Podcasts about lysippos

Soon after the study of the inscriptions of the Daochos Monument was published in 1897, an interest in the study of the sculptor Lysippos was renewed. The inscription on a statue base found at Pharsalos was discovered to be identical to a somewhat shorter epigram of Agias at Delphi, and the name Lysippos, presumably the statue's sculptor, was written at the bottom of the Pharsalos inscription. When the statue of Agias at Delphi was reunited with its base, it became clear that the figure in Delphi was likely a replica of the one in Pharsalos. Like most of Lysippos' works, the original statue was probably cast in bronze and predate the Delphi statue, although only by a few years. The research also reveals that the statues at Delphi were probably certainly sculpted by more than one artist, indicating a diversity of aesthetic influences at work. But Lysippos' name was definitely recognizable. Key Quotes: "The Daochos Monument was a massive rectangular foundation with nine statues northeast of Delphi's Temple of Apollo terrace. Under each of the statues, barring one figure on the far right, there was an epigram describing the individual portrayed and listing their achievements." "Lysippos was known as one of the three best Classical Greek sculptors of the 4th century BC, alongside Scopas of Paros and Praxiteles of Athens, playing a significant role in the artistic revolution of the Hellenistic period." "Lysippos' statues were known for their thin proportions and their genuine naturalism. He studied nature and Polyclitus' Doryphoros canon of ideal male proportions, which he modified by constructing a smaller head and slimmer torso." "It was Lysippos who sculpted Alexander the Great from the ruler's childhood onward, and Alexander would not have any other sculptor portray him." "According to Plutarch, Lysippos was the only one who succeeded in casting Alexander's distinguishing character and excellence in bronze, describing him as 'looking upwards with his face to the sky, as he used to stare with a slight inclination of the neck.'" Discover the enduring legacy of Lysippos, the master sculptor who shaped the image of Alexander the Great and redefined art in the Hellenistic period. Dive into the world of classical Greek artistry and explore how Lysippos' innovations in naturalism and form influenced generations of artists. Uncover the secrets behind his statues, from the Daochos Monument to the iconic portrayals of Alexander. Visit MartiniFisher.com to learn more about this fascinating intersection of art and history (and see some images), and see how these timeless works continue to inspire today. You will also find more images in the History Made Beautiful Instagram account.

