Chimera of Arezzo

Prompt: How does Chimera of Arezzo explain its History?

According to Greek mythology, the Chimera or "She-Goat" was a monstrous, fire-breathing hybrid creature of Lycia in Anatolia created by the binding of multiple animal parts to create a singular unnatural creature. As the offspring of Typhon and Echidna, the Chimera ravaged the lands of Lycia at a disastrous pace.Distressed by the destruction of his lands, Iobates, the king of Lycia, ordered a young warrior named Bellerophon to slay her. This was also a favor to a neighboring king, Proetus, who wanted Bellerophon dead because his wife accused Bellerophon of rape and he assumed that the warrior would perish in the attempt to kill the beast.Bellerophon set out on his winged horse, Pegasus, and emerged victorious from his battle, eventually winning not only the hand of Iobates' daughter but also his kingdom. It is this story that led art historians to believe that the Chimera of Arezzo was originally part of a group sculpture that included Bellerophon and Pegasus. Votive offerings for the gods often depicted mythological stories. A round hole on the left rump of the Chimera might suggest a spot where Bellerophon may have struck the beast with a now-missing spear.The first known literary reference was in Homer's Iliad and the epic poetry of Hesiod of the 8th century BCE also mentions the Chimera.In response to questions of the statue's true meaning, Giorgio Vasari wrote in his Reasonings Over the Inventions He Painted in Florence in the Palace of Their Serene Highnesses:Yes, sir, because there are the medals of the Duke my lord who came from Rome with a goat's head stuck in the neck of this lion, who as he sees VE, also has the serpent's belly, and we found the queue that was broken between those bronze fragments with many metal figurines that you've seen all, and the wounds that she has touched on show it, and yet the pain that is known in the readiness of the head of this animal ...The tail was not restored until 1785 when the Pistoiese sculptor Francesco Carradori (or his teacher, Innocenzo Spinazzi) fashioned a replacement, incorrectly positioning the serpent to bite the goat's horn. It is much more likely that the snake had to strike out against Bellerophon instead since biting the head of the goat meant it was biting itself.Inscribed on its right foreleg is an inscription in the ancient Etruscan language. It has been variously deciphered, but most recently it is thought to read tinscvil "Offering belonging to Tinia". The original statue is estimated to have been created around 400 BCE.In 1718, the sculpture was transported to the Uffizi Gallery and later, along with the remaining collection Cosimo I had originally seized, taken to the Palazzo della Crocetta. Court intellectuals of the time considered the Chimera of Arezzo to be a symbol of the Medici domination of the Grand Duchy of Tuscany. Its permanent residence is in the National Archaeological Museum from which it was placed on brief loan to the Getty Villa for an exhibition in 2010.The sculpture was probably commissioned by an aristocratic clan or a prosperous community and erected in a religious sanctuary near the ancient Etruscan town of Arezzo, about 50 miles southeast of Florence. The Chimera was one of a hoard of bronzes that had been carefully buried for safety sometime in classical antiquity. A bronze replica now stands near the spot of its original discovery.

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany


Chimera of Arezzo

Prompt: In Chimera of Arezzo, how is the History discussed?

According to Greek mythology, the Chimera or "She-Goat" was a monstrous, fire-breathing hybrid creature of Lycia in Anatolia created by the binding of multiple animal parts to create a singular unnatural creature. As the offspring of Typhon and Echidna, the Chimera ravaged the lands of Lycia at a disastrous pace.Distressed by the destruction of his lands, Iobates, the king of Lycia, ordered a young warrior named Bellerophon to slay her. This was also a favor to a neighboring king, Proetus, who wanted Bellerophon dead because his wife accused Bellerophon of rape and he assumed that the warrior would perish in the attempt to kill the beast.Bellerophon set out on his winged horse, Pegasus, and emerged victorious from his battle, eventually winning not only the hand of Iobates' daughter but also his kingdom. It is this story that led art historians to believe that the Chimera of Arezzo was originally part of a group sculpture that included Bellerophon and Pegasus. Votive offerings for the gods often depicted mythological stories. A round hole on the left rump of the Chimera might suggest a spot where Bellerophon may have struck the beast with a now-missing spear.The first known literary reference was in Homer's Iliad and the epic poetry of Hesiod of the 8th century BCE also mentions the Chimera.In response to questions of the statue's true meaning, Giorgio Vasari wrote in his Reasonings Over the Inventions He Painted in Florence in the Palace of Their Serene Highnesses:Yes, sir, because there are the medals of the Duke my lord who came from Rome with a goat's head stuck in the neck of this lion, who as he sees VE, also has the serpent's belly, and we found the queue that was broken between those bronze fragments with many metal figurines that you've seen all, and the wounds that she has touched on show it, and yet the pain that is known in the readiness of the head of this animal ...The tail was not restored until 1785 when the Pistoiese sculptor Francesco Carradori (or his teacher, Innocenzo Spinazzi) fashioned a replacement, incorrectly positioning the serpent to bite the goat's horn. It is much more likely that the snake had to strike out against Bellerophon instead since biting the head of the goat meant it was biting itself.Inscribed on its right foreleg is an inscription in the ancient Etruscan language. It has been variously deciphered, but most recently it is thought to read tinscvil "Offering belonging to Tinia". The original statue is estimated to have been created around 400 BCE.In 1718, the sculpture was transported to the Uffizi Gallery and later, along with the remaining collection Cosimo I had originally seized, taken to the Palazzo della Crocetta. Court intellectuals of the time considered the Chimera of Arezzo to be a symbol of the Medici domination of the Grand Duchy of Tuscany. Its permanent residence is in the National Archaeological Museum from which it was placed on brief loan to the Getty Villa for an exhibition in 2010.The sculpture was probably commissioned by an aristocratic clan or a prosperous community and erected in a religious sanctuary near the ancient Etruscan town of Arezzo, about 50 miles southeast of Florence. The Chimera was one of a hoard of bronzes that had been carefully buried for safety sometime in classical antiquity. A bronze replica now stands near the spot of its original discovery.

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany


Chimera of Arezzo

Prompt: In the context of Chimera of Arezzo, explain the The Etruscans and the History.

The  Etruscan civilization was a wealthy civilization in ancient Italy with roots in the ancient region of Etruria, which existed during the early 8th–6th century BCE and extended over what is now a part of modern Tuscany, western Umbria, and northern Lazio. The region became a part of the Roman Republic after the Roman–Etruscan Wars.Heavily influenced by Ancient Greek culture, Etruscan art is characterized by the use of terracotta, metalworking—especially in bronze—as well as jewelry and engraved gems. Metal and bronze trinkets from the Mediterranean rapidly began to appear around Etruria. It is not clear to historians exactly when trading with the Eastern Mediterranean began; however, it is clear that both Phoenicians and Greeks must have been interested in the metal ores of Etruria, causing a rise in popularity of the art trade in these regions. The Etruscans were well known for their art throughout the Orientalizing Period (700–600 BCE), the Archaic Period (600–480 BCE), and the Hellenistic Period (2nd to 1st century BCE).

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany


Chimera of Arezzo

Prompt: Explain the The Etruscans about the History of this artwork, Chimera of Arezzo.

The  Etruscan civilization was a wealthy civilization in ancient Italy with roots in the ancient region of Etruria, which existed during the early 8th–6th century BCE and extended over what is now a part of modern Tuscany, western Umbria, and northern Lazio. The region became a part of the Roman Republic after the Roman–Etruscan Wars.Heavily influenced by Ancient Greek culture, Etruscan art is characterized by the use of terracotta, metalworking—especially in bronze—as well as jewelry and engraved gems. Metal and bronze trinkets from the Mediterranean rapidly began to appear around Etruria. It is not clear to historians exactly when trading with the Eastern Mediterranean began; however, it is clear that both Phoenicians and Greeks must have been interested in the metal ores of Etruria, causing a rise in popularity of the art trade in these regions. The Etruscans were well known for their art throughout the Orientalizing Period (700–600 BCE), the Archaic Period (600–480 BCE), and the Hellenistic Period (2nd to 1st century BCE).

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany


Chimera of Arezzo

Prompt: In Chimera of Arezzo, how is the The Etruscans of the History explained?

The  Etruscan civilization was a wealthy civilization in ancient Italy with roots in the ancient region of Etruria, which existed during the early 8th–6th century BCE and extended over what is now a part of modern Tuscany, western Umbria, and northern Lazio. The region became a part of the Roman Republic after the Roman–Etruscan Wars.Heavily influenced by Ancient Greek culture, Etruscan art is characterized by the use of terracotta, metalworking—especially in bronze—as well as jewelry and engraved gems. Metal and bronze trinkets from the Mediterranean rapidly began to appear around Etruria. It is not clear to historians exactly when trading with the Eastern Mediterranean began; however, it is clear that both Phoenicians and Greeks must have been interested in the metal ores of Etruria, causing a rise in popularity of the art trade in these regions. The Etruscans were well known for their art throughout the Orientalizing Period (700–600 BCE), the Archaic Period (600–480 BCE), and the Hellenistic Period (2nd to 1st century BCE).

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany


Chimera of Arezzo

Prompt: Describe the characteristics of the The Etruscans in Chimera of Arezzo's History.

The  Etruscan civilization was a wealthy civilization in ancient Italy with roots in the ancient region of Etruria, which existed during the early 8th–6th century BCE and extended over what is now a part of modern Tuscany, western Umbria, and northern Lazio. The region became a part of the Roman Republic after the Roman–Etruscan Wars.Heavily influenced by Ancient Greek culture, Etruscan art is characterized by the use of terracotta, metalworking—especially in bronze—as well as jewelry and engraved gems. Metal and bronze trinkets from the Mediterranean rapidly began to appear around Etruria. It is not clear to historians exactly when trading with the Eastern Mediterranean began; however, it is clear that both Phoenicians and Greeks must have been interested in the metal ores of Etruria, causing a rise in popularity of the art trade in these regions. The Etruscans were well known for their art throughout the Orientalizing Period (700–600 BCE), the Archaic Period (600–480 BCE), and the Hellenistic Period (2nd to 1st century BCE).

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany


Chimera of Arezzo

Prompt: In the context of Chimera of Arezzo, explain the The discovery and the History.

