21
Portfolios%3D%22621%22%20and%20Disp_Obj_Type%3D%22Sculpture%22
Sculpture
The Abduction of Proserpina
After Giovanni Lorenzo Bernini, 1598 - 1680
Bernini, Giovanni Lorenzo
Italy
1598 - 1680
Male
32 in. (81.3 cm)
.
.
.
overall
Bronze
Bronze
17th century
1600
1699
1600-1800, 17th century, mythology, Proserpine, rape, sculpture
Sculpture
1968.2
item
Memorial Art Gallery
1/22/2001
68.2SL1
slide
full front
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
68.2SL2
slide
full-back
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
68.2DI1
digital image
full front
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/68.2_A1.jpg
68.2DI#2
digital image
1/2/2012
http://127.0.0.1:5000/Media/images/68.2_A2.jpg
Sculpture
Evangeline
William Couper, 1853 - 1942
Couper, William
United States
1853 - 1942
Male
21 1/4 in. (54 cm)
.
.
.
Marble
Marble
ca. 1880
1875
1885
1800-1900, 19th century, Evangeline, sculpture, women
Sculpture
on base
1969.7
item
Memorial Art Gallery
9/8/1999
69.7TR1
Transparency
Memorial Art Gallery
Front
2 x 2 3/4
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
transparency
2 x 2.5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
69.7SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
69.7DI1
digital image
Memorial Art Gallery
Front
Imaging complete
2/19/2001
http://127.0.0.1:5000/Media/images/69.7_A1.jpg
69.7DI#2
digital image
2/10/2016
http://127.0.0.1:5000/Media/images/69.7_A2.jpg
Sculpture
The Teaching of Love
Etienne-Maurice Falconet, 1716 - 1791
Falconet, Etienne-Maurice
France
1716 - 1791
Male
12 1/2 x 9 3/8 x 10 in. (31.8 x 23.8 x 25.4 cm)
.
.
.
Porcelain
Porcelain
after 1763
1764
1773
1600-1800, 18th century, Cupid, sculpture
Sculpture
Falconet, a leading sculptor of the reign of Louis XV, was a director of the royal ceramic works at Sèvres. His main production was the biscuit statuette, which substitutes "soft paste" for the kaolin clay of "true" porcelain. Falconet took advantage of the milky, marble-like surface to create engaging figural groups of pure form and refined rococo detail.
"The Teaching of Love" may be derived from a composition by François Boucher. Falconet has transformed the painter's design into a complex three-dimensional ensemble of delicate beauty that invites the viewer to enjoy it from multiple angles.
[Gallery label text, 2008]
1955.108
item
Memorial Art Gallery
1/25/2001
55.108SL1
slide
full
2 x 2
00/00/00
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glossy
full
2 x 2.5
00/00/00
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negative
full
2 x 2.5
00/00/00
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negative
full
4 x 5
00/00/00
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negative
full
8 x 10
00/00/00
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55.108DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/55.108_A1.jpg
55.108DI#2
digital image
Front
00/00/00
http://127.0.0.1:5000/Media/images/55.108_A2.jpg
55.108DI#3
digital image
Back
00/00/00
http://127.0.0.1:5000/Media/images/55.108_A3.jpg
Sculpture
The West Wind
Thomas Ridgeway Gould, 1818 - 1881
Gould, Thomas Ridgeway
United States
1818 - 1881
Male
70 1/2 x 23 x 33 1/4 in. (179.1 x 58.4 x 84.5 cm)
.
.
.
overall
Marble
Marble
1876
1876
1876
1800-1900, 19th century, allegories, sculpture, women
Sculpture
Who was the West Wind? In Greek mythology, the West Wind was Zephyrus, one of the four wind gods. Perhaps the maker of this work, who was influenced by the mythological subjects that he saw in Italy, was describing the West Wind by showing its effect on the figure’s hair and skirt. Another interpretation suggests that the sculpture is an idealized expression of the United States’s westward expansion. It was exhibited at the Centennial Exhibition in Philadelphia on the occasion of the nation’s hundredth birthday in 1876. The starred belt on the waistband of the figure’s clothing could refer to the stars on the American flag.
