Apuleius In-Depth Ekphrasis Of Diana And Actaeon

Greek culture is the source from which many of the characteristic elements of Western culture derive. Their explorations and innovations in art have both fascinated and inspired other civilizations for centuries. For this assignment I chose two Greek sculptures viewed at the Getty Museum. The first is Kouros circa 530 B.C. made of Dolomitic marble from Thasos and is approximately 200 cm (80 in) in height. The second is Cult Statue of a Goddess, (most likely Aphrodite) South Italy, 425 - 400 B.C. made of Limestone and marble. It stands at a height of 220 cm (86 5/8 in). There is some dispute to the authenticity of the Getty Kouros

The long nose and pointed chin are two distinct features of Cleopatra that are demonstrated by the image on the coin that sepeate her from those that play her today. In his ‘A.D. 75 Life of Antony’ Plutarch himself professes, “Her actual beauty … was not so remarkable that none could be compared with her… but the contact of her presence … was irresistible”. As a consequence, it can be understood that it is ancient sources that possibly provide the truest image of her, being from the period of her life. That is not to say however, that ancient sources have incorporated a complete truth. This can be seen with the evidence provided by Roman and Latin sources.

This paper will focus on the Statue of Dionysos leaning on a female figure. Also known as the Hope Dionysos. The statue is displayed at the Metropolitan Museum of Modern Art and is located on the first floor Roman and Greek art chamber. Upon entering this sector, you will notice a grand statue that catches your eyes and captivates you as it welcomes you in gracefully. The exhibition is set up in the back center of the room, and is noticeable due to the largeness in scale and the enigmatic yet calming disposition the statue portrays. My first impression of the sculpture was how detailed and realistic the statue is. Since the statue was so defined you would be able to identify what he was wearing and how his body was shaped to how long his hair was during this time period. I was profoundly intrigued by how peaceful the statue of Dionysos embodied and found myself coming back to it and looking in awe. In curiosity, I would choose this statue for my assignment because I wanted to learn more about the history of the Hope Dionysos. In this essay I will be describing my formal analysis of the artwork, the subject matter behind it, the artist and the historical content of the statue of Dionysos.

The authors writes many different kinds literatures, some literatures are about exploring the world for unknown things, and some literatures are about showing some people’s mind. But the essence of these different kinds literatures are the same that it is people’s desire to learn and know the world. In Apuleius’ The Golden Ass, Lucius shows very interesting after he hears the story about the magic from these two travelers, “Already on tenterhooks, then, as I said, in my hopes and my enthusiasms all at once, I went about sticking my nose into everything I saw, detail by detail.”(The Golden Ass 2:1), and his desire for the unknown power, the magic, push him to get the feeling trip of the magic in his further life in the book. So Lucius’ story is the exploring the world for unknown things. In The Answer/ La Respuesta: Including Sor Filotea’s Letter and New Selected Poems (English and Spanish Edition.), this book is about Sor Juana’s mind, she is very lovely to learn knowledge and she hits back at her church in the literature of disapproval, she embodies the ideological fight for women’s liberation, the requirements of gender equality. Although both The Answer/ La Respuesta: Including Sor Filotea’s Letter and New Selected Poems (English and Spanish Edition.) and The Golden Ass, both of the authors use desire to be the base for their literatures to push the stories developing, especially at the points those can decide the story could be long or short. At the beginning of Apuleius’s The Golden Ass, when Lucius turns in ass, he has many choices to eat fresh flower to help him turn back in the human, but Lucius’s desire for unknown magic stops himself and to watch what can happen in the further. In Sor Juana’s literature, she has the choice to stay in palace and keep far away from the church that against her mind because at 17th century people don’t like women learning knowledge. So both of the two literatures, The Answer/ La

The study of Greek sculpture is a complex relationship of Roman sculpture. And a large number of Roman sculpture, especially in the stone, survives more or less intact, it is often damaged or piecemeal; life-size bronze statues are much more rare, because as most have been recycled for their metal. The

Artemis’ informative speech to Hippolytus not only displays the dramatic irony present throughout the play, but also solidifies many predominant themes present during the play. This passage summarizes the entire play as Artemis describes the plans of the characters, going on to blame Phaedra, the Nurse, Aphrodite, and Theseus. (Halleran, 276) Through Artemis’ passage (Euripides, 1283-1312), the truth about Phaedra and Hippolytus, unknown and misunderstood by Theseus, finally surfaces. As Artemis reveals the plot to Theseus in the passage, the themes of honour and relationship between man and god are evident. Hippolytus’ relationship with the goddesses Artemis and Aphrodite, along with his honour and pride, are

In this paper, I will describe the sculpture, Augustus of Primaporta, beginning with the Emperor’s head, one would note the definition of Augustus’ hair, individual locks that coalesce to form an idealized, dome-shaped style. His forehead displays two proportional, prominent bumps, likely muscles that control brow movement. His pencil-thin eyebrows are set quite low and impress a calm disposition.

