1 10 53 http://classicalchopped.artinterp.org/omeka/files/original/8b5cb55a75a4b4d0ce242ab8c6680630.png 0ae0ead64bd376d3260c3bd5adf9717a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "The European" Date A point or period of time associated with an event in the lifecycle of the resource ca. 117-138 AD, Hadrianic Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. cedar wood painted with encaustic and gold Format The file format, physical medium, or dimensions of the resource 42 cm Source A related resource from which the described resource is derived Antinoopolis, Egypt Rights Holder A person or organization owning or managing rights over the resource. The Louvre, Paris, France References A related resource that is referenced, cited, or otherwise pointed to by the described resource. http://www.louvre.fr/en/oeuvre-notices/portrait-woman-known-l-europeenne http://www.museumlab.eu/exhibition/06/about.html http://www.smithsonianmag.com/history/the-oldest-modernist-paintings-20169750/ http://www.vauchot-conteur.fr/wp-content/uploads/2011/10/AVB28-96-97-FAYOUM.pdf Doxiadis, Euphrosyne, and Dorothy J. Thompson. The Mysterious Fayum Portraits: Faces from Ancient Egypt. London: Thames & Hudson, 2000. 86-100; 114; 147-150; 213. Print. Contributor An entity responsible for making contributions to the resource Charlotte Mann Description An account of the resource Description: This encaustic painting on rectangular cedar wood, known as “L’Européenne,” depicts the portrait bust of a young woman, from her head to her upper body, placed atop a grey-blue background. Her face, an ovular shape with a subtle point at its base, consists of soft, delicate features, including a long, slender nose and teardrop recess above small lips slightly upturned on the right side. Disproportional to these features, her big, pointed ears, characterized by earrings consisting of a black stone set between two pearls, measure to nearly one-third of her facial height. Perhaps most significant, however, are her large, lidded eyes enclosed by smoothly curving brows, which highlight dark, rounded irises that peer out to her right toward the viewer as the focal point. They appear naturalistically rendered, even consisting of blacker pupils at the center, as well as tiny white specks in the upper and lower portions of the irises, which signifies the reflective, watery quality of the eyes, thus adding a lifelike effect. Additionally, the slight shadows at the bottom rims of the eyes and beneath the mouth, and the more prominent ones along the right brow, eye socket, nose bridge, and cheek, create a sense of three dimensions, based on the light coming from the viewer’s left. Whereas the right side of the face includes a greyish-pink blush, the left, brighter and more directly lit, reveals a slight orange tint atop her otherwise pale, almost white skin. Painted with the same small, impressionistic strokes of the face, the subject’s hair consists of fine black strands moving upward and coalescing at the upper head in a braided band, topped by a spherical gold hairpin. In the lower portion of the bust, a slightly worn, gold-leaf cloth piece drapes around her slender neck and shoulders, down to a green, gold-lined brooch just above her chest. Under this scarf-like element rests drapery characterized by a more saturated gold color with purple diagonal folds, which completes her elegant appearance. Significance: A rare example of Greco-Roman painting preserved from antiquity, this female portrait expresses the realism common in Egyptian “Fayum portraits” from the 1st and 2nd centuries AD. Its features mark it undeniably as one of these so-called “Fayum portraits,” named for the Fayum oasis in Egypt, 150 miles south of Alexandria, from which many were first excavated by British archaeologist W.M. Flinders Petrie between 1887 and 1889. Although the provenance of this particular piece is unknown, its stylistic characteristics, remarkably similar to those of the Portrait d’Homme Barbu in the Musée des Beaux-Arts de Dijin, suggest that it comes from the more southern Antinoopolis site, uncovered by Egyptologist Albert-Jean Gayet between 1896 and 1911. Created by Roman emperor Hadrian in honor of his companion, Antinous, Antinoopolis was most likely comprised of Greek colonists, including those from Greek settlements in Fayum, who were dubbed, “Antinoans, New Greeks,” by Hadrian and may have brought their illusionistic painting techniques and funerary practices to the new city. In their original context, portraits such as this one were added to the front of Egyptian mummies decorated with gold-leaf scenes, as a part of a funerary practice aiming to preserve the soul of the individual in the afterlife. It is for this reason that the eyes are enlarged and emphasized, since they enliven the portrait and communicate the person’s soul. While most of paintings from antiquity have not survived, this portrait and others like it exist today as unique specimens because they were preserved in Egyptian desert conditions. Stylistically, they offer fascinating and significant insights into Greco-Roman painting traditions, which likely trace back to the naturalistic techniques of Apelles, Alexander the Great’s official portrait painter, in the 4th century B.C. When Macedonians came to Egypt during Hellenistic times, aspects of Apelles’ style were purportedly incorporated into the Alexandrian school of painting, which eventually developed into the Fayum tradition visible in this portrait. Most notably, this is evident in the encaustic method used to create it, a fine painting technique of Classical Greek origin that was used for realism. For this portrait, the cedar wood would have been prepped with a black coating, before being painted quickly with hot beeswax mixed with pigments, particularly the Greek primaries, white, yellow ochre, red and black, using a brush, and refined with a sharp tool called a cauterium, to blend uneven surfaces together. Given this hasty process, caused by the quick drying time, it is not surprising that the fine, painterly strokes have been compared to impressionism by scholars such as Doxiades. Aesthetically speaking, this portrait, acquired by the Louvre in 1951, derives its name, “the European” from its pale skin, which may be an appropriate label since most of the settlers in Antinoopolis were of Greek origin. Her clothing, consisting of gold drapery, a hairpin, and an emerald brooch, most likely reflects the Greco-Roman fashions, as it was made when Egypt was under Roman Imperial control. Interestingly, the gold-leaf, unlike many other Fayum portraits, where it was applied to the background, is strictly used on her garments. Of all her features, she is best remembered for her “curious gaze”, as her lively eyes look to her right, rather than straight out, marking