LaurieAnnie's photos with the keyword: Caligula

Portrait of Caligula, A.D. 12–41, (Ruled A.D. 37–41) A.D. 37–41 Marble, probably Luna 33 × 21 × 23.5 cm (13 × 8 1/4 × 9 1/4 in.) Funded by Peggy and Richard M. Danziger, LL.B. 1963, George Hopper Fitch, B.A. 1932, Allen Grover, B.A. 1922, the Leonard C. Hanna, Jr., Class of 1913, Fund, the John Heinz III Charitable Trust, and the H. J. Heinz Family Fund 1987.70.1 Caligula, who ruled as Roman emperor between A.D. 37 and 41, ranks among history’s most infamous characters, accused of a host of mad and cruel acts. Despite the questionable veracity of some of the more egregious claims against him, Caligula’s unpopularity led not only to his assassination but also to an unofficial “damnatio memoriae”—a “condemnation of his memory”—which included the removal of his portraits from public view. His portrait image, however, gives no hint of the emperor’s alleged brutality and mental imbalance. On the contrary, Caligula’s portraits are highly conservative, especially in the neat arrangement of comma-shaped locks over the forehead; this was in line with the portrait styles of his predecessor, Tiberius, and those of Augustus before him. Culture: Roman Period: Imperial, Julio-Claudian Classification: Sculpture Provenance: Said to have been found in Rome, possibly near the Tiber in the area of Ponte Milvio; Frank E. Brown, acquired in Rome around 1950; Yale University Art Gallery, New Haven, Conn., on loan since 1963, acquired from the above, 1987. Bibliography: “Acquisitions 1985–1987,” Yale University Art Gallery Bulletin 40, no. 2 (Spring 1988): 131, ill. cover. Handbook of the Collections, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 1992), 266, ill. Susan B. Matheson and Diana E.E. Kleiner, I Claudia Women in Ancient Rome, exh. cat. (New Haven: Yale University Art Gallery, 1996), 61, no. 12, ill. Text from: artgallery.yale.edu/collections/objects/7260

Portrait of Caligula, A.D. 12–41, (Ruled A.D. 37–41) A.D. 37–41 Marble, probably Luna 33 × 21 × 23.5 cm (13 × 8 1/4 × 9 1/4 in.) Funded by Peggy and Richard M. Danziger, LL.B. 1963, George Hopper Fitch, B.A. 1932, Allen Grover, B.A. 1922, the Leonard C. Hanna, Jr., Class of 1913, Fund, the John Heinz III Charitable Trust, and the H. J. Heinz Family Fund 1987.70.1 Caligula, who ruled as Roman emperor between A.D. 37 and 41, ranks among history’s most infamous characters, accused of a host of mad and cruel acts. Despite the questionable veracity of some of the more egregious claims against him, Caligula’s unpopularity led not only to his assassination but also to an unofficial “damnatio memoriae”—a “condemnation of his memory”—which included the removal of his portraits from public view. His portrait image, however, gives no hint of the emperor’s alleged brutality and mental imbalance. On the contrary, Caligula’s portraits are highly conservative, especially in the neat arrangement of comma-shaped locks over the forehead; this was in line with the portrait styles of his predecessor, Tiberius, and those of Augustus before him. Culture: Roman Period: Imperial, Julio-Claudian Classification: Sculpture Provenance: Said to have been found in Rome, possibly near the Tiber in the area of Ponte Milvio; Frank E. Brown, acquired in Rome around 1950; Yale University Art Gallery, New Haven, Conn., on loan since 1963, acquired from the above, 1987. Bibliography: “Acquisitions 1985–1987,” Yale University Art Gallery Bulletin 40, no. 2 (Spring 1988): 131, ill. cover. Handbook of the Collections, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 1992), 266, ill. Susan B. Matheson and Diana E.E. Kleiner, I Claudia Women in Ancient Rome, exh. cat. (New Haven: Yale University Art Gallery, 1996), 61, no. 12, ill. Text from: artgallery.yale.edu/collections/objects/7260

