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Cameo Appearances
The Hellenistic Greeks were the first to excel at carving small hardstones with figures in relief, often in the images of deities or other talismanic signifiers. The practice seems to have been rooted in the ancient Mesopotamian stones that were carved for use as identifying seals. Until roughly the fifth century B.C., gems were carved only in sunken relief, or intaglios (from the Italian verb intagliare, to carve into or to engrave). The motifs on intaglios are not always immediately discernible because their forms recede from the eye, but when impressions are taken from them, they become sharper and more legible. Inscriptions and signatures on intaglios are, therefore, carved in mirror image. About the fifth century B.C., the Greeks introduced stones engraved in projected relief—the antecedents of cameos. Whereas the relief in intaglios is cut into the stone by the drill, in the cameo process the drill cuts away the stone to raise the composition in relief.
Cameo Appearances | Thematic Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art 1940 (40.20.30) ... parure: tiara, brooch, and necklace, mid-19th century luigi saulini (italian, 1819–1883) rome onyx; all mounted in gold (with a tortoiseshell comb [not illustrated] for the tiara) cameos: on tiara: the toilet of nausicaa, 1 13/16 x 3 1/8 in. (47 x 78 mm); on brooch: apollo belvedere, 1 11/16 x 1 1/4 in. (43 x 33 mm); on necklace (counterclockwise from back): a youth with hoop and paddle,
http://www.metmuseum.org/toah/hd/came/hd_came.htm [2856 words]
Results 1 - 7 of 34 for - cameos - in 0.0024418830871582 seconds.
Associated subjects: landscape (+), caesars (+), grand tour (+), muscular forms (+), liturgical and devotional objects (+), mesopotamian (+), spirituality (+), peter paul rubens (+), inscriptions (+), salon (+), cupid and psyche (+), pope paul ii (+), reliquaries (+), illuminated manuscripts (+), hellenistic greeks (+), shell (+), engraving (+), bronze (+), roman (+), neoclassicism (+), jewelry (+), rome (+), photography (+), polychromatic (+), monasteries (+), revival of ancient art (+), curiosities (+), printing press (+), french, sevres, 1781 (+), pierre-andre le guay (+)
Necklace - Victoria & Albert Museum - Search the Collections 1810-20 (made) artist/maker: unknown materials and techniques: shell and gold museum number: 1314-1871 gallery location: jewellery, room 91, case 18, shelf a, box 6 order this image summary more information map download pdf version the cameos in the necklace show subjects such as cupids, pairs of doves and the altar of love. jewels with portraits or symbols of love, such as butterflies, doves and cupids, were very popular. sentimental jewellery was an outward expression of emotion.
http://collections.vam.ac.uk/item/O115024/necklace/ [172 words]
National Gallery of Art, Cup and Saucer (Getty Museum) cup and saucer ground color by antoine capelle , porcelain worker; painted reserve & cameos attributed to pierre-andre le guay , porcelain worker french, sevres, 1781 soft-paste porcelain, brown ground color, polychrome enamel decoration, gold foils, enamels in imitation of jewels,
http://www.getty.edu/art/gettyguide/artObjectDetails?artobj=6567 [206 words]
Relief - Relief - Victoria & Albert Museum - Search the Collections rather than being commissioned. such waxes would be hung on walls, predominantly in middle-class homes. people peter rouw (1770-1852) was a highly successful wax modeller, who was appointed 'sculptor & modeller of gems and cameos to his majesty' (george iii) in 1807. he attended the royal academy schools in 1788, and exhibited 22 portraits in wax at the royal academy between 1787 and 1833. he specialised in pink wax portraits, such as this one of wellington.
http://collections.vam.ac.uk/item/O77806/relief-relief/ [472 words]
Secretaire - Rijksmuseum Amsterdam - Museum for Art and History the rigid lines of the design and the reference in the porcelain plaques to classical themes are typical of this period. the blue and white porcelain, known as jasperware, was developed in imitation of ancient cameos cameo a cameo is a relief carved into a (precious) stone with various layers of colour. by cutting away the stone the different colours are revealed, providing a contrast between the foreground and background.
http://www.rijksmuseum.nl/aria/aria_assets/BK-1970-28?page=1&lang=en&context_space= [222 words]
National Gallery of Art, Agrippina and Germanicus notice how subtly rubens distinguished her ivory complexion from the slightly ruddier face of her husband. the unusual double-bust format, like the paint's luminous translucent quality, is explained by rubens' inspiration: ancient cameos. the artist was a great collector of antiquities, including engraved gems. he planned to illustrate a publication of these small-scale sculptures, but the project was never completed. germanicus'
http://www.nga.gov/collection/gallery/gg45/gg45-46473.html [246 words]
Luigi Saulini: Parure: Tiara, Brooch, and Necklace (40.20.55a-c) ¦ Heilbrunn Timeline of Art History ¦ The Metropolitan parure: tiara, brooch, and necklace , mid-19th century luigi saulini (italian, 1819–1883) rome onyx; all mounted in gold (with a tortoiseshell comb [not illustrated] for the tiara) cameos: on tiara: the toilet of nausicaa, 1 13/16 x 3 1/8 in. (47 x 78 mm); on brooch: apollo belvedere, 1 11/16 x 1 1/4 in. (43 x 33 mm); on necklace (counterclockwise from back): a youth with hoop and paddle,
http://www.metmuseum.org/toah/works-of-art/40.20.55a-c [538 words]