Alexander den store (356 f.v.t.- 323 f.v.t.), som var kung i Makedonien, skrev in sig i världshistorien genom att på några år erövra stormakten Persien. Med en blandning av hänsynslöshet och taktiskt geni nådde han ända fram till Indien, där hans män vägrade fortsätta.Alexander III utplånade städer som Thebe för att statuera ett exempel på vad som hände dem som inte underkastades sig honom utan motstånd. När han började anamma persiska seder blev hans män allt mer skeptiska. Hans död i Babylon är fortfarande höljd i mystik, men troligtvis söp han ihjäl sig bara 33 år gammal märkt av år i strid. Eller så kanske någon förgiftade honom eftersom de inte var sugna på ett planerat fälttåg till Arabien.I detta avsnitt av podden Historia Nu samtalar programledaren Urban Lindstedt med Daniel Hermansson, historiepoddare och historielärare aktuell med boken De kom, de såg, de segrade : vad antikens fältherrar lär oss om makten och människan.Alexander den store var son till kung Filip II av Makedonien och drottning Olympias från Epirus. Han växte upp i en tid när Makedonien lade sig under de grekiska stadsstaterna i en kultur av våld och machokultur. Han fick en omfattande utbildning med bland annat den berömda filosofen Aristoteles som lärare. Alexander blev en analytisk och strategisk tänkare, vilket senare skulle bli avgörande för hans militära framgångar.Alexander visade tidigt tecken på militär skicklighet genom att delta i sin fars krigståg. När Filip mördades 336 f.Kr., blev Alexander efter en kort maktkamp hans efterträdare. Han inledde sin regering med att föra krig mot thrakiska stammar söder om Donau. Upproret i Grekland, som utgick från Thebe, tvingade honom att avbryta fälttåget. När han hade besegrat upproret, jämnades Thebe med marken i avskräckande syfte.Efter att ha säkrat sin ställning i Grekland, vände Alexander sin uppmärksamhet österut mot det persiska riket. Han korsade Hellesponten med en armé på cirka 40 000 män i maj 334 f.Kr. Den första drabbningen ägde rum vid Granikos, där det persiska försvaret besegrades. Alexander erövrade sedan de grekiska städerna vid mindre asiatiska kusten och förde sin armé till Anatoliens högland.Slutstriden mellan Alexander och den persiske kungen Dareios III ägde rum vid Gaugamela på ett slättområde vid Tigris övre lopp under hösten 331 f.Kr. Trots att den persiska armén var mångdubbelt större, kunde Alexander, genom sin strategi, totalt utmanövrera den persiska armén. Dareios drog sig tillbaka till det iranska höglandet, där han senare mördades av sina egna. Förstörelsen av palatset i Persepolis markerade slutpunkten på denna del av Alexanders fälttåg.Senare vände Alexander sin uppmärksamhet österut mot Indusdalen, som bara formellt hade stått under persisk överhöghet. Han besegrade den indiska kungen Poros vid Hydaspes 326 f.Kr. men lät sedan denne fortsätta sin regering som lydkung.Alexander dog plötsligt 323 f.Kr. i Babylon efter en kort sjukdom – det finns också omständigheter som tyder på att han förgiftades.Omslag: Alexander den store. Bär inskriptionen: "Alexander [den store], son till Filip, [kung av] Makedonien." Kopia av den kejserliga romerska eran (1:a eller 2:a århundradet e.Kr.) av en bronsskulptur gjord av Lysippos. Finns i Tivoli, öster om Rom, Italien. Wikipedia, public DomainMusik: Ancient Empires And Civilizations av MEDIA MUSIC GROUP, Storyblocks audioLyssna också på Pyrrhos – på fel sida i historien i kampen om världsherraväldet.Klippare: Emanuel Lehtonen Vill du stödja podden och samtidigt höra ännu mer av Historia Nu? Gå med i vårt gille genom att klicka här: https://plus.acast.com/s/historianu-med-urban-lindstedt. Hosted on Acast. See acast.com/privacy for more information.

Cover art - The Scream, fingerprint ink on police print card done in thumb print, 2" x 1-1/4", 2004 copyright Charles Vincent SabbaThe following are links for Charles Sabba's artwork, blog and articles with La Voce di New York.Show Notes0:00 Sabba's great-grandfather3:45 retired police captain4:15 duCret School of Art in Plainfield, NJ4:50 1986 - Austrialian Cultural Terrorists stole Weeping Woman by Picasso6:20 NYPD Art Theft Investigator 3:40 US Navy 7:30 Naples, Italy8:35 federal corrections' witness protection unit11:20 School of Visual Arts 11:40 Betty Thompkins11:44 Andrew Gensel11:45 Anton van Dalen and his show at the PPOW Gallery 12:25 Fred DePalma13:00 influence of his police work on his art14:30 documentary Defending the Peninsula18:00 the era of power and money over cultural patrimony18:40 Napoleon's looting of Italy 20:30 Monuments Men21:55 1800s Papal Edict governing exportation of works from Italy 22:30 1947 article 9 of Italy's Constitution 23:50 collection of Gardner Museum 24:35 Vermeer's The Concert purchased by Gardner26:00 Getty Trust - fight over Euphronios Krater with the Met27:45 Manhattan DA's office April 2022 seizure28:30 Lysippos di Fano Bronze34:30 agreement to table discussion about return of Lysippos pending Italian court ruling36:45 assertion that the Lysippos is Greek not Italian39:30 status of request for return of Lysippos39:50 History Channel television series Histories Greatest Heists with Pierce Brosnan41:00 paint chips sent to Boston Herald related to Gardner Heist44:00 1997 - William Youngworth negotiated with Gardner Museum for return of stolen works via prosecutors45:45 Chicago-based Expert Walter McCrone determined paint chips were from Rembrandt.48:35 1998 - Vermeer expert 49:10 2003 - Dr. Hubert von Sonnenburg, Chairman of Paintings Conservation at The Met, found chips were consistent with the Vermeer50:00 Dr. Jennifer Mass' opinion about the Sonnenberg's opinion on the paint chips 52:30 Sabba's painting practice reflects his interest in art crime - fingerprint paintings53:50 Sabba's portraits of individuals involved in art crime 55:25 Art critic Jerry Saltz56:30 Y Gallery58:15 artists that speak to social issues, e.g., prison reform1:01:25 Sophie Calle: Last Seen1:02:05 climate activists' attacks on soft targets1:06:40 Justice defined1:09:20 LegacyPlease share your comments and/or questions at stephanie@warfareofartandlaw.comTo hear more episodes, please visit Warfare of Art and Law podcast's website.To view rewards for supporting the podcast, please visit Warfare's Patreon page.To leave questions or comments about this or other episodes of the podcast and/or for information about joining the 2ND Saturday discussion on art, culture and justice, please message me at stephanie@warfareofartandlaw.com. Thanks so much for listening!© Stephanie Drawdy [2022]