When English poet Percy Shelley wrote his Ode to the West Wind in 1820, he closed it with these immortal words:
O Wind,
If Winter comes, can Spring be far behind?
[Gallery label text, 2004]
base
1966.18
item
Memorial Art Gallery
9/8/1999
66.18TR1
Transparency
Memorial Art Gallery
3/4 view
2 x 2 3/4
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
66.18SL2
slide
full-frontal
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
66.18SL1
slide
full-left side
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
4 x 5
00/00/00
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glossy
full
8 x 10
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negative
full
8 x 10
00/00/00
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66.18DI1
digital image
Memorial Art Gallery
3/4 view
Imaging complete
2/5/2001
http://127.0.0.1:5000/Media/images/66.18_A1.jpg
66.18SL3
slide
full-right front
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
66.18SL4
slide
in Powers Gallery
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
66.18SL5
slide
in print from 1876 Exposition
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
21gould1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/21gould1.tif
21gould1(10).tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/21gould1(10).tif
21gould5.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/21gould5.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/66.18_R1.jpg
west wind in gallery.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/west wind in gallery.tif
west wind in situ.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/west wind in situ.tif
66.18D3
digital image
Side
00/00/00
http://127.0.0.1:5000/Media/images/66.18_A2.JPG
66.18D4
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/66.18_A3.JPG
66.18D5
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/66.18_A4.JPG
Sculpture
Memory
William Ordway Partridge, (Paris, France, 1861 - 1930, New York, NY)
Partridge, William Ordway
United States
1861 - 1930
Male
82 1/2 x 26 3/4 x 29 5/8 in. (209.6 x 67.9 x 75.2 cm)
.
.
.
overall
.
.
.
overall
Marble
Marble
1914
1914
1914
1900-2000, 20th century, allegories, from Rochester collections, sculpture, women
Sculpture
back, at bottom
1913.12
item
Memorial Art Gallery
9/8/1999
13.12TR1
Transparency
Memorial Art Gallery
Front
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
13.12DI1
digital image
Memorial Art Gallery
Front
Imaging complete
2/1/2001
http://127.0.0.1:5000/Media/images/13.12_A1.jpg
glossy
8 x 10
00/00/00
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glossy
4 x 5
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negative
4 x 5
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13.12SL2
slide
full-without base
2 x 2
00/00/00
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13.12SL1
slide
full-with base
2 x 2
00/00/00
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13.12SL3
slide
detail-base Averill
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
13.12SL4
slide
instalation in orig gallery
2 x 2
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glossy
installation
5 x 7
00/00/00
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13.12DI2
archival
digital image
2/8/2006
http://127.0.0.1:5000/Media/images/related_images/13.12_R1.jpg
44partridge1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/44partridge1.tif
44partridge1(10).tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/44partridge1(10).tif
44partridge3.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/44partridge3.tif
pdf file
00/00/00
http://127.0.0.1:5000/Media/images/surrogates/pdf/13.12_R2.pdf
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/Partridge_contract_p1_fromRBSC.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/Partridge_contract_p2_fromRBSC.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/13.12_R3.tif
Sculpture
Nydia, the Blind Flower Girl of Pompeii
Randolph Rogers, 1825 - 1892
Rogers, Randolph
United States
1825 - 1892
Male
36 x 17 11/16 x 25 in. (91.5 x 45 x 63.5 cm)
.
.
