Reception
The pair were popular in the 18th century, as illustrations of centaurs that posed them as civilized patrons of hospitality and learning, like Chiron, rather than bestial half-animals (as at the Battle of the Centaurs). With their erotes, they were emblems of the joy of young love and the contrasting bondage of maturity to love, [8] themes to which a Rococo audience would easily respond. The observant Ennio Quirino Visconti [9] remarked on the Bacchic attributes of the Borghese/Louvre centaur, whose amorino is crowned with berried vine, to suggest that the forces in play were those of intoxication rather than love. Jon van de Grift, in examining the iconography of a pair of early Imperial Roman silver scyphi (drinking cups) embossed with motifs of centaurs ridden by erotes, part of the Berthouville treasure, [10] notes that "the motif of an amorino torturing an old sullen centaur, usually within a lively Dionysiac procession, is encountered in Roman mosaics and Dionysiac sarcophagi;" [11] he offers the Furietti centaurs as iconographic parallels.
Casts of them were collected across Europe - for example, the pair at the Royal Academy, London, one at either side of the foot of the main staircase, which are there to this day (in what is now the Courtauld Institute gallery; or those bought by Joseph Nollekens from Bartolomeo Cavaceppi that may still be seen at Shugborough Hall, Staffordshire. Full-sized marble copies were also produced in large numbers - Cavaceppi produced them, and Pietro Della Valle sculpted one in Rome for the count Grimod d'Orsay - he intended it to be placed on a fountain in the Museum Courtyard in 1795, but it was in fact placed at Saint-Cloud in July 1802 (it was later brought to Versailles on 23 March 1872, and on 24 September 1924 moved into the Grand Trianon garden there. [12]
Aphrodisias was a small ancient Greek Hellenistic city in the historic Caria cultural region of western Anatolia, Turkey. It is located near the modern village of Geyre, about 100 km (62 mi) east/inland from the coast of the Aegean Sea, and 230 km (140 mi) southeast of İzmir.
The Galleria Borghese is an art gallery in Rome, Italy, housed in the former Villa Borghese Pinciana. At the outset, the gallery building was integrated with its gardens, but nowadays the Villa Borghese gardens are considered a separate tourist attraction. The Galleria Borghese houses a substantial part of the Borghese Collection of paintings, sculpture and antiquities, begun by Cardinal Scipione Borghese, the nephew of Pope Paul V. The building was constructed by the architect Flaminio Ponzio, developing sketches by Scipione Borghese himself, who used it as a villa suburbana, a country villa at the edge of Rome.
The Dying Gaul, also called The Dying Galatian or The Dying Gladiator, is an ancient Roman marble semi-recumbent statue now in the Capitoline Museums in Rome. It is a copy of a now lost Greek sculpture from the Hellenistic period thought to have been made in bronze. The original may have been commissioned at some time between 230 and 220 BC by Attalus I of Pergamon to celebrate his victory over the Galatians, the Celtic or Gaulish people of parts of Anatolia. The original sculptor is believed to have been Epigonus, a court sculptor of the Attalid dynasty of Pergamon.
The Aphrodite of Knidos was an Ancient Greek sculpture of the goddess Aphrodite created by Praxiteles of Athens around the 4th century BC. It was one of the first life-sized representations of the nude female form in Greek history, displaying an alternative idea to male heroic nudity. Praxiteles' Aphrodite was shown nude, reaching for a bath towel while covering her pubis, which, in turn leaves her breasts exposed. Up until this point, Greek sculpture had been dominated by male nude figures. The original Greek sculpture is no longer in existence; however, many Roman copies survive of this influential work of art. Variants of the Venus Pudica are the Venus de' Medici and the Capitoline Venus.
The Borghese Vase is a monumental bell-shaped krater sculpted in Athens from Pentelic marble in the second half of the 1st century BC as a garden ornament for the Roman market; it is now in the Louvre Museum.
Giovanni Francesco (Gianfrancesco) Susini was a Mannerist Florentine sculptor in bronze and marble.
Ennio Quirino Visconti was a Roman politician, antiquarian, and art historian, papal Prefect of Antiquities, and the leading expert of his day in the field of ancient Roman sculpture. His son, Pietro Ercole Visconti, edited Versi di Ennio Quirino Visconti, raccolti per cura di Pietro Visconti while Louis Visconti became a noted architect in France. His brother, Filippo Aurelio Visconti was also a classical scholar, who published the Museo Chiaramonti, a successor to the Museo Pio-Clementino.
Hellenistic art is the art of the Hellenistic period generally taken to begin with the death of Alexander the Great in 323 BC and end with the conquest of the Greek world by the Romans, a process well underway by 146 BC, when the Greek mainland was taken, and essentially ending in 30 BC with the conquest of Ptolemaic Egypt following the Battle of Actium. A number of the best-known works of Greek sculpture belong to this period, including Laocoön and His Sons, Venus de Milo, and the Winged Victory of Samothrace. It follows the period of Classical Greek art, while the succeeding Greco-Roman art was very largely a continuation of Hellenistic trends.
The Borghese Gladiator is a Hellenistic life-size marble sculpture portraying a swordsman, created at Ephesus about 100 BC, now on display at the Louvre.
