Theodor Erdmann Kalide - Neo- Hellenistic, - Berlin artist (1801-1863). (b Königshütte, Upper Silesia [now Chorzów, Poland], 8 Feb 1801; d Gleiwitz [now Gliwice, Poland], 23 Aug 1863). 
Theodor Erdmann
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Hermaphrodite and Satyr,
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Aphrodite, Eros and Pan,
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Pan and Daphnis.
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Satyr und Hermaphrodite, Annäherung
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Schlafender Satyr oder Barberini Faun,
"Der Schlafende Satyr" - The French sculptor Edme Bouchardon (1698-1762) created this marble copy of his own presentation statue which was considered in 1892 for the Louvre.
Der Barberinische Faun ist eine hellenistische Skulptur eines schlaftrunkenen Satyrs, der um 220 v. Chr. geschaffen wurde. Sie wurde vermutlich von Praxiteles (ca. 390 v. Chr. - ca. 320 v. Chr.) unter Verwendung einer bronzenen Vorlage gehauen. Die Figur ist nackt und stellt seine Männlichkeit offen zur Schau.
Der marmorne, 2,15 Meter hohe Skulptur wurde von den Römern aus Griechenland geplündert und wurde im 17. Jahrundert in der Engelsburg gefunden. Es fehlten das rechte Bein, Teile der Hände und des Kopfes.
Kardinal Maffeo Barberini beauftragte den berühmten italienischen Künstler Gian Lorenzo Bernini (1598-1680) mit einer Restauration, wobei auch die fehlenden Teile ersetzt wurden. Ferner änderte er die Figur in Richtung eines barocken Stils sowie einer mehr sexuellen Ausrichtung. Anschließend war die Skulptur Teil der Sammlung der Barberini in deren Palast.
Sie wurde 1810 von Rom nach München über die Alpen geschafft, nachdem Ludwig I., König von Bayern, sie gekauft hatte. Es wird vermutet, daß die Anschaffung durch seine homosexuelle Neigung motiviert war.
Der Faun ist seit den 1830er Jahren auf Wunsch des Königs in der Glyptothek in München ausgestellt (Inv. 218).
Der Franzose Edme Bouchardon (1698-1762) schuf auf dieser Vorlage eine eigene Statue, die seit 1892 im Louvre befindet.
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Musée du Louvre, Paris
Künstler unbekannt Marsyas hängt an einem Baum
Marmor, Römische Kopie vom 1 bis 2 Jh nach einen Hellenistischen Original. Gefunden in Rom, Italien.
Dimension H. 2.56 m (8 ft. 4 ¾ in.)
Credit line Borghese Collection; purchase, 1807
Accession number Ma 542 (MR 267)
Department of Greek, Etruscan and Roman antiquities, Sully, ground floor, room 17
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Marsyas, the Phrygian Satyr who challenged Apollo, Roman copy of 3rd C. BC original, Tarsus, Marsyas under Apollo's punishment - İstanbul Archaeology Museum, Turkey, all three above pictures above, Musée archéologique d'Istanbul Alexander the Great Musée Archéologique, Area related : Tarsus (Turkey), Marsyas, the Satyr, found a flute, which had been thrown away by Athena. She had tried to play it but, but realizing how ugly she looked with protruded mouth, had immediately given it up. When Marsyas found that he could play nice music with the flute he challenged Apollo and claimed to make sweeter music with his flute than Apollo with his lyre. Marsyas was the loser and Apollo first hanged him from a pine tree and then flayed him.
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Plaster of Marsyas Torso, 'Flaying of Marsayas Group', from the first half of the 2nd century BC., Berlin, Antikensammlung, Pergamon Museum, Berlin, Germany
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Scythian, marble, after Hellenistic Greek, during Roman period, Greek sculptors hired to make copies in marble of previous bronze, or varients. original of 200 - 150 B.C., Ufizzi, Florence, Italy
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Theodor Erdmann'
Kalide
- Bacchantin auf
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dem
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Panther,
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- Neo- Hellenistic, - Berlin artist (1801-1863). (b Königshütte, Upper Silesia [now Chorzów, Poland], 8 Feb 1801; d Gleiwitz [now Gliwice, Poland], 23 Aug 1863).