.
overall
Marble
Marble
after 1855
1856
1865
1800-1900, 19th century, Last Days of Pompeii, sculpture, women
Sculpture
Nydia, the blind heroine of Edward Bulwer-Lytton’s 1834 novel The Last Days of Pompeii, was the subject of over 50 sculptures by Randolph Rogers. He depicted her, a broken column at her feet, as she used her heightened sense of hearing to listen for Glaucus, the nobleman whom she loved, and his fiancée, Ione. Although Nydia led them to safety, in the end she drowned herself because Glaucus could not be hers.
Nineteenth century collectors were fascinated by classical subjects like Pompeii. Many American collectors on the Grand Tour made trips to Italy, where they visited the studios of artists like Rogers and actively commissioned work. At left is a picture of MAG’s Nydia in an earlier collection in the home of Mr. and Mrs. W.W. Chapin, 110 South Fitzhugh Street, Rochester. [Gallery Label, February 6, 2012]
on fallen capital
1993.24
item
Memorial Art Gallery
9/8/1999
93.24TR1
Transparency
Memorial Art Gallery
Front
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
93.24SL1
slide
full
2 x 2
00/00/00
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negative
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
93.24DI1
digital image
Memorial Art Gallery
Front
Imaging complete
2/1/2001
http://127.0.0.1:5000/Media/images/93.24_A1.jpg
93.24DI2
digital image
Memorial Art Gallery
Front
Imaging complete
00/00/00
http://127.0.0.1:5000/Media/images/93.24_A2.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/93.24_R1.jpg
Sculpture
The Ghost in "Hamlet"
Thomas Ridgeway Gould, 1818 - 1881
Gould, Thomas Ridgeway
United States
1818 - 1881
Male
20 1/2 x 24 1/2 in. (52.1 x 62.2 cm)
.
.
.
Marble
Marble
ca. 1877
1872
1882
1800-1900, 19th century, Hamlet, sculpture
Sculpture
1930.67
item
Memorial Art Gallery
9/8/1999
30.67SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
30.67TR1
transparency
2.5 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
30.67DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/30.67_A1.jpg
21gould2.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/21gould2.tif
Sculpture
Sphinx
Egyptian artist
Egyptian artist
Egypt
Primary
19 3/4 x 49 5/8 x 15 9/16 in. (50.2 x 126 x 39.6 cm)
.
.
.
overall
overall
Granite
Granite
Egyptian; made in Karnak
332 BCE-30 BCE
332 BCE
30 BCE
1000 BCE - 500 CE, Egyptian, sphinxes
Sculpture
The sphinx, a mythical creature with a human head and a lion’s body, is found in many ancient cultures. In ancient Egypt, the sphinx, a version of the solar god Horus, represented the dawn and the early rising sun. Egyptians associated ruling pharaohs with Horus and his royal powers. Large stone sphinxes frequently guarded the tombs of pharaohs and high priests.
[Gallery label text, 2009]
1951.307
item
Memorial Art Gallery
3/20/2001
51.307SL1
slide
full-left side
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4 x 6
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.307DI1
digital image
Memorial Art Gallery
Imaging complete
2 X 2
12/17/2001
http://127.0.0.1:5000/Media/images/51.307_A1.jpg
51.307SL2
slide
full-right side
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.307SL3
slide
3/4 view
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.307DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.307DI#3
digital image
Side
3/30/2009
http://127.0.0.1:5000/Media/images/51.307_A2.jpg
51.307DI#4
digital image
Three-quarter
3/30/2009
http://127.0.0.1:5000/Media/images/51.307_A3.jpg
Sculpture
St. George and the Dragon
Francesco Fanelli, (Florence, flourished ca. 1608 - 1661)
Benati, Carlo
Italy
Male
Previous attribution
Attributed to
Fanelli, Francesco
Italy
ca. 1608 - 1661
Male
Primary
8 1/4 in. (21 cm)
.
.
.