Portrait of Caligula, A.D. 12–41, (Ruled A.D. 37–41) A.D. 37–41 Marble, probably Luna 33 × 21 × 23.5 cm (13 × 8 1/4 × 9 1/4 in.) Funded by Peggy and Richard M. Danziger, LL.B. 1963, George Hopper Fitch, B.A. 1932, Allen Grover, B.A. 1922, the Leonard C. Hanna, Jr., Class of 1913, Fund, the John Heinz III Charitable Trust, and the H. J. Heinz Family Fund 1987.70.1 Caligula, who ruled as Roman emperor between A.D. 37 and 41, ranks among history’s most infamous characters, accused of a host of mad and cruel acts. Despite the questionable veracity of some of the more egregious claims against him, Caligula’s unpopularity led not only to his assassination but also to an unofficial “damnatio memoriae”—a “condemnation of his memory”—which included the removal of his portraits from public view. His portrait image, however, gives no hint of the emperor’s alleged brutality and mental imbalance. On the contrary, Caligula’s portraits are highly conservative, especially in the neat arrangement of comma-shaped locks over the forehead; this was in line with the portrait styles of his predecessor, Tiberius, and those of Augustus before him. Culture: Roman Period: Imperial, Julio-Claudian Classification: Sculpture Provenance: Said to have been found in Rome, possibly near the Tiber in the area of Ponte Milvio; Frank E. Brown, acquired in Rome around 1950; Yale University Art Gallery, New Haven, Conn., on loan since 1963, acquired from the above, 1987. Bibliography: “Acquisitions 1985–1987,” Yale University Art Gallery Bulletin 40, no. 2 (Spring 1988): 131, ill. cover. Handbook of the Collections, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 1992), 266, ill. Susan B. Matheson and Diana E.E. Kleiner, I Claudia Women in Ancient Rome, exh. cat. (New Haven: Yale University Art Gallery, 1996), 61, no. 12, ill. Text from: artgallery.yale.edu/collections/objects/7260

Portrait of Caligula, A.D. 12–41, (Ruled A.D. 37–41) A.D. 37–41 Marble, probably Luna 33 × 21 × 23.5 cm (13 × 8 1/4 × 9 1/4 in.) Funded by Peggy and Richard M. Danziger, LL.B. 1963, George Hopper Fitch, B.A. 1932, Allen Grover, B.A. 1922, the Leonard C. Hanna, Jr., Class of 1913, Fund, the John Heinz III Charitable Trust, and the H. J. Heinz Family Fund 1987.70.1 Caligula, who ruled as Roman emperor between A.D. 37 and 41, ranks among history’s most infamous characters, accused of a host of mad and cruel acts. Despite the questionable veracity of some of the more egregious claims against him, Caligula’s unpopularity led not only to his assassination but also to an unofficial “damnatio memoriae”—a “condemnation of his memory”—which included the removal of his portraits from public view. His portrait image, however, gives no hint of the emperor’s alleged brutality and mental imbalance. On the contrary, Caligula’s portraits are highly conservative, especially in the neat arrangement of comma-shaped locks over the forehead; this was in line with the portrait styles of his predecessor, Tiberius, and those of Augustus before him. Culture: Roman Period: Imperial, Julio-Claudian Classification: Sculpture Provenance: Said to have been found in Rome, possibly near the Tiber in the area of Ponte Milvio; Frank E. Brown, acquired in Rome around 1950; Yale University Art Gallery, New Haven, Conn., on loan since 1963, acquired from the above, 1987. Bibliography: “Acquisitions 1985–1987,” Yale University Art Gallery Bulletin 40, no. 2 (Spring 1988): 131, ill. cover. Handbook of the Collections, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 1992), 266, ill. Susan B. Matheson and Diana E.E. Kleiner, I Claudia Women in Ancient Rome, exh. cat. (New Haven: Yale University Art Gallery, 1996), 61, no. 12, ill. Text from: artgallery.yale.edu/collections/objects/7260

Portrait of Caligula, A.D. 12–41, (Ruled A.D. 37–41) A.D. 37–41 Marble, probably Luna 33 × 21 × 23.5 cm (13 × 8 1/4 × 9 1/4 in.) Funded by Peggy and Richard M. Danziger, LL.B. 1963, George Hopper Fitch, B.A. 1932, Allen Grover, B.A. 1922, the Leonard C. Hanna, Jr., Class of 1913, Fund, the John Heinz III Charitable Trust, and the H. J. Heinz Family Fund 1987.70.1 Caligula, who ruled as Roman emperor between A.D. 37 and 41, ranks among history’s most infamous characters, accused of a host of mad and cruel acts. Despite the questionable veracity of some of the more egregious claims against him, Caligula’s unpopularity led not only to his assassination but also to an unofficial “damnatio memoriae”—a “condemnation of his memory”—which included the removal of his portraits from public view. His portrait image, however, gives no hint of the emperor’s alleged brutality and mental imbalance. On the contrary, Caligula’s portraits are highly conservative, especially in the neat arrangement of comma-shaped locks over the forehead; this was in line with the portrait styles of his predecessor, Tiberius, and those of Augustus before him. Culture: Roman Period: Imperial, Julio-Claudian Classification: Sculpture Provenance: Said to have been found in Rome, possibly near the Tiber in the area of Ponte Milvio; Frank E. Brown, acquired in Rome around 1950; Yale University Art Gallery, New Haven, Conn., on loan since 1963, acquired from the above, 1987. Bibliography: “Acquisitions 1985–1987,” Yale University Art Gallery Bulletin 40, no. 2 (Spring 1988): 131, ill. cover. Handbook of the Collections, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 1992), 266, ill. Susan B. Matheson and Diana E.E. Kleiner, I Claudia Women in Ancient Rome, exh. cat. (New Haven: Yale University Art Gallery, 1996), 61, no. 12, ill. Text from: artgallery.yale.edu/collections/objects/7260

