Comparison of Severan copy of Athena Parthenos and 13th century Virgin and Mary
The Severan copy of Athena Parthenos and an early 13th century Virgin child are two pieces at the Boston Museum of Fine Arts that compare and contrast in several ways. Their historical importance as symbols, their sculptural mediums, styles and dimensions, and their functions make them historically relevant.
The Reduced Replica of Athena Parthenos - at the MFA in Boston is a marble statue which depicts a graceful, robed female icon. The statue has lost both arms, and is dressed in a chiton Athena , also referred to as Minerva, the Maiden, or Parthenos was the Favorite daughter of Zeus. Legend states that she was not generated by any woman with Zeus, but instead leapt out of his head fully grown and armored. Athena is known an the goddess of wisdom, the goddess of the city , the protectress of civilized life, artisan activities , and agricultural bounty. All of these characteristics explain her sculptural likenesses in so many ancient cities in need of dietous protection. 1
This particular piece is of Severan creation. The Severans came to power in the late second century. Marcus Aurelius¹ son Commodus succeeded his father in 180, only to inherit an empire that was becoming increasingly harder to uphold , and imperial order was being threatened. Eventually, he was assassinated , and the Roman world was thrown into civil discord. Septimius Severus emerged as the new emperor in 193 after proclaiming himself to be Marcus Aurelius¹ son. 2
The Severan¹s hometown was called Lepcis Magna, on the coast of what is now Libya. In the early third century the port city used imperial funds to ornament itself with a new forum, basilica , arch, and several monuments and statues. One of these statues may be the Athena Parthenos . 3
Like other heroic statues of second and third century Rome, Athena has a rigid , strong but graceful torso that can be seen in the later period of Soldier Emperors that would follow in coming decades. While examining Athena¹s garb- her birthday suit of armor and cloth - a paralell can be drawn to the battle gear seen in the Ludovisi battle sarcophagus and the Athena¹s chiton. In both of these , the garments¹ cloth hangs with a powerful rigidity that doesn¹t really cling to the body. This gives a feeling of protective layering and puts limited focus on the anatomy of the covered torso and limbs.
The durability of clay has brought forth an immense abundance of Greek pottery, a craft mastered by Athenian artists. Archeologists have found hundreds of varieties in creation, shape, function, style, and artwork in Archaic vases. The museum has been blessed with one of these priceless artifacts; it is the duty of this establishment to accumulate as much data as possible surrounding the vase. In first identifying technique, dimensions, and condition, as well as describing shape, ornament, and figural scenery, one may then begin to analyze the vase. This serves the general purpose of understanding where the artifact stands in Greek culture and history. Through the examination and research of figural scenes, it is then possible to compare these to other scenes and styles of the same and other painters. Finally, one can then hypothesize where, why, and how this piece was used.
Both figures are in a very traditional, standing pose for the time period in which they were created. The sculpture of Augustus is based on the Greek classical statue of the Spear Bearer or Doryphoros by Polykleitos. He is standing in contrapposto, a very classical standing pose wherein the weight of the body is shifted naturally so the figure’s weight is more on one leg, with the other leg slightly bent behind and the hips tilted. Mycerinus and Kha-merer-nebty II are both in the standard Egyptian canon standing pose, in which the figures are rigidly frontal with the pharaoh’s arms down at his sides and fists clenched. Like Augustus, one leg is slightly ahead and one is behind, but there is no contrapposto, the figure’s weight is shared equally by both legs and the hips are squared and level.
The author talks about the meaning behind the two pieces, Doryphoros (Spearbearer) and Aphrodite of Knidos. He begins by going into the basic history of what men and women at the time were expected to do during their short lived lives. He paired these two pieces because of the masculinity and femininity that divides and unites the two classical Greek sculptures. Stewart talks about genders and the gender roles that were expected of men and women at the time the artwork was made in ancient Greece. Both pieces are linked to power and vulnerability. The author goes into full detail throughout his research, giving background, reasoning, and explanation between the importance of the pieces, linking them to the important of idealized perfection.
Wright, H. David. The Vatican Vergil: a Masterpiece of Late Antique Art. Berkeley: University of California Press, 1993. Print.
Stebbins, Elinor. "Athena." Sweet Briar College { History of Art Program }. Web. 27 Feb. 2011. .
