LaurieAnnie's photos with the keyword: 2018

Funerary relief, ca. 2nd–3rd century A.D. Object Details Date: ca. 2nd–3rd century A.D. Geography: From Syria, Palmyra Medium: Limestone Dimensions: 20 1/4 × 25 7/16 × 6 7/8 in. (51.4 × 64.6 × 17.5 cm) Classification: Stone-Reliefs-Inscribed Credit Line: Purchase, 1902 Accession Number: 02.29.1 Inscription: (On left of reclining male figure) 1 Zabdibol, 2 son of Mokimu, 3 son of Nurbel, 4 son of Zabda, 5 [so]n of ‘Abday, 6 (son of) [Zabdi]bol. (By girl on right) 1 Tadmur, 2 his daughter. (By head of boy) 1 Mokimu, 2 his son. (By girl on left) 1 ‘Alayyat, 2 his daughter. Transliteration: 1 zbdbwl 2 br mqymw 3 br nwrbl 4 br zbdʾ 5 [b]r ʿbdy 6 [zbd]bwl 1 tdmwr 2 brth 1 mqymw 2 brh 1 ʿlyt 2 brth This sculpture in high relief shows full-length figures of a man, his son, and two daughters. It is a gravestone depicting a banquet scene that probably sealed the opening of a family burial niche in Palmyra. The man is reclining on a richly decorated couch, holding a palm spray or cluster of dates in his right hand and a cup in his left. The two daughters wear veils, necklaces, and earrings. The son wears a necklace and holds grapes in his right hand and a bird in his left. It bears a Palmyrene Aramaic inscription giving the names of each of the deceased and five generations of their paternal ancestors. By the mid-first century A.D., Palmyra — or "place of the palms"—was a wealthy and impressive city located along the caravan routes that linked the Parthian Near East with Roman-controlled Mediterranean ports. During the period of great prosperity that followed, the citizens of Palmyra adopted customs and modes of dress from both the Iranian Parthian world to the east and the Greco-Roman west. This blend of eastern and western elements is also present in Palmyrene art. In this sculpture, the care lavished on details of dress and jewelry recalls the Parthian approach to figural representation while the postures and the distinct sense of volume conveyed by the carving in high relief are Greco-Roman in style. Large-scale funerary structures were common in Palmyra. Vaults, some of which were belowground, had interior walls that were constructed to form burial compartments in which the deceased, extended full length, were placed. Sculpted limestone reliefs depicting the deceased and often carrying an Aramaic inscription giving the subject’s name and genealogy represented the "personality" or "soul" of the person. These were constructed as markers for eternity much like modern gravestones and mausoleums. Adapted from, Art of the Ancient Near East: A Resource for Educators (2010) Text from: www.metmuseum.org/art/collection/search/322375

Funerary relief, ca. 2nd–3rd century A.D. Object Details Date: ca. 2nd–3rd century A.D. Geography: From Syria, Palmyra Medium: Limestone Dimensions: 20 1/4 × 25 7/16 × 6 7/8 in. (51.4 × 64.6 × 17.5 cm) Classification: Stone-Reliefs-Inscribed Credit Line: Purchase, 1902 Accession Number: 02.29.1 Inscription: (On left of reclining male figure) 1 Zabdibol, 2 son of Mokimu, 3 son of Nurbel, 4 son of Zabda, 5 [so]n of ‘Abday, 6 (son of) [Zabdi]bol. (By girl on right) 1 Tadmur, 2 his daughter. (By head of boy) 1 Mokimu, 2 his son. (By girl on left) 1 ‘Alayyat, 2 his daughter. Transliteration: 1 zbdbwl 2 br mqymw 3 br nwrbl 4 br zbdʾ 5 [b]r ʿbdy 6 [zbd]bwl 1 tdmwr 2 brth 1 mqymw 2 brh 1 ʿlyt 2 brth This sculpture in high relief shows full-length figures of a man, his son, and two daughters. It is a gravestone depicting a banquet scene that probably sealed the opening of a family burial niche in Palmyra. The man is reclining on a richly decorated couch, holding a palm spray or cluster of dates in his right hand and a cup in his left. The two daughters wear veils, necklaces, and earrings. The son wears a necklace and holds grapes in his right hand and a bird in his left. It bears a Palmyrene Aramaic inscription giving the names of each of the deceased and five generations of their paternal ancestors. By the mid-first century A.D., Palmyra — or "place of the palms"—was a wealthy and impressive city located along the caravan routes that linked the Parthian Near East with Roman-controlled Mediterranean ports. During the period of great prosperity that followed, the citizens of Palmyra adopted customs and modes of dress from both the Iranian Parthian world to the east and the Greco-Roman west. This blend of eastern and western elements is also present in Palmyrene art. In this sculpture, the care lavished on details of dress and jewelry recalls the Parthian approach to figural representation while the postures and the distinct sense of volume conveyed by the carving in high relief are Greco-Roman in style. Large-scale funerary structures were common in Palmyra. Vaults, some of which were belowground, had interior walls that were constructed to form burial compartments in which the deceased, extended full length, were placed. Sculpted limestone reliefs depicting the deceased and often carrying an Aramaic inscription giving the subject’s name and genealogy represented the "personality" or "soul" of the person. These were constructed as markers for eternity much like modern gravestones and mausoleums. Adapted from, Art of the Ancient Near East: A Resource for Educators (2010) Text from: www.metmuseum.org/art/collection/search/322375

