#liebieghaus

[lionofchaeronea]

Mummy portrait (wax encaustic on sycamore wood) of a girl, from the Fayum region of Egypt. Artist unknown; ca. 120-150 CE (reign of Hadrian or Antoninus Pius). Now in the Liebieghaus, Frankfurt am Main, Germany. Photo credit: Carole Raddato.

[penguin--nipples]

I need you to know that these were teeny sculptures made out of ivory, literally some of these are smaller than the size of a child's palm and my mouth was literally AGAPE the whole time I was in this room

[samsi6]

Süßwasserwalfisch auf dem Trockendock im Hof des Liebieghauses. Speckstein kommt ganz offenbar von Anton Schneider 5 aus Frankfurt Schwanheim.

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Freshwater whale on the dry dock in the courtyard of the Liebieghaus. Soapstone clearly comes from Anton Schneider 5 from Frankfurt Schwanheim.

[no-passaran]

Funerary stele of Paramythion and Pheidiades, Athens (Greece), ca. 380/70 BC.

From left to right: 1) how it has been conserved nowadays, 2) the stele as seen in UV fluorescence, and 3) an experimental color reconstruction of how it would have looked like in antiquity.

Source: Gods in Colour: Polychromy in Antiquity online exhibit by Liebieghaus - Skulpturen Sammlung museum in Frankfurt (Germany).

[centuriespast]

DANNECKER, Heinrich Ariadne on the Panther (front and back views) 1812-14 Marble, height 146 cm Liebieghaus, Frankfurt

[reimenaashelyee]

Thinking about the Ancient Egyptian portions of Alexander Comic Book 2. First, here's Alexander's ALKSINDRS face. This is from the relief of him on the Luxor Temple wall, with a twist from the pink granite statue of him (?) at Liebieghaus. Second, look at my man's drip!!! I am really happy with how I designed his coronation outfit - even if I have NO idea if I will ever feature it in the comic. He's looking so glam with all the beads and gold.

Who is this guy... I swear he has absolutely NOTHING to do with Alexander at all. No way.

[charlesreeza]

The Hunt of the Caledonian Boar - Marble sarcophagus relief known as the Meleager Sarcophagus, c. 250-270 CE

Liebieghaus Sculpture Museum, Frankfurt, Germany

[themuseumwithoutwalls]

MWW Artwork of the Day (7/31/24) Myron (Greek, fl. 480-440 BCE) "Athena of Myron" (c. 450 BCE) Marble Roman copy of Greek bronze original Liebieghaus, Frankfurt am Main

Myron worked almost exclusively in bronze, and though he made some statues of gods and heroes, his fame rested principally upon his representations of athletes, in which he made a revolution, according to commentators in Antiquity, by introducing greater boldness of pose and a more perfect rhythm, subordinating the parts to the whole. Pliny's remark that Myron's works were numerosior than those of Polycleitus and "more diligent" seem to suggest that they were considered more harmonious in proportions (numeri) and at the same time more convincing in their realism.

[7-milena-trajkovski-7]

Art Theory and Criticism - Journal reflection 6

An exhibition created in 2003 titled Gods in Color, puts to light the previously hidden truth about Greek statues and their pigmented exterior which is made up of coloured dye. These recreations made for the exhibition are based on archaeological findings and are fully restored to their rather garish colours. This is done to break the historic illusion of white as the main colour for the Classical, Hellenistic, and later periods like Neo-Classicism��s sculptures. The breaking down of this stigma is acted upon by choosing their original colours, which were very bold if pictured freshly done that time, which make them look kitschy in today’s societal views. Which is why compared to the elegance associated with the classical Greek marble statue, puts forward new commentary that still originates from centuries ago. As Stated from Liebieghaus (2020):

 Museum exhibitions of ancient Greek and Roman sculptures are striking for the dominance of pure white marble. But looks can be deceiving. These figures of gods and heroes were once richly clothed in vivid colors! We’ve known this for – so why does the image of whiteness still persist?

