1title: Greek Hellenistic Ruler - Walters 541045 - Back
artist:
Anonymous (Greece)date: 2nd century BC (Hellenistic period)
medium: solid cast bronze
dimensions: size cm height=25 width=13.7 depth=7.5
current location: Acquired by Henry Walters, 1930
credit: Walters Art Museum:
Home page 
Info about artworklicense:Public domain
2title: Greek Hellenistic Ruler - Walters 541045 - Detail A
artist:
Anonymous (Greece)date: 2nd century BC (Hellenistic period)
medium: solid cast bronze
dimensions: size cm height=25 width=13.7 depth=7.5
current location: Acquired by Henry Walters, 1930
credit: Walters Art Museum:
Home page Info about artworklicense:Public domain
3title: Greek Hellenistic Ruler - Walters 541045
artist:
Anonymous (Greece)date: 2nd century BC (Hellenistic period)
medium: solid cast bronze
dimensions: size cm height=25 width=13.7 depth=7.5
current location: Acquired by Henry Walters, 1930
credit: Walters Art Museum:
Home page Info about artworklicense:Public domain
4title: Hellenistic Lagynos LACMA M.49.14.32
artist: unknown
date: 325 B.C.
dimensions: Height- 12 in. (30.48 cm)
current location: Institution:Los Angeles County Museum of Art
source: *Image: link *Gallery: link Wayback|url=https%3A//collections.lacma.org/node/229803|date=20180204124203
credit: Image: link Gallery: link archive copy
description:
- Eastern Mediterranean, Cyprus, 325-50 B.C.
- Furnishings; Serviceware
- Ceramic
- Gift of Harvey Mudd (M.49.14.32)
- greek-roman-and-etruscan-art">greek, Roman and Etruscan Art
license:Public domain
5title: Greece, Hellenistic period Nanny Goat - 1990.32 - Cleveland Museum of Art
artist: unknown
date: late 2nd Century BC
medium: Bronze
dimensions: Overall: 30.5 x 31.1 cm (12 x 12 1/4 in.)
current location: institution:Cleveland Museum of Art
source: link
credit: link
description:
Goats were among the earliest domesticated animals and figured prominently in greek art and mythology since at least the 8th century BC. This example with its powerful stance, curly beard, and horns is not a ram but an expecting doe with swollen flanks. The subject is rare and its meaning unclear. Possibly she was part of a group dedication to a goddess. The sunken areas at the tail and hips and her open mouth, indicating heavy breathing, are signs that she is ready to give birth.license:
CC0
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7
8title: Southern Asia Minor, Pamphylia, Hellenistic Greek, 1st century BC Grave Stele (Relief) - 2005.52 - Cleveland Museum of Art
artist: unknown
date: c. 50 BC
medium: Marble
dimensions: Overall: 73.6 x 42.5 cm (29 x 16 3/4 in.)
current location: institution:Cleveland Museum of Art
source: link
credit: link
description:
The multiple figures, inscription, use of perspective, and architectural frame distinguish this ambitious relief as one of the most important of its type. The greek inscription on the base reads, “To Sbardia, also named Tate, Eumelos, son of Aphrodisios, her father, [set this up].” The deceased is shown seated on an elaborate chair. A servant girl holding a fan suggests Sbardia's high social standing. At the bottom right corner, a hen perches on an upturned basket, a symbol of “the good life.” The stele incorporates a “springing” gable supported by engaged half columns with simplified Corinthian capitals. Other features relate to beliefs about mortality and the afterlife. Above and to the left of her chair is her winged psyche (soul) shown leaving her body. Figures of the three fates are shown in the pediment above, reminding us that human life is finite.license:
CC0
9title: Centaur mosaic Google Art Project retouched.