Funerary relief, ca. 2nd–3rd century A.D. Object Details Date: ca. 2nd–3rd century A.D. Geography: From Syria, Palmyra Medium: Limestone Dimensions: 20 1/4 × 25 7/16 × 6 7/8 in. (51.4 × 64.6 × 17.5 cm) Classification: Stone-Reliefs-Inscribed Credit Line: Purchase, 1902 Accession Number: 02.29.1 Inscription: (On left of reclining male figure) 1 Zabdibol, 2 son of Mokimu, 3 son of Nurbel, 4 son of Zabda, 5 [so]n of ‘Abday, 6 (son of) [Zabdi]bol. (By girl on right) 1 Tadmur, 2 his daughter. (By head of boy) 1 Mokimu, 2 his son. (By girl on left) 1 ‘Alayyat, 2 his daughter. Transliteration: 1 zbdbwl 2 br mqymw 3 br nwrbl 4 br zbdʾ 5 [b]r ʿbdy 6 [zbd]bwl 1 tdmwr 2 brth 1 mqymw 2 brh 1 ʿlyt 2 brth This sculpture in high relief shows full-length figures of a man, his son, and two daughters. It is a gravestone depicting a banquet scene that probably sealed the opening of a family burial niche in Palmyra. The man is reclining on a richly decorated couch, holding a palm spray or cluster of dates in his right hand and a cup in his left. The two daughters wear veils, necklaces, and earrings. The son wears a necklace and holds grapes in his right hand and a bird in his left. It bears a Palmyrene Aramaic inscription giving the names of each of the deceased and five generations of their paternal ancestors. By the mid-first century A.D., Palmyra — or "place of the palms"—was a wealthy and impressive city located along the caravan routes that linked the Parthian Near East with Roman-controlled Mediterranean ports. During the period of great prosperity that followed, the citizens of Palmyra adopted customs and modes of dress from both the Iranian Parthian world to the east and the Greco-Roman west. This blend of eastern and western elements is also present in Palmyrene art. In this sculpture, the care lavished on details of dress and jewelry recalls the Parthian approach to figural representation while the postures and the distinct sense of volume conveyed by the carving in high relief are Greco-Roman in style. Large-scale funerary structures were common in Palmyra. Vaults, some of which were belowground, had interior walls that were constructed to form burial compartments in which the deceased, extended full length, were placed. Sculpted limestone reliefs depicting the deceased and often carrying an Aramaic inscription giving the subject’s name and genealogy represented the "personality" or "soul" of the person. These were constructed as markers for eternity much like modern gravestones and mausoleums. Adapted from, Art of the Ancient Near East: A Resource for Educators (2010) Text from: www.metmuseum.org/art/collection/search/322375

