Walters Art Museum

Woman Creator: Roman (Artist) Period: ca. 50 BC (late Republican) Medium: marble (Sculpture) Accession Number: 23.139 Measurements: 12 5/16 x 8 5/8 x 8 11/16 in. (31.3 x 21.9 x 22 cm); mount: 5 7/8 x 6 5/8 x 6 5/8 in. (14.9 x 16.9 x 16.8 cm) Geographies: Egypt (?) (Place of Origin) The realism of the young woman's fleshy features and the detailed treatment of her elaborate hairstyle are typical of the late Republican period. The position of her head and the rough finish of the back suggest that she formed part of a group composition of family members decorating a tomb. Text from: art.thewalters.org/detail/30806/woman/

Mummy Portrait of a Bearded Man Creator: Egyptian (Artist) Period: ca. AD 170-180 (Roman Imperial) Medium: encaustic on wood (Painting & Drawing) Accession Number: 32.6 Measurements: H: 15 15/16 x W: 7 7/8 in. (40.5 x 20 cm) Geographies: er-Rubayat (?) (in Faiyum) (Place of Origin) Prior to the Roman Period, the likeness of the deceased on the mummy mask, coffin, and sarcophagus was an idealized representation that conformed to the general style of the period. With the arrival of Roman rule in Egypt, mummy portraits became increasingly naturalistic. The new style of portraiture was sometimes rendered in two-dimensional paintings on a wood panel or on linen. The panel portraits were made in either tempera paint or in encaustic, like this example. Encaustic painting is a technique in which the pigment is dissolved in wax before it is applied to the surface. Text from: art.thewalters.org/detail/7962/mummy-portrait-of-a-bearde...

Jewish Ossuary Creator: Levantine (Artist) Period: 1st century Medium: limestone (Sculpture) Accession Number: 23.240 Measurements: 28 3/8 x 27 15/16 x 12 5/8 in. (72.1 x 71 x 32.1 cm) Geography: Judea, Israel (Place of Discovery) The shape of this piece was inspired by wooden chests that were used in Jewish homes. The origin of the Jewish ossuary (a box for holding bones) can be traced back to the late 1st century BC, during the time when Rome ruled the Holy Land. At that time, by Jewish custom, when someone died, the body was placed in a wooden coffin within a rock-hewn tomb or burial cave. After a year, the bones were removed and put into an ossuary in the family tomb. On this example, the name of the deceased is carved on the back: "Yehosef bar Aglon" or "Yehosef, the son of Aglon." Text from: art.thewalters.org/detail/22346/jewish-ossuary/

Goddess or Priestess Creator: Minoan (Artist) Period: 16th century BC Medium: ivory and gold (Ivory & Bone) Accession Number: 71.1090 Measurements: 8 7/16 in. (21.5 cm) Geographies: Crete, Greece (Place of Origin) Despite the delicate nature of the precious gold and ivory materials, the stance of this small figurine conveys power and strength. It closely resembles ceramic statuettes identified as goddesses or priestesses found in the sanctuary space known as the "Pillar Shrine" within the Minoan palace of Cnossus, Crete. The snakes adorning the figure are symbolic of fertility and regenerative powers. Text from: art.thewalters.org/detail/25734/goddess-or-priestess/

Cycladic Female Figurine Creator: Goulandris Master (Greek, active ca. 2500-2400 BC) (?) (Artist) Period: ca. 2500-2400 BC (Early Cycladic II) Medium: marble (Sculpture) Accession Number: 23.253 Measurements: H: 16 5/16 x W: 4 3/16 x D: 1 1/2 in. (41.5 x 10.7 x 3.75 cm) Geographies: Cyclades, Greece (Place of Origin) Figurines of this type, from the Cyclades islands in the Aegean Sea, have been found almost exclusively in tombs. Although it was first believed that these so-called "idols" represent deities, they probably should be interpreted more broadly as representations of "femaleness." The geometric shapes, the position of the arms across the abdomen, and the close-set legs with dangling feet are distinctive and may appear strikingly modern to the viewer today. This example represents the high point of Cycladic figurine carving, when the form had become extremely elegant. Text from: art.thewalters.org/detail/31097/cycladic-female-figurine/

Bichrome Ware Jug with Geometric Design and Concentric Circles Creator: Cypriote (Artist) Period: 7th century BC Medium: terracotta (Ceramics) Accession Number: 48.2347 Measurements: 7 5/8 in. (19.3 cm) Geographies: Cyprus (Place of Origin) This example of the popular pinched-spout jug is decorated with red paint on a pale background and is called Bichrome Ware. There were two distinct styles of this ceramic ware in Cyprus at this time: the "rectilinear," which features triangles, diamonds, and rectangles, was common in the eastern and southern regions of the island; the "circle" style, shown here, with groups of concentric circles, was found mostly in the western and northern areas. Text from: art.thewalters.org/detail/15367/bichrome-ware-jug-with-ge...

