{"id":170226,"date":"2025-04-04T03:15:15","date_gmt":"2025-04-04T03:15:15","guid":{"rendered":"https:\/\/peraltafinancing.com\/anthropology\/the-torlonia-marbles-offer-everything-we-ask-of-art\/"},"modified":"2025-04-04T03:15:15","modified_gmt":"2025-04-04T03:15:15","slug":"the-torlonia-marbles-offer-everything-we-ask-of-art","status":"publish","type":"post","link":"https:\/\/fivemor.com\/?p=170226","title":{"rendered":"The Torlonia Marbles Offer Everything We Ask of Art"},"content":{"rendered":"<p> <br \/>\n<\/p>\n<div data-testid=\"companionColumn-0\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">The two women are a coil of contradictions: Roman but also Greek, flesh but also stone. They both are confident, blessed with the poise of the noble and famous, yet also slightly shy. As if, after centuries of gazes, they can only appear before us slightly abashed. As if they know there is such a thing as too much beauty.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">One of them is gazing down,<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-1\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">and one of them is gazing up.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-2\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">\u201cThey stand before us like real human beings,\u201d as the art historian Ernst Gombrich once wrote about classical sculpture, \u201cand yet as beings from a different, better world.\u201d<\/p>\n<p class=\"css-at9mc1 evys1bk0\">The younger of these two women is known to historians as the \u201cfanciulla di Vulci\u201d: a girl, or maiden, from one of the richest archaeological sites in Italy. Sculpted in the mid-first century B.C., the last years of the Roman Republic, she was pulled from the ground in the latter part of the 19th century.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">Her braided hair, pulled tightly around her head, remains bound in a large circular knot:<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-3\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">Was this a funerary statue, commissioned by the parents of a young woman who died before she could marry? There\u2019s no way to be certain.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">But her stone earlobes are pierced. In antiquity, she would have worn earrings. The depressions in her eyes would have been inlaid with smooth ivory or glistening rock crystal.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">The other woman, the older one, has an equally intricate hairstyle, though her coif is more majestic. She\u2019s really not a woman at all, I suppose, but the goddess Aphrodite, looking to the right, crouching down, covering her breasts. It\u2019s a pose that was first elaborated by a Greek artist, and later adapted throughout the Roman Empire.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-4\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">At her foot is a honking swan. Coiling up her left biceps is an armband in the form of a snake:<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-5\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">Two women, two relics of Rome \u2014 but then again, not quite. There is a big difference between these two sculptures, which you can only see if you look them in the eyes.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">The girl\u2019s wide irises may be missing their inset stones, but she is gazing up at us from a distance of 2,000 years.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">The goddess seems to be doing the same \u2014 but hold on. Look a little lower, at her neckline. See how the sour-cream marble of her head suddenly gives way to a stone that\u2019s visibly more lemony, more weathered.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-6\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">Only Aphrodite\u2019s crouching body comes from the first century A.D. The arm with the snake bangle is from antiquity, but the head was sculpted and grafted onto the goddess\u2019s decapitated body 1,600 years later, during the later Renaissance, by the artist Pietro Bernini (father of the much more famous Gian Lorenzo Bernini).<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-7\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">Members of the noble family that once owned this fragmentary Venus turned to their own generation\u2019s artists to resuscitate her. Her downcast eyes are modern. Some talent and a fortune could bring the gods back to earth.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-8\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">Old and new. Real and ideal. Life and immortality. Everything we ask of art is in the eyes of these women, just two of the 58 extraordinary works of \u201c<a class=\"css-yywogo\" href=\"https:\/\/www.artic.edu\/exhibitions\/10257\/myth-marble-ancient-roman-sculpture-from-the-torlonia-collection\" title=\"\" rel=\"noopener noreferrer\" target=\"_blank\">Myth and Marble: Ancient Roman Sculpture From the Torlonia Collection<\/a>,\u201d at the Art Institute of Chicago. The exhibition brings to light the last of Rome\u2019s princely art collections, which was out of sight for the better part of a century. (The show tours to Fort Worth later this year, and to Montreal in 2026.)