Discovered on November 15, 1553, by construction workers near the San Lorentino gate in Arezzo (ancient Arretium), the sculpture was quickly claimed for the collection of the Medici Grand Duke of Tuscany, Cosimo I, who placed it publicly in the Palazzo Vecchio in the hall of Leo X. Cosimo also placed the smaller bronzes from the trove in his own studiolo at Palazzo Pitti, where "the Duke took great pleasure in cleaning them by himself, with some goldsmith's tools", as Benvenuto Cellini reported in his autobiography. On discovery, the statue was missing the snake and its left front and rear paws. Due to its fragmented state upon discovery, the statue was originally regarded as a lion. The Italian painter Giorgio Vasari tracked down the statue motif by studying Ancient Greek and Roman coins, such as a silver stater featuring an image of the Chimera, thus accurately identifying it. Eventually, it was officially identified as being a part of a larger piece illustrating a fight between the Chimera and the Greek hero Bellerophon. The sculpture was found among other small pieces that served as votive offerings to the God Tinia. This sculpture may also have served as an Etruscan religious dedication. After discovery, it began its residence in Florence, where it was moved to the Uffizi Palace in 1718. Since 1870, the Chimera of Arezzo has made its home at the National Archaeological Museum in Florence. As the sculpture made its way through the Florence museums, it increasingly attracted the attention of both artists and historians.

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany


Chimera of Arezzo

Prompt: Explain the The discovery about the History of this artwork, Chimera of Arezzo.

Discovered on November 15, 1553, by construction workers near the San Lorentino gate in Arezzo (ancient Arretium), the sculpture was quickly claimed for the collection of the Medici Grand Duke of Tuscany, Cosimo I, who placed it publicly in the Palazzo Vecchio in the hall of Leo X. Cosimo also placed the smaller bronzes from the trove in his own studiolo at Palazzo Pitti, where "the Duke took great pleasure in cleaning them by himself, with some goldsmith's tools", as Benvenuto Cellini reported in his autobiography. On discovery, the statue was missing the snake and its left front and rear paws. Due to its fragmented state upon discovery, the statue was originally regarded as a lion. The Italian painter Giorgio Vasari tracked down the statue motif by studying Ancient Greek and Roman coins, such as a silver stater featuring an image of the Chimera, thus accurately identifying it. Eventually, it was officially identified as being a part of a larger piece illustrating a fight between the Chimera and the Greek hero Bellerophon. The sculpture was found among other small pieces that served as votive offerings to the God Tinia. This sculpture may also have served as an Etruscan religious dedication. After discovery, it began its residence in Florence, where it was moved to the Uffizi Palace in 1718. Since 1870, the Chimera of Arezzo has made its home at the National Archaeological Museum in Florence. As the sculpture made its way through the Florence museums, it increasingly attracted the attention of both artists and historians.

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany


Chimera of Arezzo

Prompt: In Chimera of Arezzo, how is the The discovery of the History explained?

Discovered on November 15, 1553, by construction workers near the San Lorentino gate in Arezzo (ancient Arretium), the sculpture was quickly claimed for the collection of the Medici Grand Duke of Tuscany, Cosimo I, who placed it publicly in the Palazzo Vecchio in the hall of Leo X. Cosimo also placed the smaller bronzes from the trove in his own studiolo at Palazzo Pitti, where "the Duke took great pleasure in cleaning them by himself, with some goldsmith's tools", as Benvenuto Cellini reported in his autobiography. On discovery, the statue was missing the snake and its left front and rear paws. Due to its fragmented state upon discovery, the statue was originally regarded as a lion. The Italian painter Giorgio Vasari tracked down the statue motif by studying Ancient Greek and Roman coins, such as a silver stater featuring an image of the Chimera, thus accurately identifying it. Eventually, it was officially identified as being a part of a larger piece illustrating a fight between the Chimera and the Greek hero Bellerophon. The sculpture was found among other small pieces that served as votive offerings to the God Tinia. This sculpture may also have served as an Etruscan religious dedication. After discovery, it began its residence in Florence, where it was moved to the Uffizi Palace in 1718. Since 1870, the Chimera of Arezzo has made its home at the National Archaeological Museum in Florence. As the sculpture made its way through the Florence museums, it increasingly attracted the attention of both artists and historians.

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany


Chimera of Arezzo

Prompt: Describe the characteristics of the The discovery in Chimera of Arezzo's History.

Discovered on November 15, 1553, by construction workers near the San Lorentino gate in Arezzo (ancient Arretium), the sculpture was quickly claimed for the collection of the Medici Grand Duke of Tuscany, Cosimo I, who placed it publicly in the Palazzo Vecchio in the hall of Leo X. Cosimo also placed the smaller bronzes from the trove in his own studiolo at Palazzo Pitti, where "the Duke took great pleasure in cleaning them by himself, with some goldsmith's tools", as Benvenuto Cellini reported in his autobiography. On discovery, the statue was missing the snake and its left front and rear paws. Due to its fragmented state upon discovery, the statue was originally regarded as a lion. The Italian painter Giorgio Vasari tracked down the statue motif by studying Ancient Greek and Roman coins, such as a silver stater featuring an image of the Chimera, thus accurately identifying it. Eventually, it was officially identified as being a part of a larger piece illustrating a fight between the Chimera and the Greek hero Bellerophon. The sculpture was found among other small pieces that served as votive offerings to the God Tinia. This sculpture may also have served as an Etruscan religious dedication. After discovery, it began its residence in Florence, where it was moved to the Uffizi Palace in 1718. Since 1870, the Chimera of Arezzo has made its home at the National Archaeological Museum in Florence. As the sculpture made its way through the Florence museums, it increasingly attracted the attention of both artists and historians.

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany


Chimera of Arezzo

Prompt: Focus on Chimera of Arezzo and explain the Iconography.

Typical iconography of the Chimera myth depicts the warrior Bellerophon as he confronts the Chimera, or rides atop or alongside it. This iconography began to appear upon Greek vessels in 600 BCE. The Chimera of Arezzo presents a very detailed and complex composition that most likely was meant for display and viewing in the round. The Chimera is clearly expressing pain throughout its body. Its form is contorted, its face and mouth open in outrage as it is struck by Bellerophon. Similar to Hellenistic sculpture, the Chimera's form and body language express movement as well as the clear tension and power of the beast's musculature and evoke in the viewer a feeling of deep emotional pain and interest in the contemplation of that movement. Clearly influenced by Mediterranean myth culture, this bronze work is evidence of the mastery that Etruscan sculptors had not only over the medium but of mythological lore. The art historian A. Maggiani gives details of a clear Italiote context by pointing out iconographic comparisons from sites in Magna Graecia such as Metaponto and Kaulonia. (Italiote refers to a pre–Roman Empire Greek-speaking population in southern Italy; Magna Graecia refers to the Greek colonies which were established in southern Italy from the 8th century BCE onwards.) With the Italiote context in mind, these trends are a clear indication of the increasing popularity of Attic (from Attica) or Athens-inspired architecture and sculpture. Ancient Athenians regarded themselves among the highest of society. Their art, religion, and culture was seen as the epitome of Greek achievement. While the ancient Athenians had long since perished by this time, their work and way of life were still regarded with great fascination and there was a desire to emulate it. Historians have generally come to a consensus that the Chimera of Arezzo was produced by Italiote craftsmen in the last decades of the fifth century BCE or in the beginning of the fourth century BCE. The fact that this sculpture was a votive offering to Tinia is a reminder of the wealth and sophistication of Etruscan elites.

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany


Chimera of Arezzo

Prompt: Explain the Iconography of this artwork, Chimera of Arezzo.

Typical iconography of the Chimera myth depicts the warrior Bellerophon as he confronts the Chimera, or rides atop or alongside it. This iconography began to appear upon Greek vessels in 600 BCE. The Chimera of Arezzo presents a very detailed and complex composition that most likely was meant for display and viewing in the round. The Chimera is clearly expressing pain throughout its body. Its form is contorted, its face and mouth open in outrage as it is struck by Bellerophon. Similar to Hellenistic sculpture, the Chimera's form and body language express movement as well as the clear tension and power of the beast's musculature and evoke in the viewer a feeling of deep emotional pain and interest in the contemplation of that movement. Clearly influenced by Mediterranean myth culture, this bronze work is evidence of the mastery that Etruscan sculptors had not only over the medium but of mythological lore. The art historian A. Maggiani gives details of a clear Italiote context by pointing out iconographic comparisons from sites in Magna Graecia such as Metaponto and Kaulonia. (Italiote refers to a pre–Roman Empire Greek-speaking population in southern Italy; Magna Graecia refers to the Greek colonies which were established in southern Italy from the 8th century BCE onwards.) With the Italiote context in mind, these trends are a clear indication of the increasing popularity of Attic (from Attica) or Athens-inspired architecture and sculpture. Ancient Athenians regarded themselves among the highest of society. Their art, religion, and culture was seen as the epitome of Greek achievement. While the ancient Athenians had long since perished by this time, their work and way of life were still regarded with great fascination and there was a desire to emulate it. Historians have generally come to a consensus that the Chimera of Arezzo was produced by Italiote craftsmen in the last decades of the fifth century BCE or in the beginning of the fourth century BCE. The fact that this sculpture was a votive offering to Tinia is a reminder of the wealth and sophistication of Etruscan elites.

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany


Chimera of Arezzo

Prompt: How does Chimera of Arezzo explain its Iconography?

Typical iconography of the Chimera myth depicts the warrior Bellerophon as he confronts the Chimera, or rides atop or alongside it. This iconography began to appear upon Greek vessels in 600 BCE. The Chimera of Arezzo presents a very detailed and complex composition that most likely was meant for display and viewing in the round. The Chimera is clearly expressing pain throughout its body. Its form is contorted, its face and mouth open in outrage as it is struck by Bellerophon. Similar to Hellenistic sculpture, the Chimera's form and body language express movement as well as the clear tension and power of the beast's musculature and evoke in the viewer a feeling of deep emotional pain and interest in the contemplation of that movement. Clearly influenced by Mediterranean myth culture, this bronze work is evidence of the mastery that Etruscan sculptors had not only over the medium but of mythological lore. The art historian A. Maggiani gives details of a clear Italiote context by pointing out iconographic comparisons from sites in Magna Graecia such as Metaponto and Kaulonia. (Italiote refers to a pre–Roman Empire Greek-speaking population in southern Italy; Magna Graecia refers to the Greek colonies which were established in southern Italy from the 8th century BCE onwards.) With the Italiote context in mind, these trends are a clear indication of the increasing popularity of Attic (from Attica) or Athens-inspired architecture and sculpture. Ancient Athenians regarded themselves among the highest of society. Their art, religion, and culture was seen as the epitome of Greek achievement. While the ancient Athenians had long since perished by this time, their work and way of life were still regarded with great fascination and there was a desire to emulate it. Historians have generally come to a consensus that the Chimera of Arezzo was produced by Italiote craftsmen in the last decades of the fifth century BCE or in the beginning of the fourth century BCE. The fact that this sculpture was a votive offering to Tinia is a reminder of the wealth and sophistication of Etruscan elites.