Eğer destekte bulunmak istiyorsanız, lütfen Patreon sayfamı ziyaret edin, link - https://www.patreon.com/amanov" Bu bölümde Antik Yunan sanatı hakkında konuştum. Kuroslar, Epheben, Kore'ler gibi motif heykeller yer almaktadır. Polyklet ve Lysippos gibi sanatçıların heykellerinden de bahs edilmektedir. Büyük İskenderin devri ile anılan "Helenistik dönemde" Yunan sanatında değişimler yaşanmıştır. Yunan Mimarisi: Akropol, Agora, Tiyatrolar ve s. de ele alınmıştır. Ancient Greek art Kaynak: "Kısa Sanat Tarihi" Hazırlayan: Tuğrul Kurt Danışman: Prof. Dr. Kürşad Demirci Seslendiren: Amanov Shamsaddin --- Send in a voice message: https://anchor.fm/amanov-shamsaddin/message

Praxiteles and Lysippos - the two giants of 4th century Greece, and they are both covered in this episode. Learn what happened to the first classical nude female statue! Learn why eight heads are better than seven! And does Alexander succeed in Making Attica Great Again? Find out here.

If 'Classic' derives from the Greek word for 'Best', then what comes after the time of Classical Athens? Something not as good for Athens, of course. But despite the fall of the world's first democracy, the arts in Athens and all of Greece continued and even flourished. In the first of this two-part episode, we'll cover the sculptors Alkamenes, Kresilas, and Skopas. In the second part, look out for Lysippos and Praxiteles.

Episode 12 is all about historical statues and sculpture. How high brow... Although actually not really. Tom introduces the Colossus of Rhodes, and Sam struggles to pronounce Lysippos.  Subscribe and listen to us! Apple Music // Podbean // Overcast // Stitcher // TuneIn // Spotify Welcome to That Was Genius: Two blokes. A 12-hour time difference. An immature sense of humour. And 10,000 years of human civilisation. A weekly podcast looking at the weirder side of history. Join Sam Datta-Paulin (he likes history and lives in Britain) and Tom Berry (he also likes history but lives in New Zealand), for a weekly reflection on the bold, the brilliant... And the downright strange. From bizarre events and stories to equally odd inventions, barely a day goes by without something incredible (or incredibly stupid) happening around the world. We upload new episodes every Wednesday night/Thursday morning (UK time).  Check us out on Facebook // Instagram // Twitter That Was Genius is produced by Glorious Republic Broadcasting.

Alex Lloyd speaks with a Cold War veteran from East Germany, Jens Milbret. Life on the Line tracks down Australian war veterans and records their stories. Every week we also have a bonus episode, where we speak to historians, authors and others in the veterans community. Today's bonus episode is with a Cold War veteran from East Germany, Jens Milbret. Jens spoke of growing up in a communist regime, the propaganda, his military service, the lies that shaped his life and the escape he made from life in East Germany. Thanks go to Oliver Heuthe for helping to arrange this episode. These photos are of the military academy Jens served at in Dresden, created by Lysippos and shared here (and on our social media) under a Creative Commons license.

