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Drawn Portraits Of Alexander The Great.

Utilization acid- free materials, Whatsoever matting, taping or adhesive, barriers, or backup that you utilisation in the framework of your art or drawing must be utterly acid free. Acidic materials, after long times of time can actually damage the artwork in the frame by distorting the actual paper or by turning the paper a yellowish color.

The glass must be fantastically clean and should be tested for finger prints, dust, hair, or other strange material, before securing it permanently in the frame. You can have to do this more than once.

Stay away from black, As a general rule, I always stay away from black, especially solid black-although, it may work if is part of a color path with a particular molding and if it is not overpowering the drawing. It`s great to have something that has a range of values-including molding and mats, working as a set. Even with the values and gradations created within the graphite media, the mat or mats and the frame may all be chosen to either compliment, subdue, or emphasize any particular value or aspect of your drawing.

Let your artwork breathe, In attaching the drawing to the backing or whatever secures its predicament within the mats or frame, it should only be secured at the top and allowed to hang if an adhesive or tape is used. It must not be secured seriously at all four corners or around its perimeter, because the humidity changes chronically and the paper has to have freedom to flex, expand, and contract. Otherwise, the paper will ripple or develop chapters if it is confined in any technique installment in the paper become extremely apparent when the lighting is directional or at an angle to the framed piece of art. The light causes highlight and shadow because of the contours in the paper. Some framers are using a large synthetic photo type corner that allows the paper to slide in and be secure at all four corners and still allow for the flexing of the paper. It seems to be working quite well, as a few of my drawings and illustrations using other media on paper, have been framed this method for a number of years.

Use matting, I prefer using mats with the framing of my drawings. If an acidic matting is use, it should be backed by an acid-free material that will act as a protective barrier between the matting and the drawing. There is a standard thickness that is required and favorite in the industry for this buffer or barrier. The same contemplation should be given to the backing of your drawing. If your drawing or art is backed or mounted on an acid-free material, the barrier is unnecessary . Some framers use a foam-core board for backing.

The drawing should be cleaned well, removing smudges, dust, or eraser fragments. To notice if there are any small fragments on your paper or drawing, you should look at the surface closely from a grave angle, so that you may see them contrasting from the paper`s draw closer as they rise up. You could use a brush or compressed air to remove the fragments from the framing material.

It`s how your completed artwork is presented that makes all the difference. Although it`s tempting to simply place your drawing in a ready-made frame, there are several things that you must take in reasoning before framing your artwork to insure it is adequately safeguarded over the years.

Always redact with glass, I would always underframe with glass, but I would besides expend the special money for the UV shelter glass. However, I would never use non-glare glass or plexiglas.

Add a protective dust cover, After attaching the art and framing materials to the definite frame, a dust cover can be used on the back to keep additional dust, spiders, or bugs from entering the framed photograph compartment. This is usually done by using a two-sided tape on the back crop up of the molding all the method around the perimeter. Then a piece of brown paper is laid down on the adhesive proceed as it is came as far as flat as you press it onto the adhesive occur . You then trim the outer edges of the brown paper to fit and then you are ready to attach your hanging wire, before placing your artwork on display.

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Guidebook: The J. Paul Getty Museum. Rev. ed. (Malibu: J. Paul Getty Museum, 1976), p. 47; ill. p. 48.

Queyrel, Francois. Les portraits des Attalides: Fonction et représentation. BEFAR 308 (Athens: École francaise d’Athènes, 2003), p. 170n227.

This bust was badly damaged during its time underground, and has been extensively restored. It is, nevertheless, the portrait of Alexander that comes closest to the work of Lysippos, a Greek artist of the fourth century BC. Lysippos’s fame is due as much to his works in bronze as to his status as Alexander’s official portraitist. Contemporary sources tell us that the sovereign authorized only three such artists: the sculptor Lysippos, the gem-engraver Pyrgoteles, and the painter Apelles. No direct trace of Lysippos’s work has come down to us. Most antique bronze statues disappeared long ago, and are known only through small bronze copies or Roman versions in marble. The Azara Herm and the bronze Br 370 are copies of the same original, created by Lysippos around 330 BC. Alexander is shown looking upwards, as if to challenge the gods themselves. This vision of the inspired ruler, widely copied by Alexander’s successors and imitators, became a standard model for Hellenistic royal portraiture.