The Sleeping Hermaphrodite is an ancient marble sculpture depicting Hermaphroditus life size. In 1620, Italian artist Gian Lorenzo Bernini sculpted the mattress upon which the statue now lies. The form is partly derived from ancient portrayals of Venus and other female nudes, and partly from contemporaneous feminised Hellenistic portrayals of Dionysus/Bacchus. It represents a subject that was much repeated in Hellenistic times and in ancient Rome, to judge from the number of versions that have survived. Discovered at Santa Maria della Vittoria, Rome, the Sleeping Hermaphrodite was immediately claimed by Cardinal Scipione Borghese and became part of the Borghese Collection. The "Borghese Hermaphrodite" was later sold to the occupying French and was moved to The Louvre, where it is on display.
Borghese Venus, 2nd century CE Roman marble copy of the Aphrodite of Cnidus. Once in the Borghese collection, it now resides in the Louvre Museum thanks to its purchase by Napoleon. The accompanying Cupid and dolphin are both classical attributes of Venus but are probably the addition of the Roman copyist. Its accession number is MR 369.
The Capitoline Venus is a type of statue of Venus, specifically one of several Venus Pudica types, of which several examples exist. The type ultimately derives from the Aphrodite of Cnidus. The Capitoline Venus and her variants are recognisable from the position of the arms—standing after a bath, Venus begins to cover her breasts with her right hand, and her groin with her left hand.
The Crouching Venus is a Hellenistic model of Venus surprised at her bath. Venus crouches with her right knee close to the ground, turns her head to the right and, in most versions, reaches her right arm over to her left shoulder to cover her breasts. To judge by the number of copies that have been excavated on Roman sites in Italy and France, this variant on Venus seems to have been popular.
Vincenzo Pacetti (1746–1820) was an Italian sculptor and restorer from Castel Bolognese, particularly active in collecting and freely restoring and completing classical sculptures such as the Barberini Faun — his most famous work— the Hope Dionysus and the Athena of Velletri and selling them on to rich collectors as finished artefacts. He was the brother of Camillo Pacetti.
Bartolomeo Cavaceppi was an Italian sculptor who worked in Rome, where he trained in the studio of the acclimatized Frenchman, Pierre-Étienne Monnot, and then in the workshop of Carlo Antonio Napolioni, a restorer of sculptures for Cardinal Alessandro Albani, who was to become a major patron of Cavaceppi, and a purveyer of antiquities and copies on his own account. The two sculptors shared a studio. Much of his work was in restoring antique Roman sculptures, making casts, copies, and fakes of antiques, fields in which he was pre-eminent and which brought him into contact with all the virtuosi: he was a close friend of and informant for Johann Joachim Winckelmann. Winckelmann's influence and Cardinal Albani's own evolving taste may have contributed to Cavaceppi's increased self-consciousness of the appropriateness of restorations — a field in which earlier sculptors had improvised broadly — evinced in his introductory essay to his Raccolta d'antiche statue, busti, teste cognite ed altre sculture antiche restaurate da Cav. Bartolomeo Cavaceppi scultore romano. The baroque taste in ornate restorations of antiquities had favoured finely pumiced polished surfaces, coloured marbles and mixed media, and highly speculative restorations of sometimes incongruous fragments. Only in the nineteenth century, would collectors begin for the first time to appreciate fragments of sculpture: a headless torso was not easily sold in eighteenth-century Rome.
Giuseppe Alessandro Furietti was a Roman Catholic cardinal, an antiquarian and philologist, and a collector of antiquities whose ambitious excavations at the site of Hadrian's Villa at Tivoli rewarded him with the Furietti Centaurs and other Roman sculpture.
The Resting Satyr or Leaning Satyr, also known as the Satyr anapauomenos is a statue type generally attributed to the ancient Greek sculptor Praxiteles. Some 115 examples of the type are known, of which the best known is in the Capitoline Museums.
The marble Gaddi Torso displayed in the Classical Sculpture Room of the Uffizi, Florence, is a Hellenistic sculpture of the 2nd century BCE.
The Sleeping Ariadne, housed in the Vatican Museums in Vatican City, is a Roman Hadrianic copy of a Hellenistic sculpture of the Pergamene school of the 2nd century BC, and is one of the most renowned sculptures of Antiquity. The reclining figure in a chiton bound under her breasts half lies, half sits, her extended legs crossed at the calves, her head pillowed on her left arm, her right thrown over her head. Other Roman copies of this model exist: one, the "Wilton House Ariadne", is substantially unrestored, while another, the "Medici Ariadne" found in Rome, has been "seriously reworked in modern times", according to Brunilde Sismondo Ridgway. Two surviving statuettes attest to a Roman trade in reductions of this familiar figure. A variant Sleeping Ariadne is in the Prado Museum, Madrid. A later Roman variant found in the Villa Borghese gardens, Rome, is at the Louvre Museum.
Aristeas was part of a duo, along with Papias, of sculptors from Aphrodisium in Cyprus who made the two statues of centaurs, known as the Furietti Centaurs, in dark grey marble which were found at Hadrian's Villa at Tivoli, Lazio in 1746, and are now in the Capitoline Museums.
