Object Lessons: Art & Its Histories [Gallery for Early European Art
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| Object Lessons: Art & Its Histories
[Gallery for Early European Art | Exhibition Text] THE PROJECT Spanning the history of Western art from antiquity to the mid-twentieth century, the first iteration of Object Lessons: Art & Its Histories embodies the museum’s belief in the power of close looking and affirms our deep commitment to academic engagement and teaching through objects. The exhibition is presented in multiple galleries and organized around the curriculum of Introduction to the Visual Arts, a two-part Stanford survey course led by professors Alexander Nemerov and Bissera V. Pentcheva, who will convene weekly sections in the museum’s galleries. Building on their expertise and teaching priorities, along with those of their colleagues Jody Maxmin, Nancy J. Troy, Richard Vinograd, and Cantor curators, the exhibition’s layout and interpretive texts demonstrate the benefits of bringing together multiple voices and approaches to thinking about art. Object Lessons invites all museum visitors to be part of a great classroom, in which questions and dialogue are welcome and there is freedom to challenge assumptions about the world in which we live. —Alison Gass Chief Curator and Senior Director for Exhibitions and Collections IN THIS GALLERY This installation represents significant moments of human creativity over more than 3,000 years. This staggering expanse of time encompasses the height and decline of the empires of ancient Egypt, Greece, and Rome through the rise of the Baroque in modern Europe. A thread running through the gallery is the balance the works strike between aesthetics and utility. Today regarded as fine art, these objects were designed to hold the commodities essential to social rituals, serve as funerary implements, or inspire profound contemplation of beauty, spirituality, and mortality. —Elizabeth Kathleen Mitchell Burton and Deedee McMurtry Curator of Prints, Drawings, and Photographs Object Lessons is presented in multiple galleries, including the Robert Mondavi Family Gallery and the Marie Stauffer Sigall Gallery. This exhibition is organized by the Cantor Arts Center and is presented in conjuction with the course Introduction to the Visual Arts. We gratefully acknowledge support from the Theodore and Frances Geballe Pre-19th Century Art Exhibition Fund, the Clumeck Endowment Fund, and the Loughlin Family Exhibition Fund. ON TEACHING WITH OBJECTS To see a World in a Grain of Sand . . . Hold Infinity in the palm of your hand
The ancient and medieval objects on view in this gallery are being displayed together for the first time in many years. Time adheres to the works of art, giving them the aura of distant human experience. Seeing and interacting with them allows us—viewers, students, professors—to connect emotionally and aesthetically to a distant time and recognize our place in this continuum. —Bissera V. Pentcheva Associate Professor of Medieval Art, Associate Professor of Classics by courtesy [Case label]
Boeotia, Greece Archaic period, 1000–480 BCE
Terra-cotta Stanford Family Collections, JLS.4706 2. Artist unknown Greece
Hellenistic period, 323–31 BCE Horse and rider 1st century BCE Terra-cotta Gift of Catherine Harwood Dewey, in memory of Dr. Hazel D. Hansen, 1967.13
Greece
Hellenistic period, 323–31 BCE Alexander the Great c. 330–100 BCE Bronze
Greece
Hellenistic period, 323–31 BCE Hermes, c. 50 BCE–50 CE Bronze
5. Artist unknown Greece
