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MYSIA, Pitane. Augustus. 27 BC-AD 14. Æ 20mm (4.59 g, 12h). P. Cornelius Scipio, proconsul. Struck circa 8/7 BC (?). [CEBAC]TON PITANAIOI, laureate head of Augustus right / P CKIPIwNA, bare head of Scipio right; to right, head of Zeus-Ammon facing slightly left above pentagram. RPC I 2392.8 (this coin; illustrated); FITA p. 387, (2); SNG France 2370-2 (same obv. die); BMC -; SNG von Aulock -; SNG Copenhagen -.
CILICIA, Aegeae. Augustus, with Julius Caesar. 27 BC-14 AD. Æ 28mm (12.35 gm, 12h). Dated CY 99(?) (50/1 AD). Bare head of Augustus right / AIGEAIWN [THC I]ERAC K[AI AV]TONOMOV, bare head of Julius Caesar right; in left field, QK(?) above PAR monogram. Cf. RPC I 4036; cf. SNG Levante 1691-1692; SNG France -.
While the early imperial coinage of this city is not well-known, owing to the great rarity of its examples, this issue in particular, proves to be the most enigmatic. Because of the inclusion of civic years on the coins, our specimen is known to be part of a type which was struck during the reigns of both Gaius and Claudius. As to whom the portraits represent, there has been much scholarly debate. Ruprecht Ziegler (Städtisches Prestige und kaiserliche Politik, p. 17), suggests the portraits are Alexander III of Macedon and Julius Caesar respectively, as the founders of the city. The obverse of our coin, however, shows an undiademed head with features strikingly similar to portraits of Augustus.
www.mart.trento.it/antonellodamessina
Il Mart di Rovereto propone un’indagine articolata e uno sguardo originale sulla figura del grande pittore del Quattrocento e sul suo tempo, attraverso lo studio degli intrecci storico-artistici e delle controversie ancora aperte, presentati in questa sede come punti di forza attraverso i quali approfondire nuovi percorsi di interpretazione critica.
Il progetto espositivo, a cura di Ferdinando Bologna e Federico De Melis, ha l’ambizione di ricostruire l’ampia scena storica e geografica dalla quale emerge l’eccezionale individualità di Antonello: un pittore che, a metà del Quattrocento, si fa interprete di un fermento creativo mediterraneo ed europeo incentrato sull’incontro-scontro tra la civiltà fiamminga e quella italiana.
Photo by Fernando Guerra
Estatuilla de un dios. Posiblemente perteneciente a un lararium. Utilizada como elemento decorativo o amuleto.
Cultura romana.
Siglo I-III d. C.
Museo Arqueológico de Barcelona.
CYRENAICA, Cyrene. Augustus. 27 BC-AD 14. Æ “As” (25mm, 9.80 g, 6h). Scato, proconsul. Struck 20-12 BC. CAESAR TR • POT, bare head right / SCATO above, PR in exergue, sella castrensis with cushion on seat. RPC I 943; Müller, Afrique 432; BMC 40; SNG Copenhagen 1320 (same obv. die).
Fulvia, first wife of Mark Antony. Circa 41-40 BC. Æ 14mm (3.19 g, 12h). Eumeneia (as Fulvia) mint in Phrygia. Zmertorix, the son of Philonides, magistrate. Laureate female head (of Fulvia?) right / Athena standing left, holding shield and spear; [Z]MEPTOPIΓOΣ/[Φ]IΛΩNIΔOY in two lines to left. RPC 3139; SNG München -; Copenhagen -.
Augustus. 27 BC-AD 14. AR Denarius (3.50 g, 9h). Lugdunum (Lyon) mint. Struck 10 BC. Laureate head right / Bull butting left. RIC I 189a; Lyon 41; RSC 159; cf. BMCRE p. 82, note = cf. BMCRR Gaul p. 435, note; BN 1422-1423.
If you are interested in Julio Claudian Iconography and portrait study you may enjoy these two links:
Julio Claudian Iconographic Association- Joe Geranio- Administrator at groups.yahoo.com/group/julioclaudian/
The Portraiture of Caligula- Joe Geranio- Administrator- at
Both are non-profit sites and for educational use only.