Bronze
Bronze
1625
1625
1625
1600-1800, 17th century, dragons, horses, men, sculpture, St. George
Sculpture
1955.93
item
Memorial Art Gallery
1/22/2001
55.93SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.93DI1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/55.93_A1.jpg
55.93DI#2
digital image
1/2/2012
http://127.0.0.1:5000/Media/images/55.93_A2.jpg
Sculpture
Standing Figure of the Finance Minister Maya
Egyptian artist
Egyptian artist
Egypt
Primary
33 9/16 x 11 in. (85.2 x 28 cm)
.
.
.
without mount
overall
.
.
.
with mount
overall
Limestone
Limestone
ca. 1330 BCE
1335 BCE
1325 BCE
2000 - 1000 BCE, Before 2000 BCE, Egyptian, men, reliefs
Sculpture
The inscription identifies this relief as belonging to the tomb of Maya, the son of Iwy and Werit. Maya, the Overseer of the Royal Treasury who served the pharaohs Tutankhamun, Aya and Horemhab, also supervised the preparation of the tombs of Tutankhamun and Ay in the Valley of the Kings. An inscription from another part of the tomb, now in Liverpool, England, tells us that Tutankhamun himself ordered Maya to journey from Aswan, a city in the south, to the shores of the Mediterranean. His instructions were to levy taxes in order to establish offerings for all the gods of Egypt.
In this relief, Maya is shown wearing an elaborate wig, the individual curls of which are tied at their ends. His facial features are distinctive, particularly his aquiline nose and strong chin. His accessories include two collars of disk beads that represent the “gold of honor.” Pharaohs of the period gave this type of collar to distinguished administrators as a reward for their service.
Richard Lepsius, a famous German Egyptologist, studied the tomb of Maya during the 1900s. He and his team published drawings that place the Gallery’s relief on the exterior south side of the entrance to the antechamber of the tomb.
[Excerpted from gallery label text, 2004]
1942.55
item
Memorial Art Gallery
3/20/2001
42.55TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
42.55SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
42.55TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
full front
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
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full front
2 x 2
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full front
3.5 x 5
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glossy
8 x 10
00/00/00
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42.55DI1
digital image
Memorial Art Gallery
Imaging complete
2 X 2
11/29/2001
http://127.0.0.1:5000/Media/images/42.55_A1.jpg
42.55DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
42.55DI3
digital image
00/00/00
http://127.0.0.1:5000/Media/images/42.55_A2.jpg
42.55DI4
digital image
00/00/00
http://127.0.0.1:5000/Media/images/42.55_A3.jpg
42.55DI5
digital image
00/00/00
http://127.0.0.1:5000/Media/images/42.55_A4.jpg
42.55DI6
digital image
00/00/00
http://127.0.0.1:5000/Media/images/42.55_A5.jpg
42.55DI#7
digital image
3/30/2009
http://127.0.0.1:5000/Media/images/42.55_A6.jpg
42.55DI#8
digital image
Detail
3/30/2009
http://127.0.0.1:5000/Media/images/42.55_A7.jpg
Sculpture
Crest Mask: Male Antelope (Chi Wara)
Bamana artist, (active )
Bamana artist
Mali
Primary
40 9/16 x 2 15/16 x 13 9/16 in. (103 x 7.5 x 34.5 cm)
.
.
.
overall
overall
Wood
Wood
Bamana; made in Mali
0
0
African art, antelopes, Bamana, chi wara, sculpture
Sculpture
In many cultures, gods and spirits take the form of animals. Selected for their physical or behavioral traits, features of different animals are combined to create mythical creatures whose symbolic powers are greater than those of ordinary beasts. This antelope crest mask combines the curved horns of an antelope, the curious snout and scales of a pangolin (a kind of anteater) and the squat body of an aardvark—all animals that dig up the earth. This makes the mask a fitting representations of Chi Wara, the supernatural being the Bamana believe taught humans to farm. Chi wara masks were worn in male/female pairs during dance performances in the fields that taught and encouraged good farming. Today, because of conversion to Islam and a variety of social changes due to westernization, the Chi Wara masquerade is now performed for entertainment and cultural pride.