Hellenistic period, 323–31 BCE Athis and dog 3rd–2nd century BCE Terra-cotta Gift of Alice Matlack, Catherine Mason, Frances Parker, and Sarah Allday, 1978.140 6. Artist unknown Europe or Eastern Mediterranean Roman period, 1st century BCE–c. 3rd century CE after Praxiteles Greece, active c. 375–340 BCE Apollo Sauroktonos 1st–2nd century CE Bronze and silver Committee for Art Acquisitions Fund, 1988.108 [case label] 1. Artist unknown Mesopotamia Male head, n.d. Stone
2. Artist unknown Assyria
Middle Assyrian period, 1350–1100 BCE Cylinder seal, 13th century BCE Steatite Gift of Mrs. Charles B. Nines, 1972.235.1 3. Artist unknown Mesopotamia Neo-Babylonian period, c. 1000–539 BCE Stone with cuneiform inscription, n.d Stone
4. Artist unknown Assyria Middle Assyrian period, 1350–1100 BCE Cylinder seal, 13th century BCE Steatite Gift of Mrs. Charles B. Nines, 1972.235.4 5. Artist unknown Cyprus Late Bronze Age, c. 1600–1050 BCE Female figure, c. 1450–1200 BCE Terra-cotta Stanford Family Collections, JLS.475 [case label] 1. Artist unknown Europe or Eastern Mediterranean Hellenistic period, 331–64 BCE
Marble
2. Artist unknown Turkey
Seleucid empire, c. 305–60 BCE Head of Lysippan Herakles, 2nd–1st century BCE Clay
3. Artist unknown Greece
Hellenistic period, 323–31 BCE Male head, 2nd century BCE Marble
[case label]
Greece
Etruscan vase, n.d. Glass
Stanford Family Collections, JLS.10953 2. Artist unknown Greece
Marble
Stanford Family Collections, JLS.17487 3. Artist unknown Corinth, Greece Archaic period, 1000–480 BCE Cosmetic box (pyxis), c. 600 BCE Terra-cotta Museum Purchase Fund, 1961.68 6. Artist unknown Corinth, Greece Archaic period, 1000–480 BCE
Gift of Catherine Harwood Dewey, in memory of Dr. Hazel D. Hansen, 1967.12
7. Artist unknown Corinth, Greece Archaic period, 1000–480 BCE Perfume or oil flask (aryballos),600–575 BCE Terra-cotta Gift of Catherine Harwood Dewey, in memory of Dr. Hazel D. Hansen, 1967.18 8. Artist unknown Corinth, Greece Archaic period, 1000–480 BCE
Black-figure terra-cotta Stanford Family Collections, JLS.17388
9. Artist unknown Corinth, Greece Archaic period, 1000–480 BCE Perfume or oil flask (aryballos), 600–575 BCE Black-figure terra-cotta Gift of Professor T. B. L. Webster, 1964.1 10. Artist unknown Corinth, Greece Archaic period, 1000–480 BCE Fragment of a Corinthian krater, c. 550 BCE Black-figure terra-cotta Given in honor of Professor Isabelle Raubitschek by her friends, 1979.90 [case label] 1. Eucharides Painter Athens, Greece, active c. 500–475 BCE Archaic period, 1000–480 BCE
Red-figure terra-cotta Hazel D. Hansen Fund, 1970.11 2. Artist unknown Athens, Greece Archaic period, 1000–480 BCE Cassel cup (kylix), c. 530–500 BCE Red-figure terra-cotta Gift of Professor T. B. L. Webster, 1983.289 4. Artist unknown Athens, Greece Archaic period, 1000–480 BCE Drinking cup (skyphos), c. 500 BCE Black-figure terra-cotta Gift of Catherine Harwood Dewey, in memory of Dr. Hazel D. Hansen, 1967.45 6. Workshop of the Antimenes Painter Athens, Greece, active c. 530–c.510 BCE Archaic period, 1000–480 BCE Water jug (hydria), 530–525 BCE Black-figure terra-cotta Hazel D. Hansen Fund, 1970.1 [case label] Harrow Painter Athens, Greece, active c. 500–475 BCE Early Classical period, 480–450 BCE Amphora, 475–470 BCE Red-figure terra-cotta Hazel D. Hansen Fund, 1970.2 Polygnotos or his follower Athens, Greece, active 440–430 BCE High Classical period, 450–400 BCE Bell krater, 440–430 BCE Red-figure terra-cotta Stanford Family Collections, JLS.17411 Phineus Painter Greece, active c. 540 BCE Archaic period, 1000–480 BCE Chalcidian neck amphora, c. 515 BCE Black-figure terra-cotta Hazel D. Hansen Fund, 1972.150
Associate Professor of Art & Art History, Associate Professor of Classics [case label]
Athens, Greece Geometric period, 900–700 BCE
