“Athena and Marsyas” This group represents a masterpiece by Myron, now lost, which showed the goddess Athena and the Silenus, Marsyas. The myth relates how Athena, having invented the double flute, the aulòs, throws it to the ground in horror because in playing it her face became distorted. Marsyas, attracted by the wonderful sound, tries to take the instrument. The statue of Marsyas dates from the first half of the Ist century A.D. and was found on the Esquiline Hill in 1823. Alongside it is a plaster cast of the Lancellotti Athena used in the mid-19th century to reconstruct the group statue by Myron which existed around 460 B.C., but which was known only from depictions on coins and reliefs, and from literary sources. There is also another copy of the Marsyas statue in Pentelic marble which was found in Domitian's villa at Castel Gandolfo, and a head, also in Pentelic marble, of Athena from the time of the Emperor Hadrian.
“Jaguar” 🐆 This sculpture is made from different fragments of alabaster; the spots of the coat are in black and antique yellow. The feline seems to resemble a jaguar more than a leopard, however, because it is the jaguar whose spots, at the centre, are a darker yellow than the rest of the coat. This identification naturally makes it impossible for the central part of the sculpture to date from antiquity, seeing that the jaguar is an animal native to south America and thus unknown before the discovery of that continent. The sculpture was bought by Pope Pius VI (1775-1799) in 1795 and, therefore, could possibly be a work by Francesco Antonio Franzoni.
A "journey within the journey" along the entire Vatican Museums tour itinerary, a "dispersed" exhibition that from 9 November will open its doors to celebrate the great German scholar Johann Joachim Winckelmann, father of modern archaeology and precursor of today's art historians. In the years of his stay in Rome, the Vatican Museums as we know them did not yet exist, but Winckelmann already visited the Vatican Belvedere and returned repeatedly to admire the statues conserved there. It is just right among those wonderful works of art that the Director Barbara Jatta will guide us in order to present the exhibition which ideally brings to a conclusion the year of the double Winckelmannian anniversary.
Belvedere Hermes. This statue was bought by Pope Paul III (1534-1549) to decorate a niche in the Courtyard of Statues (Cortile delle Statue). It was found around 1540 in the gardens surrounding the Mausoleum of Hadrian (Castel Sant'Angelo) and for this reason it was long held to be a statue of Antinous, the Emperor Hadrian's favourite. The work certainly dates from the time of Hadrian, and shows Hermes in his role as Psychopompos, who guides the souls of the dead to the Underworld. The god is shown awaiting the deceased, melancholy and with his gaze lowered; his travelling cloak is thrown over his shoulder and wrapped around his forearm. The iconography (Andros-Farnese) is well known and was inspired by bronze statues of the school of Praxiteles.
🎄We open late on Friday 21 - but for special reason! On Friday 21 December the doors of the Vatican Museums will be opened at 1.30 p.m., to enable all staff to accept the Holy Father's invitation to all employees of the Holy See to attend a special audience dedicated to them. The Directorate would like to apologise to visitors for any resulting inconvenience, and wishes a Holy Christmas to all.
Giotto di Bondone and assistants, Stefaneschi triptych The triptych (painting in three sections) takes its name from cardinal Jacopo Caetani degli Stefaneschi, who had it painted for the old St Peter's basilica. It is painted on both sides as it was to be seen both by the priest and by the faithful. The front shows Christ enthroned with angels and cardinal Stefaneschi, between the crucifixion of St Peter on the left and the martyrdom of St Paul on the right. The predella below shows the Madonna and Child enthroned between two angels and the twelve apostles. On the back is St Peter enthroned with cardinal Stefaneschi, holding in his hands the model of the triptych, and Pope Celestine I on the central panel, and on the side panels, St James and St Paul on the left, St John the Evangelist and St Andrew on the right. The painting was done by Giotto with the assistance of his pupils, between 1315 and 1320.