The small pieces of red cloth attached to the snout of this male Chi Wara may have originated in the woolen bandages imported by the French during the First World War. In Bamana culture, red is the color of danger and is often restricted to men of certain status.
[Gallery label text, 2009]
1969.107
item
Memorial Art Gallery
11/28/2000
69.107SL2
slide
worn w fiber costume
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
69.107SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
2 x 2
00/00/00
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glossy
full
2 x 2
00/00/00
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glossy
full
8 x 10
00/00/00
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negative
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
69.107DI1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/69.107_A2.jpg
69.107DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/69.107_A1.jpg
69.107DI#3
digital image
Three-quarter
1/13/2009
http://127.0.0.1:5000/Media/images/69.107_A3.jpg
69.107DI#4
digital image
Side
1/13/2009
http://127.0.0.1:5000/Media/images/69.107_A4.jpg
69.107DI#5
digital image
Front
1/13/2009
http://127.0.0.1:5000/Media/images/69.107_A5.jpg
69.107DI#6
digital image
1/13/2009
http://127.0.0.1:5000/Media/images/69.107_A6.jpg
69.107TR1
transparency
Front
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Sculpture
Crest Mask: Female Antelope (Chi Wara)
Bamana artist, (active )
Bamana artist
Mali
Primary
30 1/2 x 7 5/8 x 8 in. (77.5 x 19.4 x 20.3 cm)
.
.
.
Wood
Wood
Bamana; made in Mali
0
0
African art, antelopes, Bamana, chi wara, sculpture
Sculpture
In many cultures, gods and spirits take the form of animals. Selected for their physical or behavioral traits, features of different animals are combined to create mythical creatures whose symbolic powers are greater than those of ordinary beasts. This antelope crest mask combines the curved horns of an antelope, the curious snout and scales of a pangolin (a kind of anteater) and the squat body of an aardvark—all animals that dig up the earth. This makes them fitting representations of Chi Wara, the supernatural being the Bamana believe taught humans to farm. The masks were worn in male/female pairs during dance performances in the fields that taught and encouraged good farming. Today, because of conversion to Islam and a variety of social changes due to westernization, the Chi Wara masquerade is now performed for entertainment and cultural pride.
[Gallery label text, 2009]
1993.14
item
Memorial Art Gallery
9/8/1999
93.14SL1
slide
3/4 view
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
2 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
93.14DI1
digital image
3/4 view
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/93.14_A1.jpg
93.14DI#2
digital image
Three-quarter
1/13/2009
http://127.0.0.1:5000/Media/images/93.14_A2.jpg
93.14DI#3
digital image
side
1/13/2009
http://127.0.0.1:5000/Media/images/93.14_A3.jpg
93.14DI#4
digital image
Front
1/13/2009
http://127.0.0.1:5000/Media/images/93.14_A4.jpg
93.14DI#5
digital image
1/13/2009
http://127.0.0.1:5000/Media/images/93.14_A5.jpg
93.14TR1
transparency
Front
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Sculpture
"Why Don't You Speak for Yourself, John?"
John Alden and Priscilla
John Rogers, 1829 - 1904
Rogers, John
United States
1829 - 1904
Male
22 in. (55.9 cm)
.
.
.
Plaster
Plaster
1885
1885
1885
19th century, figures, home life, storytelling with art
Sculpture
Rogers Group, subject taken from Longfellow's poem, "The Courtship of Miles Standish," published in 1853.
on baseon base
1944.69
item
Memorial Art Gallery
9/8/1999
44.69SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
3x2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
44.69DI#1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/44.69_A1.jpg
Sculpture
St. Christopher
Austrian artist, (active )
Austrian artist
Austria
Primary
14 in. (35.6 cm)
.
.
.