Terra-cotta Committee for Art Acquisitions Fund, 1978.144 2. Artist unknown Athens, Greece Archaic period, 1000–480 BCE
Black-figure terra-cotta Lent by Harold C. Hohbach 3. Artist unknown Athens, Greece Archaic period, 1000–480 BCE Athenian Little Master Band Cup, c. 550–530 BCE Black-figure terra-cotta Gift of Professor T. B. L. Webster, 1969.42 4. Attributed to Lydos Athens, Greece, active 565–535 BCE Archaic period, 1000–480 BCE Siana drinking cup, c. 570–550 BCE Black-figure terra-cotta Museum Purchase Fund, 1985.108 5. Castellani Painter Athens, Greece, active 565–550 BCE Archaic period, 1000–480 BCE Tyrrhenian neck amphora, c. 550 BCE Black-figure terra-cotta Gift of Benjamin F. Vaughan, III, 1961.66 [Case label] Attributed to the Workshop of the Darius Painter Apula, Italy Classical period, 480–323 BCE
Red-figure terra-cotta Stanford Family Collections, JLS.10940 Kleophon Painter Athens, Greece, active c. 420–390 BCE High Classical period, 450–400 BCE Volute krater, c. 430 BCE Red-figure terra-cotta Hazel D. Hansen Fund, 1970.12 Artist unknown Egypt, Copt people Byzantine Rule, c. 330–641 CE
Wool and linen Gift of Timothy Hopkins, JLS.14716 ____________________________________________________________________ Artist unknown Egypt, Copt people Byzantine Rule, c. 330–641 CE
Wool and linen Gift of Timothy Hopkins, JLS.14702 Artist unknown Egypt, Copt people Byzantine Rule, c. 330–641 CE Textile fragment with red and black geometric designs, 5th–7th century CE Wool and linen Gift of Mr. and Mrs. Charles de Young Elkus, 1947.32 Artist unknown Egypt, Copt people Byzantine Rule, c. 330–641 CE Square panel with animals and plants 7th century CE Wool and linen Gift of Timothy Hopkins, JLS.14732 Artist unknown Egypt Macedonian and Ptolemaic Period, c. 332–30 BCE Head of a king, c. 100 BCE Granite
Artist unknown Egypt
Late Period, c. 712–332 BCE Block statue with cartouches of Ramses II c. 712–332 BCE Granite
Artist unknown Egypt
Late Period, c. 712–332 BCE Mummy mask of a woman, c. 688–525 BCE Linen, plaster, pigment, and gold Stanford Family Collections, JLS.21361 Zanobbi Strozzi Florence, Italy, 1412–1468
Leather and wood with tempera colors and gold on parchment Collection of T. Robert and Katherine States Burke This complete and entirely hand-drawn manuscript, a choir book from the Florentine parish of Santa Maria sopra Porta, contains illuminated pages painted by Zanobbi Strossi. He was a follower of the Dominican monk and artist Fra Angelico, whose work also features in this gallery. Strossi depicts the kneeling King David speaking to God, who extends his hands down toward David. The figures are framed within (and separated by) the lines of a historiated letter, which is an enlarged initial elaborated with iconography to set off the beginning of a new passage of text. —Elizabeth Kathleen Mitchell Burton and Deedee McMurtry Curator of Prints, Drawings, and Photographs
Phineus Painter Greece, active c. 540 BCE Archaic period, 1000–480 BCE
Black-figure terra-cotta Hazel D. Hansen Fund, 1972.150 Chalcidian vases are named after the town of Chalcis on the island of Euboea, northeast of Athens. They are called Chalcidian because some of them are inscribed in the Euboean alphabet. Since not a single fragment of Chalcidian ware has been found in Euboea or elsewhere in Greece, some scholars believe that it was made in the west by Chalcidian settlers, probably in Reggio, Italy. —Jody Maxmin Associate Professor of Art & Art History, Associate Professor of Classics Polygnotos or his follower Athens, Greece, active 440–430 BCE High Classical period, 450–400 BCE Bell krater, 440–430 BCE Red-figure terra-cotta Stanford Family Collections, JLS.17411 Harrow