<\/p>\n<p class=\"css-at9mc1 evys1bk0\">Built up through successive acquisitions of aristocratic collections, it spills over with 622 sculptures \u2014 that\u2019s 621 marbles and one astounding bronze, of the Roman general Germanicus, right arm raised in glory, pecs and abs undulating like ski moguls. The quality is astounding. To see finer holdings of Roman art, you\u2019d have to go to the Vatican or the Louvre.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-9\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">Much of the collection consists of portrait busts of emperors and eminences, which the Torlonia banking family \u2014 and principally Prince Alessandro Torlonia (1800-66), who elevated his family\u2019s collecting into a scientific enterprise \u2014 admired for their projection of power and prestige.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">An imposing display in Chicago of imperial busts leads from Hadrian, instantly recognizable with his stern mien and tight beard,<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-10\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">to his successor but one, Marcus Aurelius, philosopher-emperor, wearing a shaggier beard in imitation of his favorite Greek thinkers:<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-11\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">But the busts are just the half of it. There are marbles after mythological and literary themes, such as Odysseus escaping from the Cyclops\u2019 den beneath a shaggy-coated ram,<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-12\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">as well as some rare examples of intact large-scale funerary monuments. There\u2019s a sarcophagus of remarkable refinement, ringed on all four sides with scenes of the labors of Hercules:<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-13\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">In the leftmost niche, we see the strongman wrestle the Nemean Lion. In the next, wearing the lion\u2019s skin, he clubs the human-headed Hydra.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-14\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">Astoundingly, the sarcophagus\u2019s lid is here, too. The deceased couple once inside the marble box were also represented on top, reclining at some eternal banquet. But don\u2019t assume too much from their faces. The heads you see now belonged to some other Roman husband and wife, and were soldered on in modern times.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-15\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">Even if you treat it as just a showcase of Roman sculpture, \u201cMyth and Marble\u201d would deserve all its laurel wreaths. But it\u2019s about more than antiquity. It\u2019s also about the recent past, about a special collection with a curious history \u2014 which almost no one saw for 75 years.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-16\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">The Torlonia collection, which Alessandro Torlonia moved into a private museum in Rome in 1875, went into hiding in the early 1940s. And when World War II was over, they did not re-emerge.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">Disputes among family members and with the government left the marbles hidden away, gathering dust and grime.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-17\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">For all those years scholars had to beg and bribe to get in. One government official, desperate to see what gems the Torlonia prince had immured, resorted to dressing up as a cleaner.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">The only hint of the prizes locked inside those damp Trastevere storerooms was an old catalog, published in 1885, that reproduced all of the marbles with a then-novel technology of camera-based engraving.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-18\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">At last, the first restored masterpieces went on display at the Capitoline Museums in 2020. Like the exhibition in Chicago, that show included sculptures that scholars knew only from that old catalog, such as the grand goat reclining in majesty \u2014 its fur swirling like marble flames, and its bemused head restored by Gian Lorenzo Bernini himself.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-19\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">And as the public has discovered these once secret masterpieces, the Torlonia Foundation has used the successive traveling shows to repair and restore its holdings. In Chicago, no fewer than 24 of the 58 sculptures are newly cleaned.