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany


Chimera of Arezzo

Prompt: In Chimera of Arezzo, how is the Iconography discussed?

Typical iconography of the Chimera myth depicts the warrior Bellerophon as he confronts the Chimera, or rides atop or alongside it. This iconography began to appear upon Greek vessels in 600 BCE. The Chimera of Arezzo presents a very detailed and complex composition that most likely was meant for display and viewing in the round. The Chimera is clearly expressing pain throughout its body. Its form is contorted, its face and mouth open in outrage as it is struck by Bellerophon. Similar to Hellenistic sculpture, the Chimera's form and body language express movement as well as the clear tension and power of the beast's musculature and evoke in the viewer a feeling of deep emotional pain and interest in the contemplation of that movement. Clearly influenced by Mediterranean myth culture, this bronze work is evidence of the mastery that Etruscan sculptors had not only over the medium but of mythological lore. The art historian A. Maggiani gives details of a clear Italiote context by pointing out iconographic comparisons from sites in Magna Graecia such as Metaponto and Kaulonia. (Italiote refers to a pre–Roman Empire Greek-speaking population in southern Italy; Magna Graecia refers to the Greek colonies which were established in southern Italy from the 8th century BCE onwards.) With the Italiote context in mind, these trends are a clear indication of the increasing popularity of Attic (from Attica) or Athens-inspired architecture and sculpture. Ancient Athenians regarded themselves among the highest of society. Their art, religion, and culture was seen as the epitome of Greek achievement. While the ancient Athenians had long since perished by this time, their work and way of life were still regarded with great fascination and there was a desire to emulate it. Historians have generally come to a consensus that the Chimera of Arezzo was produced by Italiote craftsmen in the last decades of the fifth century BCE or in the beginning of the fourth century BCE. The fact that this sculpture was a votive offering to Tinia is a reminder of the wealth and sophistication of Etruscan elites.

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany


Chimera of Arezzo

Prompt: Focus on Chimera of Arezzo and explain the Methods and materials.

In the 3rd millennium BCE ancient foundry workers discovered by trial and error that bronze had distinct advantages over pure copper for making artistic statuary. Bronze stays liquid longer when filling a mold due to its lower melting point. Bronze is a superior metal to copper for sculpture casting because of its higher tensile strength. The island of Cyprus supplied most of the bronze used for artistic purposes throughout the ancient Mediterranean region.The earliest forms of Greek bronze sculptures were simple, hand-worked sheets of bronze known as sphyrelaton (literally, "hammer-driven"). Like modern clay sculpture, these metal sheets could be embellished by hammering the metal over various wooden shapes made with textures that created a desired look or depth. This was later adapted to become the technique known today as tracing. By the late Archaic period (c. 500–480 BCE) sphyrelaton lost popularity as lost-wax casting became the primary means of producing bronze sculpture. Lost-wax casting of bronze was achieved in three different ways, each with its own desired effects. The first and earliest method was solid casting, which required a model of the sculpture to be fashioned in solid wax and then carved. The second method was hollow lost-wax casting, which was created by a direct process. Finally, the third was hollow lost-wax casting by an indirect process. The model is packed in clay, and then heated in what today would be similar to a kiln to remove the wax and harden the clay. Then, the mold is inverted and metal poured inside it to create a cast. When cooled, the bronze-smith cracks open the clay model to reveal a solid bronze replica.For smaller details, sculptors often made eyes out of glass and painted on body hair, clothing details, and skin color. Lost in antiquity, most historical knowledge of how certain bronze statues would have looked comes from studying surviving Roman marble copies.

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany


Chimera of Arezzo

Prompt: Explain the Methods and materials of this artwork, Chimera of Arezzo.

In the 3rd millennium BCE ancient foundry workers discovered by trial and error that bronze had distinct advantages over pure copper for making artistic statuary. Bronze stays liquid longer when filling a mold due to its lower melting point. Bronze is a superior metal to copper for sculpture casting because of its higher tensile strength. The island of Cyprus supplied most of the bronze used for artistic purposes throughout the ancient Mediterranean region.The earliest forms of Greek bronze sculptures were simple, hand-worked sheets of bronze known as sphyrelaton (literally, "hammer-driven"). Like modern clay sculpture, these metal sheets could be embellished by hammering the metal over various wooden shapes made with textures that created a desired look or depth. This was later adapted to become the technique known today as tracing. By the late Archaic period (c. 500–480 BCE) sphyrelaton lost popularity as lost-wax casting became the primary means of producing bronze sculpture. Lost-wax casting of bronze was achieved in three different ways, each with its own desired effects. The first and earliest method was solid casting, which required a model of the sculpture to be fashioned in solid wax and then carved. The second method was hollow lost-wax casting, which was created by a direct process. Finally, the third was hollow lost-wax casting by an indirect process. The model is packed in clay, and then heated in what today would be similar to a kiln to remove the wax and harden the clay. Then, the mold is inverted and metal poured inside it to create a cast. When cooled, the bronze-smith cracks open the clay model to reveal a solid bronze replica.For smaller details, sculptors often made eyes out of glass and painted on body hair, clothing details, and skin color. Lost in antiquity, most historical knowledge of how certain bronze statues would have looked comes from studying surviving Roman marble copies.

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany


Chimera of Arezzo

Prompt: How does Chimera of Arezzo explain its Methods and materials?

In the 3rd millennium BCE ancient foundry workers discovered by trial and error that bronze had distinct advantages over pure copper for making artistic statuary. Bronze stays liquid longer when filling a mold due to its lower melting point. Bronze is a superior metal to copper for sculpture casting because of its higher tensile strength. The island of Cyprus supplied most of the bronze used for artistic purposes throughout the ancient Mediterranean region.The earliest forms of Greek bronze sculptures were simple, hand-worked sheets of bronze known as sphyrelaton (literally, "hammer-driven"). Like modern clay sculpture, these metal sheets could be embellished by hammering the metal over various wooden shapes made with textures that created a desired look or depth. This was later adapted to become the technique known today as tracing. By the late Archaic period (c. 500–480 BCE) sphyrelaton lost popularity as lost-wax casting became the primary means of producing bronze sculpture. Lost-wax casting of bronze was achieved in three different ways, each with its own desired effects. The first and earliest method was solid casting, which required a model of the sculpture to be fashioned in solid wax and then carved. The second method was hollow lost-wax casting, which was created by a direct process. Finally, the third was hollow lost-wax casting by an indirect process. The model is packed in clay, and then heated in what today would be similar to a kiln to remove the wax and harden the clay. Then, the mold is inverted and metal poured inside it to create a cast. When cooled, the bronze-smith cracks open the clay model to reveal a solid bronze replica.For smaller details, sculptors often made eyes out of glass and painted on body hair, clothing details, and skin color. Lost in antiquity, most historical knowledge of how certain bronze statues would have looked comes from studying surviving Roman marble copies.

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany


Chimera of Arezzo

Prompt: In Chimera of Arezzo, how is the Methods and materials discussed?

In the 3rd millennium BCE ancient foundry workers discovered by trial and error that bronze had distinct advantages over pure copper for making artistic statuary. Bronze stays liquid longer when filling a mold due to its lower melting point. Bronze is a superior metal to copper for sculpture casting because of its higher tensile strength. The island of Cyprus supplied most of the bronze used for artistic purposes throughout the ancient Mediterranean region.The earliest forms of Greek bronze sculptures were simple, hand-worked sheets of bronze known as sphyrelaton (literally, "hammer-driven"). Like modern clay sculpture, these metal sheets could be embellished by hammering the metal over various wooden shapes made with textures that created a desired look or depth. This was later adapted to become the technique known today as tracing. By the late Archaic period (c. 500–480 BCE) sphyrelaton lost popularity as lost-wax casting became the primary means of producing bronze sculpture. Lost-wax casting of bronze was achieved in three different ways, each with its own desired effects. The first and earliest method was solid casting, which required a model of the sculpture to be fashioned in solid wax and then carved. The second method was hollow lost-wax casting, which was created by a direct process. Finally, the third was hollow lost-wax casting by an indirect process. The model is packed in clay, and then heated in what today would be similar to a kiln to remove the wax and harden the clay. Then, the mold is inverted and metal poured inside it to create a cast. When cooled, the bronze-smith cracks open the clay model to reveal a solid bronze replica.For smaller details, sculptors often made eyes out of glass and painted on body hair, clothing details, and skin color. Lost in antiquity, most historical knowledge of how certain bronze statues would have looked comes from studying surviving Roman marble copies.

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany


Chimera of Arezzo

Prompt: Focus on Chimera of Arezzo and explain the Exhibitions.

September 15, 2012 – December 9, 2012 at the Royal Academy of Arts "Bronze"   July 16, 2009 – February 8, 2010 at the Getty Villa

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany


Chimera of Arezzo

Prompt: Explain the Exhibitions of this artwork, Chimera of Arezzo.

September 15, 2012 – December 9, 2012 at the Royal Academy of Arts "Bronze"   July 16, 2009 – February 8, 2010 at the Getty Villa

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany


Chimera of Arezzo

Prompt: How does Chimera of Arezzo explain its Exhibitions?

September 15, 2012 – December 9, 2012 at the Royal Academy of Arts "Bronze"   July 16, 2009 – February 8, 2010 at the Getty Villa

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany


Chimera of Arezzo

Prompt: In Chimera of Arezzo, how is the Exhibitions discussed?

September 15, 2012 – December 9, 2012 at the Royal Academy of Arts "Bronze"   July 16, 2009 – February 8, 2010 at the Getty Villa

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany


Venus Callipyge

Prompt: Focus on Venus Callipyge and explain the abstract.

