Also this is a very simplistic example of the order of shape geometry I have described, used as possible with the source picture.}, - bloger, PBP

was a famous German animal sculptor 19. Century, towards. the animal Wolff.

After the training in the royal iron foundry in Berlin and with the royal institute for trade (to the forerunner DO Berlin) he extended his knowledge of the casting technology not least by the promotion Beuths with Soyer in Paris and in Munich with Johann Baptist Stiglmaier. Subsequently, it made itself independent in Berlin with its own bildgiesserei, which it handed to his brother over Albert later. He dedicated himself to the plastic representation of animals to a large extent.

It was represented since 1839 on the exhibitions of the Prussian academy of the arts and became 1865 member of the academy.

works [Work on]

• Eagle relief for the eight bases of the lock bridge in Berlin center;
• ((The Sachsenross before the Welfenschloss in Hanover.)) The Sachsenross is clear from sculptor Albert Wolff!!!

literature: [Work on]

• Bildwerke from three centuries in Hanover. Described of Gert of the east. Taken up by Hildegard Mueller. Hrsg. of the art association Hanover to its 125jährigen existence. Munich: Bruckmann 1957, P. 100-101 (Sachsenross before the University of Hanover).

Person data

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AMMANATI, Bartolomeo, – Leda with the Swan, Marble
Museo Nazionale del Bargello, Florence, Italy

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Ammanati Bartolomao, Leda with the Swan, Museo Nationale de Bargello, Florence, Italy

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Bather, also called Venus
1767
M.R. 1747

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Christophe-Gabriel ALLEGRAIN – Paris, 1710 – Paris, 1795
Bather, also called Venus
1767
Musée du Louvre, Paris, France,

Marble
H. 1.74 m; W. 0.62 m; D. 0.675 m
Seized during the Revolution, 1793; entered the Louvre before 1824

{ A “beautiful, beautiful, sublime figure”
A “beautiful, beautiful, sublime figure; even the most beautiful, they say, the most beautiful figure of a woman the moderns have created,” Diderot enthused at the 1767 Salon. The statue could be seen in the sculptor’s studio, where it was admired by one and all. The delicately worked marble imbued the nude with the elasticity and sensuality of real flesh.

The work that launched the sculptor

The work launched the career of a hitherto unknown artist. Diderot wrote in a letter to his friend the sculptor Étienne-Maurice Falconet, in May 1768, “Well, that Allegrain, whom I’d never heard of, has just done a bathing Venus that has the admiration of even the masters of art.” In 1755, before awarding this royal commission to Allegrain, the Marquis of Marigny, Director of the King’s Buildings, had sought the advice of Charles-Nicolas Cochin, engraver, keeper of the king’s cabinet of drawings, and historiographer of the Académie Royale de Peinture et de Sculpture, who exerted great influence in artistic politics. The latter had to admit that the only known work by the artist was Narcissus, his admission piece for the Académie. Allegrain was nevertheless given the commission, no doubt owing to the influence of his brother-in-law, Jean-Baptiste Pigalle, the most famous sculptor under Louis XV. But he was delivered a faulty block of marble, full of veins and bluish marks. The plaster, shown at the 1757 Salon, aroused little attention, but ten years later the marble created a sensation. Louis XV offered it to his mistress, Madame Du Barry, who placed it in the park of her home, the Château de Louveciennes, and commissioned from the artist a pendant, Diana and Actaeon (Louvre). The two sculptures, seized during the Revolution, entered the Louvre before 1824.

Antique proportions and naturalistic sensuality

The figure, whose proportions were praised by a critic of the time, exudes simplicity and naturalness, the distinctive qualities of antique statuary. Yet Allegrain’s Venus does not explicitly refer to any antique model, although it does have the serpentine fluidity of the works of Giambologna (1529-1608), an Italian sculptor of Flemish origin who had greatly influenced European sculpture. In particular, it has affinities with the “Bather Placing Her Foot on a Perfume Vase,” a 17th-century bronze copy of which is in the Musée de la Chartreuse, Douai, notably that figure’s sinuous contours, lowered shoulder, small breasts, and very elaborate plaited hairstyle (which Allegrain improves upon). Yet he is not sculpting the firm, idealized body of a goddess but the carnal reality of a woman. She has folds on her stomach, hips, and arms. The pose of the head, facial expression, and the refinement of the hairstyle exude sensual charm. There is a faint smile on her face and a twinkle in the slightly contracted left eye. The forward-leaning head is very daring, considering the fragility of marble. Allegrain created a “bridge” of hair between head and back to support and counterbalance it, and in so doing combines beautiful details and overall clarity. } Text from the Louvre

