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拍品專文
During the Hellenistic and Roman periods, there was an infinite number of depictions of Aphrodite, ranging from fully draped to completely nude, including, as here, a partially draped version. On this example, the goddess is shown standing with her weight on her right leg with her left bent at the knee, the heel lifted. Her clinging himation is draped around her legs, once held in place by her now-missing lowered right hand placed high on her right thigh, below which falls a columnar gathering of folds. Her thick-soled sandaled feet emerge from below the himation hem. She is bejeweled in a armlet on her left arm, presumably once matched on her right. The deep concavity between the shoulders was fashioned for insertion of a separately-made and now-missing head.
Closest to the example presented here is a late Hellenistic figure found at Kydonia on Crete, and now in the Archeological Museum of Chania, no. 690 in A. Delivorrias, “Aphrodite,” LIMC, vol. II. On that example, the left arm is partially preserved, bent acutely across the torso, with the head angled forward to gaze at the attribute once held in her hand, perhaps either a mirror on an apple. For a small bronze figure depicting Aphrodite holding an apple, also Hellenistic in date, similar in style but with the arms in reverse, see no. 742 in Delivorrias, op. cit.
Nicole Emmerich Teweles, along with her brother, André Emmerich, played an outsized role in the development and promotion of abstract painting in the United States. Having fled Nazi Germany, the family moved to the United States in 1940. The siblings each became central figures in their local arts scenes. Nici was an active patron in the Milwaukee community, and André a legendary gallerist in New York.
With her brother as a guiding light, Nici, along with her husband Bill, built a collection of influential works that showcased artists who were pioneering innovators of their era. Spanning painting, sculpture and works on paper, the Teweles Collection featured the artists who were harnessing the mastery of colour to redefine their mediums, such as Robert Motherwell, Hans Hofmann, Helen Frankenthaller and David Hockney.
Like her brother, Nici understood the importance of placing contemporary art within its historical context. Just as André organized exhibitions on Greek, Roman and Pre-Columbian art, so too did Nici display her collection of ancient art alongside cutting-edge contemporary works. The result was a well-balanced collection where the continuum of art history made itself manifest, a place where the anonymous ancient Greek sculptor could be in conversation with the leading voices of the twentieth century avant-garde.
Closest to the example presented here is a late Hellenistic figure found at Kydonia on Crete, and now in the Archeological Museum of Chania, no. 690 in A. Delivorrias, “Aphrodite,” LIMC, vol. II. On that example, the left arm is partially preserved, bent acutely across the torso, with the head angled forward to gaze at the attribute once held in her hand, perhaps either a mirror on an apple. For a small bronze figure depicting Aphrodite holding an apple, also Hellenistic in date, similar in style but with the arms in reverse, see no. 742 in Delivorrias, op. cit.
Nicole Emmerich Teweles, along with her brother, André Emmerich, played an outsized role in the development and promotion of abstract painting in the United States. Having fled Nazi Germany, the family moved to the United States in 1940. The siblings each became central figures in their local arts scenes. Nici was an active patron in the Milwaukee community, and André a legendary gallerist in New York.
With her brother as a guiding light, Nici, along with her husband Bill, built a collection of influential works that showcased artists who were pioneering innovators of their era. Spanning painting, sculpture and works on paper, the Teweles Collection featured the artists who were harnessing the mastery of colour to redefine their mediums, such as Robert Motherwell, Hans Hofmann, Helen Frankenthaller and David Hockney.
Like her brother, Nici understood the importance of placing contemporary art within its historical context. Just as André organized exhibitions on Greek, Roman and Pre-Columbian art, so too did Nici display her collection of ancient art alongside cutting-edge contemporary works. The result was a well-balanced collection where the continuum of art history made itself manifest, a place where the anonymous ancient Greek sculptor could be in conversation with the leading voices of the twentieth century avant-garde.