Painter Athens, Greece, active c. 500–475 BCE Early Classical period, 480–450 BCE Amphora, 475–470 BCE Red-figure terra-cotta Hazel D. Hansen Fund, 1970.2 Kleophon Painter Athens, Greece, active c. 420–390 BCE High Classical period, 450–400 BCE Volute krater, c. 430 BCE Red-figure terra-cotta Hazel D. Hansen Fund, 1970.12 Attributed to the Workshop of the Darius Painter Apula, Italy Classical period, 480–323 BCE Late Apulian volute krater, 350–325 BCE Red-figure terra-cotta Stanford Family Collections, JLS.10940 left to right: Artist unknown Syria Roman period, 64 BCE–260 CE Funerary relief of a man, 2nd century CE Limestone Stanford Family Collections, JLS.17200 Artist unknown Syria
Roman period, 64 BCE–260 CE Funerary relief of a woman, 2nd century CE Limestone Stanford Family Collections, JLS.17201
Syria
Roman period, 64 BCE–260 CE Funerary relief of a man, 3rd century CE Limestone Stanford Family Collections, JLS.17205 Artist unknown Cyprus
Limestone Stanford Family Collections, JLS.21449 Nardo di Cione Italy, c. 1320–1365 or 1366
Tempera and gold leaf on wood Collection of T. Robert and Katherine States Burke Circle of Agnolo Gaddi Italy, active 1369–1396
Tempera on panel Gift of Mr. and Mrs. Stewart M. Marshall, 1958.79 Artist unknown France, active 14th century
Ivory
Jacopo del Sellaio Italy, 1441–1493 The Virgin, Child, and Saint John, c. 1480–85 Tempera on panel Bequest of Mr. and Mrs. Stewart M. Marshall, 1970.83 Puligo Domenico Italy, 1492–1527
Oil on panel Gift of Mr. and Mrs. Stewart M. Marshall, 1954.250 Artist unknown Flanders, active 16th century
Oil on panel Bequest of Mr. and Mrs. Stewart M. Marshall, 1970.81 Jakob Jordaens, the elder Flanders, 1593–1678
Oil on canvas Bequest of Mr. and Mrs. Stewart M. Marshall, 1955.28 Antwerp Mannerist Belgium, active 16th century
Oil on panel Gift of Mr. and Mrs. Arthur Wiesenberger, 1959.84 Artist unknown Russia, active 17th–18th century
Tempera on wood (right) and metal revetment with precious stones (left)
Artist unknown Italy, active 14th century
Tempera on wood Gift of Mortimer C. Leventritt, 1941.296 Cristoforo Cortese Veneto, Italy, c. 1399–before 1445
Tempera and gold on parchment Collection of T. Robert and Katherine States Burke Artist unknown Cordoba, Spain
late 10th century CE Limestone
Artist unknown Roman Hellenistic period, 300–90 BCE after Polykleitos Greece, active 450–414 BCE Doryphorus, 50 BCE Marble
Artist unknown Europe or Eastern Mediterranean Roman empire, 27 BCE–192 CE after Timarchides Greece, active 2nd–early 1st century BCE Torso of Dionysos or Apollo, c. 50 CE Parian marble Gift of Benjam F. Vaughan III in memory of Hazel Hansen, 1963.60 Artist unknown Europe Hellenistic period, 300–90 BCE Draped figure of a youth (torso), 100 BCE Marble
Artist unknown Palestinian Territories Hellenistic period, 331–64 BCE Maenad (Nysa?), c. 150 BCE Marble
Artist unknown Greece
Marble
Master of Saint Francis Assisi, Italy, 1250–1300
Tempera and gold on parchment Collection of T. Robert and Katherine States Burke Giovanni Decio Milan, Italy, before 1440–after 1480
Tempera and gold on parchment Collection of T. Robert and Katherine States Burke Decio’s painting, originally from a choir book dedicated to the feast of St. Andrew, depicts Christ calling fishermen Peter and Andrew to follow him. In brilliant jewel-tone colors set off with gold, Decio rendered a remarkable amount of detail informed by observation. Most impressive are the artist’s use of slender, waving lines to depict the active surface of the water, his naturalistic rendering of the shadow at the bow of the boat, and the delicate articulation of the landscape as it recedes toward the horizon behind Peter and Andrew. —Elizabeth Kathleen Mitchell Burton and Deedee McMurtry Curator of Prints, Drawings, and Photographs