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Diane by Christophe-Gabriel Allegrain

(Paris 11 October 1710 — Paris 1795) was a French sculptor who tempered a neoclassical style with Rococo charm and softness, under the influence of his much more famous brother-in-law, Jean-Baptiste Pigalle.

His single most famous work, a marble Bather (La Baigneuse), was commissioned for the royal residences through the Bâtiments du Roi in 1755; a modelled sketch was shown at the Salon of 1757. When the finished marble was finally exhibited at the Salon of 1767 it received a sensational reception. In 1772 Louis XV presented it to Mme du Barry for her Château de Louveciennes, where she had recently completed the famed pavilion that introduced the new Neoclassicism, usually associated with the “Louis Seize style”, into court circles. After the King’s death she was pleased enough with it to commission from Allegrain a pendant bather in 1776, which he delivered in 1778 (illustration). presented in the landscape garden as Vénus and Diane they provided an allegory of her past sensual love and her present chaste condition. (Both are conserved in the Louvre Museum.) There are small-scale patinated bronze reproductions, and both pieces remained popular and often reproduced through the nineteenth century: in 1860, when the Goncourt brothers referred to “the refined legs of a Diana of Allegrain”,^[1] their readers conjured up the familiar image.

His portrait by Joseph Duplessis, 1774, earned the painter a place in the Académie Royale de Peinture et de Sculpture. Among his pupils were his son and François-Dominique-Aimé Milhomme.

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La Toilette d’Atalante by Jean-Jacques Pradier (James), Louvre, Paris, France

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Jean-Jacques PRADIER, dit James
Genève, 1790 – Bougival, 1852

Les Trois Grâces
Marbre, salon de 1831
H. : 1,72 m. ; L. : 1,02 m. ; Pr. : 0,45 m.

Le modèle en plâtre était achevé en 1825.

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Augustin CAYOT (1667-1772)
The Death of Dido
1711
Musée du Louvre, Paris, France,

Reception piece for the Academy, 1711
Marble
H. 86.8 cm; W. 55 cm; D. 59 cm
Seized from the collections of the Academy during the Revolution, 1793; probably entered the Louvre in 1849

 

 

 

NAME	Wolff, Friedrich William
SHORT DESCRIPTION	German animal sculptor
DATE OF BIRTH	6. April 1814
PLACE OF BIRTH	Fehrbellin
DYING DATE	30. May 1887
	Berlin---Antonio ABONDIO (Italy 1538 – Austria 1591), Portrait of Faustina Romana (obverse); Leda and the swan (reverse), National Gallery of AustraliaThe subject of the medal, Faustina the Roman, has been identified as ‘a courtesan celebrated by Joachim du Bellay, who was in Rome from 1553 to 1558, and possibly identical with the Faustina who excited the passion of Brantôme.’ The legend may be completed as Favstina ro(mana) o(mnium) p(ulcherrima), or the Roman Faustina, of every beauty. Her portrait bust is in the classical antique style: left profile, drapery, hairstyle and jewellery – earrings, necklace and hair fillet. The reverse depicts the Greek myth of Leda and the swan. Leda is the wife of the king of Sparta, who is seduced (or raped) by Zeus in the guise of a swan; from their union is born Helen of Troy. The Roman name for Zeus was Jupiter or Jove. The legend si Iovi.quid homini implies if Jove does this, what of men? The theme was a common one for Renaissance artists. Abondio takes advantage of the tondo format by accentuating the curve of the swan’s wings, and repeats the rhythmical bend of the swan’s neck in Leda’s limbs.