Funerary relief, ca. 2nd–3rd century A.D. Object Details Date: ca. 2nd–3rd century A.D. Geography: From Syria, Palmyra Medium: Limestone Dimensions: 20 1/4 × 25 7/16 × 6 7/8 in. (51.4 × 64.6 × 17.5 cm) Classification: Stone-Reliefs-Inscribed Credit Line: Purchase, 1902 Accession Number: 02.29.1 Inscription: (On left of reclining male figure) 1 Zabdibol, 2 son of Mokimu, 3 son of Nurbel, 4 son of Zabda, 5 [so]n of ‘Abday, 6 (son of) [Zabdi]bol. (By girl on right) 1 Tadmur, 2 his daughter. (By head of boy) 1 Mokimu, 2 his son. (By girl on left) 1 ‘Alayyat, 2 his daughter. Transliteration: 1 zbdbwl 2 br mqymw 3 br nwrbl 4 br zbdʾ 5 [b]r ʿbdy 6 [zbd]bwl 1 tdmwr 2 brth 1 mqymw 2 brh 1 ʿlyt 2 brth This sculpture in high relief shows full-length figures of a man, his son, and two daughters. It is a gravestone depicting a banquet scene that probably sealed the opening of a family burial niche in Palmyra. The man is reclining on a richly decorated couch, holding a palm spray or cluster of dates in his right hand and a cup in his left. The two daughters wear veils, necklaces, and earrings. The son wears a necklace and holds grapes in his right hand and a bird in his left. It bears a Palmyrene Aramaic inscription giving the names of each of the deceased and five generations of their paternal ancestors. By the mid-first century A.D., Palmyra — or "place of the palms"—was a wealthy and impressive city located along the caravan routes that linked the Parthian Near East with Roman-controlled Mediterranean ports. During the period of great prosperity that followed, the citizens of Palmyra adopted customs and modes of dress from both the Iranian Parthian world to the east and the Greco-Roman west. This blend of eastern and western elements is also present in Palmyrene art. In this sculpture, the care lavished on details of dress and jewelry recalls the Parthian approach to figural representation while the postures and the distinct sense of volume conveyed by the carving in high relief are Greco-Roman in style. Large-scale funerary structures were common in Palmyra. Vaults, some of which were belowground, had interior walls that were constructed to form burial compartments in which the deceased, extended full length, were placed. Sculpted limestone reliefs depicting the deceased and often carrying an Aramaic inscription giving the subject’s name and genealogy represented the "personality" or "soul" of the person. These were constructed as markers for eternity much like modern gravestones and mausoleums. Adapted from, Art of the Ancient Near East: A Resource for Educators (2010) Text from: www.metmuseum.org/art/collection/search/322375

Funerary relief, ca. 2nd–3rd century A.D. Object Details Date: ca. 2nd–3rd century A.D. Geography: From Syria, Palmyra Medium: Limestone Dimensions: 20 1/4 × 25 7/16 × 6 7/8 in. (51.4 × 64.6 × 17.5 cm) Classification: Stone-Reliefs-Inscribed Credit Line: Purchase, 1902 Accession Number: 02.29.1 Inscription: (On left of reclining male figure) 1 Zabdibol, 2 son of Mokimu, 3 son of Nurbel, 4 son of Zabda, 5 [so]n of ‘Abday, 6 (son of) [Zabdi]bol. (By girl on right) 1 Tadmur, 2 his daughter. (By head of boy) 1 Mokimu, 2 his son. (By girl on left) 1 ‘Alayyat, 2 his daughter. Transliteration: 1 zbdbwl 2 br mqymw 3 br nwrbl 4 br zbdʾ 5 [b]r ʿbdy 6 [zbd]bwl 1 tdmwr 2 brth 1 mqymw 2 brh 1 ʿlyt 2 brth This sculpture in high relief shows full-length figures of a man, his son, and two daughters. It is a gravestone depicting a banquet scene that probably sealed the opening of a family burial niche in Palmyra. The man is reclining on a richly decorated couch, holding a palm spray or cluster of dates in his right hand and a cup in his left. The two daughters wear veils, necklaces, and earrings. The son wears a necklace and holds grapes in his right hand and a bird in his left. It bears a Palmyrene Aramaic inscription giving the names of each of the deceased and five generations of their paternal ancestors. By the mid-first century A.D., Palmyra — or "place of the palms"—was a wealthy and impressive city located along the caravan routes that linked the Parthian Near East with Roman-controlled Mediterranean ports. During the period of great prosperity that followed, the citizens of Palmyra adopted customs and modes of dress from both the Iranian Parthian world to the east and the Greco-Roman west. This blend of eastern and western elements is also present in Palmyrene art. In this sculpture, the care lavished on details of dress and jewelry recalls the Parthian approach to figural representation while the postures and the distinct sense of volume conveyed by the carving in high relief are Greco-Roman in style. Large-scale funerary structures were common in Palmyra. Vaults, some of which were belowground, had interior walls that were constructed to form burial compartments in which the deceased, extended full length, were placed. Sculpted limestone reliefs depicting the deceased and often carrying an Aramaic inscription giving the subject’s name and genealogy represented the "personality" or "soul" of the person. These were constructed as markers for eternity much like modern gravestones and mausoleums. Adapted from, Art of the Ancient Near East: A Resource for Educators (2010) Text from: www.metmuseum.org/art/collection/search/322375