The emperor Caligula Emperor from AD 37 to 41 C. AD 39–40 Marble H. 47 cm The emperor wears a beard in mourning for the death of his sister Drusilla in AD 38. The flowing style and the finely carved surface are a reaction against the academic style typical of the end of Tiberius’s reign. Acquired in 1890 Department of Greek, Etruscan, and Roman Antiquities N° d'entrée MNC 1276 (n° usuel Ma 1234) Text from: cartelen.louvre.fr/cartelen/visite?srv=car_not_frame&idNotice=2802&langue=en

The emperor Caligula Emperor from AD 37 to 41 C. AD 39–40 Marble H. 47 cm The emperor wears a beard in mourning for the death of his sister Drusilla in AD 38. The flowing style and the finely carved surface are a reaction against the academic style typical of the end of Tiberius’s reign. Acquired in 1890 Department of Greek, Etruscan, and Roman Antiquities N° d'entrée MNC 1276 (n° usuel Ma 1234) Text from: cartelen.louvre.fr/cartelen/visite?srv=car_not_frame&idNotice=2802&langue=en

Portrait of a Julio-Claudian Prince Inventory # 1978 The portrait of Caligula has been identified in the features of this work carried out before he ascended the throne in 37 AD. Text from the Vatican Museum label.

Portrait of a Julio-Claudian Prince Inventory # 1978 The portrait of Caligula has been identified in the features of this work carried out before he ascended the throne in 37 AD. Text from the Vatican Museum label.

Title: Bronze portrait bust of the emperor Gaius (Caligula) Medium; Technique: Bronze Culture: Roman Period: Early Imperial, Julio-Claudian Date: ca. A.D. 37–41 Dimensions: H. 9 13/16 in. (25 cm) Classification: Bronzes Credit Line: Rogers Fund, 1923 Accession Number: 23.160.23 Description: Small-scale busts of the emperor like this one were suitable for display in the household shrine of a Roman dwelling, along with images of the family’s ancestors and patron gods. Text from: www.metmuseum.org/Works_of_Art/collection_database/greek_...

Title: Bronze portrait bust of the emperor Gaius (Caligula) Medium; Technique: Bronze Culture: Roman Period: Early Imperial, Julio-Claudian Date: ca. A.D. 37–41 Dimensions: H. 9 13/16 in. (25 cm) Classification: Bronzes Credit Line: Rogers Fund, 1923 Accession Number: 23.160.23 Description: Small-scale busts of the emperor like this one were suitable for display in the household shrine of a Roman dwelling, along with images of the family’s ancestors and patron gods. Text from: www.metmuseum.org/Works_of_Art/collection_database/greek_...

Emperor Gaius Julius Caesar Germanicus, known as Caligula, 37–42; Julio-Claudian Roman Marble; H. 20 in. (50.8 cm) Rogers Fund, 1914 (14.37) The dissemination of imperial portraiture in sculpture, gems, and coins was the chief means of political propaganda in the Roman empire. All of the Julio-Claudians subscribed to the basic imperial image established by Augustus in order to stress the unity and continuity of their line. Even Caligula, who was obsessed with his own appearance, adhered to this formula. This fine marble bust of the emperor has the characteristically Augustan triangular face, projecting ears, and carefully designed locks of hair, especially over the forehead; however, the artist has also conveyed something of Caligula's own personality in the proud turn of the head. The portrait's individuality finds echoes in the Hellenistic depictions of Alexander the Great, and may have something to do with Caligula's own predisposition toward a monarchy of Hellenistic type. He accepted opulent honors in Rome and in the provinces, and his reign of extravagance, oppression, and treason trials ended in his assassination in 41 A.D. Text from: www.metmuseum.org/TOAH/HD/jucl/hod_14.37.htm

