LaurieAnnie's photos with the keyword: female

Bronze statuette of a veiled and masked dancer, 3rd–2nd century B.C.; Hellenistic Greek Bronze; H. 8 1/16 in. (20.5 cm) Bequest of Walter C. Baker, 1971 (1972.118.95) The complex motion of this dancer is conveyed exclusively through the interaction of the body with several layers of dress. Over an undergarment that falls in deep folds and trails heavily, the figure wears a lightweight mantle, drawn taut over her head and body by the pressure applied to it by her right arm, left hand, and right leg. Its substance is conveyed by the alternation of sharp pleats and flat surfaces as well as by their contrast to both the tubular folds pushing through from below and the freely curling softness of the fringe. The woman's face is covered by the sheerest of veils, discernible at its edge below her hairline and at the cutouts for the eyes. Her extended right foot shows a laced slipper. This dancer has been convincingly identified as one of the professional entertainers, a combination of mime and dancer, for which the cosmopolitan city of Alexandria was famous in antiquity. Text from: www.metmuseum.org/Works_Of_Art/viewOne.asp?dep=13&vie...

Bronze statuette of a veiled and masked dancer, 3rd–2nd century B.C.; Hellenistic Greek Bronze; H. 8 1/16 in. (20.5 cm) Bequest of Walter C. Baker, 1971 (1972.118.95) The complex motion of this dancer is conveyed exclusively through the interaction of the body with several layers of dress. Over an undergarment that falls in deep folds and trails heavily, the figure wears a lightweight mantle, drawn taut over her head and body by the pressure applied to it by her right arm, left hand, and right leg. Its substance is conveyed by the alternation of sharp pleats and flat surfaces as well as by their contrast to both the tubular folds pushing through from below and the freely curling softness of the fringe. The woman's face is covered by the sheerest of veils, discernible at its edge below her hairline and at the cutouts for the eyes. Her extended right foot shows a laced slipper. This dancer has been convincingly identified as one of the professional entertainers, a combination of mime and dancer, for which the cosmopolitan city of Alexandria was famous in antiquity. Text from: www.metmuseum.org/Works_Of_Art/viewOne.asp?dep=13&vie... .

Bronze statuette of a veiled and masked dancer, 3rd–2nd century B.C.; Hellenistic Greek Bronze; H. 8 1/16 in. (20.5 cm) Bequest of Walter C. Baker, 1971 (1972.118.95) The complex motion of this dancer is conveyed exclusively through the interaction of the body with several layers of dress. Over an undergarment that falls in deep folds and trails heavily, the figure wears a lightweight mantle, drawn taut over her head and body by the pressure applied to it by her right arm, left hand, and right leg. Its substance is conveyed by the alternation of sharp pleats and flat surfaces as well as by their contrast to both the tubular folds pushing through from below and the freely curling softness of the fringe. The woman's face is covered by the sheerest of veils, discernible at its edge below her hairline and at the cutouts for the eyes. Her extended right foot shows a laced slipper. This dancer has been convincingly identified as one of the professional entertainers, a combination of mime and dancer, for which the cosmopolitan city of Alexandria was famous in antiquity. Text from: www.metmuseum.org/Works_Of_Art/viewOne.asp?dep=13&vie... .

Marble head of a goddess Greek, 4th century BC Said to be from Taranto in southern Italy Accession # 10.142.1 In antiquity, heads were often carved separately from the statues for which they were intended. The head was made with a convex tenon that could be set into a specially prepared cavity in the statue. The juncture was concealed by a line of drapery. This finely carved head of a young woman must represent a goddess because of its colossal size. Persephone (the daughter of Demester and the wife of Hades, the god of the underworld) and Hygeia (the daughter of Asklepios, the god of medicine) were often represented with hair separated into thick coils pulled back to the top of the head and and tied loosely in a knot. Such a knot was probably affixed to this head using three large holes that remain in the back. Text from the Metropolitan Museum of Art label.

Marble head of a goddess Greek, 4th century BC Said to be from Taranto in southern Italy Accession # 10.142.1 In antiquity, heads were often carved separately from the statues for which they were intended. The head was made with a convex tenon that could be set into a specially prepared cavity in the statue. The juncture was concealed by a line of drapery. This finely carved head of a young woman must represent a goddess because of its colossal size. Persephone (the daughter of Demester and the wife of Hades, the god of the underworld) and Hygeia (the daughter of Asklepios, the god of medicine) were often represented with hair separated into thick coils pulled back to the top of the head and and tied loosely in a knot. Such a knot was probably affixed to this head using three large holes that remain in the back. Text from the Metropolitan Museum of Art label.

Head of a Woman or Queen Greek, Hellenistic, 1st century BC Accession # 14.130.6 Text from the Metropolitan Museum of Art label.

Head of a Woman or Queen Greek, Hellenistic, 1st century BC Accession # 14.130.6 Text from the Metropolitan Museum of Art label.

Marble female figure Cycladic, Final Neolithic, ca. 4500-4000 BC Accession # 1972.118.104 This figure represents a rare type known as steatopygous, characterized by particularly full legs and buttocks, and is undoubtedly indicative of fertility. Text from the Metropolitan Museum of Art label.

Upper portion of a marble female figure Cycladic, Early Cycladic II, Chalandriani type, ca. 2300-2200 BC Accession # 1971.258.1 Text from the Metropolitan Museum of Art label.

Terracotta female protome Greek, probably Boeotian, late 6th-early 5th century BC. Accession # 89.2.2130 Text from the Metropolitan Museum of Art label.

The cult of relics is rooted in the first centuries of Christianity and came to be a defining feature of that emerging religion. Fragments of martyrs came to be honored as objects of power and as a way of knowing the divine. By the High Middle Ages, the treasuries of churches and cathedrals were filled with precious reliquaries, objects of devotion so powerful that pilgrims walked hundreds of miles to venerate them. Fragmented body-part reliquaries form the largest class of containers for the remains of holy persons. Among these were head reliquaries, some containing the skull or a fragment of the saint represented (Reliquary Bust of Saint Yrieix, 17.190.352). These devotional objects were understood to direct the prayers of the faithful to that saint in heaven for their intercession. These heads and busts therefore carried an intrinsic power but deserve today to be seen also as great sculpture of their time, and not only as curiosities of devotion. Text from: www.metmuseum.org/toah/hd/face/hd_face.htm