Giovanni Decio Milan, Italy, before 1440–after 1480
Tempera and gold on parchment Collection of T. Robert and Katherine States Burke Decio’s painting, originally from a choir book dedicated to the feast of St. Andrew, depicts Christ calling fishermen Peter and Andrew to follow him. In brilliant jewel-tone colors set off with gold, Decio rendered a remarkable amount of detail informed by observation. Most impressive are the artist’s use of slender, waving lines to depict the active surface of the water, his naturalistic rendering of the shadow at the bow of the boat, and the delicate articulation of the landscape as it recedes toward the horizon behind Peter and Andrew. —Elizabeth Kathleen Mitchell Burton and Deedee McMurtry Curator of Prints, Drawings, and Photographs
Assisi, Italy, 1250–1300 Crucifixion, c. 1260 Tempera and gold on parchment Collection of T. Robert and Katherine States Burke Artist unknown Cyprus Cypro-Classical to Cypro-Hellenistic period, 480–30 BCE Female head, 5th–1st century BCE Limestone Stanford Family Collections, JLS.415 Artist unknown Cyprus Cypro-Hellenistic period, 310–30 BCE Male head, 3rd century BCE Terra-cotta Stanford Family Collections, JLS.408 Circle of Hieronymus Bosch the Netherlands, active c. 1450–1516
Oil on panel Lent by Kirk Edward Long In the Christian tradition, images of the Last Judgment functioned as didactic tools to encourage the living to consider the lasting consequences of their daily actions. This painting, most likely created by an artist trained in Hieronymus Bosch’s workshop, depicts Christ enthroned and displaying his wounds while souls receive their eternal fates. In the painting’s upper-left corner, the few worthy souls ascend to heaven while the rest are condemned to grotesque and horrific torments inflicted by a legion of Satan’s demons. —Elizabeth Kathleen Mitchell Burton and Deedee McMurtry Curator of Prints, Drawings, and Photographs Fra Angelico Italy, c. 1400–1455
Tempera and gold leaf on wood Collection of T. Robert and Katherine States Burke In 1407 Guido di Pietro entered a Dominican monastery near Florence, where he thrived as a painter who came to be known as Fra Angelico. Over the course of his artistic career, Fra Angelico returned repeatedly to the story of St. Anthony Abbott, the 3rd-century CE founder of the monastic tradition in Christianity. With characteristic softness and radiance, Fra Angelico painted Anthony alone in a barren landscape. The spare setting references the saint’s decision to reject material goods and live as a hermit in the desert of northern Egypt. —Elizabeth Kathleen Mitchell Burton and Deedee McMurtry Curator of Prints, Drawings, and Photographs Haimon Group Athens, Greece, active 500–480 BCE Archaic period, 1000–480 BCE Oil flask (lekythos), c. 500–479 BCE Black-figure terra-cotta Provenance: Lord Byron, 1824; Julius Millingen; given to his son Edwin van Millingen, 1896; Dr. Casey Wood; given to Stanford University Library, transferred to Leland Stanford, Jr. Museum (later Stanford University Museum of Art; then Cantor Arts Center), 1962 Gift of Dr. Casey Wood, 1962.286 This flask and hundreds of others from the Haimon workshop may have been filled with olive oil and sold at the Panathenaic Games as a keepsake for spectators. This vase depicts the apobates, an equestrian event descended from Homeric warfare. A charioteer, clad in white, strains to control the galloping horses. A warrior is captured mid-leap, his legs blurring with those of the horses as he prepares to sprint behind the chariot and vault back on board.