The Venus Callipyge, also known as the Aphrodite Kallipygos (Greek: Ἀφροδίτη Καλλίπυγος) or the Callipygian Venus, all literally meaning "Venus (or Aphrodite) of the beautiful buttocks", is an Ancient Roman marble statue, thought to be a copy of an older Greek original. In an example of anasyrma, it depicts a partially draped woman, raising her light peplos to uncover her hips and buttocks, and looking back and down over her shoulder, perhaps to evaluate them. The subject is conventionally identified as Venus (Aphrodite), though it may equally be a portrait of a mortal woman.The marble statue extant today dates to the late 1st century BC. The lost Greek original on which it is based is thought to have been bronze, and to have been executed around 300 BC, towards the beginning of the Hellenistic period. The provenance of the marble copy is unknown, but it was rediscovered, missing its head, in the early modern period. The head was restored, first in the 16th century and again in the 18th century (in which case the sculptor followed the earlier restoration fairly closely); the restored head was made to look over the shoulder, drawing further attention to the statue's bare buttocks, thereby contributing to its popularity. In the 17th and 18th centuries, the statue was identified as Venus and associated with a temple to Aphrodite Kallipygos at Syracuse, discussed by Athenaeus in his Deipnosophistae. The statue was copied a number of times, including by Jean-Jacques Clérion and François Barois.It is part of the Farnese Collection in the National Archaeological Museum, Naples (Inv. numb. 6020).

Category:Roman copies of Greek sculptures

Category:Archaeological discoveries in Italy

''Venus Callipyge'' by [[François Barois

Category:Sculptures in the National Archaeological Museum, Naples

File:Callipygian Venus Barois Louvre MR1999.jpg


Venus Callipyge

Prompt: Explain the abstract of this artwork, Venus Callipyge.

The Venus Callipyge, also known as the Aphrodite Kallipygos (Greek: Ἀφροδίτη Καλλίπυγος) or the Callipygian Venus, all literally meaning "Venus (or Aphrodite) of the beautiful buttocks", is an Ancient Roman marble statue, thought to be a copy of an older Greek original. In an example of anasyrma, it depicts a partially draped woman, raising her light peplos to uncover her hips and buttocks, and looking back and down over her shoulder, perhaps to evaluate them. The subject is conventionally identified as Venus (Aphrodite), though it may equally be a portrait of a mortal woman.The marble statue extant today dates to the late 1st century BC. The lost Greek original on which it is based is thought to have been bronze, and to have been executed around 300 BC, towards the beginning of the Hellenistic period. The provenance of the marble copy is unknown, but it was rediscovered, missing its head, in the early modern period. The head was restored, first in the 16th century and again in the 18th century (in which case the sculptor followed the earlier restoration fairly closely); the restored head was made to look over the shoulder, drawing further attention to the statue's bare buttocks, thereby contributing to its popularity. In the 17th and 18th centuries, the statue was identified as Venus and associated with a temple to Aphrodite Kallipygos at Syracuse, discussed by Athenaeus in his Deipnosophistae. The statue was copied a number of times, including by Jean-Jacques Clérion and François Barois.It is part of the Farnese Collection in the National Archaeological Museum, Naples (Inv. numb. 6020).

Category:Roman copies of Greek sculptures

Category:Archaeological discoveries in Italy

''Venus Callipyge'' by [[François Barois

Category:Sculptures in the National Archaeological Museum, Naples

File:Callipygian Venus Barois Louvre MR1999.jpg


Venus Callipyge

Prompt: How does Venus Callipyge explain its abstract?

The Venus Callipyge, also known as the Aphrodite Kallipygos (Greek: Ἀφροδίτη Καλλίπυγος) or the Callipygian Venus, all literally meaning "Venus (or Aphrodite) of the beautiful buttocks", is an Ancient Roman marble statue, thought to be a copy of an older Greek original. In an example of anasyrma, it depicts a partially draped woman, raising her light peplos to uncover her hips and buttocks, and looking back and down over her shoulder, perhaps to evaluate them. The subject is conventionally identified as Venus (Aphrodite), though it may equally be a portrait of a mortal woman.The marble statue extant today dates to the late 1st century BC. The lost Greek original on which it is based is thought to have been bronze, and to have been executed around 300 BC, towards the beginning of the Hellenistic period. The provenance of the marble copy is unknown, but it was rediscovered, missing its head, in the early modern period. The head was restored, first in the 16th century and again in the 18th century (in which case the sculptor followed the earlier restoration fairly closely); the restored head was made to look over the shoulder, drawing further attention to the statue's bare buttocks, thereby contributing to its popularity. In the 17th and 18th centuries, the statue was identified as Venus and associated with a temple to Aphrodite Kallipygos at Syracuse, discussed by Athenaeus in his Deipnosophistae. The statue was copied a number of times, including by Jean-Jacques Clérion and François Barois.It is part of the Farnese Collection in the National Archaeological Museum, Naples (Inv. numb. 6020).

Category:Roman copies of Greek sculptures

Category:Archaeological discoveries in Italy

''Venus Callipyge'' by [[François Barois

Category:Sculptures in the National Archaeological Museum, Naples

File:Callipygian Venus Barois Louvre MR1999.jpg


Venus Callipyge

Prompt: In Venus Callipyge, how is the abstract discussed?

The Venus Callipyge, also known as the Aphrodite Kallipygos (Greek: Ἀφροδίτη Καλλίπυγος) or the Callipygian Venus, all literally meaning "Venus (or Aphrodite) of the beautiful buttocks", is an Ancient Roman marble statue, thought to be a copy of an older Greek original. In an example of anasyrma, it depicts a partially draped woman, raising her light peplos to uncover her hips and buttocks, and looking back and down over her shoulder, perhaps to evaluate them. The subject is conventionally identified as Venus (Aphrodite), though it may equally be a portrait of a mortal woman.The marble statue extant today dates to the late 1st century BC. The lost Greek original on which it is based is thought to have been bronze, and to have been executed around 300 BC, towards the beginning of the Hellenistic period. The provenance of the marble copy is unknown, but it was rediscovered, missing its head, in the early modern period. The head was restored, first in the 16th century and again in the 18th century (in which case the sculptor followed the earlier restoration fairly closely); the restored head was made to look over the shoulder, drawing further attention to the statue's bare buttocks, thereby contributing to its popularity. In the 17th and 18th centuries, the statue was identified as Venus and associated with a temple to Aphrodite Kallipygos at Syracuse, discussed by Athenaeus in his Deipnosophistae. The statue was copied a number of times, including by Jean-Jacques Clérion and François Barois.It is part of the Farnese Collection in the National Archaeological Museum, Naples (Inv. numb. 6020).

Category:Roman copies of Greek sculptures

Category:Archaeological discoveries in Italy

''Venus Callipyge'' by [[François Barois

Category:Sculptures in the National Archaeological Museum, Naples

File:Callipygian Venus Barois Louvre MR1999.jpg


Venus Callipyge

Prompt: Focus on Venus Callipyge and explain the History.

The "Venus Kallipygos" in the National Archaeological Museum, Naples is a Roman work in marble, dating to the late 1st century BC. It is considered to be a copy or "paraphrase" of an older Greek statue, probably bronze. This lost original is thought to have been created around 300 BC, near the inception of the Hellenistic period. The marble version's sculptor and provenance are unknown. It was rediscovered, missing its head, in Rome by at least the 16th century. It is sometimes said to have been found in the ruins of Emperor Nero's Domus Aurea, though this is unlikely, as fragments uncovered there contained no evidence of high-quality works of art such as the Venus.The missing head was reconstructed in the 16th century. The restorer decided to have the figure look over her shoulder at her own buttocks, a choice that gave the Venus its distinctive pose and had a significant effect on later interpretations of the work. The statue was acquired by the Farnese family and was in the Palazzo Farnese by 1594; it may be the draped Venus described as being in the palace by visitors earlier that century. In the 17th century, it is known to have been kept in the palace's Sala dei Filosophi, where it stood surrounded by statues of eighteen ancient philosophers. In 1731, the Farnese estate was inherited by Charles of Bourbon, who moved some of the marbles, including the Venus, across the Tiber River to the Villa Farnesina.In 1786, the Bourbons decided to move the Venus Kallipygos to Naples with the rest of the Farnese Collection. First, however, it was sent to be restored by Carlo Albacini. Responding to contemporary criticisms of some of the statue's features, Albacini replaced the head, the arms, and one leg; he followed the previous restoration fairly faithfully in having the figure look back over her shoulder. By 1792, the statue was at the Museo di Capodimonte in Naples, and by 1802 it was in the Museo degli Studi, now the Naples National Archaeological Museum, where it remains.

Category:Roman copies of Greek sculptures

Category:Archaeological discoveries in Italy

''Venus Callipyge'' by [[François Barois

Category:Sculptures in the National Archaeological Museum, Naples

File:Callipygian Venus Barois Louvre MR1999.jpg


Venus Callipyge

Prompt: Explain the History of this artwork, Venus Callipyge.

The "Venus Kallipygos" in the National Archaeological Museum, Naples is a Roman work in marble, dating to the late 1st century BC. It is considered to be a copy or "paraphrase" of an older Greek statue, probably bronze. This lost original is thought to have been created around 300 BC, near the inception of the Hellenistic period. The marble version's sculptor and provenance are unknown. It was rediscovered, missing its head, in Rome by at least the 16th century. It is sometimes said to have been found in the ruins of Emperor Nero's Domus Aurea, though this is unlikely, as fragments uncovered there contained no evidence of high-quality works of art such as the Venus.The missing head was reconstructed in the 16th century. The restorer decided to have the figure look over her shoulder at her own buttocks, a choice that gave the Venus its distinctive pose and had a significant effect on later interpretations of the work. The statue was acquired by the Farnese family and was in the Palazzo Farnese by 1594; it may be the draped Venus described as being in the palace by visitors earlier that century. In the 17th century, it is known to have been kept in the palace's Sala dei Filosophi, where it stood surrounded by statues of eighteen ancient philosophers. In 1731, the Farnese estate was inherited by Charles of Bourbon, who moved some of the marbles, including the Venus, across the Tiber River to the Villa Farnesina.In 1786, the Bourbons decided to move the Venus Kallipygos to Naples with the rest of the Farnese Collection. First, however, it was sent to be restored by Carlo Albacini. Responding to contemporary criticisms of some of the statue's features, Albacini replaced the head, the arms, and one leg; he followed the previous restoration fairly faithfully in having the figure look back over her shoulder. By 1792, the statue was at the Museo di Capodimonte in Naples, and by 1802 it was in the Museo degli Studi, now the Naples National Archaeological Museum, where it remains.