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-20\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">The premieres include several busts of eminent imperial women, such as Faustina the Younger, the daughter of Antoninus Pius and the wife of Marcus Aurelius. Look down, from her pulled-back hair to the full cheeks. You are looking at a projected image of the stable imperial succession.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-21\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">Earlier versions of the Torlonia show emphasized the development of the collection over the 19th century, which the banking family amassed by purchasing entire collections from aristocrats who\u2019d fallen on hard times. The family also undertook large excavations in the Italian countryside that, with varying degrees of care, disentombed masterpieces like the young maiden of Vulci.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-22\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">In Chicago, the history of collecting is pushed to one side. But by cunningly installing the sculptures in the Art Institute\u2019s spare modern extension, designed by Renzo Piano, the curators have emphasized a different side of the Torlonia Marbles. In powerful sequences of white on white, they impel us to reckon with these \u201cRoman\u201d artworks as time travelers.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-23\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">In the last century, fascists of various stripes projected national fantasies onto cold stones like these \u2014 and online today, sophomoric social-media Hellenists power racist delusions of the past with Greek and Roman statuary.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">But nothing here looks anything like it would have in ancient Rome. Most are elisions of ancient marble with freshly quarried replacements. Our image of antiquity arrives to us only after centuries of remaking and recycling, interchange and intermarriage.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">Rome was a multiethnic, multilinguistic empire, happy to adopt wholesale an entire foreign religious pantheon. Its architecture, its literature, its educational curriculum and especially its statuary derived from a distant society it had conquered. (This is the place to quote Horace, on the cultural endurance of an occupied people: \u201cCaptive Greece took captive her fierce captor, and brought the arts to rustic Latium.\u201d)<\/p>\n<p class=\"css-at9mc1 evys1bk0\">And the elite Romans immortalized in these marble busts spoke Greek as a matter of course.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-24\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">Look at the stupendous <a class=\"css-yywogo\" href=\"https:\/\/www.artic.edu\/videos\/200\/the-portus-relief-a-roman-story-in-stone\" title=\"\" rel=\"noopener noreferrer\" target=\"_blank\">Portus Relief<\/a>: a vision of the capital\u2019s imperial harbor, sitting at the mouth of the Tiber. Here is a slab of carved marble, full of merchant ships and far-sailing seamen,<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-25\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">overlooked by shaggy-haired Neptune, imported without qualm from one sea to another.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-26\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">We don\u2019t know enough about just who made these marbles, but scholars have assumed that most \u201cRoman\u201d artists were Greeks, probably slaves or freedmen, who borrowed and adapted famous Hellenic examples for local audiences.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-27\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">One of the Torlonia collection\u2019s most impressive artworks, a 16-foot-tall statue of the goddess Hestia (or Vesta to Romans), is also one of its most intentionally archaic. Known as the Hestia Giustiniani, it dates from Hadrian\u2019s time, but the front-facing pose and rigid drapery replicate a Greek bronze from the fifth century B.C.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-28\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">It was a world of avatars and images, cults and commemorations. There were so many statues in ancient Rome that observers spoke of a second Roman population made of stone and bronze. Living politicians could become marble gods, present in public spectacles and private homes.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">The finest feelings became intertwined with the bluntest propaganda. Corruption, violence, unashamed imperialism: All this could coexist with the most sophisticated cultural endeavors, which would endure and even mature as the republic transitioned into an autocracy.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-29\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">These statues ask: What is power, who is worthy of it, and how long can it last? What is a culture, what happens when it encounters others, and how is it remade through contact and conquest?