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User:MadelineMadrid/sandbox/Antinous Farnese

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Antinous Farnese
upright=1:36
MediumMarble
MovementHadrianic Philhellenism
SubjectAntinous
LocationNaples National Archaeological Museum, Naples
Websitehttps://mannapoli.it/collezione-farnese/#gallery-5

The Antinous Farnese is a marble sculptural representation of Antinous that was sculpted between 130-137 CE.[1] Antinous was the lover to Roman Emperor Hadrian; the emperor who, after Antinous’s death, perpetuated the image of Antinous as a Roman god within the Roman empire.[2] This sculpture is a part of the Roman Imperial style and was sculpted during a revival of Greek culture, initiated by Hadrian’s philhellenism.[3] Its found spot and provenance are unknown,[4] but this sculpture is currently a part of the Farnese Collection in the Naples National Archaeological Museum.[1]

Subject History edit

Antinous was the Greek lover to the Roman emperor Hadrian in the second century CE.[5] Often referenced to as Hadrian’s favorite,[2][4] or more affectionately Hadrian’s boyfriend,[5] Antinous was born a slave in Bithynium 110 CE and is speculated to have drowned in the river Nile before his twentieth birthday in 130 CE.[6][7] The circumstances of Antinous's death vary by account, though the most popular theories range from accidental, to suicide, and even those that are sacrificial in nature.[7][4] In honor of his lover Hadrian established the city of Antinoopolis in Egypt the same year Antinous drowned.[7] Hadrian also went on to deify Antinous postmortem by including him as a figure of the Imperial Cult; because of this, sculptures of Antinous were produced in large quantities for cult worship.[8]

The extent of Hadrian and Antinous's close relationship is contested by some.[6] While it was common for men to be sexually involved with one another at this time, this involvement was generally limited to a physical nature.[6] It's widely believed their relationship went beyond a pederastic relationship; suggesting therein that Hadrian and Antinous had developed an emotional relationship with one another, which was generally looked down upon by other Roman elites.[6] Within a pederastic relationship, Hadrian would fulfill the role of erastes, the dominate man, and Antinous would fulfill the role of eromenos, the submissive male partner.[6]

Visual Style edit

Philhellenism edit

Upon Antinous's death in 130 CE, Hadrian sought to revitalize Classical Greek sculpture tradition with Roman subject matter.[3] Hadrian’s appreciation for Greek art and culture is known as philhellenism, and that love for all things Greek awarded him the nickname "The Greekling."[8][9] Within Hadrian's lifetime he had visited Greece on three separate occasions,[8] participated in the Greek Olympics, and founded a Greek city-state alliance known as the Panhellion the year of Antinous's death.[10]

Antinous is a free standing marble sculpture in the round. The Philhellenic elements of this statue are drawn from its visual style, while the Farnese Antinous was sclupted in the Roman period, Antinous emulates an athlete in the Classical Greek style. Specifically, this sculpture is emulated after Polykleitos' statue Doryphorus.[1][11] The most discernible difference between the two is that Antinous is an adolescent youth, while Doryphorus is sculpted as a young adult.[11] Similarities between Antinous and Doryphorus can be drawn with the nude form, use of contrappasto, the stoic expression, as well as the outstretched arm. Doryphorus holds a spear, and Antinous appears to hold something himself in his right hand.

The Antinous Farnese can be identified as a Roman Imperial piece rather than Greek Classical by noting the engraved pupils, which was a trend set in Roman sculpture by Hadrian himself.[8][12] Other Hadrianic-Imperial details of this statue can be seen in the volume of the hair and carved out nostrils, as these features were formed with a drilling techniques that allowed the Romans to explore texture differences in the hair versus skin in ways that hadn't been before.[8][11] Another indication that this sculpture is Roman, not Greek, is the inclusion of a structural support on the back right leg,[13] casually disguised as a log. This structural support, also known as a strut, may have helped further identify Antinous within the context of its time.[13]

  •  
    The Farnese Antinous with engraved pupils and signature wig-like hair.
  •  
    Antinous standing in contrapposto, with a support behind his right leg.

Identifying Antinous edit

There are three styles in which Antinous is traditionally depicted: the Mondragone style, the Egyptianizing style, and the Haupttypus style.[8] The Haupttypus style is also know also known as the main or original style because it it is the most popular style of Antinous sculpture.[7][8][4] The Farnese sculpture falls within the Haupttypus style.[7] Within the Haupttypus style there are two variations, the first Haupttypus variation depicts Antinous with a curl over his brow, and the other does without it.[4][8]