In Ovid Metamorphoses, the Roman literature described the ruthless act of Pluto of rape, to seize and carry away Proserpine without the consent of Ceres and in parallel in the Homeric Hymns of Demeter; Persephone was seized and carried away by Hades without the consent of Demeter. The invariant theme that was identified in both the Greek and Roman literature was the loss of innocence of Persephone/Proserpine. Despite the various differences the story was presented, it reinforced the innocence that was stolen from the god of the underworld, Hades or also known as Pluto. Throughout this paper, it will discuss the similar characteristics of the two myths such as the motive that led and encouraged the god of the underworld to kidnap

The Statue of Asklepios is a classic Greek sculpture that portrays a person of the most perfect and athletic form. The piece is of a man standing beautifully while draped in a toga. The toga is draped over his left shoulder and cuts across to the right side of his body near his lower abdomen and then continues to cover his legs until his ankle. The toga also is draped over the pieces entire back. The piece is missing his head, his left arm and both his right foot and almost its entire right arm. The piece has a smooth, but not glossy, exterior in all of the areas except for the parts that have been broken off. Asklepios is portrayed as an incredible fit and beautiful being. The abdomen is extremely muscular and shows off the miraculous fitness of the model. The toga has many wrinkles, creating a lot of shadow and darks and lights. It also is wrapped in a way that is both loose and tight in different areas of the sculpture. It is tied right next to the left pectoral and the left armpit. This piece emphasizes the muscular body of this man while at the same time portraying him standing in such a nonchalant way through the curvature and relaxed look of the figure. And unlike the Torso of a God, this piece clearly shows movement through the shape of the body and the folds of the toga because

There have been countless duels between two opposing sides in the history Roman artistry. This sculpture relief signifies the classic battle of good versus evil. Time and time again, benevolent heroes find themselves in a struggle to combat worthy yet malicious adversaries. The Roman sarcophagus, a two by five feet marble coffin, is certainly no exception. It represents another division to this timeless good-evil epic, its visual characteristics, emphasis on contrasts, and its extensive array of details give it an identity that is uniquely its own. It portrays a sense of legendary fantasy to the viewer, one pertaining to hostility, violence, and pure anger. The sculpture seems overly shallow due to

When examining the statue, there is an old woman bent and weary. Her posture helps clue us in, with her age and the state of her health. The figure is dressed in cloth that drapes off her body as she carries a basket that is filled with what we may think are offerings. On her head, there are vines that create a band around the top of her head used to signify the festival that was going on during that time. The specific detail that is seen on this statue persuades us to want to know the story of this woman. Doing so, the process involves lots of research about the time and art. During the hellenistic period, artists begin to introduce more inner beauty than physical beauty. There is an opportunity to learn more about the structure itself, then settle for what is given and seen.

Furthermore, Rembrandt’s painting enhances the subjects of the myth, and like the text, he successfully details the climax of the scene. The cluster of characters in contrast to the larger landscape engages the viewer to focus on the details of the nymphs’ bodies and their fear. The peachy hues of skin shining against the sunlight make the nymphs look extremely vulnerable and bare. Rembrandt emphasizes the helplessness of the nymphs and embodies Ovid’s motif of censorship as they flee in fear from a mere human. Diana is the solitary character in full nudity and directly facing Actaeon, creating a captivating tension between these two away from the rest of the scene. As “she stood head and shoulders taller than her guards,” viewers can sense that Diana is a mighty presence capable of punishing man, which all gods are as depicted by Ovid (Ovid. Book III. 186). Yet, Diana seems to appear as vulnerable as her nymphs, since “she gave her javelin, quiver and her bow to [a nymph]” emphasizing that Actaeon is seeing the weak state of a divine figure that humans ought to never see (Ovid. Book III. 163). The fact that Actaeon poses with a weapon, but Diana does not, conveys the recurring idea of challenging the power of a god -which they do not take lightly without consequence- and how Diana is no longer a distinguishing character from the nymphs when unclothed and weaponless. Rembrandt’s painting demonstrates Ovid’s frequent questioning of the true competence of gods, as it seems that

From an historical perspective, this piece is an excellent example of early classical Rome. You can sense the respect and admiration that the average Roman citizen had for Augustus, in the fine details of the sculpture.

One very noteworthy statue of the Classical Period was called “Aphrodite of Knidos”. The original sculpture inspired various amounts of copies, but sadly the original itself did not survive. “Aphrodite of Knidos” was created by Praxitele and is thought to be the most famous sculptures of Classical Greece. The sculpture depicts Aphrodite just have taken off her clothes and was about to step into the bath. She may have had an onlooker and she covered her pelvis from their view.

Over the years of art history, there are many great empires that we think of and two of those were ancient Greek and Egyptian. When talking about Greek and Egyptian art history, it is the sculptures that come to mind when you are comparing and contrasting artworks. Egyptian art and Greek art both had mesmerizing sculptures but Egyptian art was more oriented towards religion and Greek art was more focused on philosophy. The Egyptian statue of the Menkaure and a Queen was similar to the Greek statue of Metropolitan Kouros in their posture but both of these statues also had many differences. Menkaure and a queen statue was created from an unusual stone and the statue was discovered in Menkaure’s valley temple. The sculpture has a hard texture and because of the time-consuming task of polishing this sculpture was never completely polished. So, the sculpture is greywacke and has traces of red paint on king’s face, ears and neck because male figures were traditionally painted red and there are traces of black in queen’s hair. The sculpture itself is 54 ½ inches in height and is displayed in the Museum of Fine Arts, Boston. Metropolitan Kouros was created from marble which seems like it has a rough and hard texture. The statue is 6 feet in height and is displayed at the Metropolitan Museum of Art, New York.