LaurieAnnie's photos with the keyword: dancer

Title: Statuette of a Dancer Artist/Maker: Unknown Culture: Greek (South Italian, Tarantine) Place: Tarentum (Taras), South Italy (Place created) Date: 400–200 B.C. Medium: Terracotta with white slip (white lead) and polychromy (pink, light blue and turquoise, purple, violet, white) Object Number: 96.AD.246 Dimensions: 23.7 × 10.4 × 8.8 cm (9 5/16 × 4 1/8 × 3 7/16 in.) Credit Line: Gift of Barbara and Lawrence Fleischman Object Type: Human figure The female dancer’s left arm draws back her himation across her left hip while her right arm holds folds of the garment in front of her petit, elongated body. She extends her left leg forward; her lowered head turns toward her left. The long chiton flows to her feet while the himation wraps softly around her body, falling from her left hand in zigzag folds; the fluttering of fabric at her feet suggests the movement of the dance. The face has delicate features with large spherical earrings, and the melon-style hairdo features a tall, round bun and a wreath decorated with ivy and two small fruits. The dancer’s ivy wreath associates her with the realm of Dionysos. Dionysian imagery played a dominant role in the Tarentine funerary iconography of the fourth and third centuries B.C. Text from: www.getty.edu/art/collection/objects/103247/unknown-maker-statuette-of-a-dancer-greek-south-italian-tarantine-400-200-bc/

Title: Statuette of a Dancer Artist/Maker: Unknown Culture: Greek (South Italian, Tarantine) Place: Tarentum (Taras), South Italy (Place created) Date: 400–200 B.C. Medium: Terracotta with white slip (white lead) and polychromy (pink, light blue and turquoise, purple, violet, white) Object Number: 96.AD.246 Dimensions: 23.7 × 10.4 × 8.8 cm (9 5/16 × 4 1/8 × 3 7/16 in.) Credit Line: Gift of Barbara and Lawrence Fleischman Object Type: Human figure The female dancer’s left arm draws back her himation across her left hip while her right arm holds folds of the garment in front of her petit, elongated body. She extends her left leg forward; her lowered head turns toward her left. The long chiton flows to her feet while the himation wraps softly around her body, falling from her left hand in zigzag folds; the fluttering of fabric at her feet suggests the movement of the dance. The face has delicate features with large spherical earrings, and the melon-style hairdo features a tall, round bun and a wreath decorated with ivy and two small fruits. The dancer’s ivy wreath associates her with the realm of Dionysos. Dionysian imagery played a dominant role in the Tarentine funerary iconography of the fourth and third centuries B.C. Text from: www.getty.edu/art/collection/objects/103247/unknown-maker-statuette-of-a-dancer-greek-south-italian-tarantine-400-200-bc

Wall Decoration with a Female Dancer Stucco Mesopotamia, excavated at Ctesiphon, Ma'aridh I Sasanian period, 6th century AD Joint expedition of the German State Museums and the Metropolitan Museum of Art. Accession # 32.150.25 Text from the Metropolitan Museum of Art label.

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... .