Metropolitan Museum IV
Folder: Metropolitan Museum of Art
Metropolitan Museum of Art Set III: Greek & Roman (excluding Bronze Age Greece, Geometric, Etruscan & Cypriot Art) The Metropolitan Museum of Art, often referred to simply as The Met, is one of the world's largest and most important art museums. It is located on the eastern edge of Central Park in Manhattan, New York City, United States. The Met also maintains "The Cloisters", which features med…
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Detail of a Marble Grave Stele with a Family Group…
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Marble grave stele with a family group, ca. 360 B.C.; Classical
Greek, Attic
Marble, Pentelic; H. 67 3/8 in. (171.1 cm)
Rogers Fund, 1911 (11.100.2)
Because the framing niche that once surrounded this relief is missing, there are no inscriptions that might identify the deceased. Both the seated man and the veiled woman behind him stare straight ahead, as if the young woman who gazes down at them were invisible. Do they mourn their dead daughter? Does she mourn her dead father? Or is she the sole survivor of the group? Despite its ambiguity and solemn sadness, the relief conveys an intense, though restrained, sense of family unity. Carved by a master, this grave stele is one of the most magnificent examples from the Classical period that has survived.
Text from: www.metmuseum.org/Works_of_Art/viewOne.asp?dep=13&vie...
Marble Head of a Bearded Man from a Stele in the M…
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Marble head of a bearded man from a stele (grave marker)
Greek, Attic, ca. 350-325 BC
Accession # 1972.118.116
Text from the Metropolitan Museum of Art label.
Funerary Statues of a Maiden and a Little Girl in…
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Marble funerary statues of a maiden and a little girl
Greek, Attic, ca. 320 BC
Said to have been found in Athens
Accession # 44.11.2-3
Toward the end of the fourth century BC, Attic grave monuments became increasingly elaborate. Freestanding figures such as these were often placed within a shallow, roofed marble structure that was open at the front. The older girl must have died in her teens, before marriage, for she wears her mantle pinned at the shoulders and hanging down her back. This distinctive manner of dress was apparently reserved for young virgins who had the honor of leading processions to sacrifice, while carrying a basket containing barley, fillets, and the sacrificial knife. Being a kanephoros (basket bearer) was the highest honor possible for a maiden in the years just preceding marriage, and this girl is represented wearing the festival dress.
Text from the Metropolitan Museum of Art label.
Funerary Statues of a Maiden and a Little Girl in…
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Marble funerary statues of a maiden and a little girl
Greek, Attic, ca. 320 BC
Said to have been found in Athens
Accession # 44.11.2-3
Toward the end of the fourth century BC, Attic grave monuments became increasingly elaborate. Freestanding figures such as these were often placed within a shallow, roofed marble structure that was open at the front. The older girl must have died in her teens, before marriage, for she wears her mantle pinned at the shoulders and hanging down her back. This distinctive manner of dress was apparently reserved for young virgins who had the honor of leading processions to sacrifice, while carrying a basket containing barley, fillets, and the sacrificial knife. Being a kanephoros (basket bearer) was the highest honor possible for a maiden in the years just preceding marriage, and this girl is represented wearing the festival dress.
Text from the Metropolitan Museum of Art label.
Funerary Statues of a Maiden and a Little Girl in…
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Marble funerary statues of a maiden and a little girl
Greek, Attic, ca. 320 BC
Said to have been found in Athens
Accession # 44.11.2-3
Toward the end of the fourth century BC, Attic grave monuments became increasingly elaborate. Freestanding figures such as these were often placed within a shallow, roofed marble structure that was open at the front. The older girl must have died in her teens, before marriage, for she wears her mantle pinned at the shoulders and hanging down her back. This distinctive manner of dress was apparently reserved for young virgins who had the honor of leading processions to sacrifice, while carrying a basket containing barley, fillets, and the sacrificial knife. Being a kanephoros (basket bearer) was the highest honor possible for a maiden in the years just preceding marriage, and this girl is represented wearing the festival dress.
Text from the Metropolitan Museum of Art label.
Marble Stele of Phainippe in the Metropolitan Muse…
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Marble stele (grave marker) of Phainippe
Greek, Attic, ca. 400-390 BC
Accession # 53.11.7
An inscription identifies the deceased as Phainippe. She holds a mirror in her left hand while the servant girl before her carries a casket and a small box. The servant's dress with sleeves but no belt, reflects an Eastern style that places her origins in Thrace or Asia Minor. The ingredients of this scene are the same as those on many classical vases showing women at home. It is the tomb monument and the sober tone that give the established domestic iconography its special significance.
Text from the Metropolitan Museum of Art label.