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German sculptor. At the age of 15 he was apprenticed at the Königliche Eisengiesserei in Gleiwitz, where he soon began sculpting cast-iron plaques. In 1819 Johann Gottfried Schadow summoned him to Berlin, where he was instructed in chasing by Coué and worked in the Berlin Eisengiesserei. In 1821 he transferred to the studio of Christian Daniel Rauch. Following Rauch’s example and under his influence, Kalide produced such large animal sculptures as the Resting Lion and the Sleeping Lion (several casts, e.g. zinc, 1824; Berlin, Schloss Kleinglienicke). From 1826 to 1830 Kalide worked on equestrian statuettes, including those of Frederick William II (zinc), after the model by Emanuel Bardou (1744–1818), and Frederick William III (e.g. cast iron; both Berlin, Schloss Charlottenburg, Schinkel-Pav.). In 1830 he became a member of the Berlin Akademie. His most popular works included the life-size bronze group Boy with a Swan (1836), which was installed on the Pfaueninsel in Berlin as a fountain (several casts, all untraced). Kalide achieved wide recognition and aroused violent controversy with his almost life-size marble figure Bacchante on the Panther (1848; Berlin, Schinkelmus., badly damaged). This work transgressed the accepted boundaries of classical art, above all in the figure’s provocative pose, and was perceived as shocking. In its uninhibited sensuality and its blending of the human and the animal, it offended the conservative Berlin public, and consequently Kalide received few new commissions. He had no success with competition designs and became increasingly embittered. He spent his last years at Gleiwitz, where he died. After a theory in the iron foundry Gleiwitz got the well-known artist Gottfried Schadow the young Kalide into its workshop to Berlin. From there Kalide changed later into the then more popular workshop of Christian Daniel Rauch. Solved from the classically determined influence, its own artistic temper developed Schadows and Rauch more for the expression of powerful movements. Its largest artistic acknowledgment found Kalide 1836 with the well figure “The boy with swan”, which received 1851 on the Londoner world exhibition price medal and which Friedrich William IIITH for the lock park Charlottenburg acquired. (verschollen). Theodor Kalide (1801-1864) shows here a trunkene, naked woman, who räkelt herself on the back of a Panthers and gives by an adventurous setting the Raubtier from their bowl to drink. This group released a scandal after its demonstration on the citizens of Berlin academy exhibition of 1848. Kalide accused it hurts the Decorum (behaviour), by showing humans and animal on a stage. During Kiss into its Amazone still the noble fight between humans and Raubtier makes it represented here in animalisch, driveful omittingness common thing. This group of figures is natureful in their to see dionysischen beginning in greatest possible distance from the apollonischen people ideal of the classicism and can as “splendourful proclamation anti-classical Unmen” Bloch / Grzimek 1978, 137) be quite designated. After the presentation of this work Kalide kept no more orders in Berlin and had in the native Schlesien, withdraws, in order to be able to continue to work than sculptors. The Bacchantin on the Panther is received, there only as Torso in the citizens of Berlin national gallery it in to 2. World war was heavily damaged. ;
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German sculptor. At the age of 15 he was apprenticed at the Königliche Eisengiesserei in Gleiwitz, where he soon began sculpting cast-iron plaques. In 1819 Johann Gottfried Schadow summoned him to Berlin, where he was instructed in chasing by Coué and worked in the Berlin Eisengiesserei. In 1821 he transferred to the studio of Christian Daniel Rauch. Following Rauch’s example and under his influence, Kalide produced such large animal sculptures as the Resting Lion and the Sleeping Lion (several casts, e.g. zinc, 1824; Berlin, Schloss Kleinglienicke). From 1826 to 1830 Kalide worked on equestrian statuettes, including those of Frederick William II (zinc), after the model by Emanuel Bardou (1744–1818), and Frederick William III (e.g. cast iron; both Berlin, Schloss Charlottenburg, Schinkel-Pav.). In 1830 he became a member of the Berlin Akademie. His most popular works included the life-size bronze