Metanoia   Welcome to Mere Rhetoric, the podcast for beginners and insiders about the ideas, people and movements who have shaped rhetorical history. I’m Mary Hedengren, Samantha’s the booth, Humanities Media Project sponsored us and I have nothing to regret.   Remember back when we talked about kairos? Just to remind you, here’s a poem, a Greek poem, translated by Jeffrey Walker, explain. This poem is ekphersis, a piece of writing that describes a piece of art, in this case a sculpture of Kairos done by Lysippos of Sicyon. The rest explains itself.   From where is your sculptor? Sicyon. What is his name? Lysippos. And who are you? Kairos the all-subduer. Why do you go on tiptoes? I’m always running. Why do you have Double wings on your feet? I fly like the wind. Why do you have a razor in your right hand? As a sign to men That I’m sharper than any razor’s edge. Why does your hair hang down in front? For him that meets me to grab, By God. Why is the back part bald? None that I have once passed by on my winged feet May seize me, even if he wishes to. Thus the artist fashioned me, for your sake, Stranger, and placed me at the entrance as a lesson.   So here we have this figure of kairos, with a haircut that is party in the front and business in the back ad if you don’t grab him, too bad. It’s done. Game over, chance lost.   But then what? when you’ve missed your chance, what’s even left? Are you all alone as Kairos flits away?   Not really. The ancient Greeks created another figure, named Metanoia to describe the deep regret that comes when there’s something you could have done and you missed the chance. MEtanoia literally means after thought, or after mind, I guess if you want to get picky about it. It’s similar to regret. As Kelly A Myers put it in her rhetoric society quarterly article, Metanoia was a figure that “resides in the wake of opportunity, sowing regret and inspiring repentance in the missed moment” (1). It is “a reflective act in which a person returns to a past event in order to see it anew” (8)   In Roman poetry, metanoia accompanies the god of opportunity in Ausonius’s epigrams. The first part of the epigram sounds very similar to the ekphrasis of kairos poem “who are you” “I’m opportunity” “why do you look so weird?” “seize the moment” etc. etc. but then the questioner turns to metanoia “please tell me who you are.” “I am a goddess to whom even Cicero himself did not give a name. I am the goddess who exacts punishment for what has and has not been done, so that people regret it. Hence my name is Metanoea.”   There’s something weirdly compensatory in this accusation against Cicero. Metanoia is a such an important concept, Ausonius seems to say, that Cicero must have known, must have felt, but neglected to name. Metanoia is out there, but under studied and ignored.   But we’ve all felt that regret, haven’t we? Me, personally, I get that feeling in the shower, when dumb things I’ve said, or witty comebacks I should have said come sweeping in on me. I’ve also heard people getting hit with metanoia when they’re trying to sleep or when they’re driving or when they’re staring into a beautiful tropical sunset. It makes you want to stab your eyes out.       So what was the purpose of metanoia? What did it accomplish to feel such crippling regret? Hopefully such reflection and regret means that next time around you doing something different. Hopefully you change. This became a big deal as Christianity burst onto the scene. Metanoia became associated as a step of repentance, reflecting on the mistake you made before you can move forward. The New Testament uses matanoia as an “act of repentance that lead to spiritual conversion.” (9). As kittel et al describe it “affects the whole man,” not just the brain.   It’s important that this emotional aspect of metanoia exists. Some sources point out that metanoia is always emotional as well as mental it is a “change of mind ad heart” (Liddell and Scott 1115) a “profound transformation of the epistemic orientation of the whole person” (Torrance 10). Myers points out that “metanoia ia the affective dimension of kairos” (2)     Metanoia as a rhetorical figure really hit its stride in the middle ages and beyond. Visual representations of metanoia became as common as kairos. Metanoia stuck with kairos, showing up in the Middle Ages and the Renaissance, sometimes as a beautiful young woman and sometimes as a vengeful hag. Here’s the thing: there’s a moment of indecision, a Schrödinger's Cat moment where you don’t know whether you will seize the moment or live to regret it.As Myers says ‘once a descion has been made or missed, the two part ways, but before that crucial moment they stand together” (4).   So when you think of kairos, think of the inverse as well, the potential for deep abiding regret that makes you want to burn your high school yearbook. But remember metanoia in the moment that comes, not just regretting what is past, but looking at where you are now and making sure you make the right choice right now, so that you don’t have to regret it later.  

