GENERAL DESCRIPTION
Small idols such as this were created by preliterate people all over the prehistoric Mediterranean, predominantly out of materials such as stone, ceramic, or bone. The vast majority of recovered prehistoric sculptures depict either animals or humans, mostly females with exaggerated feminine features. Since the large majority of these objects were not recovered during the course of systematic excavations, their archaeological context has been lost, and therefore many questions remain surrounding their use and function. However, they are generally understood as representations of the great forces of nature: life, death, and regeneration, embodied in the female form.
It is thought that through veneration of the female form, the source of life itself, idols such as these were intimately connected to fertility both in crops and in childbearing capabilities that would ensure the survival of the species. Because these figures persist in such large numbers across cultures, location, and time period, it is possible that their creation and use were necessary to daily life, equally important as food, water, and shelter. Scholars refer to these figures as "idols" only to indicate that they functioned as venerated objects, although their exact use and meaning is unknown.
Heather Bowling, Digital Collections Content Coordinator, 2016.
Drawn from
- Idols: The Beginning of Abstract Form, Ariadne Galleries, Inc., New York, NY, November 30, 1989 -January 31, 1990.
- Fred S. Kleiner, Gardner's Art through the ages: a global history, Boston, MA: Cenage Learning, 2016.
NOTES
On April 24, 1987, former curator of Ancient Art from the Cleveland Museum of Art assessed this object (along with many other ancient objects) and of this group of Turkish idols:"Arielle said of the Marcus Fertility figures (1982.312.FA - 1982.325.FA) that it really is an undistiguished collection and not up to the standards of the rest of the ancient collection. Again, she noted problems with the Luristan pieces and their authenticity. She was very surprised that the Marcuses had put together such a mediocre collection and said frankly that it was a great waste of wall space (she added that the cost of the display cases was greater than the value of the group of figures.)
Of this piece (1982.311.FA): Arielle said that if authentic that this was the nicest of these violin-shaped idols, and that she would begin verifying its authenticity by having a really good conservator look at it, such as Peter Scharrer, who used to be at the MET.
This general description is the same for 1982.310.FA, 1982.311.FA, 1982.312.FA, 1982.315.FA, 1982.316.FA
Catalogue essays
Artist/designers
Cultures
Geography
Process/materials
Historical periods
Individuals
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RELATED OBJECTS
PROVENANCE
Before 1968: Collection of J.J. Klejman, New York [3]
1968-1982: Collection of Mr. and Mrs. Stanley Marcus, Dallas, Texas
After 1982: Dallas Museum of Fine Arts, Foundation for the Arts, gift of the above [1], [2]
[1] The name of the Dallas Museum of Fine Arts, founded in 1933, was changed to the Dallas Museum of Art in 1983
[2] The Foundation for the Arts is a non-profit corporation created as a title-holding entity to serve the people of Dallas but to operate independently of the City. The Dallas Museum of Art (at its own cost) is responsible for the care, storage, insurance, conservation, and maintenance of the collection, and agrees to maintain the highest museum standards in the management and handling of the Foundation's collection. The title to all works of art purchased or otherwise acquired by the Foundation for the Arts is retained by the Foundation.
[3] TMS data that was previously in the Provenance field, updated to include full provenance in accordance with Guidelines and Procedures for Provenance Display
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ARCHIVAL RESOURCES
FUN FACTS
TEACHING IDEAS
RULES
Apply to objects where number equals 1982.311.FA
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General Description
Small idols such as this were created by preliterate people all over the prehistoric Mediterranean, predominantly out of materials such as stone, ceramic, or bone. The vast majority of recovered prehistoric sculptures depict either animals or humans, mostly females with exaggerated feminine features. Since the large majority of these objects were not recovered during the course of systematic excavations, their archaeological context has been lost, and therefore many questions remain surrounding their use and function. However, they are generally understood as representations of the great forces of nature: life, death, and regeneration, embodied in the female form.
It is thought that through veneration of the female form, the source of life itself, idols such as these were intimately connected to fertility both in crops and in childbearing capabilities that would ensure the survival of the species. Because these figures persist in such large numbers across cultures, location, and time period, it is possible that their creation and use were necessary to daily life, equally important as food, water, and shelter. Scholars refer to these figures as "idols" only to indicate that they functioned as venerated objects, although their exact use and meaning is unknown.
Heather Bowling, Digital Collections Content Coordinator, 2016.
Drawn from
- Idols: The Beginning of Abstract Form, Ariadne Galleries, Inc., New York, NY, November 30, 1989 -January 31, 1990.
- Fred S. Kleiner, Gardner's Art through the ages: a global history, Boston, MA: Cenage Learning, 2016.
Fun Facts
Archival Resources
Web Resources
Notes
On April 24, 1987, former curator of Ancient Art from the Cleveland Museum of Art assessed this object (along with many other ancient objects) and of this group of Turkish idols:"Arielle said of the Marcus Fertility figures (1982.312.FA - 1982.325.FA) that it really is an undistiguished collection and not up to the standards of the rest of the ancient collection. Again, she noted problems with the Luristan pieces and their authenticity. She was very surprised that the Marcuses had put together such a mediocre collection and said frankly that it was a great waste of wall space (she added that the cost of the display cases was greater than the value of the group of figures.)
Of this piece (1982.311.FA): Arielle said that if authentic that this was the nicest of these violin-shaped idols, and that she would begin verifying its authenticity by having a really good conservator look at it, such as Peter Scharrer, who used to be at the MET.
This general description is the same for 1982.310.FA, 1982.311.FA, 1982.312.FA, 1982.315.FA, 1982.316.FA
Catalogue essays
Artist/designers
Cultures
Geography
Process/materials
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE
Before 1968: Collection of J.J. Klejman, New York [3]
1968-1982: Collection of Mr. and Mrs. Stanley Marcus, Dallas, Texas
After 1982: Dallas Museum of Fine Arts, Foundation for the Arts, gift of the above [1], [2]
[1] The name of the Dallas Museum of Fine Arts, founded in 1933, was changed to the Dallas Museum of Art in 1983
[2] The Foundation for the Arts is a non-profit corporation created as a title-holding entity to serve the people of Dallas but to operate independently of the City. The Dallas Museum of Art (at its own cost) is responsible for the care, storage, insurance, conservation, and maintenance of the collection, and agrees to maintain the highest museum standards in the management and handling of the Foundation's collection. The title to all works of art purchased or otherwise acquired by the Foundation for the Arts is retained by the Foundation.
[3] TMS data that was previously in the Provenance field, updated to include full provenance in accordance with Guidelines and Procedures for Provenance Display
AUDIO ASSETS
VIDEO ASSETS
rules
Apply To
Objects
number
Equals
1982.311.FA
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object_notes_2_d-0077.xml.nores