group Boy with a Swan (1836), which was installed on the Pfaueninsel in Berlin as a fountain (several casts, all untraced). Kalide achieved wide recognition and aroused violent controversy with his almost life-size marble figure Bacchante on the Panther (1848; Berlin, Schinkelmus., badly damaged). This work transgressed the accepted boundaries of classical art, above all in the figure’s provocative pose, and was perceived as shocking. In its uninhibited sensuality and its blending of the human and the animal, it offended the conservative Berlin public, and consequently Kalide received few new commissions. He had no success with competition designs and became increasingly embittered. He spent his last years at Gleiwitz, where he died. After a theory in the iron foundry Gleiwitz got the well-known artist Gottfried Schadow the young Kalide into its workshop to Berlin. From there Kalide changed later into the then more popular workshop of Christian Daniel Rauch. Solved from the classically determined influence, its own artistic temper developed Schadows and Rauch more for the expression of powerful movements. Its largest artistic acknowledgment found Kalide 1836 with the well figure “The boy with swan”, which received 1851 on the Londoner world exhibition price medal and which Friedrich William IIITH for the lock park Charlottenburg acquired. (verschollen). Theodor Kalide (1801-1864) shows here a trunkene, naked woman, who räkelt herself on the back of a Panthers and gives by an adventurous setting the Raubtier from their bowl to drink. This group released a scandal after its demonstration on the citizens of Berlin academy exhibition of 1848. Kalide accused it hurts the Decorum (behaviour), by showing humans and animal on a stage. During Kiss into its Amazone still the noble fight between humans and Raubtier makes it represented here in animalisch, driveful omittingness common thing. This group of figures is natureful in their to see dionysischen beginning in greatest possible distance from the apollonischen people ideal of the classicism and can as “splendourful proclamation anti-classical Unmen” Bloch / Grzimek 1978, 137) be quite designated. After the presentation of this work Kalide kept no more orders in Berlin and had in the native Schlesien, withdraws, in order to be able to continue to work than sculptors. The Bacchantin on the Panther is received, there only as Torso in the citizens of Berlin national gallery it in to 2. World war was heavily damaged. ;
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Marble, Greek sculptor hired during Roman rule copy of the middle 2nd century AD after a Greek original by Lysippos (ca. 300 BC). Location: Location Braccio Nuovo, Musei Vaticani, State of the Vatican City, Rome, Italy
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original by Lysippos?, Silenus bearing the child Dionysos.
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original by Lysippos?, Silenus bearing the child Dionysos.
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The young god, son of Zeus, will grew up in a wild mountain. Maybe a copy of a statue of Lysippos (310–300 BC). Dimensions H. 187 cm, Glyptothek, Munich, Germany.
Formerly in Palazzo Gaetani, then Palazzo Ruspoli (both in Rome). Acquired in 1812 for Munich
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Formerly in Palazzo Gaetani, then Palazzo Ruspoli (both in Rome). Acquired in 1812 for Munich
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Hermaphrodite and Satyr,
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Greek scuptor hired to make a copy or varient during the Roman period of a Hellenistic sculpture : 150/140 BC., Dresden, Germany
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Aphrodite, Eros and Pan,
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c 100 B.C., Delos, Marble c 130 cm, National Museum Athens (Ethniko Mouseio), Greece. Inscription: Dionysios, son of Zeno, son of Theodoros of Berytus, benefactor, (dedicate this) on behalf of himself and his children to the ancestral gods.
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Pan and Daphnis.
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Greek Hellenistic during Roman occupation after Hellenistic Greek bronze of 3rd. - 2nd. century B.C., Naples National Archaeology Museum, Naples, Italy, - Lustful man-goat Pan gives shepard Daphnis musical lesson.
