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A MARBLE FUNERARY PORTRAIT STATUE OF A ROMAN POET
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Descrizione dell'oggetto

A MARBLE FUNERARY PORTRAIT STATUE OF A ROMAN POET\n, LATE REPUBLICAN/AUGUSTAN, CIRCA 50 B.C.-A.D. 14, A MARBLE FUNERARY PORTRAIT STATUE OF A ROMAN POET\nSeated in a contemplative attitude and holding a scroll in his left hand, his himation draped over the lower part of his body, left shoulder, and left forearm, his head turned slightly to his right, the face with high cheek-bones, fragmentary aquiline nose, deep-set eyes, and furrowed brow, his short cropped hair radiating from the crown.\nHeight 46 in. 117 cm
US
NY, US
US

notes

According to Paul Zanker (op. cit., pp. 214-215), the Buffalo statue 'presents a poet in a mood of remarkable, if rather strained, self assurance. We recognize him as a poet by the book roll and Greek manner of clothing, a mantle that leaves the entire torso exposed. The models for this figure are not the earlier Greek statues of poets, in their citizen dress and relaxed pose, like Menander and Poseidippus, but rather the exaggerated heroic imagery of Late Hellenistic art that we saw exemplified in reliefs of Menander. The pose is here even more exalted. The poet sits straight as an arrow, with his legs apart, not unlike the type of Jupiter that inspired images of the enhroned emperor. The sculptor of a second statue of a poet in similar pose, Trajanic in date and now in the Terme [see Wünsche, op. cit, p. 26, Figs. 22-23], added the realistic features of advancing age to the bare torso, thus creating a link to the iconography of the philosopher. Both statues probably stood in grave precincts and represent professional poets. A member of the aristocracy could hardly have had himself so depicted, with none of the attributes of his social status. Furthermore, the statue in Buffalo was hollowed out inside probably to contain the ashes of the deceased. It will most likely have stood in the funerary precinct of the patron, who may also have paid for this statue of his in-house poet.'

dimensions

Height 46 in. 117 cm

literature

Inez S. Ryberg, An Archaeological Record of Rome from the Seventh to the Second Century B.C., London and Philadelphia, 1940, p. 195, No. 96

Karl Lehmann-Hartleben, "Some Ancient Portraits," American Journal of Archaeology, Vol. 46, 1942, pp. 204-216, Figs.

Andrew C. Ritchie, ed., Buffalo Fine Arts Academy. Catalogue of the Paintings and Sculpture in the Permanent Collection, Buffalo, 1949, pp. 172-173, illus., and 204, No. 83

Margarete Bieber, The Sculpture of the Hellenistic Age, New York, 1961, p. 173, Figs. 730-731

Cornelius C. Vermeule, "Greek and Roman Portraits in North American Collections Open to the Public," Proceedings of the American Philosophical Society, Vol. 108, No. 2, April 1964, p. 102 (repr. in Cornelius C. Vermeule, Art and Archaeology of Antiquity, Vol. II, London, 2001, p. 7)

Steven A. Nash, with Katy Kline, Charlotta Kotik and Emese Wood, Albright-Knox Art Gallery. Painting and Sculpture from Antiquity to 1942, New York, 1979, p. 75 (illustrated)

Raimund Wünsche, "Eine Bildnisherme in der Münchner Glyptothek," Münchener Jahrbuch der bildenden Kunst, Vol. 31, 1980, pp. 25-26, Figs. 20-21

Cornelius C. Vermeule, Greek and Roman Sculpture in America. Masterpieces in Public Collections in the United States and Canada, Malibu, California, 1981, No. 229 (illustrated)

Paul Zanker, The Mask of Socrates: The Image of the Intellectual in Antiquity, Berkeley, Los Angeles, and Oxford, 1995, pp. 214-215, Fig. 112

provenance

reportedly found along the Via Appia

Sangiorgi Collection, Rome

Walser Collection, Rome

Joseph Brummer Gallery, New York, 1921

Vladimir G. Simkhovitch, New York

Joseph Brummer Gallery, New York, 1936


*Nota: il prezzo non corrisponde al valore odierno, ma si riferisce soltanto al reale prezzo di aggiudicazione al momento dell'acquisto.

*Nota: il prezzo non corrisponde al valore odierno, ma si riferisce soltanto al reale prezzo di aggiudicazione al momento dell'acquisto.


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