Category:Roman copies of Greek sculptures

Category:Archaeological discoveries in Italy

''Venus Callipyge'' by [[François Barois

Category:Sculptures in the National Archaeological Museum, Naples

File:Callipygian Venus Barois Louvre MR1999.jpg


Venus Callipyge

Prompt: How does Venus Callipyge explain its History?

The "Venus Kallipygos" in the National Archaeological Museum, Naples is a Roman work in marble, dating to the late 1st century BC. It is considered to be a copy or "paraphrase" of an older Greek statue, probably bronze. This lost original is thought to have been created around 300 BC, near the inception of the Hellenistic period. The marble version's sculptor and provenance are unknown. It was rediscovered, missing its head, in Rome by at least the 16th century. It is sometimes said to have been found in the ruins of Emperor Nero's Domus Aurea, though this is unlikely, as fragments uncovered there contained no evidence of high-quality works of art such as the Venus.The missing head was reconstructed in the 16th century. The restorer decided to have the figure look over her shoulder at her own buttocks, a choice that gave the Venus its distinctive pose and had a significant effect on later interpretations of the work. The statue was acquired by the Farnese family and was in the Palazzo Farnese by 1594; it may be the draped Venus described as being in the palace by visitors earlier that century. In the 17th century, it is known to have been kept in the palace's Sala dei Filosophi, where it stood surrounded by statues of eighteen ancient philosophers. In 1731, the Farnese estate was inherited by Charles of Bourbon, who moved some of the marbles, including the Venus, across the Tiber River to the Villa Farnesina.In 1786, the Bourbons decided to move the Venus Kallipygos to Naples with the rest of the Farnese Collection. First, however, it was sent to be restored by Carlo Albacini. Responding to contemporary criticisms of some of the statue's features, Albacini replaced the head, the arms, and one leg; he followed the previous restoration fairly faithfully in having the figure look back over her shoulder. By 1792, the statue was at the Museo di Capodimonte in Naples, and by 1802 it was in the Museo degli Studi, now the Naples National Archaeological Museum, where it remains.

Category:Roman copies of Greek sculptures

Category:Archaeological discoveries in Italy

''Venus Callipyge'' by [[François Barois

Category:Sculptures in the National Archaeological Museum, Naples

File:Callipygian Venus Barois Louvre MR1999.jpg


Venus Callipyge

Prompt: In Venus Callipyge, how is the History discussed?

The "Venus Kallipygos" in the National Archaeological Museum, Naples is a Roman work in marble, dating to the late 1st century BC. It is considered to be a copy or "paraphrase" of an older Greek statue, probably bronze. This lost original is thought to have been created around 300 BC, near the inception of the Hellenistic period. The marble version's sculptor and provenance are unknown. It was rediscovered, missing its head, in Rome by at least the 16th century. It is sometimes said to have been found in the ruins of Emperor Nero's Domus Aurea, though this is unlikely, as fragments uncovered there contained no evidence of high-quality works of art such as the Venus.The missing head was reconstructed in the 16th century. The restorer decided to have the figure look over her shoulder at her own buttocks, a choice that gave the Venus its distinctive pose and had a significant effect on later interpretations of the work. The statue was acquired by the Farnese family and was in the Palazzo Farnese by 1594; it may be the draped Venus described as being in the palace by visitors earlier that century. In the 17th century, it is known to have been kept in the palace's Sala dei Filosophi, where it stood surrounded by statues of eighteen ancient philosophers. In 1731, the Farnese estate was inherited by Charles of Bourbon, who moved some of the marbles, including the Venus, across the Tiber River to the Villa Farnesina.In 1786, the Bourbons decided to move the Venus Kallipygos to Naples with the rest of the Farnese Collection. First, however, it was sent to be restored by Carlo Albacini. Responding to contemporary criticisms of some of the statue's features, Albacini replaced the head, the arms, and one leg; he followed the previous restoration fairly faithfully in having the figure look back over her shoulder. By 1792, the statue was at the Museo di Capodimonte in Naples, and by 1802 it was in the Museo degli Studi, now the Naples National Archaeological Museum, where it remains.

Category:Roman copies of Greek sculptures

Category:Archaeological discoveries in Italy

''Venus Callipyge'' by [[François Barois

Category:Sculptures in the National Archaeological Museum, Naples

File:Callipygian Venus Barois Louvre MR1999.jpg


Venus Callipyge

Prompt: Focus on Venus Callipyge and explain the Interpretations.

The restorers' decision to have the figure look over her back greatly affected subsequent interpretations, to the point that the classicists Mary Beard and J. G. W. Henderson describe it as having "created a 'masterpiece' in place of a fragment". The restored statue's pose draws further attention to the naked buttocks and gives the figure a distinctly erotic aspect. The restoration recalled in the minds of viewers a story recorded in Athenaeus's Deipnosophistae about the founding of a temple of "Aphrodite Kallipygos" in ancient Syracuse, Sicily. According to Athenaeus, two beautiful sisters from a farm near Syracuse argued over which of them had the shapelier buttocks and accosted a young passerby to have him judge. They showed themselves off to the traveler, the son of a rich man, and he voted for the elder sister. Subsequently, he became smitten with her and fell ill with love-sickness. Learning what had happened, the man's younger brother went out to see the girls for himself and fell in love with the younger sister. Thereafter the brothers refused to consider any other brides, so their father arranged for the sisters to come marry them. The citizens dubbed the sisters "Kallipugoi" ("Women with Beautiful Buttocks"), and with their new-found prosperity, they dedicated a temple to Aphrodite, calling her Kallipygos.Other sources mention the cult of Aphrodite Kallipygos at Syracuse. The Christian writer Clement of Alexandria includes it in a list of erotic manifestations of pagan religion. From the 16th century, Athenaeus's tale circulated in Vincenzo Cartari's retelling of stories from classical mythology, Le Imagini. Many viewers of the 17th and 18th centuries identified the statue's subject as the goddess and supposed the work to be a cult statue from the temple of Venus Kallipygos. It was thus often described at the time as Venus exiting the bath. Others identified it instead with one of the "beautiful-buttocked" girls from Athenaeus's story, and as such it was alternatively known as "La Belle Victorieuse" or "La Bergère Grecque".In 1836, Famin called it a "charming statuette" but noted that it was "placed in a reserved hall, where the curious are only introduced under the surveillance of a guardian, though even this precaution has not prevented the rounded forms which won for the goddess the name of Callipyge, from being covered with a dark tint, which betrays the profane kisses that fanatic admirers have every day impressed there. We ourselves knew a young German tourist smitten with a mad passion for this voluptuous marble; and the commiseration his state of mind inspired set aside all idea of ridicule."

Category:Roman copies of Greek sculptures

Category:Archaeological discoveries in Italy

''Venus Callipyge'' by [[François Barois

Category:Sculptures in the National Archaeological Museum, Naples

File:Callipygian Venus Barois Louvre MR1999.jpg


Venus Callipyge

Prompt: Explain the Interpretations of this artwork, Venus Callipyge.

The restorers' decision to have the figure look over her back greatly affected subsequent interpretations, to the point that the classicists Mary Beard and J. G. W. Henderson describe it as having "created a 'masterpiece' in place of a fragment". The restored statue's pose draws further attention to the naked buttocks and gives the figure a distinctly erotic aspect. The restoration recalled in the minds of viewers a story recorded in Athenaeus's Deipnosophistae about the founding of a temple of "Aphrodite Kallipygos" in ancient Syracuse, Sicily. According to Athenaeus, two beautiful sisters from a farm near Syracuse argued over which of them had the shapelier buttocks and accosted a young passerby to have him judge. They showed themselves off to the traveler, the son of a rich man, and he voted for the elder sister. Subsequently, he became smitten with her and fell ill with love-sickness. Learning what had happened, the man's younger brother went out to see the girls for himself and fell in love with the younger sister. Thereafter the brothers refused to consider any other brides, so their father arranged for the sisters to come marry them. The citizens dubbed the sisters "Kallipugoi" ("Women with Beautiful Buttocks"), and with their new-found prosperity, they dedicated a temple to Aphrodite, calling her Kallipygos.Other sources mention the cult of Aphrodite Kallipygos at Syracuse. The Christian writer Clement of Alexandria includes it in a list of erotic manifestations of pagan religion. From the 16th century, Athenaeus's tale circulated in Vincenzo Cartari's retelling of stories from classical mythology, Le Imagini. Many viewers of the 17th and 18th centuries identified the statue's subject as the goddess and supposed the work to be a cult statue from the temple of Venus Kallipygos. It was thus often described at the time as Venus exiting the bath. Others identified it instead with one of the "beautiful-buttocked" girls from Athenaeus's story, and as such it was alternatively known as "La Belle Victorieuse" or "La Bergère Grecque".In 1836, Famin called it a "charming statuette" but noted that it was "placed in a reserved hall, where the curious are only introduced under the surveillance of a guardian, though even this precaution has not prevented the rounded forms which won for the goddess the name of Callipyge, from being covered with a dark tint, which betrays the profane kisses that fanatic admirers have every day impressed there. We ourselves knew a young German tourist smitten with a mad passion for this voluptuous marble; and the commiseration his state of mind inspired set aside all idea of ridicule."

Category:Roman copies of Greek sculptures

Category:Archaeological discoveries in Italy

''Venus Callipyge'' by [[François Barois

Category:Sculptures in the National Archaeological Museum, Naples

File:Callipygian Venus Barois Louvre MR1999.jpg


Venus Callipyge

Prompt: How does Venus Callipyge explain its Interpretations?