Claudius.
Marble. 41—54 A.D.
Height 43 cm.
Inv. No. 1423.
Copenhagen, New Carlsberg Glyptotek.
educational use only
Presently located:
Kopenhagen, Dänemark, DK, Ny Carlsberg Glyptothek. Inv. no. 1423
Provenience:
Italien, Cerveteri / Caere ?, 1895 in Frascati gekauft
Category/Cultural Era/Function:
Rundplastik; Portrait
Cultural era: römisch
Dating:
Replik: claudisch, 1. Cent. n. Chr.
Technique:
Technique: Bildhauerei
Measurements / Material:
H 43 cm
Material: Marmor
Bibliography:
D. Boschung, Gens Augusta: Untersuchungen zu Aufstellung, Wirkung und Bedeutung der Statuengruppen des julisch-claudischen Kaiserhauses. MAR 32 (Mainz 2002) 87 Cat. no. 25.11 Pl. 71, 4;
K. Fittschen, Katalog der antiken Skulpturen in Schloss Erbach (Berlin 1977) 55
[Replik 4];
F. Johansen, Catalogue Roman Portraits I. Ny Carlsberg Glyptotek (1994) 144 Cat. no. 60;
F. Poulsen, Catalogue of Ancient Sculpture in the Ny Carlsberg Glyptotek (Kopenhagen 1951) 453 Cat. no. 648;
V. Poulsen, Les Portraits Romains I (Kopenhagen 1962) 92 f. Ill. 96. 97 Cat. no. 58;
Estela funeraria de un legionario romano.
Cultura romana.
S. III d. C.
Museo Arqueológico de Barcelona.
A LATE HELLENISTIC OR ROMAN BRONZE CHILD
CIRCA 1ST CENTURY B.C.
Holding a rooster in the crook of his bent left arm, the toes of the bird's right foot held in his open right hand, the youth standing with his weight on his right leg, the left relaxed and slightly advanced, a mantle draped over his left shoulder, pinned at his right and falling in back almost to his ankles, his head angled downward, his hair pulled up in a top-knot, with a central plait across his crown, the rooster with a small comb and wattles, its head turned to its left
5¼ in. (13.3 cm.) high
educational use only
www.mart.trento.it/antonellodamessina
Il Mart di Rovereto propone un’indagine articolata e uno sguardo originale sulla figura del grande pittore del Quattrocento e sul suo tempo, attraverso lo studio degli intrecci storico-artistici e delle controversie ancora aperte, presentati in questa sede come punti di forza attraverso i quali approfondire nuovi percorsi di interpretazione critica.
Il progetto espositivo, a cura di Ferdinando Bologna e Federico De Melis, ha l’ambizione di ricostruire l’ampia scena storica e geografica dalla quale emerge l’eccezionale individualità di Antonello: un pittore che, a metà del Quattrocento, si fa interprete di un fermento creativo mediterraneo ed europeo incentrato sull’incontro-scontro tra la civiltà fiamminga e quella italiana.
Photo by Fernando Guerra
www.mart.trento.it/antonellodamessina
Il Mart di Rovereto propone un’indagine articolata e uno sguardo originale sulla figura del grande pittore del Quattrocento e sul suo tempo, attraverso lo studio degli intrecci storico-artistici e delle controversie ancora aperte, presentati in questa sede come punti di forza attraverso i quali approfondire nuovi percorsi di interpretazione critica.
Il progetto espositivo, a cura di Ferdinando Bologna e Federico De Melis, ha l’ambizione di ricostruire l’ampia scena storica e geografica dalla quale emerge l’eccezionale individualità di Antonello: un pittore che, a metà del Quattrocento, si fa interprete di un fermento creativo mediterraneo ed europeo incentrato sull’incontro-scontro tra la civiltà fiamminga e quella italiana.