Funerary relief, ca. 2nd–3rd century A.D. Object Details Date: ca. 2nd–3rd century A.D. Geography: From Syria, Palmyra Medium: Limestone Dimensions: 20 1/4 × 25 7/16 × 6 7/8 in. (51.4 × 64.6 × 17.5 cm) Classification: Stone-Reliefs-Inscribed Credit Line: Purchase, 1902 Accession Number: 02.29.1 Inscription: (On left of reclining male figure) 1 Zabdibol, 2 son of Mokimu, 3 son of Nurbel, 4 son of Zabda, 5 [so]n of ‘Abday, 6 (son of) [Zabdi]bol. (By girl on right) 1 Tadmur, 2 his daughter. (By head of boy) 1 Mokimu, 2 his son. (By girl on left) 1 ‘Alayyat, 2 his daughter. Transliteration: 1 zbdbwl 2 br mqymw 3 br nwrbl 4 br zbdʾ 5 [b]r ʿbdy 6 [zbd]bwl 1 tdmwr 2 brth 1 mqymw 2 brh 1 ʿlyt 2 brth This sculpture in high relief shows full-length figures of a man, his son, and two daughters. It is a gravestone depicting a banquet scene that probably sealed the opening of a family burial niche in Palmyra. The man is reclining on a richly decorated couch, holding a palm spray or cluster of dates in his right hand and a cup in his left. The two daughters wear veils, necklaces, and earrings. The son wears a necklace and holds grapes in his right hand and a bird in his left. It bears a Palmyrene Aramaic inscription giving the names of each of the deceased and five generations of their paternal ancestors. By the mid-first century A.D., Palmyra — or "place of the palms"—was a wealthy and impressive city located along the caravan routes that linked the Parthian Near East with Roman-controlled Mediterranean ports. During the period of great prosperity that followed, the citizens of Palmyra adopted customs and modes of dress from both the Iranian Parthian world to the east and the Greco-Roman west. This blend of eastern and western elements is also present in Palmyrene art. In this sculpture, the care lavished on details of dress and jewelry recalls the Parthian approach to figural representation while the postures and the distinct sense of volume conveyed by the carving in high relief are Greco-Roman in style. Large-scale funerary structures were common in Palmyra. Vaults, some of which were belowground, had interior walls that were constructed to form burial compartments in which the deceased, extended full length, were placed. Sculpted limestone reliefs depicting the deceased and often carrying an Aramaic inscription giving the subject’s name and genealogy represented the "personality" or "soul" of the person. These were constructed as markers for eternity much like modern gravestones and mausoleums. Adapted from, Art of the Ancient Near East: A Resource for Educators (2010) Text from: www.metmuseum.org/art/collection/search/322375

Capital with Virgin and Child Date: late 5th–6th century Geography: Made in Dvin, Armenia Culture: Armenian Medium: Tuff Dimensions: with estimated weight by SR: 13 3/8 × 22 1/16 × 18 1/2 in., 189.4 lb. (34 × 56 × 47 cm, 85.9 kg) Classification: Sculpture Credit Line: History Museum of Armenia, Yerevan (2604-3) Text from: www.metmuseum.org/art/collection/search/680909