Artist unknown Attica, Greece Archaic period, 1000–480 BCE Oil flask (lekythos), 5th century BCE White-ground terra-cotta Gift of Mrs. Philip N. Lilienthal, Jr., 1960.78 White-ground lekythoi were used primarily for funerals; they stored olive oil used in burial rituals and then left to decorate gravesites. This lekythos depicts a funeral scene with two figures at a gravesite. A seated woman holds up a tray of offerings as a man steps toward her, carefully carrying a lekythos with both hands. left to right: Artist unknown Athens, Greece Archaic period, 1000–480 BCE Oil flask (lekythos), c. 500 BCE Black-figure terra-cotta Gift of Professor Emerson H. Swift, 1972.76 Attributed to the Class of Athens 581 Athens, Greece, active early 5th century BCE Archaic period, 1000–480 BCE Oil flask (lekythos), c. 500 BCE Black-figure terra-cotta Stanford Family Collections, JLS.17340 Artist unknown Athens, Greece Archaic period, 1000–480 BCE Oil flask (lekythos), c. 500 BCE Black-figure terra-cotta Gift of Catherine Harwood Dewey, in memory of Dr. Hazel D. Hansen, 1967.11 Circle of Bonifacio Bembo Italy, active c. 1445–1478, died before 1482
Tempera on panel Gift of M. Donald Whyte. Conservation supported by the Lois Clumeck Fund, 1987.158 The diminutive scale of this triptych suggests it was commissioned for use in a domestic setting. Its patron’s identity is not known, but the iconography reveals his or her religious affiliation. The central vignette of the left panel depicts Saint Francis, founder of the Franciscan Order, receiving the stigmata; below him is Saint Clara, the founder of the Poor Clares, a Franciscan sisterhood of nuns. The central panel illustrates the Adoration of the Christ child. The right panel’s central frame represents Saint Matthew with the angel who guided him in writing the first of the four Gospels; below him is Saint Bernardino of Siena, a popular Franciscan friar. —Elizabeth Kathleen Mitchell Burton and Deedee McMurtry Curator of Prints, Drawings, and Photographs Artist unknown Egypt Late Period, c. 712–332 BCE Stela of Djedhoriuefankh worshipping before the god Ra-Horakhty c. 712–664 BCE Pigment on limestone Yansouni Family Fund, 2000.79 The god Ra-Horakhty was the powerful composite of two ancient deities: Horus, the falcon-headed sky god, and the sun god Ra, the father of all gods, identifiable by his sun-disk headdress. Ra-Horakhty, seen here standing at left while receiving offerings, retained the physical attributes of both predecessor figures and ruled over the earth and sky. —Elizabeth Kathleen Mitchell Burton and Deedee McMurtry Curator of Prints, Drawings, and Photographs Artist unknown Egypt Macedonian and Ptolemaic Period to Late Empire, c. 322 BCE–476 CE Stela of Horus, the Younger, or Harpocrates, c. 304 BCE–364 CE Soapstone Stanford Family Collections, JLS.22104 Artist unknown Egypt New Kingdom, c. 1550–1070 BCE Fragment of funerary stela of Osiris receiving offerings, c. 1186–1070 BCE Limestone Stanford Family Collections, JLS.21872.a The enthroned Osiris, god of the afterlife, appears at left receiving offerings of flowers, beer, and bread from a woman. One of the most powerful Egyptian gods, Osiris ruled the underworld, controlled human fertility, and presided over the ebb and rise of the life-giving Nile River. —Elizabeth Kathleen Mitchell Burton and Deedee McMurtry Curator of Prints, Drawings, and Photographs
