1title: Sátiro - Mosaico - Palazzo Massimo alle Terme - Roma
artist: Lansbricae
date: 2009-04-16 12:03:48
current location: Second floor :Museum:Palazzo Massimo
source: originally posted to '''[[Flickr|Flickr]]''' as [link Sátiro - Mosaico - Palazzo Massimo alle Terme - Roma]
credit: originally posted to Flickr as Sátiro - Mosaico - Palazzo Massimo alle Terme - Roma
description: Pavement mosaic with the head of a satyr. roman artwork, Antonine period, 138–192 CE.
license:
CC BY-SA 2.0
2title: Roman mosaic (tessellated) pavement, London Wellcome L0038369
artist: unknown
source: link * Gallery: link * Wellcome Collection gallery (2018-04-02): link [link CC-BY-4.0]
credit: link Gallery: link Wellcome Collection gallery (2018-04-02): link CC-BY-4.0
description:
Lithographic reproduction showing a fragment of a roman tessellated pavement discovered under the French Protestant Church in Threadneedle Street in the City of London, April 1841. The fragment features floral and knot designs.
Rare Books
Keywords: Tiles; Antiquity; roman; London; J. Basire; Archaeology; mosaiclicense:
CC BY 4.0
3title: Colombes, mosaïque romaine
artist:
Unknown authordate: end of 2nd century CE
source: from ''Le Musée absolu'', Phaidon, 10-2012
credit: from Le Musée absolu, Phaidon, 10-2012
description: mosaic emblema with doves. roman copy after an Pergamenian original from the 2nd century BCE. Villa of Emperor Hadrian, Tivoli, Italy. 85 x 98 cm.
license:Public domain
4title: Mosaïque de Dionysos
artist:
Unknown authordate: 2nd century BC
source: from ''Le Musée absolu'', Phaidon, 10-2012
credit: from Le Musée absolu, Phaidon, 10-2012
description: Central panel from a tesselated floor of a roman villa depicting Dionysos with fruit and ivy in his hair, second half 2nd Century AD, Archaeological Museum of Ancient Corinth, Greece. 2.6 x 2.6 m.
license:Public domain
5title: Restes du banquet, mosaïque
artist:
Herakleitos, from Sosus of Pergamondate: beginning of 2nd CE
source: from ''Le Musée absolu'', Phaidon, 10-2012
credit: from Le Musée absolu, Phaidon, 10-2012
description: Banquet leftovers, or Unswept Floor, mosaic. Inspired by Sosus of Pergamon, Museum Gregoriano Profano, Vatican. 4.05 x 0.41 m.
license:Public domain
6title: Transport d'animaux exotiques, villa de Casale, Piazza Armerina, Sicile, Italie
artist:
Unknown authordate: middle of 4th century CE
source: from ''Le Musée absolu'', Phaidon, 10-2012
credit: from Le Musée absolu, Phaidon, 10-2012
description: Exotic animal transportation, Villa del Casale, Piazza Armerina, Sicily, Italy. Rare scene of two separate events on a single tableau, a common narrative technique in roman visual arts.
license:Public domain
7title: Memento Mori mosaic (from Pompeii)
artist:
Unknown authordate: 1st century BC
source: Own
description: roman mosaic representing the Wheel of Fortune which, as it turns, can make the rich (symbolized by the purple cloth on the left) poor and the poor (symbolized by the goatskin at right) rich; in effect both states are very precarious, with death never far and life hanging by a thread: when it breaks, the soul (symbolized by the butterfly) flies off. And thus are all made equal.
license:Public domain
8title: EB1911 Roman Art Virgil Mosaic
artist:
Unknown artistdate: 3rd century
source: “roman Art,” Encyclopædia Britannica (11th ed.), v. 23, 1911, Plate VI facing p. 484, fig. 31.
credit: “roman Art,” Encyclopædia Britannica (11th ed.), v. 23, 1911, Plate VI facing p. 484, fig. 31.
description: Ancient roman mosaic depicting Virgil flanked by two figures (muses?).
license:Public domain
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
_pavement,_London_Wellcome_L0038369.jpg){kind=small}
