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Collection:
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ADJUNCT MODULE B: ITALIAN ART
LocalCollection
ADJUNCT MODULE B: ITALIAN ART
Collection
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Preferred Title:
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Marriage of Alexander the Great and Roxanne
Work_PrefTitle
Marriage of Alexander the Great and Roxanne
Preferred Title
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Image View:
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Detail, painted marble inlaid floor, foreshortened, with Alexander's helmet
Image_Title
Detail, painted marble inlaid floor, foreshortened, with Alexander's helmet
Image View
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Creator:
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Sodoma (Italian painter, 1477-1549)
Agent_Display
Sodoma (Italian painter, 1477-1549)
Creator
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Location:
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site: Villa Farnesina (Rome, Lazio, Italy)
Work_Location_Type_D isplay
site: Villa Farnesina (Rome, Lazio, Italy)
Location
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Location Note:
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Via della Lungara, 230
Work_LocationNotes
Via della Lungara, 230
Location Note
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GPS:
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41.893611 12.4675
GPS
41.893611 12.4675
GPS
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Date:
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ca. 1516-1517 (creation)
Work_DateDisplay
ca. 1516-1517 (creation)
Date
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Cultural Context:
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Italian
Work_Culture
Italian
Cultural Context
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Style Period:
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Renaissance
Work_StylePeriodDisp lay
Renaissance
Style Period
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Work Type 1:
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fresco (painting)
Work_Worktype1
fresco (painting)
Work Type 1
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Classification:
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Paintings
Work_Classification
Paintings
Classification
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Material:
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pigment on plaster
Work_MaterialDisplay
pigment on plaster
Material
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Technique:
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fresco painting (technique)
Work_Technique
fresco painting (technique)
Technique
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Measurements:
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370 cm (height) x 660 cm (width)
Work_MeasurementDisp lay
370 cm (height) x 660 cm (width)
Measurements
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Relation Work:
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partOf Villa Farnesina
RelationType1_Work_R elatedWork1
partOf Villa Farnesina
Relation Work
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Subjects:
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human figure; literary or legendary; rulers and leaders; Alexander, the Great, 356-323 B.C.; Chigi, Agostino, 1466-1520
Work_Image_SubjectDi splay
human figure; literary or legendary; rulers and leaders; Alexander, the Great, 356-323 B.C.; Chigi, Agostino, 1466-1520
Subjects
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Description:
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The marriage scene is derived from the description (ekphrasis) by Lucian of Samosata (117-180 CE) of a panel painting by Aetion. There was a drawing (destroyed) by Raphael of the same subject, which is known through copies and which was engraved by Giovanni Jacopo Caraglio. The version closest to Raphael and sometimes attributed to him is in Vienna in the Albertina (1515-1516). The style of the fresco by Sodoma is the nearest he approached to that of Raphael, although Sodoma’s painting is more theatrical and more crowded in detail. (Source: Grove Art Online; http://www.oxfordart online.com/)
Work_Description_Sou rce
The marriage scene is derived from the description (ekphrasis) by Lucian of Samosata (117-180 CE) of a panel painting by Aetion. There was a drawing (destroyed) by Raphael of the same subject, which is known through copies and which was engraved by Giovanni Jacopo Caraglio. The version closest to Raphael and sometimes attributed to him is in Vienna in the Albertina (1515-1516). The style of the fresco by Sodoma is the nearest he approached to that of Raphael, although Sodoma’s painting is more theatrical and more crowded in detail. (Source: Grove Art Online; http://www.oxfordart online.com/)
Description
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Collection:
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Adjunct Module B: Italian Art
LocalCollection
Adjunct Module B: Italian Art
Collection
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Identifier:
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7A1-SODOMA-VF-MA-J05
Image_OriginalVendor ID
7A1-SODOMA-VF-MA-J05
Identifier
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Rights:
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© Scott Gilchrist, Archivision, Inc.
Image_Rights
© Scott Gilchrist, Archivision, Inc.
Rights
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