LaurieAnnie's photos with the keyword: man

Gravestone with a Draped Young Man Holding a Bowl Limestone Syria, Palmyra 2nd-3rd century AD Accession # 01.25.5 Inscribed, "Maliku the son of Zabba, the son of..." From the first century BC, the oasis city of Palmyra, in the northern Syrian desert, controlled most of the caravan trade routes from the East to the Mediterranean seacoast. Originally an independent Arabian principality, it became successively a vassal state, a free city, and a colony under under Roman control. Lavishly decorated temples and processional streets provide evidence of the wealth of the city. The sculptures exhibited here come from impressive stone funerary monuments. Family vaults contained multiple burials in stone boxes sealed with relief images of the deceased. The figural style as well as the divine and human images and symbols reflect the mixed Greek, Syrian, and Iranian Parthian culture of the inhabitants. Text from the Metropolitan Museum of Art label.

Marble portrait bust of a man Roman, Late Trajanic or Early Hadrianic, ca. 110-138 AD Accession # 13.231.1 Text from the Metropolitan Museum of Art label.

Marble portrait bust of a man Roman, Late Trajanic or Early Hadrianic, ca. 110-138 AD Accession # 13.231.1 Text from the Metropolitan Museum of Art label.

Marble portrait of a man Roman, Hadrianic or Early Antonine period, ca. 117-161 AD Accession # 15.145 This striking young man wears the short beard that became popular in Rome during the early second century AD. The subtle contrast between his casually arranged hair and polished skin and the use of a drill to indicate the pupils of his eyes impart a liveliness that is typical of the best Antonine portraits. Text from the Metropolitan Museum of Art label.

Marble portrait of a man Roman, Hadrianic or Early Antonine period, ca. 117-161 AD Accession # 15.145 This striking young man wears the short beard that became popular in Rome during the early second century AD. The subtle contrast between his casually arranged hair and polished skin and the use of a drill to indicate the pupils of his eyes impart a liveliness that is typical of the best Antonine portraits. Text from the Metropolitan Museum of Art label.

Marble portrait of a man Roman, late Flavian or early Trajanic period, ca. 100 AD Accession # 24.97.93 Like this powerful image of a middle-aged man, many Flavian portraits show the same uncompromising representation of aging flesh that marked portraits of the Republican period. Text from the Metropolitan Museum of Art label.

Marble portrait bust of a man Roman, Flavian period, 81-96 AD Accession # 09.221.5 The carefully styled hair on this young man resembles the short coiffure combed forward in undulating waves found on portraits of the emperor Domitian who ruled from 81-96 AD. Text from the Metropolitan Museum of Art label.

Marble portrait bust of a man Roman, Flavian period, 81-96 AD Accession # 09.221.5 The carefully styled hair on this young man resembles the short coiffure combed forward in undulating waves found on portraits of the emperor Domitian who ruled from 81-96 AD. Text from the Metropolitan Museum of Art label.

Marble head of a man Greek, South Italian, Tarentine, 3rd century BC Accession # 1997.24 This head of a young man with wavy, upswept hair turns slightly toward the left. The parted lips and frowning eyebrows give the face an anguished expression appropriate to a funerary context. The head, preserved to the base of the neck and roughed out behind, was made for insertion onto a torso, probably carved from material less expensive than marble such as limestone. This suggests that it belongs to a western Greek workshop where imported Greek marble was used sparingly. Text from the Metropolitan Museum of Art label.

Marble head of a veiled man Roman, Julio-Claudian period, first half of the 1st century AD Accession # 1991.11.5 The emperor was the chief state priest, and many statues show him in the act of prayer or sacrifice, with a fold of his toga pulled up to cover his head as a mark of piety. However, this idealized head may represent the Genius, or protective spirit of the living emperor. Traditionally, the protective spirit of every Roman household was worshiped at the family shrine. It was represented by a statuette with a veiled head holding implements of sacrifice. Similar veneration of the Genius Augustii, introduced by the paternalistic Augustus, was widespread at public shrines and altars. Text from the Metropolitan Museum of Art label.

Bronze portrait bust of a man Roman, ca. 50 BC- AD 54 Said to be from Trastevere, Rome Accession # 14.40.696 For the Romans, bronze was the material par excellence for honorific portraits of important individuals and was valued for its ability for it to produce the closest possible fidelity to nature. While the identity of this man is unknown today, the very high quality of this portrait, with its sensitively modeled features and expensive inlaid eyes of ivory, signifies his prominence in ancient Roman society. Text from the Metropolitan Museum of Art.

Marble portrait bust of a man Roman, Julio-Claudian period, mid-1st century AD Accession # 26.60.3 This powerful portrait bust incorporates a large expanse of chest, a stylistic characteristic indicating that it was carved toward the middle of the 1st century AD. Most surviving portraits worked in this hard realistic manner date to the 1st century BC, but the style continued in fashion until the mid-1st century AD and was revived intermittently thereafter. Text from the Metropolitan Museum of Art label.

Marble portrait bust of a man Roman, Julio-Claudian period, mid-1st century AD Accession # 26.60.3 This powerful portrait bust incorporates a large expanse of chest, a stylistic characteristic indicating that it was carved toward the middle of the 1st century AD. Most surviving portraits worked in this hard realistic manner date to the 1st century BC, but the style continued in fashion until the mid-1st century AD and was revived intermittently thereafter. Text from the Metropolitan Museum of Art label.

Marble bust of a man Roman, Julio-Claudian period, mid-1st century AD Accession # 12.233 Although the surface of this piece has been strongly cleaned and even recut in places, evidence of a heavy dark incrustation, formed during centuries of burial, is still visible, especially at the back. The expanse of chest, and the full, fleshy appearance of the face and neck are characteristics suggesting that the work was carved in the mid-first century AD either as a copy of a portrait created in the Republican period or as a new work cast in that realistic style. Text from the Metropolitan Museum of Art label.

Marble bust of a man Roman, Julio-Claudian period, mid-1st century AD Accession # 12.233 Although the surface of this piece has been strongly cleaned and even recut in places, evidence of a heavy dark incrustation, formed during centuries of burial, is still visible, especially at the back. The expanse of chest, and the full, fleshy appearance of the face and neck are characteristics suggesting that the work was carved in the mid-first century AD either as a copy of a portrait created in the Republican period or as a new work cast in that realistic style. Text from the Metropolitan Museum of Art label.

Marble bust of a man Roman, Julio-Claudian period, mid-1st century AD Accession # 12.233 Although the surface of this piece has been strongly cleaned and even recut in places, evidence of a heavy dark incrustation, formed during centuries of burial, is still visible, especially at the back. The expanse of chest, and the full, fleshy appearance of the face and neck are characteristics suggesting that the work was carved in the mid-first century AD either as a copy of a portrait created in the Republican period or as a new work cast in that realistic style. Text from the Metropolitan Museum of Art label.

Marble portrait of a man Roman, Late Republican or Early Augustan period, late 1st century BC. Accession # 21.88.14 This head with its broad forehead, narrow chin, and long scrawny neck is so similar to portraits of Julius Caesar as he appears on coins and in sculpture that, in the past, it was identified as that famous general and politician. Perhaps the man who is the actual subject of the portrait wished to accentuate this resemblance because he sympathized with the dictatorship of Caesar or with the cause of his party, the populares. Text from the Metropolitan Museum of Art label.

Marble torso of a seated man Roman, Imperial period, 1st or 2nd century AD Copy or adaptation of a Greek statue of the 3rd or 2nd century BC Accession # 19.192.85 Text from the Metropolitan Museum of Art label.