Throughout the history of Ancient Greece thousands of great works of art were produced. Works were created in many different media, ranging from life-size statues to larger than life architectural structures. One type of art that can sometimes be overlooked, though, is pottery. There are many examples of great Greek pottery, but the two that will be used as a sample are Artemis Slaying Actaeon and Woman and Maid. By considering the backgrounds of these works, and comparing them directly we are able get a taste not only of the artistic styles of the time, but also a taste of ancient Greek culture.
As you can see Athena was a very important figure in Greek mythology. She was very close to the same person in some cultures and completely different person in others. Her influence on the people varies widely depending on which stories you read and from what culture they are
Athens, the city named after her to this day. She competed with Poseidon, god of the sea,
Athena was the goddess of war and wisdom. Daughter of Zeus and Metis, but born from only Zeus. Gaea the Earth goddess told Zeus that his child would u...
The construct of the ‘Roman copy’ in art history has deeply rooted and extensive origins. Whilst this prejudiced was attached to Roman sculpture from an extremely early time in modern archaeology and art history, the construct viewed in a current context reveals issues with both its development and contribution to historical understanding and education. The construct is formed upon several main factors that have recently been called into question by revisionist historians. Firstly, the development of the construct by conservative historians during the 18th century, a context that valued artistic originality and authenticity, lead to it’s popularisation and circulation as a respected model. Secondly, the construct rests entirely on the presumption that Greek art is in fact aesthetically and artistically superior, insinuating a negative predisposition towards Roman artistic workmanship and aesthetics. Lastly, technological advancements aiding historiography have asserted the fact that many conclusions drawn by conservative historians through their methodology are in fact irrefutably incorrect. While the basis for much of the conservative historians argument has been seen as flawed, or otherwise seriously questioned in terms of accurate and reliable history, the construct of ‘Roman copies’ of Greek originals has remained a legitimised understanding and interpretation of Roman art for centuries. The question can then be raised as to whether the attention given to this aspect of history is worth the fact that much of the history being taught is now being heavily questioned.
"Statuette of a standing maiden [Etruscan] (17.190.2066) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art." The Metropolitan Museum of Art - Home. N.p., n.d. Web. 16 Feb. 2014.
Athena, the Greek goddess of both wisdom and war, is often considered the craftiest of all Olympian gods. She was born of a headache, and erupted from Zeus’ head fully armed and ready for battle. However, beside all this pomp, she is a rather caring, if war-loving, immortal. Throughout the entirety of The Odyssey she conveys an entirely platonic, almost motherly love for Odysseus. It is this that makes her significant character in Homer’s work. In The Odyssey, Athena is portrayed as a, if not the, major female figure throughout the entire epic poem. With her affection for Odysseus and her frequent appearances she plays a major role throughout the entire poem. Evidence of this integral role will be presented as proof of her importance to the story.
And just like the Greek the statue are both big and almost human size. A great example of this is the “Augustus of Primaporta, 1st century C.E. (Vatican Museums).” It truly shows the evolution of art sculpting. It is a full size very detailed sculpture of Augustus. It very detailed from his hair showing every curl and split to the small details in his armor that also depicts a story as well is shows the god of the sky looking down on him and the goddess of the earth looking up towards him as they watch the Parthians surrender to him and returning the standards shows the great power that Augustus has, and not just that but also the sculpture itself is a symbol for how Augustus wanted everyone to see him as, as god like. And it even has a little small cupid on the side which is also detailed which shows that Augusts is decedent from a
Athena had one of the strangest births of any of the gods. Out of the many gods and goddesses, who lived atop mount Olympus, Zeus reigned above them all. He was the most powerful and strongest of all the gods and goddesses, even if you combined all of their attributes together, they still were no match for Zeus and his dominance, It is no surprise that a god this great should need no woman to bear offspring at the level of the gods. Zeus was told by mother earth and father sky that him, and his wife metis would bare children, which would jeopardize his position as ruler of everything. With this foretold conclusion, Zeus decided to swallow Metis who was about to give birth, and in so gaining her intelligence and wisdom. It is said however, that the result of metis being eaten were Zeus' tremendous headaches. Hephaestus had the solution to these headaches, an axe, the result of the axe and Zeus' skull was that Athena sprang out, fully-grown and Armored. Athena had been given a numerous amount of traits from her mother, more over; the main qualities were wisdom and justice.
Rahn, Peter J. “Funeral Memorials of the First Priestess of Athena Nike.” The Annual of the