Michelangelo Buonarroti, Creation of Adam. “God created man in his own image, in the image of God he created him.” The focal point of the episode of the Creation of man is the contact between the fingers of the Creator and those of Adam, through which the breath of life is transmitted. God, supported by angels in flight and wrapped in a mantle, leans towards Adam, shown as a resting athlete, whose beauty seems to confirm the words of the Old Testament, according to which man was created to the image and likeness of God.
Don’t miss outstanding Giudizio Universale Show. This resident show, that debuted in March 2018 in Rome and has already sold over 160.000 tickets in the first months, continues on stage at the Auditorium Conciliazione... Live performances, music, theater, special effects and immersive video projections: a unique sensorial journey through the story of Michelangelo and the Sistine Chapel! @giudiziouniversale_show
Raffaello Sanzio, Madonna of Foligno. The work was commissioned in 1511 by Sigismondo de' Conti for the high altar of the church of S. Maria in Aracoeli in Rome. From here it passed in 1565 to the church of S. Anna at the Monastery of the Contesse in Foligno and, after its return from France, where it had been transferred in 1797 following the Treaty of Tolentino, it entered the collection of the Vatican Pinacoteca (1816). Sigismondo de' Conti, a distinguished humanist of Foligno, is shown kneeling in prayer on the right: St Jerome, in the vestments of a cardinal, presents him to the Virgin, who is seated in glory with the Child Jesus. On the left St John the Baptist, dressed in animal skins, indicates the heavenly vision. Kneeling before this is St Francis, patron of the Minors, to whose church the picture was painted. The painting was ordered by Sigismondo de' Conti out of thanksgiving to the Virgin for having saved his house in Foligno, that had been struck by lightning. The episode is recalled in the splendid landscape insertion in the background. The small angel in the centre of the composition holds a plaque without an inscription which was probably destined to recall the wish fulfilled by the Virgin. The painting can be dated to between 1511 and 1512, in the period when Raphael was working in the Room of Heliodorus in the Vatican (Julius II's apartment). 🇻🇦🇻🇦🇻🇦🇻🇦🇻🇦🇻🇦🇻🇦🇻🇦🇻🇦🇻🇦🇻🇦 #vaticanmuseums #museivaticani #museitaliani #castelsantangelo #piazzasanpietro #raffaellosanzio #tesori_italiani #stpetersbasilica #basilicadisanpietro #vaticano #altaredellapatria #vaticanmuseum #pinacoteca #storiadellarte #romacaputmundi
‘Apoxyomenos’ by Lysippus. Pio Clementino Museum is formed by 12 rooms and contains important Greek and Roman works of art. In the interior of the Gabinetto dell’Apoxyomenos, there is a Roman copy of a Greek bronze statue by Lysippus (aroud 320 BC). The statue represents an athlete in the act of scraping sweat from his body after a competition with the small curved instrument that the Romans called a strigil. The figure represents a breech with the traditional frontality found in Greek art: to fully enjoy the sculpture, you must turn around it. The work is then considered the first all-round Greek sculpture.
Auguste Rodin, “Le Penseur”. Initially entitled Dante or Poète, Le Penseur – one of Rodin's best known works – was sculpted by the artist between 1880 and 1882 for the tympanum of the celebrated Gates of Hell. The entrance to the Musée des Arts Décoratifs in Paris was intended to feature a series of figures drawn from Dante's epic poem, sculpted in bas relief. In 1888 a smaller version of the sculpture was exhibited in Copenhagen, and in 1902 a monumental version was cast, two and a half metres tall. It was displayed two years later at the 1904 Salon, and then installed in front of the Panthéon, before being moved to the Musée Rodin. Over time the work, which shows clear signs of Michelangelo's influence, has lost its link with its original destination and has been transformed into a symbol of intellectual and creative activity. More than twenty casts exist, of various dimensions, one of which is on the artist's tomb at Meudeon; the piece in the Vatican Museums, donated by the Musée Rodin, entered the collection in 1959, as part of the first nucleus of modern and contemporary works of art. Bronze, 72 x 30 x 58 cm
Catholic bishops gathered for Holy Mass at the opening of the XV Ordinary General Assembly of the Synod of Bishops in Saint Peters Square, Vatican City on October 3rd 2018. Pope Francis is presiding over the event, which is on the theme of "Youth, faith and vocational discernment". Credit: Rex Shutterstock/EPA-EFE/Alessandro Di Meo #Vatican #VaticanCity #PopeFrancis #Catholic #religion #faith from @theeconomist
“Discobolus”. The inclination of his head, the twisting of the chest, the movement of the left leg, and the stretching of the arms express the athlete’s concentration with unprecedented by the vivacity. A marble copy from the time of Hadrian (2nd cent. A.D.) — as is demonstrated by the tree-shaped support — of a bronze original by Myron of about 460 B.C. (the inscription on the tree trunk is modern). Discovered in Hadrian’s Villa.