By sculpting Antinous with consistent conventions artists could delineate Antinous from other Greek mythological figures.[8] The body and face of this sculpture are in idealized youth, with plump cheeks and round face,[7] and his hair is usually unkempt.[2][6][7] Antinous's hair has also been described as artificial looking, even wig-like, because of how similar the placement of his hair is across statues.[2] His youthful appearance, large eyes, pouting lips, and layered locks of hair over his forehead are some of the iconography that can be used to identify him.[8] The iconography of Antinous' appearance is so steady across mediums that portraits of Antinous on coins were used in attributing this sculpture as himself.[4][14] This uniformity, particularly in the repeated layout of his curled locks, implies this portrait was made en masse for artists in the Roman empire to make further copies of.[7]


The extensive deification of Antinous as a cult figure has made his likeness the most common recovered portrait type from Classical Antiquity.[7][4] Despite the large quantity of Antinous statues available for viewing, art historians do not actually know what Antinous looks like because of how heavily he is idealized in his portraits. It was expected that Antinous be sculpted as a deity rather than a man, and by conforming to those standards, it's unknown whether this marble depiction of him, or any depiction of him, is accurate or not.[12]

Provenance edit

The Farnese Antinous was named after its one-time owners the Farnese family.[1]

The original provenance for this work of art is unknown,[4] however, there are works of art within the Farnese collection that have some provenance established, such as the Farnese Hercules and the Farnese Bull.[15] The Farnese Antinous may have once been displayed at the entrance to the Carracci Gallery in the Palazzo Farnese in Rome, from which it was taken to Naples to the Royal Borbonic Museum (Reale Museo Borbonico), now the Naples National Archaeological Museum (a replica was put in place in the Palazzo in the 1970s).

References edit

[16] [17]

  1. ^ a b c d "Museo Archeologico Nazionale di Napoli". Museo Archeologico Nazionale di Napoli. Retrieved November 26, 2021.{{cite web}}: CS1 maint: url-status (link)
  2. ^ a b c d Kleiner, Diana E. E. (1992). Roman Sculpture. United States: Yale Publications. p. 243. ISBN 0-300-04631-6.
  3. ^ a b Tiranti, Alec (1961). Roman Imperial Sculpture. United Kingdom: Portland Press. pp. 42–45.
  4. ^ a b c d e f g h Vout, Caroline (2005). "Antinous, Archaeology and History". The Journal of Roman Studies: 80–96 – via JSTOR.
  5. ^ a b Boardman, John; Griffin, Jasper; Murray, Oswyn (1986). The Oxford History of the Classical World. New York: Oxford University Press. p. 796. ISBN 9780192802033.
  6. ^ a b c d e f Lusher, Andrew (2017). "Greek Statues, Roman Cults and European Aristocracy: Examining the Progression of Ancient Sculpture Interpretation". Journal of Arts & Humanities. 6: 29–30 – via The Arts Journal.
  7. ^ a b c d e f g h i Vout, Caroline (2007). Power and Eroticism in Imperial Rome. The Edinburgh Building, Cambridge: Cambridge University Press. pp. 22, 53–79. ISBN 0-521-86739-8.
  8. ^ a b c d e f g h i j Kleiner, Diana (1992). Roman Sculpture. Yale University: Yale University. pp. 237–243. ISBN 0-300-05948-5.
  9. ^ Derow, Peter Sidney (March 7, 2016). "Oxford Classical Dictionary". Oxford Classical Dictionary. Retrieved November 26, 2021.{{cite web}}: CS1 maint: url-status (link)
  10. ^ Nasrallah, Laura (2008). "The Acts of the Apostles, Greek cities, and Hadrian's Panhellenion". Journal of Biblical Literature. 127: 533–566 – via JSTOR.
  11. ^ a b c Lambert, Royston (1984). Beloved and God. 91 Clapham High Street London SW4 7TA: Weidenfield & Nicolson Limited. pp. 213–218. ISBN 0297-78045. {{cite book}}: Check |isbn= value: length (help)CS1 maint: location (link)
  12. ^ a b Nancy H., Nancy H. (2009). Roman art : Romulus to Constantine. New Jersey : Pearson Prentice Hall: Upper Saddle River. pp. 248–250. ISBN 9780136000976.
  13. ^ a b Anguissola, Anna (2018). Supports in Roman Marble Sculpture. United States: Cambridge University Press. p. 8. ISBN 978-1108418430.
  14. ^ Vout, Caroline (2005). "Antinous, Archaeology and History". The Journal of Roman Studies. 95: 83 – via Jstor.
  15. ^ Jenkyns, Richard (1992). The Legacy of Rome. Oxford: Oxford University Press. pp. 304, 311. ISBN 0-19-8219217-2. {{cite book}}: Check |isbn= value: length (help)
  16. ^ Frel, Jiri (1 January 1973). "In the Shadow of Antinous". 7: 127–130. doi:10.2307/1512648. JSTOR 1512648. {{cite journal}}: Cite journal requires |journal= (help)
  17. ^ "copies1 - english". Antinoos.info. Retrieved 17 April 2017.

External links edit

Category:Sculptures of Antinous Category:Farnese Collection Category:Collections of the National Archaeological Museum, Naples Category:Marble sculptures in Italy


 

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