her distinctiveness among Fayum types and preserving her individual personality, which viewers in the Louvre can still witness today. http://classicalchopped.artinterp.org/omeka/files/original/63265bd9cf80fb03990d1a5f49e507a3.jpg 54bfa6c764f2cb664fb410ffec225bfa Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Anacreon Date A point or period of time associated with an event in the lifecycle of the resource Roman, ca. 2nd century AD; copy of a Classical work, ca. 430 BC Creator An entity primarily responsible for making the resource Attributed to Phidias Medium The material or physical carrier of the resource. Marble Format The file format, physical medium, or dimensions of the resource 190 cm tall Source A related resource from which the described resource is derived Italy, Provence of Salerno, Monte Calvo, Sabine Mountains Rights Holder A person or organization owning or managing rights over the resource. Ny Carlsberg Glyptotek, Copenhagen, Denmark Description An account of the resource Description: Anacreon is a marble sculpture depicting a full length male figure. The figure is nude, with the exception of drapery covering his shoulders and some of his back as well as the sides of the torso. His musculature is developed, similar to that of an athlete, with defined abdominal muscles and a visible iliac crest. The figure’s arms are slightly raised, but a portion of the figure’s left arm as well as the right hand have been damaged and are missing. His right arm reaches outward and upward toward the head, while the left arm is pointed downward. The positioning of the arms suggests he was playing an instrument or holding a wine cup. He stands in dynamic contrapposto, his right knee bent and his hips tilted. His left leg rests upon a small tree trunk for support, an element that would not have been present in the bronze original. The figure’s head is tilted upward. He has a full beard formed of locks of individual curls, and his hair is similar in texture. The top portion of his head is damaged and is severed off, but much of his thick hair and all of his face is still visible. The figure’s eyes are hollow and his expression is slightly contemplative and pensive, showing little emotion. The face itself is idealized with smooth, polished skin and a narrow nose. Significance: Anacreon was a lyric poet whose works would have been heard at symposia. The sculpture alludes to this in the gesture of the figure’s arms that suggests playing an instrument, such as a lyre, or holding a wine cup typical of one used at a symposium. The face is generalized with few identifying features, which is why the sculptor relies on the attribute of a lyric poet (the lyre) in order to convey Anacreon’s character. In addition, it has been suggestion that the dynamic pose of the figure, such as the jaunty tilt of his head and pronounced contrapposto, is representative of intoxication, another illusion to the symposium where his work would have been read. In this sense, the figure’s body illustrates the nature of Anacreon more so than his face, which is idealized and mask-like with few individualizing details or features suggesting close likeness. Scholar J.J. Pollitt proposes that, “It is the poet Anacreon, more than the man Anacreon, that is presented to the viewer.” The figure also takes on the guise of an athlete or heroic figure with the nude, muscular body. While Anacreon was a poet rather than an athlete, his body may have been depicted this way as an attempt to show pride in the accomplishments of the Greeks, a goal in artwork after the end of the Persian Wars. The original display of this work would have been on the Acropolis during the reign of Pericles, and the sculpture was displayed next to a sculpture of Pericles’ father Xanthippus. While there is no inscription on this sculpture identifying the figure as Anacreon, Pausanias, a Greek traveler and geographer, noted that this was a sculpture of Anacreon in his writings when he saw it on the Acropolis originally. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. <div class="latest_citation_text hang mla7"> <div class="latest_citation_text hang mla7">"Anacreon. Copenhagen, New Carlsberg Glyptotek (Ny Carlsberg Glyptotek)." History of Ancient Rome. N.p., n.d. Web. 04 Mar. 2017.</div> Breckenridge, James D. "The Portrait in Greek Art." Likeness; a Conceptual History of Ancient Portraiture. Evanston: Northwestern UP, 1968. 90-93. Print.</div> <div> </div> Pollitt, J.J. "Chapter 3: Personality and Psychology in Portraiture." Art in the Hellenistic Age. Cambridge: Cambridge UPress, 2009. 60. Google Books. Web. 4 Mar. 2017. Contributor An entity responsible for making contributions to the resource Megan May http://classicalchopped.artinterp.org/omeka/files/original/632d51edce818ba36593a82a017e49cb.jpg 661f01f54400305938317b433470b435 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Anavysos Kouros Date A point or period of time associated with an event in the lifecycle of the resource ca. 530 BCE, the Archaic Period Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Parian Marble, paint Format The file format, physical medium, or dimensions of the resource 1.94 m tall Source A related resource from which the described resource is derived Greece, Attica, the cemetery of Anavysos Rights Holder A person or organization owning or managing rights over the resource. National Archaeological Museum, Athens, Greece References A related resource that is referenced, cited, or otherwise pointed to by the described resource. the "Ancient-Greece.org" website: http://ancient-greece.org/images/art/kouros/pages/07kroisos_jpg.htm the "Khan Academy" website: https://www.khanacademy.org/humanities/ancient-art-civilizations/greek-art/daedalic-archaic/v/anavysos-kouros Philadelpheus, Alex. "The Anavysos Kouros." The Annual of the British School at Athens, vol. 36, 1935, pp. 1-4, www.jstor.org/stable/30096873. Accessed 4 Mar. 2017. Contributor An entity responsible for making contributions to the resource Nora Cheung Description An account of the resource Description: The Anavysos Kouros is a male nude, human-figure that stands at 1.94 meters (6’4) from head to toe, not including the base. Its height is also roughly seven and a half times the height of the head. The kouros is solid, and standing erect, and has the youthful, perfect figure of an athlete. His long hair is uniformly braided and cascades down his back to his shoulder blades, and is tucked behind his ears. There is evidence of red paint on his hair braids, also on his public hair and eyes. A thin strip of fabric holds back symmetrical swirl-shaped curls that frame his forehead. His brow ridge is sharply defined, and his almond-shaped eyes slightly bulge out of the sockets. The figure has high, prominent cheekbones that rest just below the eyes lateral