A ROMAN MARBLE TORSO OF APOLLO
Property from the Collection of Mona Ackerman
A ROMAN MARBLE TORSO OF APOLLO

CIRCA 1ST CENTURY B.C.-1ST CENTURY A.D.

细节
A ROMAN MARBLE TORSO OF APOLLO
CIRCA 1ST CENTURY B.C.-1ST CENTURY A.D.
Depicted lifesized, standing in contrapposto with his weight on his right leg, the left slightly advanced, with both arms lowered, the left pulled slightly back, the lithe figure with softly-modelled musculature, his long serpentine tendrils falling onto each shoulder, preserving a tree trunk support along the right thigh, and a smaller rectangular strut at the back of the left thigh
34½ in. (87.6 cm.) high
来源
with Hosur Corporation, Kusnacht, Switzerland, 1989.

荣誉呈献

Molly Morse Limmer
Molly Morse Limmer

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The position of the arms suggests that this may be a version of Apollo Kitharoidos, known from numerous Roman variations. The god would have been holding the kithara with his left arm, and the plectrum in his right hand. The languid body modelling is Praxitelean in flavor, likely based on a 4th century B.C. Greek composition. For related figures of Apollo see nos. 200a-i in Lambrinudakis, et al., "Apollon," LIMC.

Mona Ackerman was born in Tel Aviv, Israel, came to United States as a child, and was raised in New Mexico, Ohio, Minnesota and finally New York. She studied abroad and traveled the globe. Mona worked in the corporate world and then later as a book editor and a movie executive. Ultimately, she received her doctorate in psychology. After working at Bellevue Hospital and as a school psychologist, she opened a practice on the Upper East Side, where she thrived, and so, from all accounts, did her patients.

Dr. Mona Ackerman was a gifted clinical psychologist. She was a popular columnist for the Huffington Post and a renowned philanthropist. She was a celebrated hostess. She was a mother, a grandmother, a daughter, a sister, an aunt and a girlfriend. She collected art the way she did friends--choosing what she liked regardless of fashion. This collection is who she was: eclectic, tasteful and zestfully unpredictable.

Mona was not a collector, she was an appreciator who had a keen and disciplined eye, but also had a wandering eye. If it was good, if it spoke to her, she wanted it, and she was able to meld different periods, isolating what they had in common. In her home, she arranged her pieces--paintings, sculptures, etc.--so that they flowed into one another. The artists created the art, Mona created the continuity.