Robin Symes, Limited (London, England), by partial credit and partial purchase, sold to the J. Paul Getty Museum, 1973.

Missions & Organization Louvre Lens Louvre Abu Dhabi Databases Publishing & Audiovisual Productions Press Online Media

The J. Paul Getty Museum Handbook of the Collections. 6th ed. (Los Angeles: J. Paul Getty Museum, 2001), p. 23.

Additional information about the work Modern Latin inscription: “this effigy of Alexander the Great, discovered in 1779 (in the Pison villa) at Tivoli, was restored by Joseph Nicolas Azara.”

Bibliography E. Michon, “L’hermès d’Alexandre dit hermès Azara”, in Revue archéologique, IVe série, t. VII, janv-juin 1906, pp. 79-110Exposition “Visages du Louvre, chefs-d’oeuvre du portrait dans les collections du Louvre”, Tokyo, 18 sept.

-1er déc. 1991, Musée national d’art occidental, cat n 26, p. 79Exposition “Denon, l’oeil de Napoléon”, Paris, Editions de la Réunion des musées nationaux, 20 oct. 1999-17janv. 2000, musée du Louvre, cat.

n 191, pp. 196-197

Grossman, Janet Burnett. “Images of Alexander the Great in the Getty Museum,” Studia Varia from the J. Paul Getty Museum 2, Occasional Papers on Antiquities 10 (2001), pp. 51-78; pp. 51-53, no. 1; figs. 1a-d.

Sully wing Ground floor Athena gallery (also called the Melpomene gallery) Room 344

Stewart, Andrew. “Ethos and Pothos in a Portrait of Alexander the Great.” Abstracts and Program Statements, College Art Association, 77th Annual Meeting, February 16-18, 1989, p. 60.

Pfrommer, Michael, with E. Towne Markus. Greek Gold from Hellenistic Egypt. Getty Museum Studies on Art (Los Angeles: J. Paul Getty Museum, 2001), pp. 8-9, fig. 7.

Stewart, Andrew. Faces of Power: Alexander’s Image and Hellenistic Politics (Berkeley: University of California Press, 1993), appendix 5, “The Getty Fragments: A Catalogue,” pp. 438-52, pp. 438-39, no. 1; pl. 2; figs. 16, 146-49.

Reinsburg, Carola. “Alexanderbilder in Ägypten: Manifestation eines neuen Herrscherideals.” In Fremdheit – Eigenheit: Ägypten, Griechenland und Rom: Austausch und Verständnis. P. C. Bol et al., eds. (Stuttgart: Scheufele, 2004), p. 324, fig. 8.

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Home>Collection & Louvre Palace>Curatorial Departments>Portrait of Alexander the Great (356-323 BC)

This information is published from the Museum’s collection database. Updates and additions stemming from research and imaging activities are ongoing, with new content added each week.  Help us improve our records by sharing your corrections or suggestions.

Ogden, Daniel. Alexander the Great: Myth, Genesis and Sexuality (Exeter: University of Exeter Press, 2011), p.157, figs. 8.1-8.2.

Greek, Etruscan, and Roman Antiquities Hellenistic Art (3rd-1st centuries BC)

Grossman, Janet Burnett, and Elizabeth C. Teviotdale. The Making of a Hero: Alexander the Great from Antiquity to the Renaissance, exh. brochure (Malibu: J. Paul Getty Museum, 1996), ill.

The J. Paul Getty Museum Handbook of the Antiquities Collection. Rev. ed. (Los Angeles: J. Paul Getty Museum, 2010), p. 25.

Lipsius, Frank. Alexander the Great (London: Weidenfeld & Nicolson, 1974), ill. p. 84.

The J. Paul Getty Museum Handbook of the Collections. 1st ed. (Malibu: J. Paul Getty Museum, 1986), p. 32.

Fredericksen, Burton B., Jiří Frel, and Gillian Wilson. Guidebook: The J. Paul Getty Museum. 4th ed., Sandra Morgan, ed. (Malibu: J. Paul Getty Museum, 1978), pp. 29-30, ill.

Vermeule, Cornelius C. Greek and Roman Sculpture in America (Berkeley and London: University of California Press, 1981), no. 101.

Ridgway, Brunilde S. Hellenistic Sculpture I: The Style of Circa 331-200 B.C. (Madison: University of Wisconsin Press, 1990), pp. 116, 134-35.