Marble Grave Stele of a Woman in the Metropolitan…
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Marble Grave Stele of a Woman
Greek, Boeotian, ca. 400 BC
Accession # 08.258.42
The deceased, sitting on a chair, holds a lekythos (oil flask) in her raised left hand and a large pyxis (box) on her lap. Although the stele is said to be from Attica, the simplified treatment of the pediment, the somewhat stiff pose of the figure, and the type of marble suggest that it was carved in Boeotia. A flat area at the upper right of the relief has been worked over with a claw chisel, leaving short, parallel, toothlike marks. Such marks would be unlikely on finished grave reliefs of the classical period, for they would have been smoothed with a flat chisel. The presence of the marks suggests that the stele was reworked at a later time. A number of stelai with similar reworked surfaces have been found at Thespiae in Boeotia. During the Roman period, the Thespians reused ancestral gravestones from the late fifth and fourth centuries BC to mark the graves of their own dead. The reliefs were often slightly refurbished: surfaces might be reworked with a claw chisel, inscriptions replaced with new ones, and figures totally removed.
Text from the Metropolitan Museum of Art label.
Marble Stele of a Woman in the Metropolitan Museum…
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Marble stele (grave marker) of a woman
mid-4th century B.C.
Greek, Attic
Object Details
Title: Marble stele (grave marker) of a woman
Period: Late Classical
Date: mid-4th century B.C.
Culture: Greek, Attic
Medium: Marble
Dimensions: H. 48 1/16 in. (122 cm)
Classification: Stone Sculpture
Credit Line: Harris Brisbane Dick Fund, 1948
Accession Number: 48.11.4
This noble image of a woman brings to mind the philosopher Aristotle's description of commonly held beliefs about the dead: "In addition to believing that those who have ended this life are blessed and happy, we also think that to say anything false or slanderous against them is impious, from our feeling that it is directed against those who have already become our betters and superiors" (Of the Soul, quoted in Plutarch, A Letter to Apollonius 27). Larger than life and seated on a thronelike chair, this figure assumes almost heroic proportions.
Text from: www.metmuseum.org/art/collection/search/254597
Marble Grave Stele of a Young Woman in the Metropo…
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Marble Grave Stele of a Young Woman
Greek, Attic, ca. 400-390 BC
Said to be from near Koropi, in Attica
Accession # 36.11.1
The young woman leans against the framing pilaster of her grave stele in a pose that may have been inspired by a famous contemporary statue of Aphrodite. Like the child with doves on the stele found no Paros (# 27.45, displayed in this gallery), the little girl wears an ungirt peplos that is open at the side. Her hair is cut short in mourning. She holds a jewel box and may be a younger sister of the deceased or a household slave.
Text from the Metropolitan Museum of Art label.
Detail of a Marble Grave Stele of a Young Woman in…
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Marble Grave Stele of a Young Woman
Greek, Attic, ca. 400-390 BC
Said to be from near Koropi, in Attica
Accession # 36.11.1
The young woman leans against the framing pilaster of her grave stele in a pose that may have been inspired by a famous contemporary statue of Aphrodite. Like the child with doves on the stele found no Paros (# 27.45, displayed in this gallery), the little girl wears an ungirt peplos that is open at the side. Her hair is cut short in mourning. She holds a jewel box and may be a younger sister of the deceased or a household slave.
Text from the Metropolitan Museum of Art label.
Detail of a Marble Grave Stele of a Young Woman in…
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Marble Grave Stele of a Young Woman
Greek, Attic, ca. 400-390 BC
Said to be from near Koropi, in Attica
Accession # 36.11.1
The young woman leans against the framing pilaster of her grave stele in a pose that may have been inspired by a famous contemporary statue of Aphrodite. Like the child with doves on the stele found no Paros (# 27.45, displayed in this gallery), the little girl wears an ungirt peplos that is open at the side. Her hair is cut short in mourning. She holds a jewel box and may be a younger sister of the deceased or a household slave.
Text from the Metropolitan Museum of Art label.
Ancient Greek Marble Relief of a Girl With Doves i…
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Marble grave stele of a little girl, ca. 450–440 B.C.; Classical
Greek
Marble, Parian; H. 31 1/2 in. (80 cm)
Fletcher Fund, 1927 (27.45)
This stele was found on the island of Paros in 1775. The gentle gravity of the child is beautifully expressed through her sweet farewell to her pet doves. Her peplos is unbelted and falls open at the side, and the folds of drapery clearly reveal her stance. Many of the most skillful stone carvers came from the Cycladic islands, where marble was plentiful. The sculptor of this stele could have been among the artists who congregated in Athens during the third quarter of the fifth century B.C. to decorate the Parthenon.
Text from: www.metmuseum.org/Works_of_Art/viewOne.asp?dep=13&vie...