Wood
Wood
0
0
1600-1800, 1800-1900, 18th century, 19th century, Christ, figure, male figures, male saints, woodwork
Sculpture
1955.88
item
Memorial Art Gallery
3/10/2001
55.88SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
3x2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.88DI#1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/55.88_A1.jpg
55.88DI#2
digital image
10/19/2017
http://127.0.0.1:5000/Media/images/55.88_A2.jpg
Sculpture
St. George and the Dragon #1
William White, 1918 -
White, William
United States
1918
Male
17 1/2 x 8 1/2 x 8 1/2 in. (44.5 x 21.6 x 21.6 cm)
.
.
.
overall
overall
.
.
.
with base
overall
Bronze
Bronze
0
0
American art, dragons, male figures, metalwork, sculpture, St. George
Sculpture
Although both casting and forging are ancient metalworking techniques, there was a period during the 1950s and ‘60s when it became quite fashionable to combine them in a single piece. This was the first example of a cast and forged sculpture to enter MAG’s collection. It was given in memory of Giovanni Polizzi, a young sculptor and member of the Arena Group who was killed in an auto accident at the age of 34.
[Label text from It Came From the Vault exhibition, 2013]
1955.178
item
Memorial Art Gallery
9/8/1999
55.178SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
2.5 x 2.5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
2.5 x 2.5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.178DI#1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/55.178_A1.jpg
55.178DI#2
digital image
2/22/2013
http://127.0.0.1:5000/Media/images/55.178_A2.jpg
Sculpture
Winged Genius
Assyrian artist, (active )
Assyrian artist
Iraq
33 3/8 x 29 1/8 x 2 1/2 in. (84.7 x 73.9 x 6.4 cm)
.
.
.
with mount
overall
.
.
.
with base
overall
Alabaster
Alabaster
Assyrian; made in Nimrud
ca. 865 BCE-860 BCE
865 BCE
860 BCE
1000 BCE - 500 CE, ancient art (Mediterranean & Near East), Assyrian, reliefs, reliefs
Sculpture
This mythical guardian figure, called a Genius, wears a two-horned helmet and fringed garment and carries a double-handled dagger, all attributes of his divine nature. His hands gesture protectively toward a flowering tree, just visible at the right edge of the sculpture. This relief, once brightly painted, is a fragment from the Northwest palace built by the Assyrian king Ashirnasirpal II (883—859 BCE) in his capital city at Kalhu, now the Iraqi city of Nimrud. Dozens of huge stone slabs carved with scenes of human and divine figures decorated the palace walls.
[Gallery label text, 2009]
This relief is a fragment of a larger composition of similar figures that once decorated one of the palaces of King Ashurnasirpal II, who ruled Assyria from 883 to 859 BCE. He established his capital at Kalhu, now the Iraqi city of Nimrud. Carved in a technique typical of Assyrian bas-reliefs, with contours deeply channeled to make them discernible in diffuse light, the figure’s facial features and musculature are carefully modeled. The hair and garments are also carved in detail, enhancing the decorative effect that the Assyrians favored in such reliefs.
The wings and the two-horned helmet worn by the figure, called a Genius, are attributes of his divinity. That he is a protective deity is implied by his gesture toward the tree form, which suggests the care of a farmer for planted crops. The palmettes of a tree behind the figure’s right foot separated this figure from a similar one, now in the Vatican Museum in Rome, facing in the opposite direction.
The motif of tending to these tree forms appears on many of the more than 315 Assyrian reliefs in collections outside of Nimrud, and is believed to represent an act that was part of ritual ceremonies. While such ceremonies remain unexplained, their frequent representation in palace reliefs suggests their importance to Assyrian court life.
"I, Ashurnasirpal, the king whose glory is mighty, took Kalhu and changed its ancient mound… A palace of boxwood, mulberry, cedar, cypress, pistachio, tamarisk, and poplar… for my royal dwelling and for my lordly pleasure I founded therein, I adorned and made glorious.”