Closed on the following holidays: January 1, May 1, May 8, December 25

This work takes the form of a herm: a pillar whose upper part has been sculpted in the shape of a head. It shows a young man, his head slightly lifted. The features are idealized, but there is a a degree of individualization in his inspired expression, and the mane of hair falling in strands on his forehead. The authenticity of the antique inscription – which identifies the bust as that of Alexander the Great – is open to discussion, but the physiognomy of the figure leaves no doubt. The particular arrangement of the hair is well attested in other images of the Macedonian conqueror.

The text on this page is licensed under a Creative Commons Attribution 4.0 International License, unless otherwise noted. Images and other media are excluded.

Identified by his mass of leonine hair, his young idealized face, and his deep-set, upturned eyes, Alexander the Great was the first Greek ruler to understand and exploit the propagandistic powers of portraiture. Ancient literary sources say that he let only one sculptor carve his portrait: Lysippos (active ca. 370-300 B.C.), who created the standard Alexander portrait type.This life-size head, said to have been found in Megara, was part of a multi-figured group, which probably served as a funerary monument for a courtier who wanted to associate himself with the ruler. The Getty Museum has over thirty fragments of this group, which might have depicted a sacrificial scene. The participants include Alexander, his companion Hephaistion, a goddess, Herakles, a flute player, and several other figures, as well as animals and birds.The head was re-carved in antiquity. The left ear was added, the right sideburn shortened, and the lower eyelids recut.

pencil drawings Pencil Sketch Drawn Portraits Of Alexander The GreatPencil Sketch Drawn Portraits Of Alexander The Great

Frel, Jiří. Greek Portraits in the J. Paul Getty Museum (Malibu: J. Paul Getty Museum, 1981), pp. 68-69, 112, no. 19.

Vermeule, Cornelius C. Greek Art: Socrates to Sulla; From the Peloponnesian Wars to the Rise of Julius Caesar. Art of Antiquity 2, pt. 2 (Boston: Dept. of Classical Art, Museum of Fine Art, 1980), pp. 126, no. 71, 215, fig. 71A, ill.

The Search for Alexander. An Exhibition. National Gallery of Art, Washington, D.C., Nov. 16, 1980-April 5, 1981; Art Institute of Chicago, May 14-September 7, 1981; Museum of Fine Arts, Boston, October 23, 1981-January 10, 1982; Fine Arts Museums of San Francisco: M. H. de Young Memorial Museum, February 19-May 16, 1982. New York Graphics Society: 1980, pl. 2, bottom; p. 101, no. 6, ill.

Thanks to its original antique inscription, this figure can be definitely identified as Alexander the Great, son of Philip II of Macedon. The leonine hair brushed up from the forehead is characteristic of portraits of the Macedonian sovereign. The work is a copy of the head of a work from 330 BC attributed to Lysippos – doubtless the statue of Alexander with a bronze lance mentioned by Plutarch (Moralia, 360 d). The Louvre’s small bronze, Br 370, is another copy of the same work.

Formerly in the cabinet of the Chevalier d’Azara,Spanish ambassador to Rome, then in France. Offered to Napoleon BonaparteGift of Napoleon Bonaparte; entered the Louvre in 1803 , 1803

Currently on view at: Getty Villa, Gallery 111, The Hellenistic World

Stewart, Andrew. Greek Sculpture: An Exploration (New Haven, CT: Yale University Press, 1990), p. 191, 192; fig. 576.

Portrait of Alexander the Great (356-323 BC), called “Hermes Azara”

Open Content images tend to be large in file-size. To avoid potential data charges from your carrier, we recommend making sure your device is connected to a Wi-Fi network before downloading.

The J. Paul Getty Museum Handbook of the Collections. 7th ed. (Los Angeles: J. Paul Getty Museum, 2007), p. 5, ill.

The J. Paul Getty Museum Explore the Getty Visit Museum Research Institute Conservation Institute Foundation Publications About the Getty Advanced Search Options Museum Collection Research Institute Conservation Institute More Ways to Search Connect with Us | Shop

Towne Markus, Elana. Masterpieces of the J. Paul Getty Museum: Antiquities. (Los Angeles: J. Paul Getty Museum, 1997), pp. 60-61.

Unknown 29.1 × 25.9 × 27.5 cm (11 7/16 × 10 3/16 × 10 13/16 in.) 73.AA.27

Smith, R. R. R. Hellenistic Royal Portraits (Oxford: Clarendon Press, 1988), p. 158, cat. no. 16; pl. 12, 6.