The restorers' decision to have the figure look over her back greatly affected subsequent interpretations, to the point that the classicists Mary Beard and J. G. W. Henderson describe it as having "created a 'masterpiece' in place of a fragment". The restored statue's pose draws further attention to the naked buttocks and gives the figure a distinctly erotic aspect. The restoration recalled in the minds of viewers a story recorded in Athenaeus's Deipnosophistae about the founding of a temple of "Aphrodite Kallipygos" in ancient Syracuse, Sicily. According to Athenaeus, two beautiful sisters from a farm near Syracuse argued over which of them had the shapelier buttocks and accosted a young passerby to have him judge. They showed themselves off to the traveler, the son of a rich man, and he voted for the elder sister. Subsequently, he became smitten with her and fell ill with love-sickness. Learning what had happened, the man's younger brother went out to see the girls for himself and fell in love with the younger sister. Thereafter the brothers refused to consider any other brides, so their father arranged for the sisters to come marry them. The citizens dubbed the sisters "Kallipugoi" ("Women with Beautiful Buttocks"), and with their new-found prosperity, they dedicated a temple to Aphrodite, calling her Kallipygos.Other sources mention the cult of Aphrodite Kallipygos at Syracuse. The Christian writer Clement of Alexandria includes it in a list of erotic manifestations of pagan religion. From the 16th century, Athenaeus's tale circulated in Vincenzo Cartari's retelling of stories from classical mythology, Le Imagini. Many viewers of the 17th and 18th centuries identified the statue's subject as the goddess and supposed the work to be a cult statue from the temple of Venus Kallipygos. It was thus often described at the time as Venus exiting the bath. Others identified it instead with one of the "beautiful-buttocked" girls from Athenaeus's story, and as such it was alternatively known as "La Belle Victorieuse" or "La Bergère Grecque".In 1836, Famin called it a "charming statuette" but noted that it was "placed in a reserved hall, where the curious are only introduced under the surveillance of a guardian, though even this precaution has not prevented the rounded forms which won for the goddess the name of Callipyge, from being covered with a dark tint, which betrays the profane kisses that fanatic admirers have every day impressed there. We ourselves knew a young German tourist smitten with a mad passion for this voluptuous marble; and the commiseration his state of mind inspired set aside all idea of ridicule."

Category:Roman copies of Greek sculptures

Category:Archaeological discoveries in Italy

''Venus Callipyge'' by [[François Barois

Category:Sculptures in the National Archaeological Museum, Naples

File:Callipygian Venus Barois Louvre MR1999.jpg


Venus Callipyge

Prompt: In Venus Callipyge, how is the Interpretations discussed?

The restorers' decision to have the figure look over her back greatly affected subsequent interpretations, to the point that the classicists Mary Beard and J. G. W. Henderson describe it as having "created a 'masterpiece' in place of a fragment". The restored statue's pose draws further attention to the naked buttocks and gives the figure a distinctly erotic aspect. The restoration recalled in the minds of viewers a story recorded in Athenaeus's Deipnosophistae about the founding of a temple of "Aphrodite Kallipygos" in ancient Syracuse, Sicily. According to Athenaeus, two beautiful sisters from a farm near Syracuse argued over which of them had the shapelier buttocks and accosted a young passerby to have him judge. They showed themselves off to the traveler, the son of a rich man, and he voted for the elder sister. Subsequently, he became smitten with her and fell ill with love-sickness. Learning what had happened, the man's younger brother went out to see the girls for himself and fell in love with the younger sister. Thereafter the brothers refused to consider any other brides, so their father arranged for the sisters to come marry them. The citizens dubbed the sisters "Kallipugoi" ("Women with Beautiful Buttocks"), and with their new-found prosperity, they dedicated a temple to Aphrodite, calling her Kallipygos.Other sources mention the cult of Aphrodite Kallipygos at Syracuse. The Christian writer Clement of Alexandria includes it in a list of erotic manifestations of pagan religion. From the 16th century, Athenaeus's tale circulated in Vincenzo Cartari's retelling of stories from classical mythology, Le Imagini. Many viewers of the 17th and 18th centuries identified the statue's subject as the goddess and supposed the work to be a cult statue from the temple of Venus Kallipygos. It was thus often described at the time as Venus exiting the bath. Others identified it instead with one of the "beautiful-buttocked" girls from Athenaeus's story, and as such it was alternatively known as "La Belle Victorieuse" or "La Bergère Grecque".In 1836, Famin called it a "charming statuette" but noted that it was "placed in a reserved hall, where the curious are only introduced under the surveillance of a guardian, though even this precaution has not prevented the rounded forms which won for the goddess the name of Callipyge, from being covered with a dark tint, which betrays the profane kisses that fanatic admirers have every day impressed there. We ourselves knew a young German tourist smitten with a mad passion for this voluptuous marble; and the commiseration his state of mind inspired set aside all idea of ridicule."

Category:Roman copies of Greek sculptures

Category:Archaeological discoveries in Italy

''Venus Callipyge'' by [[François Barois

Category:Sculptures in the National Archaeological Museum, Naples

File:Callipygian Venus Barois Louvre MR1999.jpg


Venus Callipyge

Prompt: Focus on Venus Callipyge and explain the Modern copies.

A marble copy by Jean-Jacques Clérion (1686) was sent to Versailles. Another copy was made by François Barois during his residence at the French Academy in Rome, 1683–1686. It was sent to Versailles, then to Marly-le-Roi in 1695, where it was provided with additional marble draperies by Jean Thierry, not to offend an increasingly prudish public taste; it remained at Marly until the Revolution, when it found its way to the Jardin des Tuileries.Augustus the Strong ordered a copy, which was executed by Pierre de l'Estache in Rome between 1722 and 1723, for the Grosser Garten, Dresden. However, it was destroyed in 1945.Sir Henry Hoare, 5th Baronet commissioned a copy of the Venus (likely by John Cheere) to be embedded in the niches of the newly constructed Pantheon on the Stourhead Estate in 1753–1754.

Category:Roman copies of Greek sculptures

Category:Archaeological discoveries in Italy

''Venus Callipyge'' by [[François Barois

Category:Sculptures in the National Archaeological Museum, Naples

File:Callipygian Venus Barois Louvre MR1999.jpg


Venus Callipyge

Prompt: Explain the Modern copies of this artwork, Venus Callipyge.

A marble copy by Jean-Jacques Clérion (1686) was sent to Versailles. Another copy was made by François Barois during his residence at the French Academy in Rome, 1683–1686. It was sent to Versailles, then to Marly-le-Roi in 1695, where it was provided with additional marble draperies by Jean Thierry, not to offend an increasingly prudish public taste; it remained at Marly until the Revolution, when it found its way to the Jardin des Tuileries.Augustus the Strong ordered a copy, which was executed by Pierre de l'Estache in Rome between 1722 and 1723, for the Grosser Garten, Dresden. However, it was destroyed in 1945.Sir Henry Hoare, 5th Baronet commissioned a copy of the Venus (likely by John Cheere) to be embedded in the niches of the newly constructed Pantheon on the Stourhead Estate in 1753–1754.

Category:Roman copies of Greek sculptures

Category:Archaeological discoveries in Italy

''Venus Callipyge'' by [[François Barois

Category:Sculptures in the National Archaeological Museum, Naples

File:Callipygian Venus Barois Louvre MR1999.jpg


Venus Callipyge

Prompt: How does Venus Callipyge explain its Modern copies?

A marble copy by Jean-Jacques Clérion (1686) was sent to Versailles. Another copy was made by François Barois during his residence at the French Academy in Rome, 1683–1686. It was sent to Versailles, then to Marly-le-Roi in 1695, where it was provided with additional marble draperies by Jean Thierry, not to offend an increasingly prudish public taste; it remained at Marly until the Revolution, when it found its way to the Jardin des Tuileries.Augustus the Strong ordered a copy, which was executed by Pierre de l'Estache in Rome between 1722 and 1723, for the Grosser Garten, Dresden. However, it was destroyed in 1945.Sir Henry Hoare, 5th Baronet commissioned a copy of the Venus (likely by John Cheere) to be embedded in the niches of the newly constructed Pantheon on the Stourhead Estate in 1753–1754.

Category:Roman copies of Greek sculptures

Category:Archaeological discoveries in Italy

''Venus Callipyge'' by [[François Barois

Category:Sculptures in the National Archaeological Museum, Naples

File:Callipygian Venus Barois Louvre MR1999.jpg


Venus Callipyge

Prompt: In Venus Callipyge, how is the Modern copies discussed?

A marble copy by Jean-Jacques Clérion (1686) was sent to Versailles. Another copy was made by François Barois during his residence at the French Academy in Rome, 1683–1686. It was sent to Versailles, then to Marly-le-Roi in 1695, where it was provided with additional marble draperies by Jean Thierry, not to offend an increasingly prudish public taste; it remained at Marly until the Revolution, when it found its way to the Jardin des Tuileries.Augustus the Strong ordered a copy, which was executed by Pierre de l'Estache in Rome between 1722 and 1723, for the Grosser Garten, Dresden. However, it was destroyed in 1945.Sir Henry Hoare, 5th Baronet commissioned a copy of the Venus (likely by John Cheere) to be embedded in the niches of the newly constructed Pantheon on the Stourhead Estate in 1753–1754.

Category:Roman copies of Greek sculptures

Category:Archaeological discoveries in Italy

''Venus Callipyge'' by [[François Barois

Category:Sculptures in the National Archaeological Museum, Naples

File:Callipygian Venus Barois Louvre MR1999.jpg


Venus Callipyge

Prompt: Focus on Venus Callipyge and explain the Modern appreciation.

The 19th-century identification was repopularised by the 20th-century lyrics of the French lyricist Georges Brassens, in his "Vénus Callipyge", which seems explicitly to reference Jean de La Fontaine in his Conte tiré d'Athénée, among the posthumous tales (the third under that title in the so-called contes libertins, the first two in the Première partie, published 10 January 1665), which paraphrases Athenaeus's account and ends in direct reference to the famous buttocks:c'eût été le temple de la Grèce/ Pour qui j'eusse eu plus de dévotion  this would have been the temple of Greece/ For which I would have professed the most devotion.Metallic Venus, Jeff Koons's modern interpretation made of polished steel, is from his Antiquity Series. The chrome-finished sculpture celebrates the original themes of beauty, fertility, and innocence but with a modern perspective. Fresh flowers in the piece are replaced daily, representing the throwaway, consumerist culture of modern society.

Category:Roman copies of Greek sculptures

Category:Archaeological discoveries in Italy

''Venus Callipyge'' by [[François Barois

Category:Sculptures in the National Archaeological Museum, Naples

File:Callipygian Venus Barois Louvre MR1999.jpg


Venus Callipyge

Prompt: Explain the Modern appreciation of this artwork, Venus Callipyge.

