Bronze Figure Research Articles

Lysippan Studies 3. Not by Daidalos?

The Vienna Apoxyomenos from Ephesos is still an object of controversy seventy years after its discovery: opinion remains divided upon whether it is a copy or itself the original of its type, upon the date to be assigned to it, and upon its identification as one of the two pueri .. . destringentes se of Daidalos of Sikyon. A study of the three classes of replicas in bronze of Greek originals (freely composed versions, copies made from piece moulds of pointed-off plaster replicas, and castings from piece moulds of the original) shows that if it is a replica, it is probably a direct casting; however, a thorough examination reveals no impressions of tasselli that would substantiate this. Further discussion of the composition of the alloy, the dowels used to secure the statue, and the setting of the work indicate that it is more than likely a Greek original, though the alternative still remains a possibility. The motif and style do not accord with what we should expect of Daidalos' statues, and look post-Lysippic; the best parallels are to be found in a group of works of the early third century, including a seated girl in the Conservatori, a bronze head in the Vatican, and, related in motif to the former, the Tyche of Antioch. The athlete is thus probably an original by a member of Lysippos' school, active just after ca. 300 B.C. Among the many statues that graced the Gymnasium at Ephesos prior to its destruction by the Goths in A.D. 263, the bronze figure of an athlete cleaning his strigil now in the Kunsthistorisches Museum in Vienna (figs. 1-4) occupied a particularly prominent place. It stood on a base about four feet high, in a specially constructed aedicula at the eastern end of the great court, immediately to the right of the entrance to an open hall (ill. i), whose lavishly decorated walls were hosts to a quantity of similar monuments to other successful, * The following abbreviations will be used: Arnold D. Arnold, Die Polykletnachfolge (JdI-EH 25, Berlin 1969). Johnson F.P. Johnson, Lysippos (Durham 1927). Lippold G. Lippold, Die Griechische Plastik (Handbuch der Archaiologie III.I, Munich 1950). Marcade J. Marcad6, Recueil de signatures de sculpteurs grecs (Paris 1953, 1957). Overbeck J. Overbeck, Die Antiken Schriftquellen (Leipzig 1868). Supra followed by a page number refers to present or previous installment of Lysippan Studies in AJA 82 (1978). FIG. I. Athlete, Vienna (frontal). (Photo Kunsthistorisches Museum, Vienna) This content downloaded from 207.46.13.152 on Mon, 27 Feb 2017 18:28:52 UTC All use subject to http://about.jstor.org/terms 474 A.F. STEWART [AJA 82 FIG. 2. Athlete, Vienna (head, left profile). (Photo Kunsthistorisches Museum, Vienna) FIG. 4. Athlete, Vienna (head, right profile). (Photo Kunsthistorisches Museum, Vienna) FIG. 3. Athlete, Vienna (head, frontal). (Photo Kunsthistorisches Museum, Vienna) but presumably less celebrated, young sportsmen. The base, part of which was recovered by the Austrian excavators of the site in the summer of 1896, recorded the fact that the statue was dedicated by one [L. Claudius Ph]rygianus, whose name occurs elsewhere at Ephesos as a gymnasiarch of the late first or early second centuries A.D. The bronze itself was in poor condition, shattered into no fewer than 234 pieces, some of them badly warped and otherwise damaged by the intense heat of the conflagration. To reconstruct the original was therefore no easy task and the result, subject to only one major correction in recent years, fully deserved the praise bestowed upon it in Otto Benndorf's publication, which followed in 90o6.1 1 0. Benndorf, Forschungen in Ephesos I (Vienna 1906) 18I-204 (whence ill. I). The first restoration showed the athlete as a proper Apoxyomenos, scraping oil off his left forearm; for the correction, see F. Eichler, Jahrbuch der Kunsthisto ischen Sammluzngen in Wien 50 (1953) 15-22. All illustrations prior to this date, as e.g. Johnson pl. Io, are therefore

More Addenda from Toprak Kale.