{ The Death of Dido

Dido, Queen of Carthage, was abandoned by Aeneas and killed herself in despair. For his reception piece at the Academy in 1711, Cayot treated this dramatic Virgilian episode with virtuosity, neglecting neither the drama of the moment nor the sensuality of the abandoned queen. Description The iconography Dido, the founder and queen of Carthage, has just been abandoned by the Trojan hero Aeneas, son of Venus, gone in search of a new kingdom. She decides to kill herself on a pyre built to burn her faithless lover’s possessions. The theme is taken from Virgil’s Aeneid (written in the 1st century BC), which recounts the legendary adventures of Aeneas: his flight after the sack of Troy by the Greeks, and his journey to Italy where he was to found the Roman Empire. Death and sensuality The scene is theatrical: the queen, kneeling on the pyre, eyes raised heavenward, plunges her lover’s sword into her breast, thrusting the sheath behind her with her left arm. A few drops of blood flow from the wound. Tragedy and sensuality are closely mingled here: Dido’s suicidal pose, as she kneels on a soft cushion, is both elegant and revealing. Her fine tunic, open at her breast, shows the line of her thigh; the flowing cloak that has slipped from her shoulder is held in place at the hip by a finely-worked clasp, and a lock of hair emphasizes the nudity of her shoulder. A virtuoso work Cayot demonstrated his skillful rendering of textures with this funeral pyre: an artful pile of branches, logs, and Aeneas’s armor. The Trojan hero’s helmet with its plumed crest is an enormous fish head with an evil-looking eye, its gaping mouth turned toward the spectator. The artist presented this virtuoso work for his admission into the Royal Academy of Painting and Sculpture on 31 December 1711. In the 18th century, sculpture in the round replaced the bas-relief work previously required by the institution. } Text from the Louvre

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Jean THIERRY – Lyon, 1669 – Lyon, 1739
Léda et le cygne
Musée du Louvre

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Jean THIERRY – Lyon, 1669 – Lyon, 1739
Léda et le cygne
Musée du Louvre

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Jean THIERRY – Lyon, 1669 – Lyon, 1739
Léda et le cygne
Musée du Louvre, Paris, France

Reception piece for the Academy, 1717
Marble
H. 81 cm; W. 40 cm; D. 44 cm
Seized from the collections of the Academy during the Revolution, 1793; entered the Louvre in 1849

{ Leda and the Swan

Leda, Queen of Sparta, was seduced by Jupiter in the form of a swan. Jean Thierry’s Academy diploma piece in 1717 was an unusual one: although this type of subject had often been treated since the 16th century, tragic themes were generally preferred for admission to the Academy. The story of Leda corresponded to the light and libertine style that Thierry promulgated at the Spanish court of King Philip V. Description The theme The god Jupiter fell in love with Leda, the mortal queen of Sparta. He came to her in the form of a swan, and seduced her while she was bathing in the river. This story is told by Ovid in his Metamorphoses – an early 1st-century work recounting the transformations of gods and mortals into plants or animals, which was a primary source of artistic inspiration from the Renaissance onward. The painter Antoine Coypel, director of the Royal Academy of Painting and Sculpture, imposed this theme on the sculptor Thierry in 1714 for his diploma piece. The bas-reliefs which had previously been required for Academy admission were replaced in the 18th century by statuettes sculpted in the round. The majority of pieces had tragic, violent, themes, such as Guillaume I Coustou’s Hercules at the Stake (1704, in the Louvre), François Dumont’s Titan (1712, in the Louvre), René Charpentier’s Death of Meleager (1713, in the Louvre), or Jean-Baptiste Lemoyne’s Death of Hippoytus (1715, in the Louvre). Thierry’s Leda, on the other hand, comes from a rarer romantic mythology. Thierry’s libertine style Leda was a recurrent motif in erotic art from the Italian Renaissance, treated by artists such as Da Vinci and Michelangelo. Thierry’s approach to the theme has voluptuous elegance and grace. Leda’s pose (sitting with one leg bent behind her, one arm across her body, and her head in profile) was inspired by the Nymph with a Quiver and Nymph with a Dove (in the Louvre) by Coustou, Thierry’s master at Versailles. In this work, however, the contrapposto is accentuated, and the attitude more lascivious. Leda’s body is brought to life by the upward movement of the swan that envelops her with its wings, its webbed foot on her left thigh; she is turning to the swan, her right hand on its shoulder, her left caressing its neck. The protagonists are gazing into each other’s eyes with obvious desire. The spiraling forms intertwine in a swirling shape that confers a multitude of viewpoints to the group. The sculptor played with textures too, using the ridges on the swan’s feathers, Leda’s braided hair, and the grooves on the plinth, to highlight the smooth sheen of the queen’s body. Thierry promulgated this light and libertine style at the Court of Spain where he stayed from 1721 to 1728, on the invitation of King Philip V, to work with René Frémin on the sculptures in the gardens of La Granja, near Segovia. } Text fromthe Louvre