The 19th-century identification was repopularised by the 20th-century lyrics of the French lyricist Georges Brassens, in his "Vénus Callipyge", which seems explicitly to reference Jean de La Fontaine in his Conte tiré d'Athénée, among the posthumous tales (the third under that title in the so-called contes libertins, the first two in the Première partie, published 10 January 1665), which paraphrases Athenaeus's account and ends in direct reference to the famous buttocks:c'eût été le temple de la Grèce/ Pour qui j'eusse eu plus de dévotion  this would have been the temple of Greece/ For which I would have professed the most devotion.Metallic Venus, Jeff Koons's modern interpretation made of polished steel, is from his Antiquity Series. The chrome-finished sculpture celebrates the original themes of beauty, fertility, and innocence but with a modern perspective. Fresh flowers in the piece are replaced daily, representing the throwaway, consumerist culture of modern society.

Category:Roman copies of Greek sculptures

Category:Archaeological discoveries in Italy

''Venus Callipyge'' by [[François Barois

Category:Sculptures in the National Archaeological Museum, Naples

File:Callipygian Venus Barois Louvre MR1999.jpg


Venus Callipyge

Prompt: How does Venus Callipyge explain its Modern appreciation?

The 19th-century identification was repopularised by the 20th-century lyrics of the French lyricist Georges Brassens, in his "Vénus Callipyge", which seems explicitly to reference Jean de La Fontaine in his Conte tiré d'Athénée, among the posthumous tales (the third under that title in the so-called contes libertins, the first two in the Première partie, published 10 January 1665), which paraphrases Athenaeus's account and ends in direct reference to the famous buttocks:c'eût été le temple de la Grèce/ Pour qui j'eusse eu plus de dévotion  this would have been the temple of Greece/ For which I would have professed the most devotion.Metallic Venus, Jeff Koons's modern interpretation made of polished steel, is from his Antiquity Series. The chrome-finished sculpture celebrates the original themes of beauty, fertility, and innocence but with a modern perspective. Fresh flowers in the piece are replaced daily, representing the throwaway, consumerist culture of modern society.

Category:Roman copies of Greek sculptures

Category:Archaeological discoveries in Italy

''Venus Callipyge'' by [[François Barois

Category:Sculptures in the National Archaeological Museum, Naples

File:Callipygian Venus Barois Louvre MR1999.jpg


Venus Callipyge

Prompt: In Venus Callipyge, how is the Modern appreciation discussed?

The 19th-century identification was repopularised by the 20th-century lyrics of the French lyricist Georges Brassens, in his "Vénus Callipyge", which seems explicitly to reference Jean de La Fontaine in his Conte tiré d'Athénée, among the posthumous tales (the third under that title in the so-called contes libertins, the first two in the Première partie, published 10 January 1665), which paraphrases Athenaeus's account and ends in direct reference to the famous buttocks:c'eût été le temple de la Grèce/ Pour qui j'eusse eu plus de dévotion  this would have been the temple of Greece/ For which I would have professed the most devotion.Metallic Venus, Jeff Koons's modern interpretation made of polished steel, is from his Antiquity Series. The chrome-finished sculpture celebrates the original themes of beauty, fertility, and innocence but with a modern perspective. Fresh flowers in the piece are replaced daily, representing the throwaway, consumerist culture of modern society.

Category:Roman copies of Greek sculptures

Category:Archaeological discoveries in Italy

''Venus Callipyge'' by [[François Barois

Category:Sculptures in the National Archaeological Museum, Naples

File:Callipygian Venus Barois Louvre MR1999.jpg


Merahi metua no Tehamana

Prompt: Focus on Merahi metua no Tehamana and explain the abstract.

Merahi metua no Tehamana (English Tehamana Has Many Parents or The Ancestors of Tehamana) is an 1893 painting by the French artist Paul Gauguin, currently in the collection of the Art Institute of Chicago. The painting is a portrait of Paul Gauguin's wife Teha'amana during his first visit to Tahiti in 1891–1893. This marriage has always provoked controversy because it was arranged and completed in the course of a single afternoon and Gauguin claimed Teha'amana was just thirteen years old at the time.A sculpted head is also known to be a portrait of Teha'amana. She is assumed to have posed for numerous other paintings of the time, including the celebrated Spirit of the Dead Watching.

1918 flu pandemic#Devastated communities

File:Paul Gauguin - Portrait of Tehamana (verso) - AIC 1956.1215.jpg

File:Charles Georges Spitz - Tahitian woman.jpg

A photograph by Charles Georges Spitz ''circa'' 1888 often reproduced as a portrait of Teha'amana, although there is no evidence for the identification.

Charcoal study, ''c.'' 1891–3, [[Art Institute of Chicago

:File:Paul Gauguin, ca.1891-1893, Tehura (Teha'amana), polychromed pua wood, H. 22.2 cm. Realized during Gauguin's first voyage to Tahiti. Musée d'Orsay, Paris.jpg

Sculpted head, wood carving, circa 1892, [[Musée d'Orsay

Category:Paintings in the Art Institute of Chicago


Merahi metua no Tehamana

Prompt: Explain the abstract of this artwork, Merahi metua no Tehamana.

Merahi metua no Tehamana (English Tehamana Has Many Parents or The Ancestors of Tehamana) is an 1893 painting by the French artist Paul Gauguin, currently in the collection of the Art Institute of Chicago. The painting is a portrait of Paul Gauguin's wife Teha'amana during his first visit to Tahiti in 1891–1893. This marriage has always provoked controversy because it was arranged and completed in the course of a single afternoon and Gauguin claimed Teha'amana was just thirteen years old at the time.A sculpted head is also known to be a portrait of Teha'amana. She is assumed to have posed for numerous other paintings of the time, including the celebrated Spirit of the Dead Watching.

1918 flu pandemic#Devastated communities

File:Paul Gauguin - Portrait of Tehamana (verso) - AIC 1956.1215.jpg

File:Charles Georges Spitz - Tahitian woman.jpg

A photograph by Charles Georges Spitz ''circa'' 1888 often reproduced as a portrait of Teha'amana, although there is no evidence for the identification.

Charcoal study, ''c.'' 1891–3, [[Art Institute of Chicago

:File:Paul Gauguin, ca.1891-1893, Tehura (Teha'amana), polychromed pua wood, H. 22.2 cm. Realized during Gauguin's first voyage to Tahiti. Musée d'Orsay, Paris.jpg

Sculpted head, wood carving, circa 1892, [[Musée d'Orsay

Category:Paintings in the Art Institute of Chicago


Merahi metua no Tehamana

Prompt: How does Merahi metua no Tehamana explain its abstract?

Merahi metua no Tehamana (English Tehamana Has Many Parents or The Ancestors of Tehamana) is an 1893 painting by the French artist Paul Gauguin, currently in the collection of the Art Institute of Chicago. The painting is a portrait of Paul Gauguin's wife Teha'amana during his first visit to Tahiti in 1891–1893. This marriage has always provoked controversy because it was arranged and completed in the course of a single afternoon and Gauguin claimed Teha'amana was just thirteen years old at the time.A sculpted head is also known to be a portrait of Teha'amana. She is assumed to have posed for numerous other paintings of the time, including the celebrated Spirit of the Dead Watching.

1918 flu pandemic#Devastated communities

File:Paul Gauguin - Portrait of Tehamana (verso) - AIC 1956.1215.jpg

File:Charles Georges Spitz - Tahitian woman.jpg

A photograph by Charles Georges Spitz ''circa'' 1888 often reproduced as a portrait of Teha'amana, although there is no evidence for the identification.

Charcoal study, ''c.'' 1891–3, [[Art Institute of Chicago

:File:Paul Gauguin, ca.1891-1893, Tehura (Teha'amana), polychromed pua wood, H. 22.2 cm. Realized during Gauguin's first voyage to Tahiti. Musée d'Orsay, Paris.jpg

Sculpted head, wood carving, circa 1892, [[Musée d'Orsay

Category:Paintings in the Art Institute of Chicago


Merahi metua no Tehamana

Prompt: In Merahi metua no Tehamana, how is the abstract discussed?

Merahi metua no Tehamana (English Tehamana Has Many Parents or The Ancestors of Tehamana) is an 1893 painting by the French artist Paul Gauguin, currently in the collection of the Art Institute of Chicago. The painting is a portrait of Paul Gauguin's wife Teha'amana during his first visit to Tahiti in 1891–1893. This marriage has always provoked controversy because it was arranged and completed in the course of a single afternoon and Gauguin claimed Teha'amana was just thirteen years old at the time.A sculpted head is also known to be a portrait of Teha'amana. She is assumed to have posed for numerous other paintings of the time, including the celebrated Spirit of the Dead Watching.

1918 flu pandemic#Devastated communities

File:Paul Gauguin - Portrait of Tehamana (verso) - AIC 1956.1215.jpg

File:Charles Georges Spitz - Tahitian woman.jpg

A photograph by Charles Georges Spitz ''circa'' 1888 often reproduced as a portrait of Teha'amana, although there is no evidence for the identification.

Charcoal study, ''c.'' 1891–3, [[Art Institute of Chicago

:File:Paul Gauguin, ca.1891-1893, Tehura (Teha'amana), polychromed pua wood, H. 22.2 cm. Realized during Gauguin's first voyage to Tahiti. Musée d'Orsay, Paris.jpg

Sculpted head, wood carving, circa 1892, [[Musée d'Orsay

Category:Paintings in the Art Institute of Chicago


Merahi metua no Tehamana

Prompt: Focus on Merahi metua no Tehamana and explain the Teha'amana.

