COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
AIC_.1978.308
amicoid
AIC_.1978.308
AMICA ID
false
AMICA Library Year:
1998
aly
1998
AMICA Library Year
false
Object Type:
Sculpture
oty
Sculpture
Object Type
false
Creator Nationality:
European; Southern European; Roman
crc
European; Southern European; Roman
Creator Nationality
false
Creator Role:
Artist
crr
Artist
Creator Role
false
Creator Role:
Copyist
crr
Copyist
Creator Role
false
Creator Dates/Places:
Italy, Europe
cdt
Italy, Europe
Creator Dates/Places
false
Creator Name-CRT:
Roman
crt
Roman
Creator Name-CRT
false
Creator Name:
Lysippos
crn
Lysippos
Creator Name
false
Creator Dates/Places:
Greek; fl. c.390-after 310 B.C. Early Western World,Ancient Mediterranean,Ancient
cdt
Greek; fl. c.390-after 310 B.C. Early Western World,Ancient Mediterranean,Ancient
Creator Dates/Places
false
Creator Name-CRT:
After Lysippos
crt
After Lysippos
Creator Name-CRT
false
Title:
Statuette of Hercules
otn
Statuette of Hercules
Title
false
Title Type:
preferred
ott
preferred
Title Type
false
View:
3/4 view
rid
3/4 view
View
false
Creation Date:
Imperial Period, 2nd century A.D.
oct
Imperial Period, 2nd century A.D.
Creation Date
false
Creation Start Date:
100
ocs
100
Creation Start Date
false
Creation End Date:
200
oce
200
Creation End Date
false
Materials and Techniques:
Bronze, lost-wax cast
omd
Bronze, lost-wax cast
Materials and Techniques
false
Style or Period:
Aegean
std
Aegean
Style or Period
false
Subject Description:
The hero is shown resting from his Twelve Labors while holding the three golden apples of the Hesperides against his lower back with his right hand. With his left hand he grasps a club (now missing) for support. The skin of the Nemean lion is often shownwrapped around this arm or hanging from the club. The most famous version of this statue was probably made by Lysippos for the Gymnasium of his native city of Sikyon, along the Gulf of Corinth, on the northern coast of the Peloponnesus. This small bronzeshows a wreath of vine leaves and fruit (grapes?) around the forehead, suggesting the pleasures of the banquet that await the hero on completion of his labors. This may be a Roman Imperial addition to the hero's attributes. On sarcophagi and in mosaics of the decades from A.D. 150 to 230, the drinking contest between Dionysos (the Roman Bacchus, god of wine) and Herakles was a popular theme, for it pitted experience and toleration against rashness and force. The weary Herakles always succumbed in these encounters and had to stagger off to bed with the aid of Dionysos's followers, the satyrs and maenads.
sup
The hero is shown resting from his Twelve Labors while holding the three golden apples of the Hesperides against his lower back with his right hand. With his left hand he grasps a club (now missing) for support. The skin of the Nemean lion is often shownwrapped around this arm or hanging from the club. The most famous version of this statue was probably made by Lysippos for the Gymnasium of his native city of Sikyon, along the Gulf of Corinth, on the northern coast of the Peloponnesus. This small bronzeshows a wreath of vine leaves and fruit (grapes?) around the forehead, suggesting the pleasures of the banquet that await the hero on completion of his labors. This may be a Roman Imperial addition to the hero's attributes. On sarcophagi and in mosaics of the decades from A.D. 150 to 230, the drinking contest between Dionysos (the Roman Bacchus, god of wine) and Herakles was a popular theme, for it pitted experience and toleration against rashness and force. The weary Herakles always succumbed in these encounters and had to stagger off to bed with the aid of Dionysos's followers, the satyrs and maenads.
Subject Description
false
Creation Place:
Early Western World, Roman Republic and Empire
ocp
Early Western World, Roman Republic and Empire
Creation Place
false
Dimensions:
H.: 22 cm (8-11/16 in.); W.: 11.4 cm (4-1/2 in.)
met
H.: 22 cm (8-11/16 in.); W.: 11.4 cm (4-1/2 in.)
Dimensions
false
AMICA Contributor:
The Art Institute of Chicago
oon
The Art Institute of Chicago
AMICA Contributor
false
Owner Location:
Chicago, Illinois, USA
oop
Chicago, Illinois, USA
Owner Location
false
ID Number:
1978.308
ooa
1978.308
ID Number
false
Credit Line:
The Art Institute of Chicago, Katharine K. Adler Endowment
ooc
The Art Institute of Chicago, Katharine K. Adler Endowment
Credit Line
false
Rights:
orl
<a href="http://www.artic.edu/aic/rights/main.rights.html"target="_new">http://www.artic.edu/aic/rights/main.rights.html</a>
Rights
false
Context:
Roman copy of the fourth-century B.C. Greek original by Lysippos. During the second and first centuries B.C. the Romans conquered the cities and kingdoms that made up the Greek world; however, they promptly turned to Greece for much of their artistic inspiration. Educated Romans spoke Greek, studied with Greek scholars in Athens and Ionia, and copied Greek styles in writing, speaking, architecture, painting, and sculpture. They removed original art from the Greek world to decorate their private and public buildings, and when demand outstripped supply, they commissioned copies of Greek originals. Sculptures with mythological references were sought because they bespoke educated and cultured Roman patrons who placed sculpture in their gardens, baths, andliving rooms according to the meanings they wanted to convey.
cxd
Roman copy of the fourth-century B.C. Greek original by Lysippos. During the second and first centuries B.C. the Romans conquered the cities and kingdoms that made up the Greek world; however, they promptly turned to Greece for much of their artistic inspiration. Educated Romans spoke Greek, studied with Greek scholars in Athens and Ionia, and copied Greek styles in writing, speaking, architecture, painting, and sculpture. They removed original art from the Greek world to decorate their private and public buildings, and when demand outstripped supply, they commissioned copies of Greek originals. Sculptures with mythological references were sought because they bespoke educated and cultured Roman patrons who placed sculpture in their gardens, baths, andliving rooms according to the meanings they wanted to convey.
Context
false
Related Image Identifier Link:
AIC_.E28777.TIF
ril
AIC_.E28777.TIF
Related Image Identifier Link
false