to the nose. His mouth is small, it is only slightly longer than the width of his nose, and is curled into a soft smile. This smile pulls his cheeks back and creates a facial crease on the sides of his lips. His neck is thick, and extends past the width of his head. His shoulders and chest are broad. His pectoral muscles are lightly defined, along with his abdominal muscles, which are faintly carved into the marble. His waist is small, but his hips and buttocks are rounder and more pronounced. His thick thighs touch each other, and his calves are extremely pronounced. They are almost the same width of his thighs. He is striding forward, with his left foot leading. The kouros’ hands are clenched and rested at his sides, without touching his thighs. There are supports that connect his hands to his thighs, most likely to support the weight of the marble so the arms do not break off. The figure is reddish-tinted, showing evidence of paint. Significance: The Anavysos Kouros is one of many kouroi created during the Archaic period in ancient Greece. These figures were depicted as strong male nudes, and used as grave markers, offerings, and occasionally portrayed as the god Apollo. The figure shows the classic “Archaic smile”, a characteristic of kouroi created during this time period. The reason for this is unknown, whether it is because the carving technology did not allow for refined facial expressions, or a stylistic choice. This piece was separated from its base, which was found in a different location. It is generally agreed upon by art historians that the base belongs to this kouros, which served as funerary marker set up by an aristocratic family for their son who had fallen in battle. The inscription reads; “Stay and mourn of the monument of dead Kroisos, who raging Ares slew as he fount in the front ranks.” While this references and honors a specific person, Kroisos, that is not to say that this figure depicted is an image of this deceased soldier. This perfect, youthful, male nude is not necessarily a “portrait” in the true sense of the word. There is evidence of some individualization in the depicted youth, for example, there are traces of red paint on his braids and pubic hair. But the face and body is a more typical presentation of the male nude. This kouros also shows an evolution in the knowledge of the anatomy and physiognomy of the human figure. Compared to the New York Kouros with its rigid lines and humanoid features, the Anavysos Kouros has softer, more rounded features and more realistic muscle depictions. There is also more movement in this picture, the figure is moving forward and the corresponding muscles flex and relax, showing a more naturalistic depiction of human movement. http://classicalchopped.artinterp.org/omeka/files/original/a1ef5ce45ce5c5200b83e3a2fa795216.jpg 4ba37e457ba8ac09045ac5c49d037ec4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artemidorus Date A point or period of time associated with an event in the lifecycle of the resource AD 100-120 Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Linen, Plaster, Gold Leaf, Paint. Format The file format, physical medium, or dimensions of the resource 171 cm Source A related resource from which the described resource is derived Hawara, Egypt Rights Holder A person or organization owning or managing rights over the resource. The British Museum of London, England Description An account of the resource Description: The Artemidorus is a mummy wrapped fully, plastered, and painted. Along with the paint there is also use of gold leaf for designs throughout. The portrait depicts Artemidorus wearing a white mantle and tunic. He is a thin man with a long face and neck. Along with this you can also notice that he has a very long and narrow nose. He has a full set of hair that fall in an almost comma like shape. He has black hair and brown eyes, with arching eyebrows over them. His eyes are wide and large. If you look closely you can tell that his irises are slightly uneven giving him a somewhat cross-eyed look. There is also indication of bags underneath the eyes. You can also see that he has a slight smile and pucker to his lips. Along with this, there is a small patch of hair right below his lip, almost like a goatee, but higher up. He is a tan man with smooth skin. He is also depicted wearing an Isis wreath on top of his head. There is also a inscription underneath the painting that says “Farewell, Artemidorus.” Significance: The mummy looks like this because the human body is wrapped entirely by linen, until it reaches this stage. Then the portrait is painted on to represent how the person looked like when they were alive. He is shown as a thin man but not sickly, showing that he was probably a relatively fit individual. His nose and skin tone are indications that this painting is more likely to be a realistic representation of the individual. Despite it being realistic, he still seems somewhat idealized through his smooth and even skin. However, this could also be attributed to his age. The smooth skin depicts him as a young man, most likely in his early 20’s. His hair shape resembles a comma, which is very Julio-Claudian. This gives the portrait Roman qualities. His clothes also represent who he was in his life. The showing of the white mantle would have us believe he is fully clothed in his mantle and tunic. Those represented in clothes like this were typically intelligent people, rather than those depicted in the nude to represent their strength and heroism. Which also shows a connection to Greece. The Isis wreath is also indicative of knowledge. Another aspect of the paining that supports its veristic nature is Artemidorus’ skin tone. This I because the tone of his skin is darker than we typically see with Egyptian art, we have only seen this recently with paintings like this and the Severan Family Portrait. The unevenness of his rises can also be a veristic choice, or can be attributed to simple human error. Finally, one last aspect to add to the veristic nature of the portrait is the small patch of hair underneath his lip. During this century we typically saw facial hair as full beards, like in the Severan Family portrait. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://www.google.com/culturalinstitute/beta/u/0/asset/mummy-case-and-portrait-of-artemidorus/PwEEPjtssh_4JA http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=172739&partId=1 http://digital.library.louisville.edu/cdm/ref/collection/vrc/id/1262 https://www.theguardian.com/culture/2001/nov/24/art Contributor An entity responsible for making contributions to the resource Soe Naing Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artemidorus Date A point or period of time associated with an event in the lifecycle of the resource AD 100-120, Trajanic Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Linen, Plaster, Gold Leaf, Paint, Limewood. Format The file format, physical medium, or dimensions of the resource 171 cm Source A related resource from which the described resource is derived Hawara, Egypt Rights Holder A person or organization owning or managing rights over the resource. The British Museum of London, England Description An account of the resource Description The Artemidorus is a mummy wrapped fully, plastered, and painted. Along with the paint there is also use of gold leaf for designs throughout. The portrait depicts Artemidorus wearing a white mantle and tunic. He is a thin man with a long face and neck. Along with this you can also notice that he has a very long and narrow nose. Full head of hair that falls across his forehead in individual locks that have the appearance of “commas.” He has black hair and brown eyes, with arching eyebrows over them. His eyes are wide and large. If you look closely you can tell that his irises are slightly uneven giving him a somewhat cross-eyed look. There is also indication of bags underneath the eyes. You can also see that he has a slight smile and pucker to his lips. Along with this, there is a small patch of hair right below his lip, almost like a goatee, but higher up. He is a tan man with smooth skin. He is also depicted wearing an Isis wreath on top of his head. There is also an inscription underneath the painting that says “Farewell, Artemidorus,” spelled in Greek letters. Underneath the portrait there are depictions of Egyptian funerary scenes, overlaid with golden leafs. The bottom is also coated in red-painted plaster. Significance The mummy looks like this because the human body is wrapped entirely by linen, until it reaches this stage. Then the portrait is painted on to represent how the person looked like when they were alive. He is shown as a thin man but not sickly, showing that he was probably a relatively fit individual. His nose and skin tone are indications that this painting is more likely to be a realistic representation of the individual. Despite it being realistic, he still seems somewhat idealized through his smooth and even skin. However, this could also be attributed to his age. The smooth skin depicts him as a young man, most likely in his early 20’s. The shape of his individual locks of hair resemble commas, which is very Julio-Claudian. His clothes also represent who he was in his life. The showing of the white mantle would have us believe he is fully clothed in his mantle and tunic. Those represented in clothes like this were typically intelligent people, rather than those depicted in the nude. People depicted in the nude were usually representative of heroism and strength. The Isis wreath is also indicative of knowledge, through its connection to the cult of Isis. The cult of Isis was a religious sect that gave Christianity a run for its money. Another aspect of the painting that supports its veristic nature is Artemidorus’ skin tone. This is because the tone of his skin is darker than we typically see with Egyptian art. The unevenness of his irises can also be a veristic choice, or can be attributed to simple human error. Finally, one last aspect to add to the veristic nature of the portrait is the small patch of hair underneath his lip. During this century we typically saw facial hair as full beards. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://www.google.com/culturalinstitute/beta/u/0/asset/mummy-case-and-portrait-of-artemidorus/PwEEPjtssh_4JA http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=172739&partId=1 http://digital.library.louisville.edu/cdm/ref/collection/vrc/id/1262 https://www.theguardian.com/culture/2001/nov/24/art Contributor An entity responsible for making contributions to the resource Soe Naing http://classicalchopped.artinterp.org/omeka/files/original/64355fc3a6ea1a1665708f9980f7f0e0.jpg 3653957ace0906a5885ef060ed8449eb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bust of Ankh-haf Date A point or period of time associated with an event in the lifecycle of the resource Dynasty 4, reign of Khafra (Chephren) 2520–2494 B.C. Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Painted limestone Format The file format, physical medium, or dimensions of the resource 50.48 cm tall Source A related resource from which the described resource is derived Egypt, Giza, tomb G 7510 Rights Holder A person or organization owning or managing rights over the resource. Museum of Fine Arts, Boston References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Bolshakov, Andrey. "What Does the Bust of Ankh-haf Originally Look Like?" Journal of the Museum of Fine Arts, Boston 3 (1991): 1-13. Gizapyramids.org. Web. Breckenridge, James D. Likeness: A Conceptual History of Ancient Portraiture. Evanston: Northwestern University, 1969. 37-38. Print. Museum of Fine Arts, Boston: http://www.mfa.org/collections/object/bust-of-prince-ankhhaf-45982 Contributor An entity responsible for making contributions to the resource Ryan Tetter Description An account of the resource Description: In ancient Egypt, artists often gravitated towards abstract qualities in their portraiture, resulting in characteristics that some would not define as a “true portrait.” This decree is shattered in the Bust of Prince Ankh-haf, as it exhibits the details finessed by the hand of a master rather than the usual stylized representation. Plaster covers the limestone core of the bust, which has been painted red. This color is often associated with males in antiquity. There also appears to be damage to the forehead, nose, and chin of the bust. Ankh-haf’s features show evidence of traits that are comparable to mature men. His head appears bulbous in shape, but this observation can be attributed to his hairline, which starts at the tip of his scalp. This seemingly minute detail depicts Ankh-haf with a receding hairline – a detail absent from most ancient Egyptian sculptures of the Fourth Dynasty. His eyelids droop down towards his irides, which were originally painted white with brown pupils, but the paint has since faded from existence. Additionally, the puffy bags under his eyes show signs of age, complimenting his weary facade. The diagonal grooves in his cheeks set off his mouth, which gives him a sense of sternness. His ears have since been lost to antiquity, along with a separate piece of plaster that was once used as a beard. The absence of the statue’s arms and the surface damage surrounding the lower chest suggests that part of the statue was separated from the rest of its body. Significance: The Bust of Ankh-haf demonstrates a sense of realism that had not yet been attempted by Egyptians in antiquity. His expression might be described as either pensive or contemplative, both of which are frequent components of