Bas-Relief of Amir Hasan Hunting on Horseback Date: early 14th century Geography: Made in Spitakawor, Siwnik Culture: Armenian Medium: Felsite Dimensions: with weight estimated by SR: 37 × 53 9/16 × 13 3/8 in., 996.5 lb. (94 × 136 × 34 cm, 452 kg) Classification: Sculpture Credit Line: History Museum of Armenia, Yerevan (1320–22) Text from: www.metmuseum.org/art/collection/search/681049

Bas-Relief of Amir Hasan Hunting on Horseback Date: early 14th century Geography: Made in Spitakawor, Siwnik Culture: Armenian Medium: Felsite Dimensions: with weight estimated by SR: 37 × 53 9/16 × 13 3/8 in., 996.5 lb. (94 × 136 × 34 cm, 452 kg) Classification: Sculpture Credit Line: History Museum of Armenia, Yerevan (1320–22) Text from: www.metmuseum.org/art/collection/search/681049

Bas-Relief of Amir Hasan Hunting on Horseback Date: early 14th century Geography: Made in Spitakawor, Siwnik Culture: Armenian Medium: Felsite Dimensions: with weight estimated by SR: 37 × 53 9/16 × 13 3/8 in., 996.5 lb. (94 × 136 × 34 cm, 452 kg) Classification: Sculpture Credit Line: History Museum of Armenia, Yerevan (1320–22) Text from: www.metmuseum.org/art/collection/search/681049

Terracotta statuette of a goddess Date: mid to late 2nd century B.C. Culture: Greek Medium: Terracotta Dimensions: 24 13/16 in. (63 cm) Classification: Terracottas Credit Line: Gift of Thomas Colville, 2016 Accession Number: 2016.496.1 This large statuette belongs to a class of statuettes produced to imitate or echo monumental sculptures in bronze or marble. The large scale, baroque style, and quality of execution point to a major coroplastic workshop in Asia Minor, possibly Myrina. The figure most likely represents a deity because of her polos headdress. It has been suggested that she is Tyche, the personification of fortune, who enjoyed widespread popularity in Hellenistic and Roman times. In terms of iconography, however, the pose and arrangement of drapery are more akin to representations of Aphrodite, while this type of polos, characteristic of Persephone, is very different from the mural crowns typically worn by Tyche. Text from: www.metmuseum.org/art/collection/search/659501

Terracotta statuette of a goddess Date: mid to late 2nd century B.C. Culture: Greek Medium: Terracotta Dimensions: 24 13/16 in. (63 cm) Classification: Terracottas Credit Line: Gift of Thomas Colville, 2016 Accession Number: 2016.496.1 This large statuette belongs to a class of statuettes produced to imitate or echo monumental sculptures in bronze or marble. The large scale, baroque style, and quality of execution point to a major coroplastic workshop in Asia Minor, possibly Myrina. The figure most likely represents a deity because of her polos headdress. It has been suggested that she is Tyche, the personification of fortune, who enjoyed widespread popularity in Hellenistic and Roman times. In terms of iconography, however, the pose and arrangement of drapery are more akin to representations of Aphrodite, while this type of polos, characteristic of Persephone, is very different from the mural crowns typically worn by Tyche. Text from: www.metmuseum.org/art/collection/search/659501

Terracotta statuette of a goddess Date: mid to late 2nd century B.C. Culture: Greek Medium: Terracotta Dimensions: 24 13/16 in. (63 cm) Classification: Terracottas Credit Line: Gift of Thomas Colville, 2016 Accession Number: 2016.496.1 This large statuette belongs to a class of statuettes produced to imitate or echo monumental sculptures in bronze or marble. The large scale, baroque style, and quality of execution point to a major coroplastic workshop in Asia Minor, possibly Myrina. The figure most likely represents a deity because of her polos headdress. It has been suggested that she is Tyche, the personification of fortune, who enjoyed widespread popularity in Hellenistic and Roman times. In terms of iconography, however, the pose and arrangement of drapery are more akin to representations of Aphrodite, while this type of polos, characteristic of Persephone, is very different from the mural crowns typically worn by Tyche. Text from: www.metmuseum.org/art/collection/search/659501