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Head of a satyr. Greek Copy after a statue (ca. 100 BC)., Room 13 (Saal des Knaben mit der Gans), Munich Glyptothek, Munich, Germany

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PAN, Museum Collection: Musée du Louvre, Paris, France, catalogue Number: Louvre Ma 266,
Title: “Pan”, Material: Marble, Height: 1.58 metres, Copy: during Roman Imperial period Greek sculptors hired to copy a Greek statue from group by Heliodorus of Rhodes C2nd BC, Style: Hellenistic, Date: C2nd AD
Period: Imperial Roman, The goat-legged god Pan seated on a rock holding a flute. Once part of a statue group depicting the instruction

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PAN & GOAT, Museum Collection: Museo Archeologico Nazionale di Napoli, Naples, Italy
Title: “Pan copulating with goat”, material: Marble, Period: Imperial Roman Greek hired to copy earlier Greek sculpture, The goatish god Pan copulating with a nanny-goat.

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HYGEIA, Museum Collection: State Hermitage Museum, St Petersburg, Russia, “Hygeia”
Material: Marble, Height: 0.87 metres, Copy: Greeks hired during Roman Imperial period to copy Greek statue
Date: C1st AD, Hygeia (Good Health personified) sits feeding a serpent from a bowl.

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HYGEIA, Museum Collection: Palazzo Corsini, Rome, Italy, “Hygeia”, material: Marble, copy during Imperial Roman period by Greek sculptors of a Greek statue, Hygeia (Good Health personified) feeding a serpent from a bowl.

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SEILENOS, Museum Collection: Museo Pio-Clementino, Musei Vaticani, Vatican City, Title: “Silenus”
Material: Marble, Seilenos with wreath of cones, panther skin, club, feeding panther cub.

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SEILENOS & INFANT DIONYSOS, Museum Collection: Museo Archeologico Nazionale di Napoli, Naples, Italy
Catalogue Number: TBA, Title: “Silenus & infant Dionysus “, Material: Marble –
Period: Imperial Roman, Greek sculptors hired to make copies or varients

The horse-eared god Seilenos clashing cymbals and carrying the infant Dionysos on his shoulders. Beside him draped over a rock are a deer-skin cape and pan-pipes.

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IKHTHYOKENTAUROS & SEILENOS, Museum Collection: Musée du Louvre, Paris, France
Catalogue Number: Ma 3091, Title: “Marine Centaur and Silenus “, Material: Marble
Height: 1.15 metres, Context: Discovered Esquilin Mount, Rome, Original / Copy: Roman copy of a Greek statue from a group by Scopas C4th BC
Style: Hellenistic, Date: C1st – C2nd AD, Period: Imperial Roman

The fat old god Seilenos rides on the back of a youthful Ikhthyokentauros (fish-tailed marine centaur).

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KENTAUROS & EROS, Museum Collection: Musée du Louvre, Paris, France, Title: “Centaur & Cupid”, Material: Marble
Height: 1.47 metres, Context: Discovered Rome, Original / Copy: Roman copy of Greek statue by a sculptor of Aphrodisias in Anatolia
Style: Hellenistic, Date: C1st – C2nd AD, Period: Imperial Roman

The winged godling Eros (love personified) seated on the back of a centaur.

