Jean Tinguely. Perseus with the Head of Medusa. Auguste Rodin. Rodin was strongly influenced by the work of Michelangelo.
The direct experience of the Renaissance master's art, both in the course of his Italian travels in 1875- 76 and in the Musée du Louvre in Paris, seems to have unlocked for Rodin many of the secrets of Michelangelo's modeling. Here they are used to convey the inner anguish and riveted concentration of a powerful, but immobilized being. Rodin's debt to Michelangelo goes even further, for in the contorted, uncomfortable pose of Adam, it has been recognized that Rodin incorporated the actual gestures of the figures in two of Michelangelo's works: the right arm alludes to The Creation of Adam, the Sistine Chapel fresco in the Vatican; the left is borrowed from the dead Christ of the Pietà in the Cathedral of Florence. In the words of the Rodin scholar Albert Elsen "the figure is framed by the beginning and end of life, between (these), his body shows its tortured existence.
" Statue of Gudea. Scheil, Vincent. 1930.
"Nouvelles statues de Gudea. " Revue d'Assyriologie 27 (4), pp. 163-164, pls. Model of a Granary with Scribes. This model of a granary was discovered in a hidden chamber at the side of the passage leading into the rock cut tomb of the royal chief steward Meketre, who began his career under King Nebhepetre Mentuhotep II of Dynasty 11 and continued to serve successive kings into the early years of Dynasty 12.
The four corners of this model granary are peaked in a manner that is sometimes still found in southern Egypt today presumably to offer additional protection against thieves and rodents. The interior is divided into two main sections: the granary proper, where grain was stored, and an accounting area. Keeping track of grain supplies was crucial in an agricultural society, and it is noteworthy that the six men carrying sacks of grain here are outnumbered by nine men taking care of measuring and accounting. Marble portrait bust of the emperor Gaius, known as Caligula. Unique Forms of Continuity in Space. Bronze statue of Eros sleeping. Richter, Gisela M.
A. 1943. "A Bronze Eros. " Madame de Wailly, née Adélaïde-Flore Belleville (1765–1838) Marble portrait head of the Emperor Constantine I. Standing Hippopotamus. This well-formed statuette of a hippopotamus (popularly called "William") demonstrates the Egyptian artist's appreciation for the natural world.
It was molded in faience, a ceramic material made of ground quartz. Beneath the blue-green glaze, the body was painted with the outlines of river plants, symbolizing the marshes in which the animal lived. The seemingly benign appearance that this figurine presents is deceptive. "Smiling" Figure. God Horus Protecting King Nectanebo II. Marble female figure. Human-headed winged bull and winged lion (lamassu) Budge, Ernest A.W., and Leonard W.
Le Scribe accroupi Musée du Louvre. Qui ne connaît pas au moins une image du scribe accroupi ? Installé au Ier étage du département des Antiquités égyptiennes, il reste pourtant le plus célèbre des inconnus. On ne sait rien sur le personnage qu'il représente : ni son nom, ni ses titres, ni l'époque précise à laquelle il vivait. Malgré cela, sa statue frappe toujours les visiteurs qui le découvrent. Une posture spécifique Le du musée du Louvre connu sous la dénomination de "scribe accroupi" est en fait assis en tailleur. Un personnage inconnu. Edgar Degas Petite danseuse de 14 ans. Marcel Duchamp and the Readymade. Marcel Duchamp was a pioneer of , a movement that questioned long-held assumptions about what art should be, and how it should be made.
In the years immediately preceding , Duchamp found success as a in Paris. But he soon gave up almost entirely, explaining, “I was interested in ideas—not merely in visual products.” Marcel Duchamp. Bicycle Wheel. New York, 1951 (third version, after lost original of 1913) Marcel Duchamp. Marcel Duchamp. Marcel Duchamp. 3 Standard Stoppages. 1913–14 Seeking an alternative to representing objects in , Duchamp began presenting objects themselves as art. The readymade also defied the notion that art must be beautiful. Duchamp as quoted in “Eleven Europeans in America,” James Johnson Sweeney (ed.), The Museum of Modern Art Bulletin (New York), vol. 13, no. 4/5, 1946, p. 20.