🍂Did you ever wondered how Musei Vaticani look from above? Beautiful autumn bird's eye view by one of our visitors @martulanic.
Have you ever visited Musei Vaticani during the night? Not yet? Take advantage of Friday Night Openings. From April to October, the Pope's Museums open their doors after dusk, allowing visitors to enjoy an evocative and unusual nocturnal atmosphere. Every year this special tour experience is further enriched by a comprehensive concert programme. Tag your photos with @musei_vaticani. Thank you for photo @simodee.
Laocoön and His Sons, by Rhodes sculptors Hagesander, Athenodoros and Polydorus. As described in Virgil's Aeneid, Laocoön was a Trojan priest. When the Greeks, who were holding Troy under siege, left the famous Trojan Horse on the beach, Laocoon tried to warn the Trojan leaders against bringing it into the city, in case it was a trap. The Greek goddess Athena, acting as protector of the Greeks, punished Laocoön for his interference by having him and his two sons attacked by the giant sea serpents Porces and Chariboea. In the sculpture, one son can be seen to break free from the snakes, and looks across to see his father and brother in their death agonies. Influence and Legacy Michelangelo himself was especially impressed by the huge scale of the work, as well as its expressive aesthetics, so typical of Greek sculpture from the Pergamon School of the Hellenistic period. Similar emotive qualities reappear in Michelangelo's own works, such as Dying Slave. But see also David by Donatello (1440s) for an Early Renaissance interpretation of the standing male nude, and David by Michelangelo (1504) for a High Renaissance interpretation. 🇻🇦🇻🇦🇻🇦🇻🇦🇻🇦 #museivaticani #vaticanmuseums #museitaliani #castelsantangelo #stpetersbasilica #piazzasanpietro #archeologia #michelangelobuonarroti #storiadellarte #romacaputmundi #visitrome #wheninrome #ancientgreece #romanempire #ancientart #vaticanmuseum #romanart #fineartcuration #artteacherlife #italianart #beniculturali30 #igersroma #galleriaborghese #artmuseum #uffizigallery #colosseum #altaredellapatria #arthistorystudent #forumromanum #museicapitolini
🎬 Michelangelo Infinito. Do you already have your tickets?
Mimmo Paladino, “Sorgente”. Realised by Paladino in 2011 specifically for Benedict XVI’s sixtieth year of priesthood and included in the exhibition held to commemorate the event, Sorgente demonstrates the innovative and multi-faceted research that the artist has carried out since the 1970s. Keen to experiment with all techniques, from 1979 he began to devote himself to engraving, followed by a move towards sculpture, and finally to installations and urban art in the 1990s. Source combines painting and sculpture: from the two-dimensionality of the small gilded panel, on which Paladino depicts a male face in a primitive style, the fiction comes alive: a fine, articulated branch that, in contrast with the surface from which it emerges, extends naturally to occupy the surrounding space. - - - #museivaticani #vaticanmuseums #contemporarysculpture #roma #museitaliani #beniculturali30 #vaticano #stpetersbasilica #pinacoteca #arteitaliana #castelsantangelo #altaredellapatria #piazzanavona #piazzasanpietro #castelgandolfo #igersroma #fineart #romacaputmudi #visitrome #colosseo #tevere #trastevere #fontanaditrevi #mimmopaladino #galleriaborghese #fororomano #forumromanum #uffizigallery #galleriadegliuffizi #storiadellarte