lifelike renderings. His gaze appears commanding and willful to the observer and may have been intentionally carved out to give his viewers a raw, yet true depiction of his facial traits. The Bust of Ankh-haf was not only significant for its accurate representation of the human image, but also for its practical use in ancient Egypt. It is believed that the bust was taken from a false door and offering table, which housed the remainder of the arms and torso. Historians claim that the aesthetic perception of the bust must have been used to evoke a sense of realism in the event of an offering. Ankh-haf is special because he is not like other Egyptian sculptures of his time. Tomb sculptures were often private and placed in serdabs, where they were hidden from the public eye; however, this is not the case with the Bust of Prince Ankh-haf since it was found in a chapel attached to the exterior of the prince’s tomb. This chapel showcased the bust in such a way that it took on the form of an offering table, so it would be easily accessible for visitors seeking to honor the memory of Ankh-haf. http://classicalchopped.artinterp.org/omeka/files/original/85fb2e9b6deb51c564f9bfc24ef1ca79.jpeg ef12e2fa6956f18ee509f8fbe9b3dc93 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bust of Nefertiti Date A point or period of time associated with an event in the lifecycle of the resource c. 1340 BC, 18th Dynasty, under the rule of Pharaoh Akhenaten Creator An entity primarily responsible for making the resource Unknown (occasionally credited to Thutmose) Source A related resource from which the described resource is derived Amarna, Egypt, found in the Thutmose workshop Rights Holder A person or organization owning or managing rights over the resource. The Neues Museum of Berlin, Germany References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Neues Museum: http://www.smb.museum/en/museums-institutions/neues-museum/home.html Khan Academy: https://www.khanacademy.org/humanities/ancient-art-civilizations/egypt-art/new-kingdom/v/thutmose-bust-of-nefertiti-c-1340-bce Ascaso, Francisco J., et al. "One eyed beauty: Queen Nefertiti's bust." British Journal of Ophthalmology 95.2 (2011): 161-161. Arnold, Dorothea. The royal women of Amarna: images of beauty from ancient Egypt. Metropolitan Museum of Art, 1996. Pages 52-70. Contributor An entity responsible for making contributions to the resource Charlotte Myers Medium The material or physical carrier of the resource. Painted limestone with gypsum plaster layers, wax with rock crystal inlay (in eye) Format The file format, physical medium, or dimensions of the resource 47-48 cm tall Description An account of the resource Description: The Bust of Nefertiti, a highly significant bust from the New Kingdom (18th Dynasty, Amarna Period) showcases Queen Nefertiti holding her head in an upright position. Her eyes are half open, rendering a sense of serenity, and her mouth indicates a hint of a smile. Furthermore, she is depicted with heavily idealized features; her face is slender, her cheekbones are highly protruding, and her face is one of great symmetry. Her features are heavily accentuated, indicating the type of makeup which was common for women of her ranking in Ancient Egypt; her lips are colored a reddish brown and her eyes are outlined in deep black lines. Her neck is long and elegant, and she is decorated quite ornately, with a collar of jewels resting on her chest and a tall, cylindrical, painted headdress atop her head. It is predominately painted in a dark blue with a ribbon-like decoration depicted in gold, green, and lighter blue. Upon the center of the headdress, uraeus was applied atop the surface vertically and painted with gold paint. This significant snake as well as her left ear are both heavily damaged today. Her skin is a dark ruddy color and the artist created shadows to depict heavy contour in her face and neck. Significance: Much like Hatshepsut, Queen Nefertiti is rendered with some male characteristics; for instance, her skin is of a reddish color, which is how men were normally portrayed to illustrate their fortitude and work in the outdoors. This has huge significance because it indicates that she was powerful in ways that men were and likely non-subservient at a time when women were meant to act solely as support systems for men; these typically-male characteristics signify that she had privileges that perhaps other women of her time did not have access to. Otherwise, she is clearly female based on her makeup and and feminine facial features (and elongated neck). Her ornamentations also signify power and status along with great wealth. The depiction of uraeus upon her headdress represents her royalty. The Bust of Nefertiti remains highly significant based on her poise and grace as well as the depiction strength in her womanhood. Additionally, much of Nefertiti’s significance stems from what art historians deem to have been her function. Nefertiti was found in the cupboard of the workshop of Thutmose, a sculptor from the Amarna Period. This location, as well as the fact that only one of her eyes was prepared to be inlaid with precious stones, indicate that this bust was used for teaching purposes within the workshop. Furthermore, the fact there is simply a bust with no body attached enhances the likeliness of this theory as well. The Bust of Nefertiti serves as one of the most well-known pieces from antiquity, yet may have been a mere teaching tool within its day and age. http://classicalchopped.artinterp.org/omeka/files/original/78893541f6a8c3e364d5911e4f5e3118.jpg f3b7731de94521927a9b8da9c62392f8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bust of Pericles Date A point or period of time associated with an event in the lifecycle of the resource Early Trajanic, 2nd Century AD; copy of a Classical work, ca. 440-430 BC Creator An entity primarily responsible for making the resource Unknown (Ancient Roman Sculptor after Greek Original; associated with Kresilas, possible original artist) Medium The material or physical carrier of the resource. Marble (Roman copy of Greek Bronze) Format The file format, physical medium, or dimensions of the resource 58.42 cm Source A related resource from which the described resource is derived Villa of Cassius at Tivoli, Italy Rights Holder A person or organization owning or managing rights over the resource. The British Museum, London, England References A related resource that is referenced, cited, or otherwise pointed to by the described resource. "Bust of Pericles." The British Museum, www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=461658&partId=1. Cook, Edward Tyas, compiler. A Popular Handbook to the Greek and Roman Antiquities in the British Museum. London, Macmillan, 1903. 190-191. Print. Eaton, Daniel Cady. Hand-Book of Greek and Roman Sculpture. 