Over twenty years have passed since the present writer first drew attention to the remarkable but completely forgotten archaeological discoveries made at the Urartian site of Toprak Kale, discoveries made in 1880 by Rassam and his associates, Dr. Raynolds and Captain Clayton, acting for the British Museum. I also summarised the results of the work in 1898 at the same site done by Lehmann (afterwards Lehmann-Haupt) and Belck; these finds are now all well-known. Since then, modern museum conservation work and study has resulted in several new achievements, such as in a fresh publication of the candelabrum at Hamburg Museum, the discovery and publication by Professor G. R. Meyer of a small silver pectoral at Berlin with a presentation scene and á detailed study by him also of the large bronze figure of a “eunuch” in the same museum. Professor Meyer also mentions a fine bronze palmette forming part of a wall panel of bronze plate made up of 17 fragments, also part of a bronze model building similar to that in the British Museum. Lastly, a brief preliminary report of the fruitful excavations of Professors Afif Erzen and Emin Bilgiç, in 1959–61, has been published. One of their most notable finds was another shield similar to those found by Rassam and Lehmann-Haupt with concentric friezes of lions and bulls and a dedicatory inscription of Rusas III.

Painting with Beads

Club at Oshogbo. His work is well-known now-perhaps for the irrelevant reason that his work is so immediately recognizable. Most of the artists at Oshogbo worked in different media. Readers will remember illustrations of the aluminum relief panels of Asiru and the bronze figures of Bisiri. Buraimoh generally works in the unique medium of beads threaded upon strings which are then gummed upon the plywood board background of his pictures. This originality of medium allows him excitingly fresh opportunities for design, and yet it is perhaps dangerous in that its very unexpectedness may take an observer's attention away from the true nature of the art itself by giving overemphasis to the idiosyncracy of the medium rather than to the significant artistic expression Buraimoh achieves with it. When was last at his house in Oshogbo, was given a print that showed Buraimoh's great skill in other media; as he remarks, I like to experiment. He is in no way confined by his unique material; simply at this time, he has made the correct artistic decision that this is the most appropriate medium for the art he wished to create at the present moment. Buraimoh is an artist of great gifts, and his haunting figures with their ballooning egg-shaped designs remain in the memory. They straddle that important area of painting between realism and abstraction. The figures are real in the sense that they reflect the crucial pantheon of folk myth, and yet the work itself is also conceived in totally artistic terms as a series of decisions concerning color and form and bal-

A Bronze Figure of Baʿal in the Los Angeles County Museum of Art

Previous articleNext article No AccessA Bronze Figure of Baʿal in the Los Angeles County Museum of ArtJay A. BisnoJay A. Bisno Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Journal of Near Eastern Studies Volume 29, Number 2Apr., 1970 Article DOIhttps://doi.org/10.1086/372052 Views: 2Total views on this site Copyright 1970 The University of ChicagoPDF download Crossref reports no articles citing this article.

A Chinese Bronze Figure of the Fourth Century B.C.

A Chinese Bronze Figure of the Fourth Century B.C.

An Early Indian Bronze Figure

An Early Indian Bronze Figure

Three Egyptian Bronze Figures from the Spencer-Churchill Collection

Three Egyptian Bronze Figures from the Spencer-Churchill Collection

Imun Ajo'. A Bronze Figure from Interior Borneo

Imun Ajo'. A Bronze Figure from Interior Borneo

Gifts to Indiana

AbstractAt the end of 1959 the Fine Arts Department of Indiana University received from alumni and collector friends a number of important donations of works of art as well as cash contributions for the development of its future art museum which is to be inaugurated in 1962 with the completion of the large new Fine Arts Building on the campus at Bloomington. Among the paintings were a Pieter Boel and a Pieter Breughel the younger, given anonymously and a large Spanish still life by Juan Francisco Carrion given by the Berry-Hill Gallery of New York (see College Museum Notes). A member of the department gave a group of primitive sculptures from various cultures. Contributions to the William Lowe Bryan Memorial Fund by an anonymous alumnus were used for purchase of Asian works from Japan, Korea and China, as well as a late Roman head (see College Museum Notes). A Tanagra statuette and a small Etruscan bronze figure were given by Norbert Schimmel.

