Terracotta statuette of a woman details

Janaina Medeiros

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Terracotta statuette of a woman details

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Demeter and her daughter Persephone, made at Myrina, north-west Asia Minor, c. 100 BC (via)
Detail of a Hellenistic figurine from Tanagra in the Harvard Art Museums.
I spent most of my Sunday, and International Workers Day, thinking about this fresco inside the Chiesa di San Miniato al Monte in Florence, painted by Mariotto di Cristofano around 1420.
Tightly wrapped around Christ, just barely touching his body, are various tools and instruments that would have been used by laborers in 15th century Florence. Directly below his feet is an inscription in the Tuscan dialect of the Italian language which states, “Whoever does not keep Sunday holy and does not have devotion to Christ, God will condemn to eternal damnation.” This type of image is known by a few different names: Sunday Christ, Christ of the Trades, and Handwerkerchristus, or the Artisan Christ, are to name a few.
Christ is depicted as suffering, he gestures towards his side wound as a reminder of his sacrificial crucifixion. The tools surrounding him would have reminded medieval Christians that, through engaging in work on Sundays, they themselves are perpetuating the suffering of Christ, thus re-crucifying him. The inscription serves as a warning of the consequences for not obeying the obligatory abstinence from work on the Lord’s day.
The closest visual parallel to this type of image is Christ surrounded by the arma Christi, or the instruments of the Passion, which likely informed the pictorial tradition of the Sunday Christ. In this instance, the artisan’s tools have been allegorically transformed into the arma Christi, and through ignoring one’s Sunday obligations, it was understood that the medieval Christian has prolonged the suffering of Christ.
Crown from the tomb of Philip II of Macedon (382–336 BCE) and the Thracian princess Meda of Odessa (died 336 BCE) in Aigai, Macedonia. Known as the crown of Meda.
According to N. G. L. Hammond, when Philip died, Meda committed suicide so that she would follow Philip to Hades. The people of Macedonia, who were not used to such honours to their kings by their consorts, buried her with him at the Great Tumuli of Vergina, in a separate room. The second larnax found in the tomb might belong to her.

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Gold and sapphire bead necklace, Hellenistic, 3rd-2nd century BC
from The St. Louis Art Museum
The Centaur mosaic (2nd-century), found at Hadrian’s Villa in Tivoli, Italy. Altes Museum, Berlin
Hercules, c. 30 BC - 20, Cleveland Museum of Art: Greek and Roman Art
Half-human, half-divine, not very bright, but very strong, this hero was the most popular of all mythological figures. His intellectual weakness made him a sympathetic figure while his persistence in undergoing great trials was inspirational. Roman artists often portrayed Hercules as middle-aged, as though greater maturity would increase his power andvirility. Hercules slew a monster-lion—the scourge of Nemea—by strangling it and beating it with his olive-wood club. He wears the beast’s pelt as a trophy, and this statuette’s right hand once held a club. Size: Overall: 14.5 x 8 cm (5 11/16 x 3 1/8 in.) Medium: bronze with silver and copper inlays
https://clevelandart.org/art/1987.2
Piping and Dancing Satyr, 300-100 BC, Cleveland Museum of Art: Greek and Roman Art
Size: Overall: 21 cm (8 ¼ in.) Medium: bronze
https://clevelandart.org/art/1945.366
Hydria, Antimenes Painter, c. 520 BC, Cleveland Museum of Art: Greek and Roman Art
The styles of the Antimenes Painter and of Psiax were so close that the great vase-painting expert, Sir John Beazley, has referred to them as “brothers.” Both were active in the last decades of the 6th century BC when the new red-figure style came to dominate vase production in Athens, but only Psiax produced vases in black- and red - figure. Some figures on this hydria are very close in style to those on the eye kylix (CMA 1976.89) by Psiax. Both artists delighted in intricate detail and curvilinear designs. Shoulder: Theseus slaying the Cretan Minotaur Main panel: Quadriga (four-horse chariot) and warriors Predella: Lions attacking a doe; two stags. Size: Overall: 43.2 cm (17 in.); Diameter of rim: 24.7 cm (9 ¾ in.); Diameter of foot: 15.2 cm (6 in.) Medium: black-figure terracotta
https://clevelandart.org/art/1975.1

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I am devastated to hear the news of François Lissarrague’s passing yesterday. Lissarrague was a brilliant scholar and immensely influential in the study of Greek vase painting. His work has inspired me for years and has influenced my own in many ways.
Monogram of Christ (Chrismon), 500s, Cleveland Museum of Art: Medieval Art
The superimposed Greek letters chi and rho, the first two letters of Christ’s name, was a popular early Christian symbol. The monogram of Christ, or chrismon, is also a powerful symbol of imperial victory: it appeared to Emperor Constantine the Great before his battle against Maxentius in ad 312, promising victory in the name of Christ. Made of gold sheet and decorated with three garnets, it may have formed the center of a golden wreath, serving as a protective device and an emblem of Christian triumph. Size: Overall: 14.8 x 12.1 x 0.7 cm (5 13/16 x 4 ¾ x ¼ in.) Medium: gold sheet, gold wire, and garnets
https://clevelandart.org/art/1965.551
Drachm, 500-480 BC, Cleveland Museum of Art: Greek and Roman Art
Size: Overall: 1.7 cm (11/16 in.) Medium: silver
https://clevelandart.org/art/1929.914
Flask, c. 1350-1300 BC, Cleveland Museum of Art: Greek and Roman Art
Size: Diameter: 8.9 cm (3 ½ in.); Overall: 10.4 cm (4 1/8 in.); Diameter of foot: 3 cm (1 3/16 in.) Medium: Cypro-Mycenaean ware
https://clevelandart.org/art/1916.2003
Fauna marina (I sec. a.C.), dalla Casa di Lucio Aelius Magnus - Pompei, Museo Archeologico Nazionale, Napoli.

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The Atalanta Lekythos (Funerary Oil Jug), Douris, 500-490 BC, Cleveland Museum of Art: Greek and Roman Art
The extraordinary intact conditon of the fragile white ground and the spirited yet delicate drawing have made the vase renowned as one of the finest white ground lekythoi in existence. Atalanta, who would marry only the man who could beat her in a foot race, is here being teased by three Erotes, winged gods of love. Each figure is identified by name: EPOS and ATALANTE. Douris was an Athenian vase painter who was active from about 500–460 BC. Size: Overall: 31.8 cm (12 ½ in.) Medium: painted white-ground terracotta
https://clevelandart.org/art/1966.114
Monkey Aryballos, c. 580 BC, Cleveland Museum of Art: Greek and Roman Art
Perfume flasks in the form of a monkey are numerous, but few are as well made and preserved as this one. The flask was worn suspended from the wrist by a cord. Its owner would take it to the communal baths and anoint himself with its contents afterward. Such flasks have been found throughout the Mediterranean and Egypt, but this vessel was likely made at a Greek settlement on the west coast of Asia Minor. Size: Diameter of mouth: 2 cm (13/16 in.); Overall: 9 cm (3 9/16 in.); Diameter of base: 3.7 cm (1 7/16 in.) Medium: earthenware with slip decoration
https://clevelandart.org/art/1991.50