2nd, rev. ed., Boston, James R. Osgood, 1884. 89. Print. Furtwängler, Adolf, and Heinrich Ludwig Urlichs. Greek and Roman Sculpture. Translated by Horace Taylor, New York, E.P. Dutton, 1914. 208-210. Print. "Herm-bust of Menander." Museum of Fine Arts Boston, www.mfa.org/collections/object/herm-bust-of-menander-151124. Lewis, David Malcolm. "Pericles, Athenian Statesman." Encyclopedia Britannica, 9 Aug. 1999, www.britannica.com/biography/Pericles-Athenian-statesman. Contributor An entity responsible for making contributions to the resource Mallory Haselberger Description An account of the resource Description: The Roman marble portrait bust, “Bust of Pericles,” depicts the upper chest, neck, and head of a male figure. The figure’s head is slightly tilted to the left, suggesting that the original Greek bronze portrait, the basis for the copy, depicted the full-length of the body in contrapposto posture. Scholars have also proposed that the inclination of the head can be attributed to a personal trait of the figure observed by the original artist. The figure is portrayed without any defect in his facial features, instead shown as an idealized man in the prime of his youth, a common depiction in Classical period portraits of the great men of the polis. The face is represented by the artist as masklike and impassive—lacking any portrayal of human emotion. The expressionless face aligns with the concept of sophrosyne in the Classical period, emphasizing the importance of self-control and composure. The eyes are slightly hooded and stare into the distance with a vacant gaze. The lips are full and slightly parted as though the figure is at the moment before speech. The smooth and unflawed skin of the figure is skillfully sculpted in marble by the unknown Roman copyist. On the crown of his head, the figure wears a Corinthian helmet, a popular style of the Archaic and early Classical periods. He has finely rendered curly hair that fans around the edge of the helmet, and a neatly trimmed beard that frames the elongated face. According to scholars, the nose and parts of the helmet were added in the late-19th or early-20th century after suffering damage. The figure’s name, “ПΕΡΙΚΛHΣ,” is inscribed on the front of the bust in Greek characters from the Late Hellenistic period. Significance: Pericles was an Athenian general and statesman active in the late 5th century, valued for his contributions in strategical military pursuits, oratorical skill, and most importantly, his growth of the Athenian Empire. During his lifetime, Pericles hoped to secure Athens’ cultural importance in Greece, notably beginning the reconstruction of the Acropolis after its destruction by the Persians in 480 BC. The Roman copy of the “Bust of Pericles” in the British Museum is one of many excavated at the turn of the 18th century, with three other extant copies housed in the Vatican Museum, the Museo Barracco, and the Berlin Antikensammlung. The placement of the various Roman marble copies is unknown, but the Bust of Pericles would have originally been part of a herm as evidenced by the rectangular spans of the chest and shoulders. Similarly, rectangular "slots" created in the sides of the remaining bust would have held wooden inserts for the hanging of garlands, a feature found in other herms of similar construction. The original Greek bronze portrait with which the copies are based is believed to have been installed on the Acropolis around the period of Pericles’ death in 429 BC. Scholars have suggested that because of his favored view by the Athenians in 439 BC, the time of one of his most successful military campaigns, the dedication from the polis for the bronze portrait would have likely been made for the public Acropolis sanctuary of Athena Polias. Despite his civic successes during the 5th Century, only one defect is described of Pericles by the ancient author Plutarch: his unusually long skull. In the “Bust of Pericles,” and all other representations of Pericles in portraiture, the artist conceals the disproportion of the skull with a Corinthian helmet placed on the crown of the head. Scholars have also suggested that the helmet stands as a symbol for his position as an Athenian general, though Pericles is known more for his actions as a strategist and civilian rather than as a successful military warrior. The idealized representation of Pericles in the Roman copy portrait bust exemplifies his successes for the Athenian people. From the Corinthian helmet on his head suggesting political triumph, to the idealized facial representation of the man who served the polis, the “Bust of Pericles” conveys the importance of celebrating and heroizing the men of action in Greek culture during the Classical period. http://classicalchopped.artinterp.org/omeka/files/original/07da37edd5250c93a1ad29277de78966.jpg 3e95661858ddebf02c3a8d0452400c0d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bust of Themistokles Date A point or period of time associated with an event in the lifecycle of the resource Roman Period, ca. 2nd century A.D.; copy of Early Classical work, ca. 475-450 B.C. Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Marble (Roman copy of Greek bronze) Format The file format, physical medium, or dimensions of the resource bust: 50 cm tall ; head: 26 cm tall Source A related resource from which the described resource is derived Found in Ostia, in the House of Themistokles, near the Theater in 1939 Rights Holder A person or organization owning or managing rights over the resource. Ostia Museum, Rome, Italy References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Breckenridge, James D. "The Fifth Century: The Hero." Likeness: A Conceptual History of Ancient Portraiture. Evanston: Northwestern U, 1968. 89-90. Print. Hanson, Victor Davis. "Holy Salamis (September 480 B.C.)." The Savior Generals: How Five Great Commanders Saved Wars That Were Lost - From Ancient Greece to Iraq. 1st ed. N.p.: Bloomsbury, 2013. 34. Print. Phang, Sara E., Douglas Kelly, and Peter Londey. "Themistocles (ca. 528-460)." Conflict in Ancient Greece and Rome. The Definitive Political, Social, and Military Encyclopedia. 3 Vols. Santa Barbara: ABC-CLIO, 2017. 