Photo by Fernando Guerra
David Friedman 'Dragline', 1949, The Grohmann Museum, 'Man at Work' collection, Milwaukee, Wisconsin
Iovi Optimo Maximo
PRO SALVTE NERO-
NIS CLAVDI CAE-
SARIS AVGusti IMPeratoris
CANABARI PVBLICE
Pvblio SVLPICIO SCRIBONIO
PROCVLO LEGato AVGvsti PRo PRaetore
CVRA ET IMPENSA
Qvinti IVLI PRISCI ET
Qvinti IVLI AVETI
Augustus. 27 BC-AD 14. AR Denarius (19mm, 3.69 g). Lugdunum (Lyon) mint. Struck 15-13 BC. Bare head right / Bull butting right. RIC I 167a; BMCRE 451; RSC 137.
EGYPT, Alexandria. Nero, with Tiberius. AD 54-68. BI Tetradrachm (22mm, 13.11 g). Dated RY 13 (AD 66/7). Radiate bust of Nero left, wearing aegis / Laureate head of Tiberius right. Köln 187-189; Dattari 185; Milne 256-260; Emmett 134; RPC I 5295.
If you are interested in Julio Claudian Iconography and portrait study you may enjoy these two links:
Julio Claudian Iconographic Association- Joe Geranio- Administrator at groups.yahoo.com/group/julioclaudian/
The Portraiture of Caligula- Joe Geranio- Administrator- at
Both are non-profit sites and for educational use only.
THRACE, Thracian Kings. Rhoemetalces I, with Augustus. Circa 11 BC-AD 12. Æ 24mm (8.73 g). Jugate diademed bust of Rhoemetalces and draped bust of Pythadoris / Bare head of Augustus right. RPC I 1711; Youroukova 204; SNG Copenhagen 1188.
If you are interested in Julio Claudian Iconography and portrait study you may enjoy these two links:
Julio Claudian Iconographic Association- Joe Geranio- Administrator at groups.yahoo.com/group/julioclaudian/
The Portraiture of Caligula- Joe Geranio- Administrator- at
Both are non-profit sites and for educational use only.
Ref Nero AE Sestertius, RIC 178, Cohen 37, BMC 131
Nero Æ Sestertius. Rome mint, 64 AD. NERO CLAVD CAESAR AVG GER P M TR P IMP P P, laureate bust right, in aegis / AVGVST SPQR OST S-C, Port of Ostia with eight ships within the harbor, at the top is a pharus surmounted by a statue of Neptune, below is a reclining figure of Tiber, holding a rudder & dolphin. Cohen 38.
If you are interested in Julio Claudian Iconography and portrait study you may enjoy these two links:
Julio Claudian Iconographic Association- Joe Geranio- Administrator at groups.yahoo.com/group/julioclaudian/
The Portraiture of Caligula- Joe Geranio- Administrator- at
Both are non-profit sites and for educational use only.
The ancient Greek Parthenon temple, atop the Acropolis hill overlooking Athens, is framed by a lightning bolt during a thunderstorm that broke out in the Greek capital, late 9 October 2006. Greece has experienced stormy weather since the weekend, with two regions now placed in a state of emergency because of flood-related problems that damaged homes and disrupted transport.
Constatin-Emile Meunier 'Female Mine Worker', The Grohmann Museum roof top sculptures, 'Man at Work' collection, Milwaukee, Wisconsin
www.mart.trento.it/antonellodamessina
Il Mart di Rovereto propone un’indagine articolata e uno sguardo originale sulla figura del grande pittore del Quattrocento e sul suo tempo, attraverso lo studio degli intrecci storico-artistici e delle controversie ancora aperte, presentati in questa sede come punti di forza attraverso i quali approfondire nuovi percorsi di interpretazione critica.
Il progetto espositivo, a cura di Ferdinando Bologna e Federico De Melis, ha l’ambizione di ricostruire l’ampia scena storica e geografica dalla quale emerge l’eccezionale individualità di Antonello: un pittore che, a metà del Quattrocento, si fa interprete di un fermento creativo mediterraneo ed europeo incentrato sull’incontro-scontro tra la civiltà fiamminga e quella italiana.