Pyxis and Lid with Two Standing Horses The horse pyxis was made only in Athens. Many examples have been found in the graves of women and are thought to have held food offerings or personal items of the deceased. The horses on the lid, which served as a handle, may reflect the prominent status of the owner's family, as horses were associated with the aristocracy during this period. Creator: Greek (Artist) Period: 8th century BC (Geometric) Medium: terracotta (Ceramics) Accession Number: 48.2029 Measurements: 9 13/16 x 13 1/2 in. (25 x 34.3 cm) Geography: Greece (Place of Origin) Text from: art.thewalters.org/detail/40478/pyxis-and-lid-with-two-st...

Corinthian-Type Helmet Creator: Greek (Artist) Period: 7th-6th century BC (Archaic) Medium: bronze (Metal) Accession Number: 54.2303 Measurements: 10 1/16 x 7 1/2 x 10 5/8 in. (25.5 x 19 x 27 cm) Geographies: Corinth, Greece (?) (Place of Origin) This type of helmet is commonly called "Corinthian" because it is worn by the goddess Athena on Corinthian coins, but helmets of this kind were not restricted to any one production center. The mask-like form covers the entire head, with openings only around the eyes and mouth. Text from: art.thewalters.org/detail/9666/corinthian-type-helmet/

Chalcidian-Type Helmet Creator: Greek (Artist) Period: ca. 500 BC (Classical) Medium: bronze (Metal) Accession Number: 54.2468 Measurements: 11 7/8 x 7 5/16 x 9 1/4 in. (30.1 x 18.5 x 23.5 cm) Geographies: Greece (Place of Origin) The form of this helmet, known as Chalcidian, is distinguished by the curved cheekpieces, which are attached here by pins terminating in snake heads. For a Greek youth, the acquisition of a helmet was a long-awaited badge of manhood. Each helmet had to be custom-made and was typically lined with leather. A helmet was customarily hung on the wall of the owner's house during his lifetime and, especially in early times, would also be buried with him. The advance in Greek technology that made possible the widespread production of hammered bronze helmets also led to the mass production of shields. As a result, on the battlefield individual duels were superseded by the phalanx, a form of combat in which warriors advanced together as an almost impenetrable wall of weaponry. Text from: art.thewalters.org/detail/22640/chalcidian-type-helmet/

Chalcidian-Type Helmet Creator: Greek (Artist) Period: ca. 500 BC (Classical) Medium: bronze (Metal) Accession Number: 54.2468 Measurements: 11 7/8 x 7 5/16 x 9 1/4 in. (30.1 x 18.5 x 23.5 cm) Geographies: Greece (Place of Origin) The form of this helmet, known as Chalcidian, is distinguished by the curved cheekpieces, which are attached here by pins terminating in snake heads. For a Greek youth, the acquisition of a helmet was a long-awaited badge of manhood. Each helmet had to be custom-made and was typically lined with leather. A helmet was customarily hung on the wall of the owner's house during his lifetime and, especially in early times, would also be buried with him. The advance in Greek technology that made possible the widespread production of hammered bronze helmets also led to the mass production of shields. As a result, on the battlefield individual duels were superseded by the phalanx, a form of combat in which warriors advanced together as an almost impenetrable wall of weaponry. Text from: art.thewalters.org/detail/22640/chalcidian-type-helmet/

Kouros Creator: Greek (Sculptor) Period: ca. 530 BC (Archaic) Medium: limestone (Sculpture) Accession Number: 23.279 Measurements: 23 1/4 x 12 3/16 x 6 11/16 in. (59 x 31 x 17 cm) Geography: Asia Minor (Place of Discovery) A large stone figure of a nude youth with its left foot forward, called a "Kouros" (plural "Kouroi"), was the most common male representation during the Archaic period. Usually, these statues have their hands by their sides, but this one has the shoulders pulled back and the hands curiously set below the chest. The now-missing right hand was either attached to the side like the better-preserved left palm, or it was placed close to the body holding an offering. Like most "Kouroi," the statue was probably set in a sanctuary or marked the tomb of a young aristocrat. Text from: art.thewalters.org/detail/9831/kouros/

Attic Black-Figure Plate with Gorgon's Head and Bands of Animals Creator: Gorgon Painter (Greek, active ca. 600-580 BC) (Artist) Period: ca. 600 BC (Archaic) Medium: terracotta (Ceramics) Accession Number: 48.215 Measurements: 1 5/8 x 12 13/16 in. (4.2 x 32.5 cm) (h. x diam.) Geographies: Attica, Greece (?) (Place of Origin) This rare plate was decorated by one of Athens' most important early vase-painters, for whom the Gorgon (a creature with a frightening grimace and snakes for hair) was a favorite subject. Mythical beings such as Gorgons, sphinxes (with a woman's head, an eagle's wings, and a lion's body), and sirens (with a woman's head and a bird's body), all depicted here, were inspired by Eastern models. An owl, panther, goat, lion, and siren form a lively procession around the rim. Text from: art.thewalters.org/detail/31014/attic-black-figure-plate-...