Bronze Figures from Nigeria

Bronze Figures from Nigeria

308. Bronze Figures from Ita Yemoo, Ife, Nigeria

308. Bronze Figures from Ita Yemoo, Ife, Nigeria

The Colossus of Rhodes

I think that we all know about the Colossus of Rhodes—one of the Seven Wonders of the World. We remember him from our childhood's days. Was there not some story of a great statue standing astride the harbour of that old-world port—Rhodes, somewhere among the Isles of Greece? And if we look up a Classical Dictionary we shall find him described as being a bronze figure of the sun god, Helios, and as standing 70 cubits, that is, more than 100 feet in height. We read that in the year three hundred and three before Christ, Demetrios Poliorketes, King of Macedon, becoming tired of his long-protracted Siege of Rhodes, returned to Greece, leaving his siege-train behind him. The citizens of Rhodes sold the weapons for 300 talents, and devoted the money to the erection of a statue of their god: a statue, moreover, which they hoped would compare favourably with those of their great ally, Egypt. The citizens of Rhodes called upon the sculptor Chares of Lindos: a town on the island of Rhodes not far from the capital. He was a pupil of the Greek sculptor, Lysippos, who had just constructed at Tarentium a bronze statue of Zeus, about 70 feet in height. Chares undertook the work. The colossus took twelve years to erect, from 292 to 280 B.C. It was thrown down by an earthquake some sixty years later, and remained on the ground, as one of the sights of Rhodes, for nearly 900 years. When the Saracens conquered the island in A.D. 653, their general broke up the figure and sold the bronze to a Jewish dealer. Not a fragment of the Colossus remains to-day, and no complete copy of the figure exists.

En trehovedet Gud

En trehovedet Gud

210. A Nigerian Bronze Figure from the Benin Expedition

210. A Nigerian Bronze Figure from the Benin Expedition

98. A Bronze Figure in Ife Style at Benin

98. A Bronze Figure in Ife Style at Benin

TWO BRONZE FIGURES by JACOPO SANSOVINO

Previous articleNext article No AccessTWO BRONZE FIGURES by JACOPO SANSOVINOE. P. RICHARDSONE. P. RICHARDSON Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Bulletin of the Detroit Institute of Arts Volume 29, Number 31949-1950 A journal of the Detroit Institute of Arts Article DOIhttps://doi.org/10.1086/DIA41505069 Views: 2Total views on this site PDF download Crossref reports no articles citing this article.

The Sidmouth Bronze: Legionary Standard or Tripod?

The well-known bronze figure of a centaur and rider (pl. viii) now in the Royal Albert Memorial Museum at Exeter was found on the beach at the foot of the cliffs (near two geological faults) about 200 yards east of the little river Sid by some fishermen in 1840.The only other recorded discoveries of Roman objects at Sidmouth consist of a few coins on the sea beach—a ‘first brass’ of Vespasian, a Commodus of A.D. 183, and a small brass of Constantine I (as well as a Bactrian copper)—and others in Sidmouth or the neighbourhood, while pottery of the first, and perhaps second, century A.D., ultimately from the Early Iron Age hill-fort at High Peak, two miles south-west of Sidmouth, has also been noted. The nearest site of any Roman structure is at Seaton, some nine or ten miles to the northeast, where traces of a Roman house have been observed. Until something more substantial has been discovered we can only conclude that the little harbour at the mouth of the river Sid in the Roman period was visited by a few travellers, but not extensively inhabited. It may even be that the bronze object, though of Roman date, was brought by a post-Roman traveller, or decorated a bowsprit when Sidmouth harbour was in use at a later date.The object comprises a group of a centaur with rider and charging beast set on a pedestal which rests on a shank, now broken; at the top of the shank and immediately below the pedestal is a heavy hook-like bracket. The whole measures 7 in. high (from the top of the centaur's head to the bottom of the broken shank) and 5 in. at its maximum width. It has been cast and is hollow, and is very much worn by the action of the sea, a pebble being still lodged in the mouth and another under the arm of the centaur. The shank also is hollow, about 1½ in. deep, and filled with lead, perhaps in modern times.

Bronze Figures of the Late Chou Period

Anyone interested in the history of Chinese sculpture must make up his mind about a group of bronze statuettes, known now for a number of years and said to date from late Chou times. It is claimed that many of them come from graves at one site. This information, ostensibly given bona fide, is based solely on hearsay. He who is not of a gullible nature will find it advisable to look for circumstantial evidence. The search for this led me to a few general and special problems connected with the late history of Chinese bronzes; they are, I think, interesting enough to justify publication.

Bronze Figures of the Late Chou Period

Bronze Figures of the Late Chou Period

Bronze figure of the Virgin and Child

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