Barberini Faun, c. 220 B.C.E.발음듣기
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Barberini Faun, c. 220 B.C.E.
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Barberini Faun, c. 220 B.C.E.
Dionysus the god of wine didn't like to be lonely he was surrounded by the satyrs and by maenads, he loved to party and you can't party alone.
No you can't party alone.
And of course the satyrs would become tired sometimes after they drank a bit too much and that's exactly the subject of the Barberini Faun that were looking at Now a satyr is not a human being he may look human to us but he's in greek mythology part animal really.
That's right he's a subhuman in the hierarchy of the gods where, the gods at mount Olympus at the top, then you had heroes that were half divine and half human, then you had humans, and then you had subhumans even below that monsters.
A satyr would be a subhuman and if you look really closely you can tell that although looks quite human in most ways he's got a tail, pointy ears and sometimes this is even represented with hooves.
Yeah you can see the tail actually coming from behind his left thigh, that's where I first noticed it.
And for the greeks these particular subhumans, the satyrs, were half civilized and half wild and so it was wonderful way to express the uncultivated the kind of barbaric qualities of human nature.
His name was the Barberini Faun,
he's not a really faun, he's really maerceder but he's called the Barberini Faun because when he was discovered in Rome near the Castle Sant'Angelo in 1625 the pope at the time was from the Barberini family and everyone recognized how spectacular this figure was and the pope said well I officially declare this to be part of my family collection.
He wanted to do that because it was so important, not only is it just a stellar example sculpture,
but we think this actually dates to the Third century B.C.E and that it is an original greek sculpture.
Although it's always very hard to tell where something is a greek original or a later roman copy it could be a terrific copy, we do know though that at least a portion of it has been restored.
And you can see those restorations quite clearly in the lower part of the left thigh and almost the entire right leg and foot.
So the spectacular sculpture ended up here in Munich when it was apart by Prince Ludwig of Bavaria in the early nineteen century Quite a sculpture to add to his collection for his new museum.
It's an amazing thing to think that his was likely found in the moat of Hadrian's tomb in what is now Castle Sant'Angelo in Rome.
I imagine people were dying to purchase this.
It's incredibly erotic this figure has his legs spread he's in a drunken half sleepy half awake state.
What you see that in his body on the one hand it's absolute exhaustion, he's just dead tired.
But on the other side you can see the agitation in his body.
There's tension there.
Look at right leg, the way it's pushed up , now that part is a restoration, but we know that is pretty much the placement because of a rock on which it sat.
And you can see his face too, that there's a combination of exhaustion and restlessness.
Well look at that face.
It is just spectacularly sensitive and I love the fact that it is not symmetrical, his head is pushed over to the side.
And if you look at his cheeks straight on it you can see the gravity is compressing the right side of his face and is expanding the left side and so there really is this intense naturalism, this observation of the elastic qualities of the human body.
Now we're in the Hellenistic period where ancient greek artist are expanding their subject matter,
so we don't just have the heroic ideal athletic nudes that we saw in the classical period, but here the artists explore a more emotional state.
More varieties of subject matter.
That's right sometimes this is either referred to as the Hellenistic baroque because of it's willingness to remove the reserve that we associate with the high class of a period before.
He's certainly not reserved in here.
No, not at all.
So what are the other symbols that identify his as a Satyr?
As if the tail and the ears, the want and abandon quality wasn't enough.
You can see that he's laid out on leopard skin.
He's on a rock protecting him from the roughness of the rock.
And you can see that he's even keeping his heel on it, it's softer, and he's rolled it up a little bit under his arm so that it functions somewhat like a cushion.
Although it is a little hard for you to imagine him walking up to this rock laying down the leopard skin then somehow lying on it.
It's a good seat.
It is.
So you said this is helenistic and it certainly is, in so many ways.
But it is clearly informed by the by the classical tradition that had come before it.
In terms of it's treatment of the human body and it's attention to musculature anatomy.
Absolutely that's really clear in the torso.
We can see the folds of his flesh in his abodomen or the careful articulation of the muscles, and the shoulders, and the armpit.
This is amazing understanding of human anatomy.
But it is also a little bit off kilter.
You can see that the ribcage is pushing a little bit to his left.
And so the whole thing has a gentle turn to it making it even more complex.