Figure 1: So-called Persian Rider, ca. 490 BC | Experimental color reconstruction of the so-called Persian Rider from the Athenian Acropolis, 2007/2019, Gods in Color – Golden Edition (liebieghaus.de)

The reconstructions of these works are pieced together using the ruins found, exposing the “former polychromy of the sculptures” (Liebieghaus, 2020). It is also important to note the change in visualisation and interpretation of the garments as compared to the blank sheets of clothes drowning in white, “Rich colors, detailed ornamentation, and countless gold dots once adorned this sculpture.” (Liebieghaus, 2020).

Figure 2: Detail of the hem of the vest of the so-called Persian Rider, showing the leaf-and-tongue pattern and a meander design, Gods in Color – Golden Edition (liebieghaus.de)

Excavations of these works only have the slightest scratches of pigment that can be seen with the naked eye. But this is enough for the artist and researcher to continue further from such a week and faint starting point. The patterns helped preserve whatever little colour was left after the Sculpture’s fate in the test of time and high chance on ruin, whether inflicted by man or nature. The unusual designs and colours make for a fresh view of these works and their time, that is when it comes to the mood and emotions, or even the narrative. However, what was lost to the naked eye can be discovered using the ever evolving technology of ultraviolet light, opening a whole new world of rediscovery and study of this already fascinating and highly researched era.

Figure 3: Archer from the west pediment of the Temple of Aphaia, ca. 480 BC | Experimental color reconstruction of an archer, the so-called Paris, in the costume of the horsemen of the neighbouring peoples to the north and east, from the west pediment of the Temple of Aphaia, Variant A, 1989–2003, Gods in Color – Golden Edition (liebieghaus.de)

Figure 4: UV-fluorescence photograph showing pattern on the leggings of the archer from the west pediment of Aphaia Temple, Gods in Color – Golden Edition (liebieghaus.de)

Reference list:

Liebieghaus, 2020. Gods in Color – Golden Edition. [online] Gods in Color – Golden Edition. Available at: <https://buntegoetter.liebieghaus.de/en/> [Accessed 19 November 2023].

[shapira]

Today @ the Liebieghaus Museum! #pompeii #mosaic #sculpture #relife #liebieghausbuntegötter #liebieghausskulpturensammlung #today #kunst #frankfurtammain https://www.instagram.com/p/CpnbsM1Nc6F/?igshid=NGJjMDIxMWI=

[penguin--nipples]

[samsi6]

Die Formen und die Farben des Alltags sind eine Richtschnur für das Leben. Ihre Bedeutung ist nicht starr, nicht fix. Der Blick auf die Dinge bleibt individuell. Die Funktion bleibt allgemein. Und die Wahrheit bleibt verborgen, denn im Kern möchte alles in Ruhe gelassen sein, als wäre das die Ordnung alles Seins, was einen Kreis schlösse, als wäre nicht die Offenheit Würze einer Lebenszeit...

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The shapes and colors of everyday life are a guide for life. Their meaning is not rigid, not fixed. The view of things remains individual. The function remains general. And the truth remains hidden, because at its core everything wants to be left alone, as if it were the order of all being that closed a circle, as if openness wasn't the spice of a lifetime...

[lushlight2]

St Jerome - patron saint of archivists!

[centuriespast]

DANNECKER, Heinrich Ariadne on the Panther (front view) 1812-14 Marble, height 146 cm Liebieghaus, Frankfurt

[life-imitates-art-far-more]

Pier Jacopo Alari Bonacolsi, aka L'Antico (c. 1460-1528) "The Belvedere Apollo" (1490s) Bronze, partly gilded Renaissance Located in the Liebieghaus, Frankfurt, Germany

[charlesreeza]

Allegory of Damnation in Hell - Ivory, by Johann Christoph Ludwig Lücke, Dresden, 1736

The Reiner Winkler Collection, Liebieghaus Sculpture Museum, Frankfurt, Germany