Terracotta pelike (jar),ca. 450–440 B.C. Attributed to Polygnotos Obverse, Perseus beheading the sleeping Medusa Reverse, King Polypeithes between two women King Polydektes sent Perseus to obtain the head of the Gorgon Medusa, a monstrous, snaky-haired, winged creature with glaring eyes whose gaze turned beholders to stone. Perseus accomplished his mission with the help of Athena, Hermes and the Nymphs, and returned to the island of Seriphos whence he had set out. By the mid-fifth century B.C., the story and the motif of the Gorgon's head had become popular in Attic art. Perseus looks unwaveringly at his protectress, Athena as he is about to behead the sleeping Medusa. The rendering here is unusual, however, because it is one of the earliest in which Medusa's face is that of a beautiful young woman. Another important feature here, although not longer readily visible, is that rays surround the hero's head, indicating special stature or power. Compared with the movement and detail on the obverse, the reverse shows a grand and quiet scene of a king—who is not otherwise known—between two women holding the standard offering utensils. Polygnotos was a rather current name in classical Athens. It is most often associated with Polygnotos of Thasos who painted large-scale wall paintings in Athens and Delphi that are described in ancient literary sources. Terracotta pelike (jar) Attributed to Polygnotos Period: Classical Date: ca. 450–440 B.C. Culture: Greek, Attic Medium: Terracotta; red-figure Dimensions: H. 18 13/16 in. (47.8 cm) diameter 13 1/2 in. (34.3 cm) Classification: Vases Credit Line: Rogers Fund, 1945 Accession Number: 45.11.1 Text from: www.metmuseum.org/art/collection/search/254523

Terracotta pelike (jar),ca. 450–440 B.C. Attributed to Polygnotos Obverse, Perseus beheading the sleeping Medusa Reverse, King Polypeithes between two women King Polydektes sent Perseus to obtain the head of the Gorgon Medusa, a monstrous, snaky-haired, winged creature with glaring eyes whose gaze turned beholders to stone. Perseus accomplished his mission with the help of Athena, Hermes and the Nymphs, and returned to the island of Seriphos whence he had set out. By the mid-fifth century B.C., the story and the motif of the Gorgon's head had become popular in Attic art. Perseus looks unwaveringly at his protectress, Athena as he is about to behead the sleeping Medusa. The rendering here is unusual, however, because it is one of the earliest in which Medusa's face is that of a beautiful young woman. Another important feature here, although not longer readily visible, is that rays surround the hero's head, indicating special stature or power. Compared with the movement and detail on the obverse, the reverse shows a grand and quiet scene of a king—who is not otherwise known—between two women holding the standard offering utensils. Polygnotos was a rather current name in classical Athens. It is most often associated with Polygnotos of Thasos who painted large-scale wall paintings in Athens and Delphi that are described in ancient literary sources. Terracotta pelike (jar) Attributed to Polygnotos Period: Classical Date: ca. 450–440 B.C. Culture: Greek, Attic Medium: Terracotta; red-figure Dimensions: H. 18 13/16 in. (47.8 cm) diameter 13 1/2 in. (34.3 cm) Classification: Vases Credit Line: Rogers Fund, 1945 Accession Number: 45.11.1 Text from: www.metmuseum.org/art/collection/search/254523