There is a turn in the torso and we see that in other ancient Greek sculptures like the belvedere torso and although this was found a hundred years after Michaelangelo or a little bit less,
you can see how that kind of twisting and torsion in the body was something that Michaelangelo would pick up on.
I think that if Michaelangelo had ever have had the opportunity to see this he would absolutely love it.
No question.
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Dionysus the god of wine didn't like to be lonely he was surrounded by the satyrs and by maenads, he loved to party and you can't party alone.발음듣기
대기중
And of course the satyrs would become tired sometimes after they drank a bit too much and that's exactly the subject of the Barberini Faun that were looking at Now a satyr is not a human being he may look human to us but he's in greek mythology part animal really.발음듣기
대기중
That's right he's a subhuman in the hierarchy of the gods where, the gods at mount Olympus at the top, then you had heroes that were half divine and half human, then you had humans, and then you had subhumans even below that monsters.발음듣기
대기중
A satyr would be a subhuman and if you look really closely you can tell that although looks quite human in most ways he's got a tail, pointy ears and sometimes this is even represented with hooves.발음듣기
대기중
Yeah you can see the tail actually coming from behind his left thigh, that's where I first noticed it.발음듣기
대기중
And for the greeks these particular subhumans, the satyrs, were half civilized and half wild and so it was wonderful way to express the uncultivated the kind of barbaric qualities of human nature.발음듣기
대기중
he's not a really faun, he's really maerceder but he's called the Barberini Faun because when he was discovered in Rome near the Castle Sant'Angelo in 1625 the pope at the time was from the Barberini family and everyone recognized how spectacular this figure was and the pope said well I officially declare this to be part of my family collection.발음듣기
대기중
He wanted to do that because it was so important, not only is it just a stellar example sculpture,발음듣기
대기중
but we think this actually dates to the Third century B.C.E and that it is an original greek sculpture.발음듣기
대기중
Although it's always very hard to tell where something is a greek original or a later roman copy it could be a terrific copy, we do know though that at least a portion of it has been restored.발음듣기
대기중
And you can see those restorations quite clearly in the lower part of the left thigh and almost the entire right leg and foot.발음듣기
대기중
So the spectacular sculpture ended up here in Munich when it was apart by Prince Ludwig of Bavaria in the early nineteen century Quite a sculpture to add to his collection for his new museum.발음듣기
대기중
It's an amazing thing to think that his was likely found in the moat of Hadrian's tomb in what is now Castle Sant'Angelo in Rome.발음듣기
대기중
It's incredibly erotic this figure has his legs spread he's in a drunken half sleepy half awake state.발음듣기
대기중
What you see that in his body on the one hand it's absolute exhaustion, he's just dead tired.발음듣기
대기중
Look at right leg, the way it's pushed up , now that part is a restoration, but we know that is pretty much the placement because of a rock on which it sat.발음듣기
대기중
It is just spectacularly sensitive and I love the fact that it is not symmetrical, his head is pushed over to the side.발음듣기
대기중
And if you look at his cheeks straight on it you can see the gravity is compressing the right side of his face and is expanding the left side and so there really is this intense naturalism, this observation of the elastic qualities of the human body.발음듣기
대기중
Now we're in the Hellenistic period where ancient greek artist are expanding their subject matter,발음듣기
대기중
so we don't just have the heroic ideal athletic nudes that we saw in the classical period, but here the artists explore a more emotional state.발음듣기
대기중
That's right sometimes this is either referred to as the Hellenistic baroque because of it's willingness to remove the reserve that we associate with the high class of a period before.발음듣기
대기중
And you can see that he's even keeping his heel on it, it's softer, and he's rolled it up a little bit under his arm so that it functions somewhat like a cushion.발음듣기
대기중
Although it is a little hard for you to imagine him walking up to this rock laying down the leopard skin then somehow lying on it.발음듣기
대기중
We can see the folds of his flesh in his abodomen or the careful articulation of the muscles, and the shoulders, and the armpit.발음듣기
대기중
There is a turn in the torso and we see that in other ancient Greek sculptures like the belvedere torso and although this was found a hundred years after Michaelangelo or a little bit less,발음듣기
대기중
you can see how that kind of twisting and torsion in the body was something that Michaelangelo would pick up on.발음듣기
대기중
I think that if Michaelangelo had ever have had the opportunity to see this he would absolutely love it.발음듣기
대기중
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