Artist unknown Thebes, Egypt Third Intermediate Period, c. 1070–712 BCE Coffin for female mummy identified as the Chantress of Amen (Amon) c. 1070–945 BCE Wood with painted gesso relief Gift of the Cooper Medical College, T.82.2.A-B Ancient Egyptian coffins sheltered remains and provided a home for the deceased’s life force, the ka, as well as the individual’s personality, or ba. The ka and ba rejoined each day at dawn, when the sun rose and Osiris, the god of the afterlife, was resurrected. The coffin’s interior is adorned with protective spells and figures referencing the gods to ensure safe passage into the afterlife. —Elizabeth Kathleen Mitchell Burton and Deedee McMurtry Curator of Prints, Drawings, and Photographs 4. Artist unknown Corinth, Greece Archaic period, 1000–480 BCE
Terra-cotta Museum Purchase Fund, 1961.67 The alabastron (from the Greek ἀλάβαστρον) was invented in Egypt, where it was made of alabaster. The potters of Corinth translated the shape into clay in the 7th century, when Greek artists took inspiration from imported Egyptian and Near Eastern artifacts. Alabastra were ideally suited to contain oil or perfume and could easily be carried around (or hung on a wall at home) by threading a piece of leather or cord through the hole below the lip. —Jody Maxmin Associate Professor of Art & Art History, Associate Professor of Classics
Corinth, Greece Archaic period, 1000–480 BCE
Black-figure terra-cotta Gift of Dr. Casey Wood, 1962.287 Used in Greece, especially by women, alabastra were exported throughout the Mediterranean and eventually copied by Athenian potters and painters in the 6th century BCE. The black-figure sphinx betrays its Egyptian and Near Eastern pedigree, though by the time this vase was painted, such creatures had assimilated into the repertoire of Greek art. —Jody Maxmin Associate Professor of Art & Art History, Associate Professor of Classics 3. Leagros Group Athens, Greece, active 525–500 BCE Archaic period, 1000–480 BCE Wine jug (oinochoe), 525–500 BCE Black-figure terra-cotta Museum Purchase Fund, 1961.69 The oinochoe shows Herakles wrestling with the Libyan Giant Antaios, son of Poseidon and Ge (Earth). Antaios, a fearsome fighter, was invulnerable so long as he remained in contact with his mother, the earth. Antaios habitually challenged visitors to wrestle with him; with the skulls of his hapless victims he built a shrine to Poseidon. In Herakles he met his match and his demise. Once their contest was under way, Herakles recognized the source of Antaios’s strength, lifted him off the ground and crushed him to death. Here, Herakles wraps his arm around the neck of the doomed giant, whose leg and foot, in touch with ground, are his last hope—but not for long. —Jody Maxmin Associate Professor of Art & Art History, Associate Professor of Classics 5. Bowdoin-Eye Painter Athens, Greece, active 530–500 BCE Archaic period, 1000–480 BCE Bilingual eye-cup (kylix), c. 520 BCE Black-figure (interior) and red-figure (exterior)Terra-cotta Hazel D. Hansen Fund, 1970.10 This kylix belongs to a small but significant body of ceramics created between roughly 525 and 500 BCE that are called “bilingual” because they were painted with both red and black figures. Additionally, the color of the clay is detectable in the unpainted male figure on this cup’s exterior. —Elizabeth Kathleen Mitchell Burton and Deedee McMurtry Curator of Prints, Drawings, and Photographs 206 Directory: dept dept -> Black Panther Party Lesson Plan Aligned to Grade 11 gles dept -> Black Panther Party Lesson Plan Aligned to Grade 11 gles Targeted Length: Two 90-Minute class periods created by Teresa Frizell dept -> Data Analysis (Math 206) Exam 2 Name Spring 2002 Hartlaub dept -> Engineering Library Reference Manual dept -> The tibetans october 7, 1950 dept -> March 2005 rough draft: Please do not cite without permission dept -> Megan andreas moreno, md, msed, mph dept -> New Media Power: The Internet and Global Activism dept -> Electric vehicle (EV), also referred to as an electric drive vehicle dept -> Catalog description Download 125.69 Kb. Share with your friends:
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