Terracotta pelike (jar),ca. 450–440 B.C. Attributed to Polygnotos Obverse, Perseus beheading the sleeping Medusa Reverse, King Polypeithes between two women King Polydektes sent Perseus to obtain the head of the Gorgon Medusa, a monstrous, snaky-haired, winged creature with glaring eyes whose gaze turned beholders to stone. Perseus accomplished his mission with the help of Athena, Hermes and the Nymphs, and returned to the island of Seriphos whence he had set out. By the mid-fifth century B.C., the story and the motif of the Gorgon's head had become popular in Attic art. Perseus looks unwaveringly at his protectress, Athena as he is about to behead the sleeping Medusa. The rendering here is unusual, however, because it is one of the earliest in which Medusa's face is that of a beautiful young woman. Another important feature here, although not longer readily visible, is that rays surround the hero's head, indicating special stature or power. Compared with the movement and detail on the obverse, the reverse shows a grand and quiet scene of a king—who is not otherwise known—between two women holding the standard offering utensils. Polygnotos was a rather current name in classical Athens. It is most often associated with Polygnotos of Thasos who painted large-scale wall paintings in Athens and Delphi that are described in ancient literary sources. Terracotta pelike (jar) Attributed to Polygnotos Period: Classical Date: ca. 450–440 B.C. Culture: Greek, Attic Medium: Terracotta; red-figure Dimensions: H. 18 13/16 in. (47.8 cm) diameter 13 1/2 in. (34.3 cm) Classification: Vases Credit Line: Rogers Fund, 1945 Accession Number: 45.11.1 Text from: www.metmuseum.org/art/collection/search/254523

Terracotta pelike (jar),ca. 450–440 B.C. Attributed to Polygnotos Obverse, Perseus beheading the sleeping Medusa Reverse, King Polypeithes between two women King Polydektes sent Perseus to obtain the head of the Gorgon Medusa, a monstrous, snaky-haired, winged creature with glaring eyes whose gaze turned beholders to stone. Perseus accomplished his mission with the help of Athena, Hermes and the Nymphs, and returned to the island of Seriphos whence he had set out. By the mid-fifth century B.C., the story and the motif of the Gorgon's head had become popular in Attic art. Perseus looks unwaveringly at his protectress, Athena as he is about to behead the sleeping Medusa. The rendering here is unusual, however, because it is one of the earliest in which Medusa's face is that of a beautiful young woman. Another important feature here, although not longer readily visible, is that rays surround the hero's head, indicating special stature or power. Compared with the movement and detail on the obverse, the reverse shows a grand and quiet scene of a king—who is not otherwise known—between two women holding the standard offering utensils. Polygnotos was a rather current name in classical Athens. It is most often associated with Polygnotos of Thasos who painted large-scale wall paintings in Athens and Delphi that are described in ancient literary sources. Terracotta pelike (jar) Attributed to Polygnotos Period: Classical Date: ca. 450–440 B.C. Culture: Greek, Attic Medium: Terracotta; red-figure Dimensions: H. 18 13/16 in. (47.8 cm) diameter 13 1/2 in. (34.3 cm) Classification: Vases Credit Line: Rogers Fund, 1945 Accession Number: 45.11.1 Text from: www.metmuseum.org/art/collection/search/254523

Terracotta pelike (jar),ca. 450–440 B.C. Attributed to Polygnotos Obverse, Perseus beheading the sleeping Medusa Reverse, King Polypeithes between two women King Polydektes sent Perseus to obtain the head of the Gorgon Medusa, a monstrous, snaky-haired, winged creature with glaring eyes whose gaze turned beholders to stone. Perseus accomplished his mission with the help of Athena, Hermes and the Nymphs, and returned to the island of Seriphos whence he had set out. By the mid-fifth century B.C., the story and the motif of the Gorgon's head had become popular in Attic art. Perseus looks unwaveringly at his protectress, Athena as he is about to behead the sleeping Medusa. The rendering here is unusual, however, because it is one of the earliest in which Medusa's face is that of a beautiful young woman. Another important feature here, although not longer readily visible, is that rays surround the hero's head, indicating special stature or power. Compared with the movement and detail on the obverse, the reverse shows a grand and quiet scene of a king—who is not otherwise known—between two women holding the standard offering utensils. Polygnotos was a rather current name in classical Athens. It is most often associated with Polygnotos of Thasos who painted large-scale wall paintings in Athens and Delphi that are described in ancient literary sources. Terracotta pelike (jar) Attributed to Polygnotos Period: Classical Date: ca. 450–440 B.C. Culture: Greek, Attic Medium: Terracotta; red-figure Dimensions: H. 18 13/16 in. (47.8 cm) diameter 13 1/2 in. (34.3 cm) Classification: Vases Credit Line: Rogers Fund, 1945 Accession Number: 45.11.1 Text from: www.metmuseum.org/art/collection/search/254523