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 
William Blake, Auguries of Innocence
As the speed of contemporary life accelerates and our senses are saturated with images, words, and sounds, works of art invite us to slow down, escape the siren song of “the media,” and make contact with other people, places, and times. This is especially important for university students. Pictures projected onto classroom walls enhance students’ understanding of art history; but as Plato’s cave dwellers understood, reflections of reality go only so far. It is through direct contact with antiquities—small perfume and oil flasks, larger vases from which their owners poured and drank wine—that students truly meet and converse with the ordinary Greek men and women who made them, used them, and valued them sufficiently to be buried with them.

— Jody Maxmin

Associate Professor of Art & Art History, Associate Professor of Classics

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]
1. Artist unknown

Boeotia, Greece

Archaic period, 1000–480 BCE
Standing female figure, 560–550 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
3. Artist unknown

Greece


Hellenistic period, 323–31 BCE
Alexander the Great

c. 330–100 BCE

Bronze
Hazel D. Hansen Fund, 1975.47
4. Artist unknown

Greece


Hellenistic period, 323–31 BCE
Hermes, c. 50 BCE–50 CE

Bronze
Gift of Dr. William Conte, 1992.251

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
Gift of Professor Emerson H. Swift, 1972.72


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
Gift of Professor Emerson H. Swift, 1972.73


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
Head of a satyr, 2nd century BCE

Marble
Committee for Art Acquisitions Fund, 1960.92

2. Artist unknown

Turkey


Seleucid empire, c. 305–60 BCE
Head of Lysippan Herakles, 2nd–1st century BCE

Clay
Stanford Family Collections, JLS.28192

3. Artist unknown

Greece


Hellenistic period, 323–31 BCE
Male head, 2nd century BCE

Marble
Museum Purchase Fund, 1962.285

[case label]
1. Artist unknown

Greece


Etruscan vase, n.d.

Glass


Stanford Family Collections, JLS.10953

2. Artist unknown

Greece

Architectural fragment, n.d.

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

Small perfume or oil flask with two handles (amphoriskos),600–575 BCE Black-figure terra-cotta

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

Perfume or oil flask

(aryballos), 600–575 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
Amphora of Panathenaic shape, 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
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

[case label]
1. Artist unknown

Athens, Greece

Geometric period, 900–700 BCE
Neck amphora, 750–700 BCE

Terra-cotta


Committee for Art Acquisitions Fund, 1978.144

2. Artist unknown Athens, Greece

Archaic period, 1000–480 BCE
Siana cup, 575–555 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
Late Apulian volute krater, 350–325 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
Textile fragment with fretwork and interlace bands, 5th–6th century CE

Wool and linen


Gift of Timothy Hopkins, JLS.14716

____________________________________________________________________

Artist unknown

Egypt, Copt people

Byzantine Rule, c. 330–641 CE
Square panel with a horseman, 7th century 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
Stanford Family Collections, 1966.372

Artist unknown

Egypt


Late Period, c. 712–332 BCE
Block statue with cartouches of Ramses II c. 712–332 BCE

Granite
Stanford Family Collections, 1966.371

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
King David in Prayer, bound in An Antiphonal

from the first Sunday of Advent to the end of Lent, c. 1430

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
Chalcidian neck amphora, c. 515 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
Artist unknown

Syria


Roman period, 64 BCE–260 CE
Funerary relief of a man, 3rd century CE

Limestone


Stanford Family Collections, JLS.17205

Artist unknown

Cyprus

Relief of a banquet, n.d.

Limestone


Stanford Family Collections, JLS.21449

Nardo di Cione

Italy, c. 1320–1365 or 1366
The Annunciate Virgin, 1343–65

Tempera and gold leaf on wood


Collection of T. Robert and Katherine States Burke

Circle of Agnolo Gaddi

Italy, active 1369–1396
Madonna and Child with Saints and Angels, c. 1390

Tempera on panel


Gift of Mr. and Mrs. Stewart M. Marshall, 1958.79

Artist unknown

France, active 14th century

Madonna and Child, c. 1360

Ivory
Gift of M. Donald Whyte, 1982.272

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
Madonna and Child with St. John and Angel, 1518–20

Oil on panel


Gift of Mr. and Mrs. Stewart M. Marshall, 1954.250

Artist unknown

Flanders, active 16th century
Virgin and Child, 1500–1600

Oil on panel


Bequest of Mr. and Mrs. Stewart M. Marshall, 1970.81

Jakob Jordaens, the elder

Flanders, 1593–1678
Head of an Apostle, 1640–60

Oil on canvas


Bequest of Mr. and Mrs. Stewart M. Marshall, 1955.28

Antwerp Mannerist

Belgium, active 16th century
Adoration of the Magi, 1500–1600

Oil on panel


Gift of Mr. and Mrs. Arthur Wiesenberger, 1959.84

Artist unknown

Russia, active 17th–18th century
Icon of Our Lady of Vladimir, c. 1600–1799

Tempera on wood (right) and metal

revetment with precious stones (left)
Bequest of Professor Frank A. Golder, JLS.14230

Artist unknown

Italy, active 14th century
Crucifixion, 1350–1400

Tempera on wood


Gift of Mortimer C. Leventritt, 1941.296

Cristoforo Cortese

Veneto, Italy, c. 1399–before 1445
Large historiated initial “V,c. 1430–40

Tempera and gold on parchment


Collection of T. Robert and Katherine States Burke

Artist unknown

Cordoba, Spain
Stone capital from the palace-city Mad nat al Zahra’, Umayyad Caliphate

late 10th century CE

Limestone
Gift from Mr. and Mrs. Ralph C. Lee, 1956.74

Artist unknown

Roman

Hellenistic period, 300–90 BCE after Polykleitos



Greece, active 450–414 BCE
Doryphorus, 50 BCE

Marble
Lent by Kirk Edward Long


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
Lent by Kirk Edward Long


Artist unknown

Palestinian Territories

Hellenistic period, 331–64 BCE


Maenad (Nysa?), c. 150 BCE

Marble
By exchange with Harvard University Art Museums for gifts from Stanford Family Collections, 1998.2


Artist unknown

Greece
Relief of a warrior, n.d.

Marble
Gift of Esther de Lemos Morton, Margaret de Lemos Lyon, and Marie J. Storm, 1962.26


Master of Saint Francis

Assisi, Italy, 1250–1300
Crucifixion, c. 1260

Tempera and gold on parchment

Collection of T. Robert and Katherine States Burke

Giovanni Decio

Milan, Italy, before 1440–after 1480
Calling of Saints Peter and Andrew, 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
Calling of Saints Peter and Andrew, 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
Master of Saint Francis

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
Last Judgment, c. 1510

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
St. Anthony Abbott, 1428–48

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
Adoration of the Holy Child, c. 1460

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
Perfume or oil flask (alabastron), c. 600 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


5. Artist unknown

Corinth, Greece

Archaic period, 1000–480 BCE
Perfume or oil flask (alabastron), 600–575 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



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