Ancient Greek Marble Relief of a Girl With Doves i…
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Marble grave stele of a little girl, ca. 450–440 B.C.; Classical
Greek
Marble, Parian; H. 31 1/2 in. (80 cm)
Fletcher Fund, 1927 (27.45)
This stele was found on the island of Paros in 1775. The gentle gravity of the child is beautifully expressed through her sweet farewell to her pet doves. Her peplos is unbelted and falls open at the side, and the folds of drapery clearly reveal her stance. Many of the most skillful stone carvers came from the Cycladic islands, where marble was plentiful. The sculptor of this stele could have been among the artists who congregated in Athens during the third quarter of the fifth century B.C. to decorate the Parthenon.
Text from: www.metmuseum.org/Works_of_Art/viewOne.asp?dep=13&vie...
Greek Marble Grave Stele of a Young Girl With Dove…
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Marble grave stele of a little girl, ca. 450–440 B.C.; Classical
Greek
Marble, Parian; H. 31 1/2 in. (80 cm)
Fletcher Fund, 1927 (27.45)
This stele was found on the island of Paros in 1775. The gentle gravity of the child is beautifully expressed through her sweet farewell to her pet doves. Her peplos is unbelted and falls open at the side, and the folds of drapery clearly reveal her stance. Many of the most skillful stone carvers came from the Cycladic islands, where marble was plentiful. The sculptor of this stele could have been among the artists who congregated in Athens during the third quarter of the fifth century B.C. to decorate the Parthenon.
Text from: www.metmuseum.org/Works_of_Art/viewOne.asp?dep=13&vie...
Greek Marble Grave Stele of a Young Girl With Dove…
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Marble grave stele of a little girl, ca. 450–440 B.C.; Classical
Greek
Marble, Parian; H. 31 1/2 in. (80 cm)
Fletcher Fund, 1927 (27.45)
This stele was found on the island of Paros in 1775. The gentle gravity of the child is beautifully expressed through her sweet farewell to her pet doves. Her peplos is unbelted and falls open at the side, and the folds of drapery clearly reveal her stance. Many of the most skillful stone carvers came from the Cycladic islands, where marble was plentiful. The sculptor of this stele could have been among the artists who congregated in Athens during the third quarter of the fifth century B.C. to decorate the Parthenon.
Text from: www.metmuseum.org/Works_of_Art/viewOne.asp?dep=13&vie...
Detail of the Greek Marble Grave Stele of a Young…
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Marble grave stele of a little girl, ca. 450–440 B.C.; Classical
Greek
Marble, Parian; H. 31 1/2 in. (80 cm)
Fletcher Fund, 1927 (27.45)
This stele was found on the island of Paros in 1775. The gentle gravity of the child is beautifully expressed through her sweet farewell to her pet doves. Her peplos is unbelted and falls open at the side, and the folds of drapery clearly reveal her stance. Many of the most skillful stone carvers came from the Cycladic islands, where marble was plentiful. The sculptor of this stele could have been among the artists who congregated in Athens during the third quarter of the fifth century B.C. to decorate the Parthenon.
Text from: www.metmuseum.org/Works_of_Art/viewOne.asp?dep=13&vie...
Marble Stele of a Young Girl in the Metropolitan M…
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Marble stele (grave marker) of a young girl
Greek, Boeotian, ca. 440-425 BC
Accession # 11.141
The girl's rather chubby body and the garment worn without a belt suggest a young age. It is interesting to note that of her sandals, only the soles are sculpted; the straps would have been painted. The objects in her hands are probably fruit, specifically pomegrantes.
Text from the Metropolitan Museum of Art label.
Dancing Maenad Relief in the Metropolitan Musuem o…
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Relief with a dancing maenad ,ca. 27–B.C.–14 A.D.; Augustan
Roman copy of a Greek relief attributed to Kallimachos, ca. 425–400 B.C.
Pentelic marble; H. 56 5/16 in. (143.03 cm)
Fletcher Fund, 1935 (35.11.3)
As female votaries of Dionysos, maenads abandoned themselves to orgiastic festivities. They celebrated the rites of the god with song, dance, and music in the mountains, often clothed in animal skins. This dancing maenad, clothed in a diaphanous chiton, carries an object characteristic of Dionysos' retinue, the thyrsos, which consists of a fennel stalk crowned with a pinecone and ivy berries. The voluminous garment swirls about her in fanciful, highly expressive folds that evoke her dance. Her introspective expression, so typical of art of the Classical period, contrasts most effectively with the exuberance of her drapery.
In his tragedy, the Bacchae, Euripides describes how women under the spell of Dionysos sing and dance in a state of ecstatic frenzy: "When the ebony flute, melodious/ and sacred, plays the holy song/ and thunderously incites the rush of women/ to mountain,/ then, in delight, like a colt with its mother/ at pasture, she frolics, a light-footed Bacchant."
Text from: www.metmuseum.org/toah/hd/god5/hod_35.11.3.htm
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