artist:
date: (120 - 130)
dimensions: w915 x h585 cm
current location: Altes Museum, Staatliche Museen zu Berlin
credit:
SwHAQhNGz6l7_Q at Google Cultural Institute zoom level scaled
down from maximum resolutiondescription: The centaur mosaic was found in the 18th century on the site of the sprawling, luxurious villa complex near Tivoli that once belonged to the Roman emperor Hadrian. The mosaic was found in situ along with other smaller ones that bore depictions of landscapes, animals and masks. The relatively small central panel (emblema) formed part of the floor decoration for the dining room (triclinium) in the main palace. The various individual scenes of these mosaic pictures bear depictions of wild, inhospitable landscapes that deliberately contrast with idyllic ones featuring animals living in harmony with each other. The dangers of the wild are portrayed in this mosaic in the dramatic struggle between great cats and a pair of centaurs, mythological creatures with the head, arms, and torso of a man and the body and legs of a horse. On a rocky outcrop that hangs over a terrific chasm that runs parallel to the bottom of the picture, a pair of centaurs have been pounced on by great cats. While the male centaur has been able to defend itself successfully from the lion, the tiger has managed to bring the female centaur to the ground and is clawing her side. The male centaur rushes to his companion’s side, rearing his legs in the air while holding a rock aloft above his head. Undaunted, the tiger seems intent on not surrendering its prey. Even though one lion already lies fatally wounded, bleeding and with its claws retracted, the outcome of the struggle is anything but clear because in the background (whose spatial depth is achieved through the staggered arrangement of rock forms and impressive gradations of colour) we see yet another foe for the centaur: a leopard ready to pounce. While depictions in older greek art tended to emphasise the bestial side of centaurs, later depictions increasingly focussed on their human qualities. Lucian, a writer from the 2nd century, records that the greek painter Zeuxis (active around 400 BCE) became famous for his painting of a family of centaurs, including the young, set in a rural idyll. Similarly, Ovid, who lived around the turn of the millennium, wrote in moving verse of the death of a centaur couple. The extensive restoration work that was undertaken in the 18th and 19th century makes it difficult to date the mosaic with certainty. As a result, its dating ranges from hellenistic to Hadrianic. There is broad agreement among scholars that the mosaic amounts to one of most virtuoso works of Roman mosaic art, which was inspired by a greek work of art (either a panel painting or mosaic) from the hellenistic period.
license:Public domain
title: Centaur mosaic Google Art Project - CropFrame - Plus1ev
artist:
date: (120 - 130)
dimensions: w915 x h585 cm
current location: Altes Museum, Staatliche Museen zu Berlin
credit: SwHAQhNGz6l7_Q at Google Cultural Institute maximum zoom level
description: The centaur mosaic was found in the 18th century on the site of the sprawling, luxurious villa complex near Tivoli that once belonged to the Roman emperor Hadrian. The mosaic was found in situ along with other smaller ones that bore depictions of landscapes, animals and masks. The relatively small central panel (emblema) formed part of the floor decoration for the dining room (triclinium) in the main palace. The various individual scenes of these mosaic pictures bear depictions of wild, inhospitable landscapes that deliberately contrast with idyllic ones featuring animals living in harmony with each other. The dangers of the wild are portrayed in this mosaic in the dramatic struggle between great cats and a pair of centaurs, mythological creatures with the head, arms, and torso of a man and the body and legs of a horse. On a rocky outcrop that hangs over a terrific chasm that runs parallel to the bottom of the picture, a pair of centaurs have been pounced on by great cats. While the male centaur has been able to defend itself successfully from the lion, the tiger has managed to bring the female centaur to the ground and is clawing her side. The male centaur rushes to his companion’s side, rearing his legs in the air while holding a rock aloft above his head. Undaunted, the tiger seems intent on not surrendering its prey. Even though one lion already lies fatally wounded, bleeding and with its claws retracted, the outcome of the struggle is anything but clear because in the background (whose spatial depth is achieved through the staggered arrangement of rock forms and impressive gradations of colour) we see yet another foe for the centaur: a leopard ready to pounce. While depictions in older greek art tended to emphasise the bestial side of centaurs, later depictions increasingly focussed on their human qualities. Lucian, a writer from the 2nd century, records that the greek painter Zeuxis (active around 400 BCE) became famous for his painting of a family of centaurs, including the young, set in a rural idyll. Similarly, Ovid, who lived around the turn of the millennium, wrote in moving verse of the death of a centaur couple. The extensive restoration work that was undertaken in the 18th and 19th century makes it difficult to date the mosaic with certainty. As a result, its dating ranges from hellenistic to Hadrianic. There is broad agreement among scholars that the mosaic amounts to one of most virtuoso works of Roman mosaic art, which was inspired by a greek work of art (either a panel painting or mosaic) from the hellenistic period.
license:Public domain