Teha'amana was the native wife of Paul Gauguin during his first visit to Tahiti in 1891 to 1893. It was common at that time for French colonists to take native wives; the wives simply referred to as  vahine, Tahitian for "woman". These vahines were often underage children, as was the case with Teha'amana, their marriage being arranged by their family for reasons of status or financial advantage. The marriages were generally not legally binding. All three of Gauguin's vahines, the two he took after Teha'amana eventually returned home while Teha'amana herself declined to continue their relationship when Gauguin returned to Tahiti in 1895. Teha'amana undoubtedly saw herself as conventionally married according to her local customs, but for Gauguin the marriage was clearly a temporary arrangement. Nevertheless, he did profess a tender love for Teha'amana in his journal Noa Noa.   Pierre Loti's  Le Mariage de Loti, a book that influenced Gauguin's decision to travel to Tahiti, was an immensely popular account of such a marriage twenty years earlier, although in that case the marriage was actually a fictional composite of many casual liaisons indulged by Loti during a two-month visit to Papeete. In Loti's account his wife was fourteen years old, while in Gauguin's account Teha'amana was just thirteen years old.The name Teha'amana is formed from the definite article te, the causative particle ha'a and the substantive mana ("strength"), and thus signifies "giver of strength", hence its frequent occurrence in ancient prayers and folklore. In his account of their idyll together, Gauguin described how in the evenings Teha'amana would recount their ancient myths as they lay in bed. Teha'amana was nevertheless a Christian, as evidenced by the missionary dress she wears in the portrait, and would have known nothing of Tahitian mythology. Bengt Danielsson, the Kon-Tiki anthropologist, notes that Teha'amana recounting the old myths is an especially barefaced fiction, because not only were these largely forgotten, they had always been withheld from women. All Gauguin's accounts of ancient Tahitian religion in Noa Noa were copied from other sources without adequate acknowledgement.Men took vahines for sexual and other practical advantages, such as gathering food supplies. This was because Tahitian families were self-sufficient in food. The staples of breadfruit and bananas were gathered high in the mountains on a weekly basis, while fish was abundant in the lagoons. Pigs were hunted in the undergrowth. As a consequence there was no trade in foodstuffs and offering food was regarded as an act of charity. Instead of gathering the food himself, Gauguin opted to take a vahine so that her family could provide for him. Having a vahine meant at least he had access to wild fruit and fresh shrimp gathered by her, as well as her own family's extensive food stores.Gauguin's account of Teha'amana in Noa Noa, where he refers to her as Tehura, is mainly confined to their marriage, contracted in a single afternoon in the course of a planned excursion round the island, and a few other episodes including notably the genesis of his painting Spirit of the Dead Watching. Danielsson was able to find some oral and civic sources in the course of his researches.Teha'amana's family came from Rarotonga, one of the Cook Islands. Before settling in Tahiti, they spent some time in Huahine, one of the Society Islands, where Teha'amana was born. In Tahiti they settled at Fa'aone, some fifteen miles to the east of Gauguin's bamboo hut at Mataiea, where Gauguin encountered them at some time during or after November 1891, taking Teha'amana as his vahine the same day.  No birth certificate is known to confirm her age, but it is likely she was only in her early teens, as were his two subsequent vahines. She was pregnant by August 1892 according to a letter of Gauguin's, but there is no further record of the child: Danielsson thought it had been aborted, Mathews thinks it more likely was adopted, as was commonly the custom in Tahitian society. Gauguin records Teha'amana was at the quay on 14 June 1893 to wish him a traditionally tearful departure from Tahiti. When Gauguin returned in 1895, Teha'amana had married again, but nevertheless spent a week with him before returning to her husband, according to a letter Gauguin sent Monfreid. Gauguin makes no further mention of Teha'amana. After his death, when he had become famous, Teha'amana made no effort to come forward as his vahine. Mathews thinks this may indicate there was in reality no single Teha'amana, or that she was simply indifferent to his memory as a matter of little consequence.After Gauguin left in 1893, Teha'amana remained in Mataiea, working at first for Chief Tetuanui, but soon marrying a young Tahitian boy, named Ma'ari, from neighbouring Papara. They had two sons, one of whom was still alive when Danielsson was researching Gauguin. From him, Danielsson gathered the information that the reason Teha'amana declined to live with Gauguin in 1895, despite generous gifts of bead necklaces and brass rings, was that she was repulsed by Gauguin and the syphilitic sores covering his entire body. Danielsson was able to locate a death certificate showing that Teha'amana died on 9 December 1918 in Mataiea from the Spanish flu epidemic that carried off a quarter of Tahiti's native population. She is buried in Mataiea, although her tombstone bears no indication of her relationship with Gauguin. A circa 1888 photograph of a young Tahitian girl by Charles Georges Spitz is often reproduced as one of Teha'amana, although Danielsson points out there is no evidence at all for the identification.

1918 flu pandemic#Devastated communities

File:Paul Gauguin - Portrait of Tehamana (verso) - AIC 1956.1215.jpg

File:Charles Georges Spitz - Tahitian woman.jpg

A photograph by Charles Georges Spitz ''circa'' 1888 often reproduced as a portrait of Teha'amana, although there is no evidence for the identification.

Charcoal study, ''c.'' 1891–3, [[Art Institute of Chicago

:File:Paul Gauguin, ca.1891-1893, Tehura (Teha'amana), polychromed pua wood, H. 22.2 cm. Realized during Gauguin's first voyage to Tahiti. Musée d'Orsay, Paris.jpg

Sculpted head, wood carving, circa 1892, [[Musée d'Orsay

Category:Paintings in the Art Institute of Chicago


Merahi metua no Tehamana

Prompt: Explain the Teha'amana of this artwork, Merahi metua no Tehamana.

Teha'amana was the native wife of Paul Gauguin during his first visit to Tahiti in 1891 to 1893. It was common at that time for French colonists to take native wives; the wives simply referred to as  vahine, Tahitian for "woman". These vahines were often underage children, as was the case with Teha'amana, their marriage being arranged by their family for reasons of status or financial advantage. The marriages were generally not legally binding. All three of Gauguin's vahines, the two he took after Teha'amana eventually returned home while Teha'amana herself declined to continue their relationship when Gauguin returned to Tahiti in 1895. Teha'amana undoubtedly saw herself as conventionally married according to her local customs, but for Gauguin the marriage was clearly a temporary arrangement. Nevertheless, he did profess a tender love for Teha'amana in his journal Noa Noa.   Pierre Loti's  Le Mariage de Loti, a book that influenced Gauguin's decision to travel to Tahiti, was an immensely popular account of such a marriage twenty years earlier, although in that case the marriage was actually a fictional composite of many casual liaisons indulged by Loti during a two-month visit to Papeete. In Loti's account his wife was fourteen years old, while in Gauguin's account Teha'amana was just thirteen years old.The name Teha'amana is formed from the definite article te, the causative particle ha'a and the substantive mana ("strength"), and thus signifies "giver of strength", hence its frequent occurrence in ancient prayers and folklore. In his account of their idyll together, Gauguin described how in the evenings Teha'amana would recount their ancient myths as they lay in bed. Teha'amana was nevertheless a Christian, as evidenced by the missionary dress she wears in the portrait, and would have known nothing of Tahitian mythology. Bengt Danielsson, the Kon-Tiki anthropologist, notes that Teha'amana recounting the old myths is an especially barefaced fiction, because not only were these largely forgotten, they had always been withheld from women. All Gauguin's accounts of ancient Tahitian religion in Noa Noa were copied from other sources without adequate acknowledgement.Men took vahines for sexual and other practical advantages, such as gathering food supplies. This was because Tahitian families were self-sufficient in food. The staples of breadfruit and bananas were gathered high in the mountains on a weekly basis, while fish was abundant in the lagoons. Pigs were hunted in the undergrowth. As a consequence there was no trade in foodstuffs and offering food was regarded as an act of charity. Instead of gathering the food himself, Gauguin opted to take a vahine so that her family could provide for him. Having a vahine meant at least he had access to wild fruit and fresh shrimp gathered by her, as well as her own family's extensive food stores.Gauguin's account of Teha'amana in Noa Noa, where he refers to her as Tehura, is mainly confined to their marriage, contracted in a single afternoon in the course of a planned excursion round the island, and a few other episodes including notably the genesis of his painting Spirit of the Dead Watching. Danielsson was able to find some oral and civic sources in the course of his researches.Teha'amana's family came from Rarotonga, one of the Cook Islands. Before settling in Tahiti, they spent some time in Huahine, one of the Society Islands, where Teha'amana was born. In Tahiti they settled at Fa'aone, some fifteen miles to the east of Gauguin's bamboo hut at Mataiea, where Gauguin encountered them at some time during or after November 1891, taking Teha'amana as his vahine the same day.  No birth certificate is known to confirm her age, but it is likely she was only in her early teens, as were his two subsequent vahines. She was pregnant by August 1892 according to a letter of Gauguin's, but there is no further record of the child: Danielsson thought it had been aborted, Mathews thinks it more likely was adopted, as was commonly the custom in Tahitian society. Gauguin records Teha'amana was at the quay on 14 June 1893 to wish him a traditionally tearful departure from Tahiti. When Gauguin returned in 1895, Teha'amana had married again, but nevertheless spent a week with him before returning to her husband, according to a letter Gauguin sent Monfreid. Gauguin makes no further mention of Teha'amana. After his death, when he had become famous, Teha'amana made no effort to come forward as his vahine. Mathews thinks this may indicate there was in reality no single Teha'amana, or that she was simply indifferent to his memory as a matter of little consequence.After Gauguin left in 1893, Teha'amana remained in Mataiea, working at first for Chief Tetuanui, but soon marrying a young Tahitian boy, named Ma'ari, from neighbouring Papara. They had two sons, one of whom was still alive when Danielsson was researching Gauguin. From him, Danielsson gathered the information that the reason Teha'amana declined to live with Gauguin in 1895, despite generous gifts of bead necklaces and brass rings, was that she was repulsed by Gauguin and the syphilitic sores covering his entire body. Danielsson was able to locate a death certificate showing that Teha'amana died on 9 December 1918 in Mataiea from the Spanish flu epidemic that carried off a quarter of Tahiti's native population. She is buried in Mataiea, although her tombstone bears no indication of her relationship with Gauguin. A circa 1888 photograph of a young Tahitian girl by Charles Georges Spitz is often reproduced as one of Teha'amana, although Danielsson points out there is no evidence at all for the identification.

1918 flu pandemic#Devastated communities

File:Paul Gauguin - Portrait of Tehamana (verso) - AIC 1956.1215.jpg

File:Charles Georges Spitz - Tahitian woman.jpg

A photograph by Charles Georges Spitz ''circa'' 1888 often reproduced as a portrait of Teha'amana, although there is no evidence for the identification.

Charcoal study, ''c.'' 1891–3, [[Art Institute of Chicago

:File:Paul Gauguin, ca.1891-1893, Tehura (Teha'amana), polychromed pua wood, H. 22.2 cm. Realized during Gauguin's first voyage to Tahiti. Musée d'Orsay, Paris.jpg

Sculpted head, wood carving, circa 1892, [[Musée d'Orsay

Category:Paintings in the Art Institute of Chicago