LaurieAnnie's photos with the keyword: strigil

Strigilated sarcophagus, Late Severan, 220 A.D. Roman Marble Purchase, Ruth E. White Bequest and Leon Levy Foundation, Philodoroi, Reneé E. and Robert A. Belfer, The Concordia Foundation, Dr. Lewis M. Dubroff, Roger and Susan Hertog, and The Joseph Rosen Foundation Inc. Gifts, 2005 (2005.258) Originally, the sarcophagus would have been furnished with a lid and placed in a monumental tomb, probably in a niche or on a ledge with its plain back against the wall. The ferocious-looking lions' heads stand out powerfully against the restrained, almost soothing effect of the strigilated panels on the front. This distinctive type of decoration is restricted largely to sarcophagi produced in the city of Rome. The marble is Proconnesian, imported from northwestern Asia Minor. Text from: www.metmuseum.org/TOAH/hd/rsar/hod_2005.258.htm

Strigilated sarcophagus, Late Severan, 220 A.D. Roman Marble Purchase, Ruth E. White Bequest and Leon Levy Foundation, Philodoroi, Reneé E. and Robert A. Belfer, The Concordia Foundation, Dr. Lewis M. Dubroff, Roger and Susan Hertog, and The Joseph Rosen Foundation Inc. Gifts, 2005 (2005.258) Originally, the sarcophagus would have been furnished with a lid and placed in a monumental tomb, probably in a niche or on a ledge with its plain back against the wall. The ferocious-looking lions' heads stand out powerfully against the restrained, almost soothing effect of the strigilated panels on the front. This distinctive type of decoration is restricted largely to sarcophagi produced in the city of Rome. The marble is Proconnesian, imported from northwestern Asia Minor. Text from: www.metmuseum.org/TOAH/hd/rsar/hod_2005.258.htm

Strigilated sarcophagus, Late Severan, 220 A.D. Roman Marble Purchase, Ruth E. White Bequest and Leon Levy Foundation, Philodoroi, Reneé E. and Robert A. Belfer, The Concordia Foundation, Dr. Lewis M. Dubroff, Roger and Susan Hertog, and The Joseph Rosen Foundation Inc. Gifts, 2005 (2005.258) Originally, the sarcophagus would have been furnished with a lid and placed in a monumental tomb, probably in a niche or on a ledge with its plain back against the wall. The ferocious-looking lions' heads stand out powerfully against the restrained, almost soothing effect of the strigilated panels on the front. This distinctive type of decoration is restricted largely to sarcophagi produced in the city of Rome. The marble is Proconnesian, imported from northwestern Asia Minor. Text from: www.metmuseum.org/TOAH/hd/rsar/hod_2005.258.htm

Pair of silver strigels (scrapers) on a carrying ring Roman, Late Republican, mid-1st century BC Said to have been found near Lake Trasimene, north of Rome Accession # 61.88 Text from the Metropolitan Museum of Art label.

Sarcophagus Fragment with the Good Shepherd Creator: Roman (Artist) Period: early 4th century (Late Antique) Medium: marble (Stone) Accession Number: 41.325 Measurements: 13 9/16 x 21 5/8 in. (34.5 x 55 cm) Geographies: Italy (Place of Origin) This fragment comes from a small Early Christian sarcophagus that was probably made for a child. At the right is a young shepherd, who carries a lamb over his shoulders as two sheep gaze up at him from below. The image of the Good Shepherd originated with the pagan Greek figure of Hermes (the gods' messenger and ram-bearer) and was later transformed into Jesus as the Good Shepherd who watches over his flock. Text from: art.thewalters.org/detail/27994/sarcophagus-fragment-with...

Sarcophagus representing a Dionysiac Vintage Festival Unknown Roman, A.D. 290 - 300 Marble 20 7/8 x 74 13/16 in. 2008.14 A lively pastoral scene decorates this oval-shaped sarcophagus. It lacks a lid, but is carved on three sides in high relief. Two lions' heads with rings in their mouths flank the central panel depicting a mythological representation of the Vindemia, a rural Roman wine festival. An assortment of Erotes, or putti--chubby, naked infants with and without wings--harvest grapes from vines overhead. At right, they stomp on grapes in a lenos, or large wine pressing trough. The sarcophagus itself imitates the shape of the container with grapes. This chest is an excellent example of a common type of third century Roman funerary monument. The use of the running drill in carving the lions' manes and the hair of the Erotes stomping grapes, along with the sharply drawn eyebrows and drilled holes in the corners of the eyes and mouth to create a shadowing effect, are also indicative of the style of this period. Elements of symmetry, such as the repeated pose of the three Erotes in the trough, strongly suggest the sculptor used a pattern book, as was common in larger scale workshop production. This sarcophagus transcends its function as a tomb monument by touching on themes of daily Roman life: festivals, religious beliefs, and sculptural reproduction. Text from: www.getty.edu/art/gettyguide/artObjectDetails?artobj=311978

