Null [BEAUX ARTS]

COLLECTIVE - The Louvre Oriental/Egyptian/Greek/Roman/Medieva…

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[BEAUX ARTS] COLLECTIVE - The Louvre Oriental/Egyptian/Greek/Roman/Medieval/Renaissance Italian/French Renaissance/XVIIth century/XVIIIth century/XIXth century - Les Editions de l'Illustration S.N.E.P - Ten paperback volumes with illustrated covers - leaves 39 x 29 cm (good general condition)

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[BEAUX ARTS] COLLECTIVE - The Louvre Oriental/Egyptian/Greek/Roman/Medieval/Renaissance Italian/French Renaissance/XVIIth century/XVIIIth century/XIXth century - Les Editions de l'Illustration S.N.E.P - Ten paperback volumes with illustrated covers - leaves 39 x 29 cm (good general condition)

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Starting price 20 EUR

C. BAYET, QUANTIN éditeur 1886 -- Bibliothèque de l'enseignement des beaux arts. 350 pages - "PRECIS D'HISTOIRE DE L'ART". The arts in Egypt, Greek and Etruscan art - The Christian, Byzantine and Arab Middle Ages - The Renaissance - Art in Flanders - French art.

Estim. 150 - 200 EUR

Le Triomphe.

Estim. 12 000 - 13 000 EUR

God Attis. Rome, 2nd century A.D. Marble. Measurements: 52 x 16 x 14 cm. Round sculpture representing the torso of Attis, Greek god adopted from the Phrygians and who was also venerated by the Romans. God of the lost and rediscovered vegetation, he personifies the ephemeral and revived spring. Attis represents the nature that dies in autumn and that rises again in spring. This oriental divinity has its origins in Phrygia and several versions of the mythological legend are known, always highlighting his death due to self-castration and his subsequent resurrection. He was considered the lover of the goddess Cybele. In the Roman world we find representations of Attis in all kinds of artistic manifestations, among which we want to highlight the sculpture. Its iconography is very varied, since this divinity is presented in different attitudes, sometimes alone and sometimes in the company of Cybele. This diversity is due to the desire to show the god in the most relevant moments of his myth or to express through his image ideologies of symbolic-religious content. We must highlight those figures that represent him as the protector deity of the dead and their resurrection, in this case without any relation to Cybele, since he had also known suffering and death and had overcome them. Precisely, Roman sculpture stood out from Greek sculpture in the creation of the sculpture-portrait. The Roman portrait has its roots in Etruscan art, but also in the Hellenistic Greek world and in the "masks mayorum", that is, wax masks that were applied to the faces of the deceased for their memory and later worship. The materials most commonly used in Roman portraiture were bronze and marble. At the beginning, Roman portrait sculpture only represented the head and part of the neck. Later, progress was made in the representation of the entire bust, including shoulders and chest. However, full body sculptures were also sculpted, as in the one presented here.

Estim. 3 500 - 4 000 EUR

Male head. Late Roman Empire, 2nd-3rd century AD. Marble stone. Measurements: 36 x 19 x 20 cm. The protagonist of this sculpture, a middle-aged man, looks at the viewer in a calm attitude. His eyes completely open, expectant and directed to a concrete point, reveal the restlessness of the character and stand out for their naturalistic character. The detail in its execution, especially reflected in the individualized hair and the expressive firmness of his face, demonstrate the skillful ability of an artist fully trained in sculptural instruction. The Lower Roman Empire or Late Roman Empire is the historical period extending from the rise of Diocletian to power in 284 to the end of the Western Roman Empire in 476. It succeeds the High Roman Empire begun by Caesar Augustus in 27 BC. The Romans brought two important innovations to the world of sculpture: portraiture and historical relief, neither of which existed in the Greek world. However, they followed the Greek models for much of their sculptural production, a base that in Rome would be combined with the Etruscan tradition. After the first contacts with the Greece of classicism through the colonies of Magna Graecia, the Romans conquered Syracuse in 212 BC, a rich and important Greek colony located in Sicily, adorned with a large number of Hellenistic works. The city was sacked and its artistic treasures taken to Rome, where the new style of these works soon replaced the Etruscan-Roman tradition that had prevailed until then. Cato himself denounced the sacking and decoration of Rome with Hellenistic works, which he considered a dangerous influence on native culture, and deplored the Romans' applauding of statues from Corinth and Athens, while ridiculing the decorative terracotta tradition of ancient Roman temples. However, these oppositional reactions were in vain; Greek art had subdued Etruscan-Roman art in general, to the point that Greek statues were among the most coveted prizes of war, being displayed during the triumphal procession of the conquering generals.

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