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Old Centaur teased by love. Greeks hired by Romans during Roman period to make a copy, or a varient of an earlier work,

(1st–2nd centuries AD) of a Greek original of the 2nd century BC. Marble, found in Rome in the 17th century, Borghese Collection; purchase, 1807, Department of Greek, Etruscan and Roman Antiquities, Sully wing, ground floor, room 17, Louvre Museum, Paris, France

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Aristeas and Papias of Aphrodisias, So-called “Old Centaur”: centaur teased by Eros (missing). Grey-black marble, Roman copy after an Hellenistic original., H 1.34 m (4 ft. 4 ¾ in.), From the Villa Adriana near Tivoli, 1736, Palazzo Nuovo, first hall, great hall, Musei Capitolini, Rome, Italy

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Aristeas and Papias of Aphrodisias, KENTAUROS “FURIETTI CENTAUR”, So-called “Old Centaur”: centaur teased by Eros (missing)., Grey-black marble, Roman copy after an Hellenistic original. From the Villa Adriana near Tivoli

Museum Collection: Museo Capitolino, Rome, Italy, Title: “Furietti Centaur ” , Period: Imperial Roman, Greek sculptors in Aphrodisias hired by Roman patrons, A half horse, half man centaur.

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Aristeas and Papias of Aphrodisias (signature on the plinth), So-called “Young Centaur”: young centaur mocking Love’s wounds (Eros missing). Grey-black marble, Roman copy after an Hellenistic original. Musei Capitolini, Rome, Italy

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SATYROS & PAN, Museum Collection: Museo Pio-Clementino, Musei Vaticani, Vatican City, Material: Marble,
Period: Imperial Roman, Greek sculptors hired to make varients or copies

 

A small goat-legged Pan plucking a thorn from the foot of a Satyros. The Satyros has animal ears, deer-skin cloak, wine skin, and a wreath of small pine cones.

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SATYROS & PAN,

 

SUMMARY

A small goat-legged Pan plucking a thorn from the foot of a horse-eared Satyros.

ARTICLES

Satyroi, Pan

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S39.6 SATYROS

Museum Collection: State Hermitage Museum, St Petersburg, Russia
Catalogue Number: TBA
Title: “Dancing Satyr”
Class: Free-standing statue
Material: Marble
Height: 1.86 metres
Context: –
Original / Copy: Roman copy of Greek statue
Style: –
Date: C2nd AD
Period: Imperial Roman

SUMMARY

A horse-eared Satyros with deer skin cape and staff.

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S39.7 SATYROS

Museum Collection: Museo Pio-Clementino, Musei Vaticani, Vatican City
Catalogue Number: TBA
Title: –
Class: Free-standing statue
Material: Marble
Height: –
Context: –
Original / Copy: –
Style: –
Date: –
Period: Imperial Roman

SUMMARY

A Satyros playing a pipe, with animal skin cape draped beside him.

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Italiano: Ariete in bronzo, del sec. III a.C. Ora al Museo archeologico regionale di Palermo

 

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Ariete in bronzo, del sec. III a.C. Ora al Museo archeologico regionale di Palermo,

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Italiano: Ariete in bronzo, del sec. III a.C. Ora al Museo archeologico regionale di Palermo,

 

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Copy of Boethos of Chalcedon, Child strangling a goose. Marble, Roman copy after a bronze original from ca. 300 BC., Galleria dei Candelabri, Vatican, Vatican City, Rome, Italy

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Louvre Museum, Paris, France

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Child playing with a goose. Roman copy (1st–2nd centuries AD) of a Greek original of the 2nd century BC. Marble, found in 1792 in the Quintilii Villa, by the Via Appia, not far from Rome. Other copies are now shown in the Glyptothek of Munich and in the Vatican Museums. Former Braschi Collection, seized in application of the Tolentino Treaty, Department of Greek, Etruscan and Roman Antiquities, Sully wing, ground floor, room 17, Louvre Museum, Paris, France

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Copy of Boethos of Chalcedon, Child playing with a goose. Roman copy after a Greek work from the 2nd century BC. Room 13 (Saal des Knaben mit der Gans), Munick Glyptothek, Munick, Germany

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Ninfa e vecchio Satiro, da Ercolano, I secolo d.c.], Museo Archeologico Nazionale Napaoli, Npales, Italy

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venerest, – Museo Archeologico Nazionale Napoli, Naples, Italy

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