Photo by Fernando Guerra
www.mart.trento.it/antonellodamessina
Il Mart di Rovereto propone un’indagine articolata e uno sguardo originale sulla figura del grande pittore del Quattrocento e sul suo tempo, attraverso lo studio degli intrecci storico-artistici e delle controversie ancora aperte, presentati in questa sede come punti di forza attraverso i quali approfondire nuovi percorsi di interpretazione critica.
Il progetto espositivo, a cura di Ferdinando Bologna e Federico De Melis, ha l’ambizione di ricostruire l’ampia scena storica e geografica dalla quale emerge l’eccezionale individualità di Antonello: un pittore che, a metà del Quattrocento, si fa interprete di un fermento creativo mediterraneo ed europeo incentrato sull’incontro-scontro tra la civiltà fiamminga e quella italiana.
Photo by Fernando Guerra
Wall Fragment with a Peacock
Unknown
Roman, about A.D. 70
Plaster and pigment
H: 15 3/4 x W: 9 3/4 x D: 1 1/4 in.
68.AG.13
Native to India, peacocks were imported into Rome and bred there as exotic pets, sacred animals, and extravagant delicacies. Peacock breasts and tongues were served at the most fashionable banquets. Sacred to the goddess Juno, peacocks were sometimes kept in her sanctuaries, where they acquired a symbolic connection with apotheosis and immortality. The extremely expensive birds were also kept in the gardens of the rich as a status symbol. It is in this latter context that the peacock depicted standing on a fence or railing on this small Roman wall fresco fragment probably appeared.
Cut from a larger composition covering an entire wall, this painting is done in the style popular in the mid-first century A.D., which scholars called Fourth Style. In this period, garden walls were often decorated with garden scenes in order to enlarge the space visually. Peacocks, as well as fountains and statues, were painted on these walls to make the garden look more expensive and luxurious than what the owners could actually afford.
If you are interested in Julio Claudian Iconography and portrait study you may enjoy these two links:
Julio Claudian Iconographic Association- Joe Geranio- Administrator at groups.yahoo.com/group/julioclaudian/
The Portraiture of Caligula- Joe Geranio- Administrator- at
Both are non-profit sites and for educational use only.
Augustus. 27 BC-AD 14. Æ Quadrans (17mm, 3.21 g, 3.21h). Rome mint. Apronius, Galus, Messala, Sisenna, moneyers. Struck 5 BC. Legend around large S C / Garlanded altar. RIC I 445b; BMCRE 245; BN 769.
If you are interested in Julio Claudian Iconography and portrait study you may enjoy these two links:
Julio Claudian Iconographic Association- Joe Geranio- Administrator at groups.yahoo.com/group/julioclaudian/
The Portraiture of Caligula- Joe Geranio- Administrator- at
Both are non-profit sites and for educational use only.
Octavian. 30-29 BC. AV Aureus (7.50 g, 6h). Italian (Rome?) mint. Draped bust of Diana Siciliensis right, her shoulders bare, the hair drawn back and coiled into two rolls on top and back of head; behind neck, bow and quiver / IMP • CAESAR on frieze, tetrastyle temple containing a naval and military trophy set on prow; in pediment, triskelis; above, at corners, aplustra . RIC I 273; CRI 418; Calicó 206; BMCRE 643 = BMCRR Rome 4355; BN 91; Biaggi 105
If you are interested in Julio Claudian Iconography and portrait study you may enjoy these two links:
Julio Claudian Iconographic Association- Joe Geranio- Administrator at groups.yahoo.com/group/julioclaudian/
The Portraiture of Caligula- Joe Geranio- Administrator- at
Both are non-profit sites and for educational use only.
English: Portrait of Augustus created ca. 20–30 BC; the head does not belong to the statue, dated middle 2nd century AD.
Français : Portrait d'Auguste, créé vers 20-30 av. J.-C. ; la tête n'appartient pas à la statue, datée du milieu du IIe siècle ap. J.-C.