Black-Figure "Pinax" (Plaque) Creator: Gela Painter (Greek, active ca. 500-ca. 450 BC) (?) (Artist) Period: 2nd half 6th century BC Medium: terracotta (Ceramics) Accession Number: 48.225 Measurements: H: 3 9/16 x W: 6 5/8 in. (9 x 16.8 cm) Geographies: Attica, Greece (Place of Origin) "Pinakes" (singular "pinax") are decorated plaques made usually of terracotta, but also of wood, ivory, stone, or metal, which were often dedicated as offerings in sanctuaries. The holes were used to hang them within the sanctuary on walls, trees, or even on the cult image of the deity. The terracotta examples were produced by the same pottery workshops that made vases. This black-figure example shows a "prothesis" scene, the lying-in-state of the deceased on a bed, surrounded by his family members, some of whom tear their hair in mourning. Text from: art.thewalters.org/detail/19887/black-figure-pinax-plaque/

Red-Figure Bell Krater Creator: Christie Painter (Greek, active ca. 450 BC-420 BC) (?) (Artist) Period: ca. 440 BC (Classical) Medium: terracotta (Ceramics) Accession Number: 48.74 Measurements: 11 1/2 x 13 3/8 x 12 1/8 in. (29.2 x 34 x 30.8 cm) Geographies: Athens, Greece (Place of Origin) The wine-god Dionysus appears often on vases of this shape (called a bell "krater"), which held wine for drinking parties. He is usually shown as a bearded and majestic god. Here, Dionysus holds a "thyrsus" (a pole often twined with ivy and grapevines and topped with a pine cone) in one hand and a "kantharos" (a high-handled drinking cup) in the other. He turns his head to gaze at a maenad who follows, while a satyr playing the double flutes leads the procession. The maenad carries an "oinochoe" (a wine jug) and a lighted torch, indicating that the group's journey takes place at night. Text from: art.thewalters.org/detail/29124/red-figure-bell-krater/

Red-Figure Chous with Eros Creator: Greek (Artist) Period: ca. 410 BC (Classical) Medium: terracotta (Ceramics) Accession Number: 48.206 Measurements: H: 3 9/16 x Max. Diam: 2 3/4 in. (9.01 x 7 cm) Geographies: Athens, Greece (Place of Origin) This small "chous," a vessel for wine, would have been given as a gift to a young boy during the Athenian festival known as the Anthesteria, celebrating the new wine. Such vessels depict children at play, often imitating adults. Here, a chubby Eros runs, pulling a child's toy cart behind him. He wears a wreath, a spiked headdress, and a string of amulets across his chest. Text from: art.thewalters.org/detail/2068/red-figure-chous-with-eros/

Wine Jug with Boy Riding Goat Creator: Greek (Artist) Period: ca. 410 BC (Classical) Medium: terracotta (Ceramics) Accession Number: 48.95 Measurements: 3 9/16 x 2 3/4 in. (9.1 x 7 cm) Geographies: Greece (Place of Origin) This miniature "oinochoe," known more particularly as a "chous" ("choes" in the plural), dates to the last decade of the 5th century BC. As is most often the fashion with small "choes," this example features scenes of children, their accoutrements, and their play. This "chous" depicts two boys. One rides on a goat; the other stands nearby holding out a bunch of grapes to his companion. Both boys are crowned, and the standing boy, who also holds a toy cart on one shoulder, is adorned with protective amulets. Text from: art.thewalters.org/detail/7135/wine-jug-with-boy-riding-g...

Red-Figure Kylix This cup shows a variation of the motif of the female head: the woman is an Amazon and she wears a dotted Phrygian cap and a laurel wreath. The outside of the cup is decorated with figures of a naked youth and a seated woman, with palmettes in between. Creators: Greek (?) (Artist) or Italian (?) (Artist) Period: late 4th century BC (Hellenistic) Medium: terracotta (Ceramics) Accession Number: 48.2767 Measurements: 2 1/8 x 8 1/4 in. (5.4 x 21 cm) (h. x max. width) Geography: Italy (Place of Origin) Text from: art.thewalters.org/detail/35502/red-figure-kylix/

Head of the Doryphorus Creators: Roman (Artist), Copy after Polykleitos (Greek, active 460-415 BC) (Artist) Period: Original: ca. 450 BC; Roman copy: 1st century BC-AD 4th century (Classical-Roman) Medium: marble (Sculpture) Accession Number: 23.225 Measurements: 10 13/16 x 9 1/16 x 9 7/16 in. (27.5 x 23 x 24 cm) Polyclitus of Argos attempted to depict the High Classical ideal of human form in his famous "Doryphorus" (Spear-bearer) statue. In his treatise, entitled "Canon," he wrote of achieving this ideal through perfect balance and proportion among the parts of the body. The statue may have been intended to portray Achilles setting off for the Trojan War. This copy follows, but does not imitate exactly, the structure and symmetry of the head of the original "Doryphorus." Text from: art.thewalters.org/detail/15224/head-of-the-doryphorus/