Вот, что меня всегда впечатляло, так это древнегреческие легенды. Если легенды и мифы большинства верований, еще пыталось объяснить происхождение природных явлений, или ритуалов,или правил поведения. Хотя бы образно. То эти ребята бьют рекорды по абсурду.Особенно в той части, когда боги тибрили что-нибудь друг у друга, ну или соблазняли богов/смертных принимая облик животных, птиц, рыб ... да чего угодно главное, что бы оно шло в паре со словом «прекрасный». Морали ноль, объяснения мироустройства ноль, но сюжет прикольный. Хочется перечитывать под заглавную тему из Игры престолов. #statue#marble#antique#antiquesculpture#sculpture#nature
The German sculptor Emil Wolff (1802-1879) created this self-portrait in 1835 in Rome at the occasion of his own wedding together with a bust of his future wife, the Roman artist model Maria Margherita Guaviglia (around 1810-1879). The recent discovery of this unknown self-portrait of Wolff is very interesting, since only one other self-portrait, showing the artist at the age of 74 was known. (today in the sculpture collection of the Accademia di San Luca, the center of neoclassical theory and practice in Rome). .
Emil Wolff studied at the Berlin Academy of Arts, from 1817 to 1822 and worked as a pupil and assistant in the studio of his uncle Johann Gottfried Schadow in Berlin, since 1822 as a fellow of the Berlin Academy in Rome.
In Rome, where he was based for the rest of his life, Wolff took over the studio of his deceased cousin Ridolfo Schadow. He was in close contact with German archaeologists and soon developed a special talent in the art of restoration of antique sculpture. Through his contacts with the heads of cultural life in Berlin, like Rauch and Schinkel, Wolff was able to arrange purchases of antiquities for the Prussian royal collections. Since 1832, Wolff was a foreign member of the Berlin Academy of Arts.
His prominent role for the artistic life in Rome, was honored in 1871 with the appointment as President of the Accademia di San Luca. Wolff carried out this important honorary post, which had not fallen to neither a foreigner nor a Protestant since Thorvaldsen, until his death.
The artistic development of Emil Wolff was influenced by two major personalities: in Berlin by Johann Gottfried Schadow (1764-1850) and in Rome by Bertel Thorvaldsen (1770-1844); he was also influenced by the softer, more naturalistic classicism established by Christian D. Rauch (1777-1857).
Take off! ✈️ Alex Potts book ‘Flesh and the Ideal’, published by Yale, re-examines Winckelmann's canonical status as the so-called father of modern art history showing how his systematic definitions of style and historical development can cast a new light on present-day understanding of these notions. The complexities of his new historical perspectives on the art of antiquity both prefigure and undermine the more strictly historicising views of the Greek ideal put forward in the nineteenth century. It’s a pretty tough read (almost as hard work as Winckelmann’s ‘The History of Art in Antiquity’ (1764), but worth the effort. I wouldn’t recommend it if you’re new to the subject of classical aesthetics but I’m going to pick through it to find the main arguments amongst the convoluted academic prose. So, imagine me crawling through the tangled underwood of pedantry on your behalf ;-)
Laocoön and his sons 🐍
Greek myths and stories were a huge part of my childhood. The photos of this statue, and the story about it, especially stood out. I remember seeing it in Vatican, for the first time, 8 years ago. I gasped! But the experience in Rhodes was even more profound. This statue is approximately 5 times larger than the one in Vatican. In the highlighted stories from Rhodes you have more interesting information about it 🎓