546-47. Print. <a href="http://www.perseus.tufts.edu/hopper/artifact?name=Ostia+Themistokles&object=Sculpture" target="_blank">http://www.perseus.tufts.edu/hopper/artifact?name=Ostia+Themistokles&object=Sculpture</a> <a href="http://www.ostia-antica.org/vmuseum/marble_2.htm" target="_blank">http://www.ostia-antica.org/vmuseum/marble_2.htm</a> <a href="https://www.beazley.ox.ac.uk/sculpture/styles/portraiture.htm" target="_blank">https://www.beazley.ox.ac.uk/sculpture/styles/portraiture.htm</a> <a href="http://www.stoa.org/projects/demos/article_portraits?page=all" target="_blank">http://www.stoa.org/projects/demos/article_portraits?page=all</a> Contributor An entity responsible for making contributions to the resource Charlotte Mann Description An account of the resource Description: The ‘Bust of Themistokles’ depicts the head of a man and part of his upper chest, which is more specifically known as a herm, on the bottom of which rests a small Greek inscription of his name, ‘Themistokles’. In terms of facial features, the marble head consists of smooth, slightly rounded cheekbones, arched, well-defined eye-sockets, with eyelids and brow visible, and a deteriorated nose that shows signs of damage. The downward curve of his mouth forms a slightly protruding upper lip veiled by a thinly haired mustache, while the lower lip forms a strong horizontal line below. Combined with a square jaw that projects subtly forward and the creased brow and forehead, these elements convey what might be considered a stern expression, although the eyes look relatively blank, looking nowhere in particular. Below the head, a V-shape denotes the chest cavity under the thick neck, accentuating the overall naturalism. However, the hair, which stretches almost straight across the mid-forehead, curves diagonally at the sides of the head, extending to the chin and forming a beard filled with patterns of incised curls. The abrupt linear break of the hair at the forehead gives the appearance of a wig, with the repeated curved lines adding to this sense of stylization. This fusion of the natural and simplified implies idealization, although the features may be somewhat individualized. Significance: A Roman marble copy of a bronze Greek original, this bust, as confirmed by its inscription, portrays the Athenian politician and general, Themistokles, who lived from 528-460 B.C. Having come from a less aristocratic family than previous leaders, Themistokles purportedly rose to prominence on account of his strong will, through which he commanded the Athenian fleet and promoted Athens as a naval power prior to and during the Second-Persian War, in which he led Athens to victory at Salamis. In one sense, the sternness of the features, including the furrowed brow and solid jawline, suggests that the portrait could reflect his personality, described by the ancients Plutarch and Thucydides as “enterprising”, “brilliant”, and “shrewd”. This is the view of some scholars who believe that this particular bust is an anomaly in Early Classical portraiture, as it expresses a strong sense of individual character for the time, and may depart from the generic Greek types, such as the heroic, idealized figure. While the “true portrait” was supposedly not realized until later, this example from the Early Classical Period, marked by the distinct thrust of the head, thick neck and slightly forceful expression, may offer insights into the development of individualization in Greek portraiture. This considered, it does fall into the tradition of portraits of Greek military leaders produced during the time of the Persian Wars, meaning the level of individuation is debatable. Other contemporaneous sculptures such as the head of Philip of Macedon in Copenhagen, which bears a similar hairstyle and expression, may hint at shared attributes used by sculptors and slightly modified for individual traits. While the original full-figure bronze statue may have been displayed in Themistokles’ Temple of Artemis Aristoboule or his monument at Magnesia, as described by the ancients, this copy would have served the intellectual purposes of Roman clients, such as those in the House of Themistokles, the guild house which was named after this portrait when it was discovered in 1939. Aptly, in the view of one scholar, the sculpture’s bearing, with its coarse beard and cropped hair, is more akin to a Roman military emperor than a typical Greek commander, which may explain why some scholars view this piece as unique among Early-Classical sculpture. http://classicalchopped.artinterp.org/omeka/files/original/6a6aa0bd75d7130e32c3436911228d1b.jpg af8f1d3d4502ce5db7047b81ac071d5c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tetradrachm of Ptolemy I Date A point or period of time associated with an event in the lifecycle of the resource 310-305 BC Creator An entity primarily responsible for making the resource From the mint of Alexandria Medium The material or physical carrier of the resource. Silver Source A related resource from which the described resource is derived N/A Format The file format, physical medium, or dimensions of the resource 15.69 grams, roughly 2.6 cm in diameter Rights Holder A person or organization owning or managing rights over the resource. The Harvard Art Museum in Cambridge, Massachusetts References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Arnold-Biucchi, Carmen . Alexander's Coins and Alexander's Image. N.p.: n.p., 2007. Print. http://snible.org/coins/hn/egypt.html http://www.harvardartmuseums.org/art/191212 http://www.wildwinds.com/coins/greece/egypt/ptolemy_I/Svoronos_020.txt Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Coin of Ptolemy I Date A point or period of time associated with an event in the lifecycle of the resource 310-305 BC Creator An entity primarily responsible for making the resource Mint of Alexandria Medium The material or physical carrier of the resource. Silver Format The file format, physical medium, or dimensions of the resource Roughly 2.6cm in diameter Source A related resource from which the described resource is derived N/A Rights Holder A person or organization owning or managing rights over the resource. The Harvard Museum in Cambridge, Massachusetts References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Arnold-Biucchi, Carmen. Alexander's Coins and Alexander's Image. N.p.: n.p., 2007. Print. Pages 59-61 http://www.harvardartmuseums.org/art/191212 http://snible.org/coins/hn/egypt.html http://www.wildwinds.com/coins/greece/egypt/ptolemy_I/i.html https://warisboring.com/battle-of-the-dumbos-elephant-warfare-from-ancient-greece-to-the-vietnam-war-ca62af225917#.7uhs73yoa <a href="http://www.livius.org/sources/content/arrian/anabasis/alexander-visits-siwah/" target="_blank">http://www.livius.org/sources/content/arrian/anabasis/alexander-visits-siwah/</a> Contributor An entity responsible for making contributions to the resource Soe Naing Description An account of the resource Description: The Tetradrachm of Ptolemy I Soter, like all coins, has two sides, the obverse and reverse. The obverse depicts the portrait of Alexander the Great. He is shown wearing an elephant headdress, the mitra of Dionysus, the ram’s horn, and an aegis around his neck. The elephant headdress is lifelike; it is shown with wrinkles in its skin. The trunk of the elephant also seems to be drawn using the same pattern as the outline of the coin, almost as