King Ashurnasirpal II, who ruled Assyria from 883-859 BCE, so described the founding of his new capital city at Kalhu (modern-day Nimrud) on the banks of the Tigris River. Ashurnasirpal’s most elaborate project was the construction of the Northwest Palace, which included state apartments, a throne room, administrative offices, a harem and a tomb. Built during his reign and completed by his successors, the palace was decorated with huge stone slabs that were carved with scenes of figures in relief and inscribed with a record of important events during Ashurnasirpal’s reign. The Gallery’s relief, Winged Genius, probably comes from this palace.
[Gallery label text, 2004]
1944.10
item
Memorial Art Gallery
3/20/2001
44.10SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
44.10DI1
digital image
Memorial Art Gallery
Imaging complete
2 x 2
11/29/2001
http://127.0.0.1:5000/Media/images/44.10_A1.jpg
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
44.10SL2
slide
detail of hands
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
44.10DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/44.10_A2.jpg
44.10DI3
digital image
00/00/00
http://127.0.0.1:5000/Media/images/44.10_A3.jpg
44.10DI#4
digital image
3/30/2009
http://127.0.0.1:5000/Media/images/44.10_A4.jpg
44.10DI#5
digital image
3/30/2009
http://127.0.0.1:5000/Media/images/44.10_A5.jpg
44.10DI#6
digital image
3/30/2009
http://127.0.0.1:5000/Media/images/44.10_A6.jpg
44.10DI#7
digital image
3/30/2009
http://127.0.0.1:5000/Media/images/44.10_A7.jpg
44.10DI#8
digital image
Detail of lower hand
00/00/00
http://127.0.0.1:5000/Media/images/44.10_A8.jpg
pdf file
00/00/00
http://127.0.0.1:5000/Media/images/surrogates/pdf/CrossroadsGuide.pdf
Sculpture
Standing Male Figure
Egyptian artist
Egyptian artist
Egypt
Primary
11 7/8 x 2 3/4 x 1 7/8 in. (30.2 x 7 x 4.7 cm)
.
.
.
overall
overall
Wood
Wood
2680 BCE - 2258 BCE
2680 BCE
2258 BCE
Before 2000 BCE, Egyptian, male figures, men
Sculpture
In Egyptian art, the male figure was invariably shown striding forward, with the left leg advanced.
[Gallery label text]
1940.66
item
Memorial Art Gallery
2/13/2001
40.66SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
2 x 2.5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
40.66DI1
digital image
Memorial Art Gallery
full
Imaging Complete
00/00/00
http://127.0.0.1:5000/Media/images/40.66_A1.jpg
40.66DI2
digital image
Memorial Art Gallery
detail
Imaging Complete
00/00/00
http://127.0.0.1:5000/Media/images/40.66_A2.jpg
40.66DI3
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
40.66DI#3
digital image
full
12/18/2007
http://127.0.0.1:5000/Media/images/40.66_A3.jpg
Sculpture
Togatus
Roman artist
Roman artist
Italy
Primary
68 7/8 x 31 1/4 x 20 in. (174.9 x 79.4 x 50.8 cm)
.
.
.
Marble
Marble
1st century
0
99
1000 BCE - 500 CE, men, Roman, statues
Sculpture
This man was a significant public figure in ancient Roman society. His toga—the traditional status garment symbolic of Roman citizenship—the scroll in his hand, and the box of scrolls at his feet mark his high status. He may have been one of the 300 Roman Senators who addressed important matters of civic law, religious practice, or foreign policy, all aspects of Roman life controlled by the Senate.