Image: Portrait of Alexander the Great (356-323 BC), called “Hermes Azara” Image: Portrait of Alexander the Great (356-323 BC), called “Hermes Azara”

Giuliani, Luca. Bildnis und Botschaft: Hermeneutische Untersuchungen zur Bildniskunst der römischen Republik (Frankfurt: Suhrkamp, 1986), pl. 34, p. 153 ff.

The J. Paul Getty Museum Appointment Calendar (Malibu: J. Paul Getty Museum, 1981), week of February 16.

Picon, Carlos, and Sean Hemmingway, eds. Pergamon and the Hellenistic Kingdoms of the Ancient World (New Haven and London: Yale University Press, 2016), pp. 111-112, no.13a, ill., entry by Jens M. Daehner.

Grossman, Janet Burnett. Looking at Greek and Roman Sculpture in Stone (Los Angeles: J. Paul Getty Museum, 2003), pp. 50, ill.

The J. Paul Getty Museum Handbook of the Collections. 4th ed. (Los Angeles: J. Paul Getty Museum, 1997), p. 23.

Stewart, Andrew. Review of “The Search for Alexander.” The Art Bulletin 64, no. 2 (June 1982), pp. 321-26.

The J. Paul Getty Museum Handbook of the Antiquities Collection (Los Angeles: 2002), p. 25.

This bust was part of a gallery of herms featuring portraits of famous men, unearthed in 1779 during an excavation at Tivoli organized by Joseph Nicolas Azara, the Spanish ambassador to the Holy See and, later, to France. For a time, this was the only known portrait of Alexander the Great; the value and significance of Azara’s gift of it to Napoleon Bonaparte was, then, considerable. The date of the presentation is uncertain: according to some texts, Azara intended to offer it as a diplomatic gift during the negotiations surrounding the Armistice of Bologna in 1796, as a gauge of the Holy See’s good will towards . Nevertheless, the inscription tells us that Napoleon received the herm during his time as First Consul, ie. not before 1803, the year in which he gave the work to the Louvre (as indicated by the inscription on the right-hand side of the pillar). The inscription, together with Bonaparte’s other imperial symbols, was probably made after his downfall in 1815.

Frel, Jiří. “Ancient Repairs to Classical Sculpture at Malibu.” The J. Paul Getty Museum Journal 12 (1984), pp. 73-92; p. 81, no. 23.

Spivey, Nigel and Squire, Michael. Panorama of the Classical World (Los Angeles: Getty Publications, 2004), p. 176-177, fig. 275.

Frel, Jiří. Antiquities in the J. Paul Getty Museum: A Checklist; Sculpture I: Greek Originals (Malibu: J. Paul Getty Museum, 1979), p. 7, no. 20.

Foreman, Laura. Alexander the Conqueror: The Epic Story of the Warrior King (Cambridge, Da Capo Press, 2004), p. 16.

The Search for Alexander the Great (November 16, 1980 to May 16, 1982) National Gallery of Art (Washington, D.C.), November 16, 1980 to April 5, 1981The Art Institute of Chicago, May 16 to September 7, 1981Museum of Fine Arts, Boston, October 27, 1981 to January 10, 1982M.

H. de Young Memorial Museum (San Francisco), February 20 to May 16, 1982The Making of a Hero: Alexander the Great from Antiquity to the Renaissance (October 22, 1996 to January 5, 1997) The J. Paul Getty Museum (Malibu), October 22, 1996 to January 5, 1997Transforming Tradition: Ancient Motifs in Medieval Manuscripts (September 23 to November 30, 2003) The J.

Paul Getty Museum at the Getty Center (Los Angeles), September 23 to November 30, 2003Pergamon and the Art of the Hellenistic Kingdoms (April 11 to July 17, 2016) The Metropolitan Museum of Art (New York), April 11 to July 17, 2016

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The content on this page is available according to the International Image Interoperability Framework (IIIF) specifications. You may view this object in Mirador – a IIIF-compatible viewer – by clicking on the IIIF icon below the main image, or by dragging the icon into an open IIIF viewer window.

The J. Paul Getty Museum Handbook of the Collections. 3rd ed. (Malibu: J. Paul Getty Museum, 1991), p. 24.

This image is available for download, without charge, under the Getty’s Open Content Program.

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