Sarcophagus representing a Dionysiac Vintage Festival Unknown Roman, A.D. 290 - 300 Marble 20 7/8 x 74 13/16 in. 2008.14 A lively pastoral scene decorates this oval-shaped sarcophagus. It lacks a lid, but is carved on three sides in high relief. Two lions' heads with rings in their mouths flank the central panel depicting a mythological representation of the Vindemia, a rural Roman wine festival. An assortment of Erotes, or putti--chubby, naked infants with and without wings--harvest grapes from vines overhead. At right, they stomp on grapes in a lenos, or large wine pressing trough. The sarcophagus itself imitates the shape of the container with grapes. This chest is an excellent example of a common type of third century Roman funerary monument. The use of the running drill in carving the lions' manes and the hair of the Erotes stomping grapes, along with the sharply drawn eyebrows and drilled holes in the corners of the eyes and mouth to create a shadowing effect, are also indicative of the style of this period. Elements of symmetry, such as the repeated pose of the three Erotes in the trough, strongly suggest the sculptor used a pattern book, as was common in larger scale workshop production. This sarcophagus transcends its function as a tomb monument by touching on themes of daily Roman life: festivals, religious beliefs, and sculptural reproduction. Text from: www.getty.edu/art/gettyguide/artObjectDetails?artobj=311978

Lenos (vat-shaped) sarcophagus A.D. 260–270 Dimensions: Overall: 77.5 x 208cm (30 1/2 x 81 7/8in.) Case (Rolling steel pedestal with wooden skirts): 77.5 x 228.6 x 78.1 cm (30 1/2 x 90 x 30 3/4 in.) Accession Number: 1975.359 Medium or Technique: Marble, from Mt. Pentelikon near Athens The exercises of trainers with goads and unharnessed African lions are shown in the theatric undercutting, flattening, and distortions of the Late Antique sculpture, in which the death throes of the quadruped victims are made to seem like part of a forceful yet distorted ballet. The trainers wear mantles over their tunic and carry goads or spears. The technique of leaving sections of marble between the animals' fur, known as "bridging" is a special sign of classical carving on the threshhold of the Late Antique world. The front, the curved ends, and the start of the fallaway toward the bottom are preserved, in pieces. Otherwise, there are dents in the egg-and-dart molding of the rim, abrasions in the strigilar carving radiating from the tiny amphora in the upper center, and slight damage to animals (horn of the gazelle) and trainers (noses). Provenance: By about 1969: with Jeannette Brun, Dufourstrasse 119, Zurich 8008, Switzerland (purchased by Jeannette Brun from M. Frey, Geneva, who in turn had purchased it from an English collection about 40 years previously; presumably from Italy); purchased by MFA from Jeannette Brun, September 10, 1975 Credit Line: Arthur Tracy Cabot Fund Text from: www.mfa.org/collections/object/lenos-vat-shaped-sarcophagus-151243

Athlete with a scraper (Apoxyomenos) about A.D. 110–135 Dimensions: Height (with plinth): 71.5 cm (28 1/8 in.) Material: Marble from Carrara, Italy Classification: Sculpture Accession Number: 00.304 On view in the Greek and Roman Sculpture Gallery - 211 This athlete uses a cloth to clean the strigil (scraper) he once held in his missing right hand. A strigil is a curved metal tool that Greek and Roman athletes used to scrape dirt, sweat, and oil from their bodies. In showing the athlete tidying his strigil rather than scraping, this sculpture differs from a more widely known version of the subject. It is unclear which type more faithfully reproduces a celebrated bronze statue by the fourth-century-B.C. Greek sculptor Lysippos. Text from: www.mfa.org/collections/object/athlete-with-a-scraper-apo...

Athlete with a scraper (Apoxyomenos) about A.D. 110–135 Dimensions: Height (with plinth): 71.5 cm (28 1/8 in.) Material: Marble from Carrara, Italy Classification: Sculpture Accession Number: 00.304 On view in the Greek and Roman Sculpture Gallery - 211 This athlete uses a cloth to clean the strigil (scraper) he once held in his missing right hand. A strigil is a curved metal tool that Greek and Roman athletes used to scrape dirt, sweat, and oil from their bodies. In showing the athlete tidying his strigil rather than scraping, this sculpture differs from a more widely known version of the subject. It is unclear which type more faithfully reproduces a celebrated bronze statue by the fourth-century-B.C. Greek sculptor Lysippos. Text from: www.mfa.org/collections/object/athlete-with-a-scraper-apo...