Greek-Cypriot Art Graces the Met

Written by Harry C.

(2008)

     The Cesnola Collection of Cypriot Art at the Metropolitan Museum of Art includes a unique collection of antiquities dating from prehistoric to Roman times. Named after Luigi Palma di Cesnola, the first American Consul on Cyprus, it is thought to be one of the most comprehensive collections of Cypriot art in the Western Hemisphere. This acquisition is also very significant regarding the history of the Metropolitan Museum of Art because it “helped to establish the museum’s reputation as a major repository for classical antiquities.” (museum brochure)

     The beautiful works that make up the exhibition emphasize art in limestone, bronze, terracotta, and precious metals. In the display are many original terracotta animal figurines and pottery created in the prehistoric period (10,000-1050 B.C.). Referred to as zoomorphic askoi (vases), these miniature sculptures appear as rams, birds, dogs, boars, bulls, and horses. An original and unusual piece of pottery is that of a miniature vase in the shape of a leather bag (early Cypriot 2500-1900 B.C.) which is said to be from Ayia Paraskevi. Two horned projections protrude from the base and two more jut from the middle of the body, imitating the knobs of a leather bag.

     The gallery on geometric and archaic Cypriot art is a significant part of the Cesnola Collection. It is during these periods that Cyprus was populated by many foreigners, all of whom left their mark on the island’s culture and art. By the end of the eleventh century, Cyprus had received many refugees from centers of Mycenean Greece. These immigrants brought to Cyprus Mycenean customs of burial, pottery making, and warfare.They were also responsible for introducing the Greek language to the island. This was important because it paved the way for the linguistic and cultural similarities shared by both Greece and Cyprus.

     It was also during the geometric and archaic periods that the Phoenicians introduced Egyptian elements in Cypriot art. Included in this gallery are a series of huge limestone sculptures with oriental influences, e.g. the colossal head of a bearded figure wearing a conical helmet. Discovered near the temple of Golgoi, the conical cap identifies him as an individual of high rank. There are also numerous male votaries in Egyptian dress. Some wear crowns whereas others wear helmets. Their broad shoulders and stiff stance make them appear like Egyptian pharaohs.

     The most unique of the male votaries however, is that of Hercules in limestone created in 530 B.C. Hercules, the most represented male deity in Cypriot art had an impressive hold over the Cypriot imagination. Early in Cypro-archaic art he appears as an amalgamation of Greek and Oriental cultural traditions. According to the museum, the Cesnola “restorations” have drastically altered this unusual sculpture. Some of the features are no longer clear. Hercules wears a tunic belt, modified kilt, and lionskin. In his left hand he held a bow, half of which appears against his body. On his right side there are ends of arrows that he held in his right hand.

     The Cesnola Collection is a fascinating display of art that highlights the exotic blend of classical and oriental influences on Cyprus throughout antiquity. Anyone who loves the arts will be captivated by the beauty and unique style which flow from these works.

Inspired Artist Brings Homer's Odyssey to Life in Colorful Style

Written by Elizabeth G.

(2005)

     When I think of the word tapestry, medieval hunting scenes created by intricately woven strands of gold intertwined with silken and woolen threads come to mind. However, upon entering the Atrium of the Olympic Tower (Onassis Cultural Center) in Manhattan, I encountered, much to my delight, a very unique collection of contemporary abstract tapestries called Odyssey. Made with an avant-garde flair, the twelve pieces on display were inspired by Homer’s famous epic and took ten years to complete.

     The creator of this beautiful art is Artemis, an artist from Liechtenstein whose adopted country is Greece. The “…immensely beautiful and terrible forces [of nature]…”(p.12) influenced the artist to create images of key figures in the epic: the wooden horse which was given to Troy; the Resourceful Man, Odysseus; his son Telemachus; the terrible Cyclops; the enchantress, Circe; the lord of the Underworld, Hades; the eerily haunting Sirens; the lonely goddess Calypso; the terrifying Scylla and Charybdis; the charming young maiden Nausicaa; Odysseus as the Archer; and his darling wife Penelope.

      The texture of the tapestries is best characterized by the words of Artemis: “Woolen, yarn: earth. Flax, cotton: water. Viscose, silk: light. I know of no other technique that could better express the wonderful activity of this ‘natural alchemic laboratory’ that is my chosen island [Tinos]. Here, the light is embodied in the material. Here, material becomes light.” (p.8)
      Cycladic sunlight is reputed to be resplendent, captivating or off-putting.  As a descendant of the Caribbean islands, where the sky brightens and darkens at the same time, I could easily appreciate the poetic and vibrant images captured in the threads. Inspired by the light, vigorous winds, and the beautiful Aegean Sea, Artemis deftly combines these elements to give rise to a truly unique interpretation of the tale.

     According to the catalogue, Artemis wove only in the daylight. Her pieces involve a wide range of hues and tones. Bright colors like turquoise stand out sharply against shades of gray and black in the work entitled Penelope. Her austere face is a blend of the pink sky, set off with a yellow setting sun, given away by the dark blue waves and the bleak grayish black color of the borders. This gives rise to her fidelity, a marital martyr. Another multi-colored tapestry is The Sirens. No one color stands out except for the large off white foreground, interspersed with curved strips of color like ocean blue, burgundy, stark black, patches of beige and olive green. An eye and a smiling mouth, perhaps hinting at malevolent glee, are readily recognized as facial parts. Wavy lines, either representative of the sea, hair, or even eyebrows are scattered throughout the tapestry.

     No words could better express the sentiment of the pieces than the very artist’s words: “Not ending, not defining in rhythms, rough sketches of forms and colors, even the black are flooded by light...So that the light renders idea, material, form and color ‘imperceptible,’ dissolving them into energy and turning them back into light, when something wants to be said.”(p.12) Simply put, light is Artemis’ Muse. The threads seem ever shifting to form scattered images lucidly united under the title Odyssey.