[Gallery label text, 2009]
1973.146
item
Memorial Art Gallery
3/20/2001
73.146SL1
slide
full front
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full front
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full side
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
face frontal
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
face side
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full front
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
detail robe
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
face frontal
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
face side
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full front
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full side left
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full side right
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
73.146DI1
digital image
Memorial Art Gallery
Full
Imaging complete
8 x 10
11/29/2001
http://127.0.0.1:5000/Media/images/73.146_A2.jpg
73.146DI2
digital image
Memorial Art Gallery
detail
Imaging complete
8 x 10
11/29/2001
http://127.0.0.1:5000/Media/images/73.146_A1.jpg
73.146SL2
slide
full side view
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
73.146SL3
slide
full- outside
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
73.146SL4
slide
detail-head
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
73.146SL5
slide
full length profile left side
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
73.146DI3
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
73.146DI1
digital image
Detail
6/25/2009
http://127.0.0.1:5000/Media/images/73.146_A3.jpg
Sculpture
Rhythm Pounder (Deble)
Senufo artist, (active )
Senufo artist
Côte d'Ivoire
42 1/2 in. (108 cm)
.
.
.
Wood
Wood
Senufo; made in Côte d'Ivoire
0
0
1900-2000, African art, religious & ritual objects, Senufo
Sculpture
In many African societies, life on earth is seen as part of a continuum that permits movement between the spirit and earthly worlds. As ancestors are in a position to assist the living, they must be respected and attended to. The rhythm pounders of the Senufo originally functioned as communication devices in calling the spirits of ancestors to participate in funerals. Held by the upper arms, the rhythm pounder’s thick base is thumped into the earth in rhythm with the sounds of chants, drums and rattles.
[Gallery label text, 2009]
1969.72
item
Memorial Art Gallery
3/10/2001
69.72SL1
slide
3/4 full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
3/4 full L
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
3/4 full R
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
3/4 full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
69.72SL2
slide
detail-torso/head
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
69.72DI1
digital image
3/4 full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/69.72_A1.jpg
69.72DI#3
digital image
Front
3/10/2009
http://127.0.0.1:5000/Media/images/69.72_A3.jpg
69.72DI#2
digital image
Three-quarter
3/10/2009
http://127.0.0.1:5000/Media/images/69.72_A2.jpg
Sculpture
Helmet Mask (Waniougo)
Senufo artist, (active )
Senufo artist
Côte d'Ivoire
Primary
14 3/8 x 25 3/4 x 13 in. (36.5 x 65.4 x 33 cm)
.
.
.
Wood
Wood
Senufo; made in Côte d'Ivoire
0
0
masks
Sculpture
The sharp edges and angular forms of this double-faced mask (waniougo) result in a fierce and expressive presence. A fearsome appearance is desirable as waniougo’s role is to frighten away evil spirits wishing to harm a Senufo village at times of particular vulnerability, for example at funerals. Their appearance in nighttime masquerades enhances the otherworldly presence of these “firespitter” masks; embers or burning grass are held in front of the mouths through which the wearer blows to creating a dramatic shower of sparks into the night sky.
Waniougo combines the features of crocodiles (teeth), hippos (tusks), warthogs (upper tusks) and chameleons (two are visible on the top). In order to empower the mask before the ceremony, the cup held by the chameleons is filled with magical materials and the mask freshly painted with spots.
[Gallery label text, 2009]
1970.22
item
Memorial Art Gallery
3/10/2001
70.22TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
70.22SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
70.22DI1
digital image
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/70.22_A1.jpg
Sculpture
Female Satyr, Bacchus, and Putti
Gerhard van Opstal, 1597 - 1668
Opstal, Gerhard van
Flanders
1597 - 1668
Male
8 1/2 x 6 1/4 x 1 in. (21.6 x 15.9 x 2.5 cm)
.
.
.
Ivory
Ivory
17th Century
1600
1699
1600-1800, Bacchus, European art, putti, satyrs
Sculpture
1955.49.1
item
Memorial Art Gallery
3/10/2001
negative
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
5 x 7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
5 x 7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.49.1DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/55.49.1_A1.jpg
55.49.1DI#2
digital image
10/23/2009
http://127.0.0.1:5000/Media/images/55.49.1_A2.jpg