Pesquisando por: "Statue from the ancient Athens" - Fotoarena - Agência de fotojornalismo

alb3680404 Spartan Soldier. Artist: Charles Nègre (French, 1820-1880). Dimensions: Image: 35.3 x 43.5 cm (13 7/8 x 17 1/8 in.). Date: 1859.Astonished on first seeing daguerreotypes (about 1844) and dreaming of the medium's potential, Charles Nègre immediately resolved to devote himself to the new art, experimenting first with daguerreotypy and, after 1847, with paper photography. Like Le Secq and Le Gray, Nègre had studied painting with Paul Delaroche, and his experience at the easel was the foundation for his photographic work of the early 1850s--genre scenes of Parisian street musicians, chimney sweeps, and vendors, as well as architectural views.Despite his acknowledged talent Nègre failed time and again either to win government support for or to bring to fruition the grand projects he envisioned for the new medium. Bypassed by the Commission des Monuments Historiques in the assignment of "missions héliographiques," Nègre produced some two hundred negatives for a self-initiated project entitled "Midi de la France," only to abandon the publication after issuing two fascicles. Frus trated in his effort to reap any financial benefit from his remarkable photogravure process, he proposed in 1858 that the city of Paris underwrite a 200- to 250-plate photogravure series on the appearance and history of the capital and that the Ministry of State commission a still larger project portraying "the history of humanity" through the collections of the Louvre. Neither proposal was accepted.Finally gaining official sponsorship in 1859 for a series of fifty photogravures depicting statuary in the Tuileries Gardens, Nègre produced a group of large-format glass negatives. Characteristically, the project was stymied before completion, but a few unique prints of Nègre's heroic images survive, printed in reverse for translation into photogravure. Here, outlined against the theatrical backdrop of garden greenery and the central pavilion of the Tuileries Palace, Jean-Pierre Cortot's "Spartan Soldier" (1831) seems to rise toward the light. The fate of this soldier, who collapsed and died of exhaustion immediately after he had run to Athens to announce the rout of the Persian invaders at Marathon, seems an apt metaphor for Nègre's own foundering under the weight of his immense ability and ambition even as he heralded the triumphant potential of the medium. Nègre's unfulfilled project is among the last attempts at true artistry before the pressures of commercialism turned photography into a full-scale industry in the early 1860s. Museum: Metropolitan Museum of Art, New York, USA.

alb3633643 Terracotta statuette of a standing woman. Culture: Greek, probably Boeotian. Dimensions: H. 6 7/16 in. (16.4 cm). Date: late 4th-early 3rd century B.C..Although the Greeks had been making terracotta statuettes since the eighth century B.C., it was not until the late fourth century that they began to produce the clay figurines that are still prized for their naturalness, variety, and charm. These statuettes were first made in Athens and were soon being fabricated throughout the Mediterranean world, but they take their name from Tanagra, an ancient city in Boeotia, the region north of Attica, where great numbers were illicitly removed from tombs in the early 1870s. Whereas almost all earlier terracotta figurines represented deities, the majority of Tanagras are fashionable women or girls elegantly wrapped in thin "himatia" (cloaks), often wearing large sun hats and holding wreaths or fans. While most stand gracefully, some are seated or playing games. A number of boys are represented and Aphrodite and Eros appear as well. Many of these figurines have been discovered in private dwellings. Like other small-scale sculpture found in houses, they probably had a religious purpose and were placed in domestic shrines. They were also dedicated in sanctuaries and put in tombs. Up to a dozen statuettes were found in some graves at Tanagra. Since fashionable ladies did not usually spend much time outdoors, religious festivals and funeral processions offered the best opportunities for displaying their finery. It is therefore possible that for all their secular appearance, the Tanagras indirectly conveyed to the ancient viewer a reminder of serious ceremonies. Their relaxed curvaceous poses, sweet faces, and tightly wrapped drapery that forms a complex pattern of fine folds all derive from large-scale sculpture, such as the statues of Praxiteles, the famous Athenian sculptor who was active in the mid-fourth century B.C. The intimate, secular spirit of the Tanagras also reflects contemporary comedies by Athenian playwrights such as Menander, which placed new emphasis on the foibles of everyday life. The figurines still convey a sense of immediacy and liveliness that marks them as true works of art. Museum: Metropolitan Museum of Art, New York, USA.

alb5142676 Statue of Zeus or Poseidon, property of the Stiftung Hamburger Kunstsammlungen, St. 44, marble, chiseled, drilled, marble, Total: Height: 113 cm; Width: 45 cm; Depth: 30 cm, three-dimensional sculptures, sculptures, fountains, water, history of Jupiter (Zeus), history of Neptune (Poseidon), torso (torso), gods (classic. Mythology), Early Imperial Era, Roman Antiquity, Depicted is a bearded god in a light screaming position. The right leg is set a little to the side and in front. The sculpture is composed of several fragments. The lower part, the separately attached arms, the statue support and the skull cap are missing. A mantle cloth, which is wrapped around the hips, has slipped down the right side of the figure. It rises at the back so that a small puff hangs down over the left shoulder. The upper edge of the cloak is turned to a bulge rising on the left side of the body. From a dowel hole at the base of the left arm and two more at the base of the left hip, it can be deduced that a bead of robe was passed over the raised left arm and that the arm and the piece of coat were made from a separate piece of marble. The right arm was - according to the identification of the shoulder - led to the side and upwards and probably held a staff or a scepter. The head showed strong, long strands of hair as well as a finely shaped voluminous beard. It is turned a little to the left side. The small mouth is open. The design resembles the head of the 'Dresden Zeus'. The muscular body is precisely formed and shows a fine swing due to the standing and playing leg as well as the opposing shoulders. While the head is based on Greek models of the 5th century B.C, the body and especially the mantle are more Hellenistic. Whether it is a copy or an eclectic new creation is difficult to decide. The statue originally belonged to the sculptural equipment of a Roman thermal bath, according to the identification of the channel of an ancient water pipe running along the right hip. It was an a.