Emperor Gaius Julius Caesar Germanicus, known as Caligula, 37–42; Julio-Claudian Roman Marble; H. 20 in. (50.8 cm) Rogers Fund, 1914 (14.37) The dissemination of imperial portraiture in sculpture, gems, and coins was the chief means of political propaganda in the Roman empire. All of the Julio-Claudians subscribed to the basic imperial image established by Augustus in order to stress the unity and continuity of their line. Even Caligula, who was obsessed with his own appearance, adhered to this formula. This fine marble bust of the emperor has the characteristically Augustan triangular face, projecting ears, and carefully designed locks of hair, especially over the forehead; however, the artist has also conveyed something of Caligula's own personality in the proud turn of the head. The portrait's individuality finds echoes in the Hellenistic depictions of Alexander the Great, and may have something to do with Caligula's own predisposition toward a monarchy of Hellenistic type. He accepted opulent honors in Rome and in the provinces, and his reign of extravagance, oppression, and treason trials ended in his assassination in 41 A.D. Text from: www.metmuseum.org/TOAH/HD/jucl/hod_14.37.htm

Emperor Gaius Julius Caesar Germanicus, known as Caligula, 37–42; Julio-Claudian Roman Marble; H. 20 in. (50.8 cm) Rogers Fund, 1914 (14.37) The dissemination of imperial portraiture in sculpture, gems, and coins was the chief means of political propaganda in the Roman empire. All of the Julio-Claudians subscribed to the basic imperial image established by Augustus in order to stress the unity and continuity of their line. Even Caligula, who was obsessed with his own appearance, adhered to this formula. This fine marble bust of the emperor has the characteristically Augustan triangular face, projecting ears, and carefully designed locks of hair, especially over the forehead; however, the artist has also conveyed something of Caligula's own personality in the proud turn of the head. The portrait's individuality finds echoes in the Hellenistic depictions of Alexander the Great, and may have something to do with Caligula's own predisposition toward a monarchy of Hellenistic type. He accepted opulent honors in Rome and in the provinces, and his reign of extravagance, oppression, and treason trials ended in his assassination in 41 A.D. Text from: www.metmuseum.org/TOAH/HD/jucl/hod_14.37.htm

Emperor Gaius Julius Caesar Germanicus, known as Caligula, 37–42; Julio-Claudian Roman Marble; H. 20 in. (50.8 cm) Rogers Fund, 1914 (14.37) The dissemination of imperial portraiture in sculpture, gems, and coins was the chief means of political propaganda in the Roman empire. All of the Julio-Claudians subscribed to the basic imperial image established by Augustus in order to stress the unity and continuity of their line. Even Caligula, who was obsessed with his own appearance, adhered to this formula. This fine marble bust of the emperor has the characteristically Augustan triangular face, projecting ears, and carefully designed locks of hair, especially over the forehead; however, the artist has also conveyed something of Caligula's own personality in the proud turn of the head. The portrait's individuality finds echoes in the Hellenistic depictions of Alexander the Great, and may have something to do with Caligula's own predisposition toward a monarchy of Hellenistic type. He accepted opulent honors in Rome and in the provinces, and his reign of extravagance, oppression, and treason trials ended in his assassination in 41 A.D. Text from: www.metmuseum.org/TOAH/HD/jucl/hod_14.37.htm

Emperor Gaius Julius Caesar Germanicus, known as Caligula, 37–42; Julio-Claudian Roman Marble; H. 20 in. (50.8 cm) Rogers Fund, 1914 (14.37) The dissemination of imperial portraiture in sculpture, gems, and coins was the chief means of political propaganda in the Roman empire. All of the Julio-Claudians subscribed to the basic imperial image established by Augustus in order to stress the unity and continuity of their line. Even Caligula, who was obsessed with his own appearance, adhered to this formula. This fine marble bust of the emperor has the characteristically Augustan triangular face, projecting ears, and carefully designed locks of hair, especially over the forehead; however, the artist has also conveyed something of Caligula's own personality in the proud turn of the head. The portrait's individuality finds echoes in the Hellenistic depictions of Alexander the Great, and may have something to do with Caligula's own predisposition toward a monarchy of Hellenistic type. He accepted opulent honors in Rome and in the provinces, and his reign of extravagance, oppression, and treason trials ended in his assassination in 41 A.D. Text from: www.metmuseum.org/TOAH/HD/jucl/hod_14.37.htm