Credit line Borghese Collection; purchase, 1807
Accession number Ma 1278 (MR 99)
Location Department of Greek, Etruscan and Roman Antiquities, Denon, ground floor, room 23
Source/Photographer Marie-Lan Nguyen (User:Jastrow), 2009-01-23
Domitius Ahenobarbus relief
Taking of the census and sacrifice
Circa 100 BC
Campo Marzio, Rome
Rome
Low- and high-relief, marble
H. 1.20 m; W. 5.60 m
Roman, about 27-25 BC
From Meroë, Sudan
'The object seems typical of objects from that period and is by itself interesting as a sculptural piece, particularly the eyes. It reminds me of a Greek man I once met in Accra. The inclusion of this piece in the trail is useful because it shows that the Kushite army was sometimes victorious over the Roman armies, and the Kushite armies were feared by the Romans.' Zagba Oyortey, of Ghanan origin
This head once formed part of a statue of the emperor Augustus (ruled 27 BC-AD 14). In 31 BC he defeated Mark Antony and Cleopatra at the battle of Actium and took possession of Egypt, which became a Roman province. The writer Strabo tells us that statues of Augustus were erected in Egyptian towns near the first cataract of the Nile at Aswan and that an invading Kushite army looted many of them in 24 BC.
Although Roman couter-attackers reclaimed many of the statues, they did not reach Meroë, where this head was buried beneath the steps of a native temple dedicated to Victory. It seems likely that the head, having been cut from its statue, was placed there deliberately so as to be permanently below the feet of its Meroitic captors.
The head of Augustus appears larger than life, with perfect proportions based upon Classical Greek notions of ideal human form. His calm distant gaze, emphasized with inset eyes of glass and stone, give him an air of quiet, assured strength. Coins and statues were the main media for propagating the image of the Roman emperor. This statue, like many others throughout the Empire, was made as a continuous reminder of the all-embracing power of Rome and its emperor.
Height: 47.75 cm
photo courtesy David Emery
Mosaico del circo.
Marca de propiedad en la grupa de los caballos.
Encontrado en Barcino en 1860.
Representa escena del Circo Máximo de Roma.
Cultura romana.
Siglo IV d. C.
Se conserva el revestimiento exterior pintado de rojo.
Numisia Tyche a su madre Numisia Euthycia.
Siglo I-II d. C.
Necrópolis romana.
Vía sepulcral de la Plaza de la Villa de Madrid.
Barcelona.
Hispania Epigraphica:
www.eda-bea.es/pub/list.php?refpage=%2Fpub%2Fsearch_selec...
ROMAN SILVER CUP INSCRIBED FOR RVMINVS
Decorated in continuous low relief with a pair of confronting chimera, a trident between, terminating in swirls, a flame between; incised with a dedication to Jupiter Ruminus Optimus Maximus, with a raised ‘egg and dart’ rim.
1st Century AD
H. 2 1/2 in. (6.5 cm.); Diam. 4 in. (10.2 cm.)
RAG
If you are interested in Julio Claudian Iconography and portrait study you may enjoy these two links:
Julio Claudian Iconographic Association- Joe Geranio- Administrator at groups.yahoo.com/group/julioclaudian/
The Portraiture of Caligula- Joe Geranio- Administrator- at
Both are non-profit sites and for educational use only.
If you are interested in Julio Claudian Iconography and portrait study you may enjoy these two links:
Julio Claudian Iconographic Association- Joe Geranio- Administrator at groups.yahoo.com/group/julioclaudian/
The Portraiture of Caligula- Joe Geranio- Administrator- at
Both are non-profit sites and for educational use only.
"The Nereid Monument is a sculptured tomb from Xanthos in classical period Lycia, close to present-day Kinik in Antalya Province, Turkey. It took the form of a Greek temple on top of a base decorated with sculpted friezes, and is thought to have been built in the early fourth century BC as a tomb for Arbinas (Lycian: Erbbina, or Erbinna), the Xanthian dynast who ruled western Lycia.
The tomb is thought to have stood until the Byzantine era before falling into ruin. The ruins were rediscovered by British traveller Charles Fellows in the early 1840s. Fellows had them shipped to the British Museum: there some of them have been reconstructed to show what the East façade of the monument would have looked like."
British Museum, London
March 18, 1995
Image (36)