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Satyr und Hermaphrodite, Annäherung
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-Schlafender Satyr oder Barberini Faun,
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marmorne Kopie eines brozenen Originals, ca. 200 v. Chr. Höhe: 2,15 m. Von Römern geplündert, wurde sie im Castel Sant'Angelo gefunden, von der Familie Barberini gekauft und in ihrem Palast in Rom aufgestellt. Heute ist sie eine Hauptatraktion der Glyptothek München (Inv. 218).
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"Der Schlafende Satyr" - The French sculptor Edme Bouchardon (1698-1762) created this marble copy of his own presentation statue which was considered in 1892 for the Louvre.Der Barberinische Faun ist eine hellenistische Skulptur eines schlaftrunkenen Satyrs, der um 220 v. Chr. geschaffen wurde. Sie wurde vermutlich von Praxiteles (ca. 390 v. Chr. - ca. 320 v. Chr.) unter Verwendung einer bronzenen Vorlage gehauen. Die Figur ist nackt und stellt seine Männlichkeit offen zur Schau.
Der marmorne, 2,15 Meter hohe Skulptur wurde von den Römern aus Griechenland geplündert und wurde im 17. Jahrundert in der Engelsburg gefunden. Es fehlten das rechte Bein, Teile der Hände und des Kopfes.
Kardinal Maffeo Barberini beauftragte den berühmten italienischen Künstler Gian Lorenzo Bernini (1598-1680) mit einer Restauration, wobei auch die fehlenden Teile ersetzt wurden. Ferner änderte er die Figur in Richtung eines barocken Stils sowie einer mehr sexuellen Ausrichtung. Anschließend war die Skulptur Teil der Sammlung der Barberini in deren Palast.
Sie wurde 1810 von Rom nach München über die Alpen geschafft, nachdem Ludwig I., König von Bayern, sie gekauft hatte. Es wird vermutet, daß die Anschaffung durch seine homosexuelle Neigung motiviert war.
Der Faun ist seit den 1830er Jahren auf Wunsch des Königs in der Glyptothek in München ausgestellt (Inv. 218).
Der Franzose Edme Bouchardon (1698-1762) schuf auf dieser Vorlage eine eigene Statue, die seit 1892 im Louvre befindet.
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-Musée du Louvre, Paris
Künstler unbekannt Marsyas hängt an einem Baum
Marmor, Römische Kopie vom 1 bis 2 Jh nach einen Hellenistischen Original. Gefunden in Rom, Italien.
Dimension H. 2.56 m (8 ft. 4 ¾ in.)
Credit line Borghese Collection; purchase, 1807
Accession number Ma 542 (MR 267)
Department of Greek, Etruscan and Roman antiquities, Sully, ground floor, room 17
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Marsyas, the Phrygian Satyr who challenged Apollo, Roman copy of 3rd C. BC original, Tarsus, Marsyas under Apollo's punishment - İstanbul Archaeology Museum, Turkey, all three above pictures above, Musée archéologique d'Istanbul Alexander the Great Musée Archéologique, Area related : Tarsus (Turkey), Marsyas, the Satyr, found a flute, which had been thrown away by Athena. She had tried to play it but, but realizing how ugly she looked with protruded mouth, had immediately given it up. When Marsyas found that he could play nice music with the flute he challenged Apollo and claimed to make sweeter music with his flute than Apollo with his lyre. Marsyas was the loser and Apollo first hanged him from a pine tree and then flayed him.
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Plaster of Marsyas Torso, 'Flaying of Marsayas Group', from the first half of the 2nd century BC., Berlin, Antikensammlung, Pergamon Museum, Berlin, Germany
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Scythian, marble, after Hellenistic Greek, during Roman period, Greek sculptors hired to make copies in marble of previous bronze, or varients. original of 200 - 150 B.C., Ufizzi, Florence, Italy
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