Kairos Podcast       Two definitions of time for ancient Greeks:, chromos and kairos   While chronos chucks around relatively constantly, one minute after minute hour after hours, without any particularly change, kairos is a moment of exigenence, where everything matters on timing. There’s a graph that I like about kairos that I would love to show you, but since I can’t paint you a picture, I’ll have to sing yo a song. While Chronos moves forward like this [solid pitch], Kairos starts low, comes to a fever pitch and then descends again. It sounds like this [assending and descending pitch].  If Chronos is time, Kairsos is timing.       So let’s break down the parts of the kairos song with an example, say, slavery in America:   (low tone) down here might be called the moment that slavery in American begins to be a public issue. This could be called the origin. It might be the 1619, when the first African slaves were brought by the Dutch, but only if the issue of slavery was contested. The origin isn’t necessary when the situation started, but only when people started talking about the situation. The escalating conversation is what makes a public problem move towards a moment of kairos. So even though there were slaves in America in 1619, the escalation came in the 19th century, as the institutuion of slavery changed from something small-scale, individual and temporary to something large-scale that lasted over generations. People began to furiously debate whether there ought to be slavery in the United States on both sides and the issue became more intensely argued (sliding upwards tone). This process is called the maturationof the public issue.  It eventually reached the climax  of the issue (high note.) This high point, the moment of kairos, can be hard to point down: is it the emancipation proclamation? Is it the whole period of the civil war? But somewhere in there, the issue of slavery in America had to be decided. The moment had come. This is what E. C. White calls “"a passing instant when an opening appears which must be driven through with force if success is to be achieved.” Whatever various moments of kairos there were for the issue of slavery, there came a point where the moment passed. The 13th amendment was passed, northern soldiers were dispatched to make sure no one got “re-enslaved,” and the issue of slavery was settled. Now that doesn’t mean people still didn’t argue able it. In fact, lots of people may still debate something after the moment of kairos has passed. This is called deterioration. (sliding lowering tone) The issue of slavery, and what counted as slavery continued through the 19th and even into the 20th century. Today, though, there is effectively no debate about slavery. Sure, there might be a few whack jobs, but you won’t see letters to the editor in the New York Times or Washington Post recommending that we go back to chattle slavery in America. The issue has disintergrated. (low note).       Some issues, like slavery, come to a head, to a single moment of kairos, and then disintegrate for ever, never to return again. Others, though, return periodically. For examples of these kinds of cyclical moments of kairos, you might think about how debates about gun control are renewed every time there is a particularly horrific act of violence. Something terrible happens—the origin—and people renew a fierce debate about whether gun control would have prevented the tragedy. The issue escalates into maturity and then the moment of kairos arrives-- a law is passed, or isn’t passed, and then people gradually stop talking about the issue so much and it deteriorates down again. But then after a few months or—hopefully—years, another tragedy occurs and the issue of gun control again leads to a moment of kairos. Many issues fade in and out just because people lose interest, or get caught up in a public issue that seems more pressing. For instance, people stopped talking so much about violence in schools after Sept 11th because issues of terrorism and privacy and war seemed to be more important. The moment of kairos shifted.                   The idea of Kairos is an old one, and a celebrated one. There are many paintings and scultures of Kairos, who was sort of a funny-looking fellow. Or let’s be blunt: he had the worst hair cut known to man. It was long in front and bald in the back, like a reverse mullet: party in the front and all business in the back. The haircut was a metaphor for how you had to grab the moment when it came, because once it was gone, you couldn’t catch it. He had a few other descriptive features. Instead of be describing them, let this Greek poem, translated by Jeffrey Walker,  explain. This poem is ekphersis, a piece of writing that describes a piece of art, in this case a sculpture of Kairos done by Lysippos of Sicyon. The rest explains itself.       From where is your sculptor? Sicyon. What is his name?   Lysippos. And who are you? Kairos the all-subduer.   Why do you go on tiptoes? I’m always running. Why do you have   Double wings on your feet? I fly like the wind.   Why do you have a razor in your right hand? As a sign to men   That I’m sharper than any razor’s edge.   Why does your hair hang down in front? For him that meets me to grab,   By God. Why is the back part bald?   None that I have once passed by on my winged feet   May seize me, even if he wishes to.   Thus the artist fashioned me, for your sake,   Stranger, and placed me at the entrance as a lesson.           --Trans. J. Walker