Presentation on theme: "Edmonia Lewis Forever Free, 1867."— Presentation transcript:
1Edmonia Lewis Forever Free, 1867. Forever Free is a representation of the emancipation of African-American slaves after the Civil War. Lewis attempts to break stereotypes of African-American women with this sculpture. For example, Lewis allows the woman to be completely dressed while the man is partially dressed. This draws attention away from the notion of African-American women being sexual and erotic figures. This sculpture is also a representation of the end of the Civil War. While African-Americans are technically free, they continue to be restrained due to the fact that the couple still has chains wrapped around their bodies.
2Antoine-Louis BaryeJaguar Devouring a Hare1850ROMANTIC
3Ivory belt mask of a Queen Mother mid-16th century. NIGERIAN The Portuguese served as mercenaries in the army of Benin's Oba Esigie (r. ca ). His mother, Idia, helped him in warfare, and he honored her with the title of Iy'oba (Queen Mother). The ivory belt mask probably represents Idia. It contains symbolic references to Benin's trade and diplomatic relationships with the Portuguese and to the Iy'oba's link to Olokun, god of the sea. Interspersed in the front row of her hair are Portuguese heads with mustaches. The Benin culture probably associated the Portuguese with Olokun. Mudfish, which have barbels like catfish, symbolically represented Olokun, and often served as sacrificial offerings.
4Clodion (Claude Michel) Nymph and Satyr Carousing, Late 18th century (ca. 1780–90) NEOCLASSICALWhile often Neoclassical, his manner at times remained quite Rococo, as in the present example. Although Clodion received a number of important commissions for monumental marble sculptures, his fame and popularity rested on his skill at modeling small-scale terracotta groups for private collectors.
15commissioned by Archbishop Gero ca. 970 OTTONIAN (Early Medieval) Gero Crucifixion,commissioned by Archbishop Geroca. 970 OTTONIAN (Early Medieval)This Crucifix, carved in oak and then painted and gilded, epitomizes the revival of interest in monumental sculpture during this period. The six-foot-tall image of Christ nailed to the cross is both statue and reliquary [a shrine for sacred relics].A compartment in the back of the head held the Host. This dramatically different conception of the crucified Savior digresses from the Early Christian image of the youthful Christ triumphant over death in that he is represented as an all-too-human martyr in intense agony.Though the work may seem more similar to the Byzantine representations of a suffering Christ, its emotional power is unparalleled.Blood streaks down his forehead from the (missing) crown of thorns. Christ's body sags under its own weight. The muscles are stretched to the limit - those of his right shoulder and chest seem almost to rip apart.
16Virgin and ChildNotre Dame, ParisEarly fourteenth centuryLATE GOTHIC
17Apollo from VeiiC500 BCE 5’10” in height.ETRUSCAN