<\/p>\n<p class=\"css-at9mc1 evys1bk0\">The cultural tradition that gave us our laws and our language has always positioned these stone faces and bodies as an art for all time. In 2025, when the most fundamental matters of state and self are on the line, it feels more like the art of the hour. Because we are time travelers, too, blundering backward and forward, unsure which direction is even which. We live in ruins, and salvage from the marble at our feet what values and virtues we can.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-30\">\n<div class=\"css-53u6y8\">\n<p class=\"css-798hid etfikam0\"><strong class=\"css-8qgvsz ebyp5n10\">Myth and Marble: Ancient Roman Sculpture From the Torlonia Collection<\/strong><br \/>Through June 29 at the Art Institute of Chicago, <a class=\"css-yywogo\" href=\"https:\/\/www.artic.edu\/\" title=\"\" rel=\"noopener noreferrer\" target=\"_blank\">artic.edu<\/a>. The show travels to the Kimbell Art Museum in Fort Worth on Sept. 14<strong class=\"css-8qgvsz ebyp5n10\"> <\/strong>and to the Montreal Museum of Fine Arts in March 2026.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-31\">\n<div class=\"css-53u6y8\">\n<p class=\"css-798hid etfikam0\">Images: \u201cStatue of Crouching Aphrodite,\u201d via Fondazione Torlonia, photo by Agostino Osio; \u201cPortrait of a Young Woman,\u201d via Torlonia Foundation, photo by Lorenzo De Masi; Back of \u201cPortrait of a Young Woman,\u201d via Fondazione Torlonia, photo by Agostino Osio; \u201cInstallation view of \u2018Myth and Marble: Ancient Roman Sculpture from the Torlonia Collection,\u2019\u201d via Fondazione Torlonia, photo by Agostino Osio; \u201cPortrait of Hadrian,\u201d via Torlonia Foundation, photo by Lorenzo De Masi; \u201cPortrait of Marcus Aurelius,\u201d via Fondazione Torlonia, photo by Agostino Osio; \u201cStatue of Odysseus Beneath the Ram,\u201d via Fondazione Torlonia, photo by Agostino Osio; \u201cSarcophagus depicting the Labors of Hercules,\u201d via Torlonia Foundation, photo by Lorenzo De Masi; \u201cLid with Reclining Couple,\u201d via Torlonia Foundation, photo by Lorenzo De Masi; \u201cMuseo Torlonia Catalogue,\u201d via Fondazione Torlonia, photo by Franco Bocchino; \u201cStatue of a Resting Goat,\u201d via Torlonia Foundation, photo by Lorenzo De Masi; \u201cPortrait of Faustina the Younger,\u201d via Torlonia Foundation, photo by Lorenzo De Masi; \u201cInstallation view of \u2018Myth and Marble: Ancient Roman Sculpture from the Torlonia Collection\u2019 as installed at the Art Institute of Chicago,\u201d via Torlonia Foundation, photo by Lorenzo De Masi; \u201cPortrait of a Man, known as the Old Man of Otricoli,\u201d via Torlonia Foundation, photo by Lorenzo De Masi; \u201cPortus Relief,\u201d via Torlonia Foundation, photo by Lorenzo De Masi; \u201cStatue of a Goddess, known as the Hestia Giustiniani,\u201d via Torlonia Foundation, photo by Lorenzo De Masi; \u201cStatue of Emperor on Throne with Portrait of Augustus,\u201d via Torlonia Foundation, photo by Lorenzo De Masi; \u201cInstallation view of \u2018Myth and Marble: Ancient Roman Sculpture from the Torlonia Collection\u2019\u201d via Fondazione Torlonia, photo by Agostino Osio.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n\n","protected":false},"excerpt":{"rendered":"<p>The two women are a coil of contradictions: Roman but also Greek, flesh but also stone. They both are confident, blessed with the poise of the noble and famous, yet also slightly shy. As if, after centuries of gazes, they can only appear before us slightly abashed. As if they know there is such a [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":170227,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[11767],"tags":[51803,1885,68223,68225,68228,63102,68226,8079,17627,68227,68222,16128,1621,55354,3325,68229,68224],"dealstore":[],"offerexpiration":[],"class_list":["post-170226","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-anthropology","tag-archaeology-and-anthropology","tag-art","tag-art-institute-of-chicago","tag-bernini","tag-chicago-ill","tag-collectors-and-collections","tag-gian-lorenzo","tag-italy","tag-marbles","tag-marcus-aurelius-antoninus","tag-monuments-and-memorials-structures","tag-museums","tag-offer","tag-roman-civilization","tag-sculpture","tag-torlonia","tag-torlonia-collection"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.4 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>The Torlonia Marbles Offer Everything We Ask of Art - Som2ny Network<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/fivemor.com\/?p=170226\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Torlonia Marbles Offer Everything We Ask of Art - Som2ny Network\" \/>\n<meta property=\"og:description\" content=\"The two women are a coil of contradictions: Roman but also Greek, flesh but also stone. 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