if the two are connected. The ear of the elephant also seems to be disconnected from the rest of the head, as if it was pinned on. The ram’s horn also peaks out from underneath the headdress (protruding from the top of Alexander’s head in a slanted direction towards the right). It is also worth mentioning that the aegis around Alexander’s neck is very detailed; it is shown with a scale like design. Furthermore, we can still see Alexander’s long hair spill out, despite the headdress. Lastly, the features of Alexander’s face are extremely detailed. You can especially see this with his eye. Not only are his eye lids depicted, you can even see that the artist included Alexander's iris in the obverse die that was used to strike this portrait image. Lastly, the open lips and luxurious hair show that the portrait of Alexander is in “Lysippan style.” _________________________________________ There are a lot of noticeable features about the reverse side of the coin as well. First, we see the emphasis of this side, the striding Athena. Athena is depicted here, with a spear in her right hand and a shield in the left. The detail in the picture of Athena is meticulous. You can see the design in her dress, the folds in her cloths, and the pieces of her armor. I would even go as far as saying that the bottom of her clothes seem almost transparent, since you can see the outline of her leg, even through the clothes. Along with Athena, this side of the coin also has an eagle on top of a lightning bolt, to the right of Athena. There are also a number of inscriptions on this side of the coin, AΛEΞANΔPOY (to the left of Athena), and a couple of arrow like characters (to the right of Athena). It should also be noted, that this side of the coin has the same outline as the obverse side. Significance: The obverse side of the coin is full of significance. The depiction of Alexander the great is filled with metaphor and connections to other aspects of his life. To start, we have his face. The face shown on the coin is clean, shaven, and young. This shows the idea of the coin was to cement Alexander forever in time, as the youthful leader that he was. The aegis around Alexander’s neck also gives the same idea; it represents agelessness and immortality. The aegis also belonged to Zeus, connecting Alexander to divinity and, what was believed to be, his bloodline. Next we have the elephant headdress; this is to reference his conquest in the east and his victory against an army of elephants. Not only is Alexander wearing an animal, his hair can be seen as reference to the mane of a lion. This connects Alexander to the fierceness and regality of the lion. The ram’s horn, poking out from underneath the headdress, is also significant because it is a reference to Zeus Ammon. The reason Alexander is connected to Zeus Ammon is because a prophet, from the oasis Siwah in the Libyan desert, claims he is his son. Along with being Zeus Ammon’s son, Alexander is shown wearing a mitra of Dionysus, to further relate him to the gods. Other instances where Alexander is being connected to Zeus are the eagle and lightning bolt on the reverse side, both are symbolic of Zeus. The reasons behind the making of the coin are also very important. First, the portrait being on a coin means the images on the coin are meant to be seen by the populace. This was Ptolemy’s way of showing the majority of his connection to Alexander. It was a way for him to proclaim his right to be Alexander’ successor. It was also a way to show his respect to his predecessor. http://classicalchopped.artinterp.org/omeka/files/original/fdb38f52aef03ee0f2e1b7be5d54d2e5.jpg 1fc950c2dc0eccbf711e47e612e0f05c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Commodus as Hercules Date A point or period of time associated with an event in the lifecycle of the resource 180-193 AD, Antonine Period Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Marble Format The file format, physical medium, or dimensions of the resource 133 cm tall Source A related resource from which the described resource is derived Esquiline, Rome Rights Holder A person or organization owning or managing rights over the resource. Capitoline Museum of Rome, Italy References A related resource that is referenced, cited, or otherwise pointed to by the described resource. <a href="http://en.museicapitolini.org/collezioni/percorsi_per_sale/museo_del_palazzo_dei_conservatori/sale_degli_horti_lamiani/busto_di_commodo_come_ercole">Musei Capitolini</a> Hekster, Olivier. "Propagating power. Hercules as an example for second-century emperors." Herakles and Hercules. Exploring a Graeco-Roman Divinity (2005): 205-21. Speidel, Michael P. "Commodus the God-Emperor and the army." The Journal of Roman Studies 83 (1993): 109-114. Contributor An entity responsible for making contributions to the resource Charlotte Myers Description An account of the resource Description: Commodus, rendered in the guise of Hercules in a marble bust, is depicted as a young, muscular man, who is mostly nude. He dawns the skin of a lion as his headdress, with the deflated beast’s front paws secured in a tight knot across his chest. His hair consists of many coiled curls, as does his beard. He is wielding a club over his right shoulder and holding small apples in his left hand. Two women, depicted in much smaller proportion than him, once held up the shield below his chest; however, damage over time leaves only one headless woman on Commodus’ right side. Aside from this, the statue is predominately held up by a small sphere below the shield and in good condition. Significance: Commodus, who became Emperor at age 20, was known as one of the most pompous and reckless emperors of the Roman Empire; in fact, it was even rumored that he murdered his own father. In this depiction of the violent young leader, he is rendered as haughty and disdainful, with sleepy-looking eyes and mop-like hair. His slightly parted mouth alludes to how Alexander was depicted. Commodus in the guise of Hercules renders the god-like way in which the Emperor wished to be remembered. Two militaristic women were originally depicted holding the shield of Commodus to showcase his dedication to campaigning and power through military force. Though his face is personalized, his body and garments are not. His heroism is shown through his nudity and his garments obviously allude to Hercules. The most obvious example of this is the lion skin draped over his head and shoulders, which Alexander was known to wear in portraiture as well. The apples in his hand represent the apples of Hercules’ labors; Hercules worked to finish his labors in order to become a real god. In this way, Commodus renders his own self-defined path to becoming a deity. Lastly, the two cornucopias represent abundance, indicating his wealth as a leader.