GENERAL DESCRIPTION
NOTES
- Olmec, Formative period, 800–400 B.C.E., updated by KJones in TMS on 04/01/14, 03/08/16, 03/14/16, and 03/21/16.
- Fun Facts Source: TMS, Notes / Text Entries, Attribution, Carolyn Tate, March 05, 1992.
Fun Fact removed at the request of Michelle Rich because Kent Reilly commented that he no longer believed the statement recorded in this old object note. 1/14/2020.
The former fun fact was: DMA Conservator John Dennis noted that burial accretions and root marks in deep cavities indicate long-term burial of the object, and that there are no traces of modern tool marks. The pigment (cinnabar) is also typical of the era. The opinions of Olmec scholars Kent Reilly, John Stokes, and Peter David (P.D.) Joralemon are that the piece is questionable iconographically and must be weighed against this physical evidence.
General description removed at suggestion of Michelle Rich, 2/19/2020. She says that the current position on this object is still in flux.
In 1969, this plaque was considered a major addition to the Museum's ancient American collection. Dominated by the cleft head, with jaguarian mouth and toothless gums, the figure was described as possibly representing an Olmec deity of fire or rain.
During the 1970s, several scholars questioned the authenticity of the object. Of particular concern were the profile partial heads on the shoulders, the monster face on the lower body area, the baselike band across the lower edge, the three circles incised on the forehead of the primary face, the scratches on the eyes, and the meandering line incised across the mouth. In addition, the opaque surface of the lower part of the plaque resembled an artificial patina used by Mexican forgers during the 1950s and 1960s.
During the 1990s, other scholars questioned the verdict of modern forgery and encouraged us to return the plaque to the galleries, where its authenticity could be openly discussed. We invite you to compare the plaque with other Olmec stone objects in the collection, all of which are considered authentic. We will revise this information as our quest for the truth progresses.
Adapted from
Carol Robbins, Label text, A. H. Meadows Galleries.
Catalogue essays
Artist/designers
Cultures
Pre-Columbian (American): AAT: 300016619
Olmec: AAT: 300017051
Gulf Coast Mesoamerican styles: AAT: 300108063
Geography
Mexico (nation): TGN: 7005560
Guerrero (state): TGN: 7005585
Ahuelicán (inhabited place): TGN: 7350170
Process/materials
serpentine: AAT: 300011627
cinnabar (mineral and pigment): AAT: 300311452
cinnabar (pigment): AAT: 300400883
carving: AAT: 300053149
polishing (finishing): AAT: 300053867
incising: AAT: 300053847
drillwork (sculpture technique): AAT: 300186211
Historical periods
Middle Preclassic Period (Formative): AAT: 300016973
Preclassic (Archaic / Formative / Mesoamerican period): AAT: 300016967
Formative Period (Preclassic): AAT: 300016973
Individuals
Subject terms
sculpture: AAT: 300047090
plaque (flat objects): AAT: 300010262
supernatural (concepts): AAT: 300055947
deities: AAT: 300343850
jaguar: AAT: 300310389
were-jaguar (Mesoamerican mythical figure / deity): DMA
transformations (concepts / processes): DMA
green (color): AAT: 300128438
fires (events): AAT: 300068986
rain (precipitation / weather): AAT: 300055377
head: AAT: 300262520
bands (decorative): DMA
circles (plane figures): AAT: 300055627
anthropomorphic: AAT: 300010335
Fire Serpent (Mesoamerican deity): DMA
cleft head (motif): DMA
RELATED OBJECTS
PROVENANCE
From 1969: Dallas Museum of Fine Arts, The Art Museum League Fund, purchased from Teochita, Inc., New York (Frances Pratt, dealer) [1], [2]
[1] The main source for this provenance is Acquisition Record (dated May 27, 1969, copy in Dallas Museum of Art Collections Records Object File). Exceptions and other supporting documents are noted.
[2] The Dallas Art Association is the predecessor to the Dallas Museum of Fine Arts. The name was abandoned in 1970. Works from this collection were transferred to the Dallas Museum of Fine Arts. The name of the Dallas Museum of Fine Arts, founded in 1933, changed to the Dallas Museum of Art in 1983.
AUDIO ASSETS
VIDEO ASSETS
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WEB RESOURCES
ARCHIVAL RESOURCES
FUN FACTS
TEACHING IDEAS
RULES
Apply to objects where number equals 1969.11
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General Description
Fun Facts
Archival Resources
Web Resources
Notes
- Olmec, Formative period, 800–400 B.C.E., updated by KJones in TMS on 04/01/14, 03/08/16, 03/14/16, and 03/21/16.
- Fun Facts Source: TMS, Notes / Text Entries, Attribution, Carolyn Tate, March 05, 1992.
Fun Fact removed at the request of Michelle Rich because Kent Reilly commented that he no longer believed the statement recorded in this old object note. 1/14/2020.
The former fun fact was: DMA Conservator John Dennis noted that burial accretions and root marks in deep cavities indicate long-term burial of the object, and that there are no traces of modern tool marks. The pigment (cinnabar) is also typical of the era. The opinions of Olmec scholars Kent Reilly, John Stokes, and Peter David (P.D.) Joralemon are that the piece is questionable iconographically and must be weighed against this physical evidence.
General description removed at suggestion of Michelle Rich, 2/19/2020. She says that the current position on this object is still in flux.
In 1969, this plaque was considered a major addition to the Museum's ancient American collection. Dominated by the cleft head, with jaguarian mouth and toothless gums, the figure was described as possibly representing an Olmec deity of fire or rain.
During the 1970s, several scholars questioned the authenticity of the object. Of particular concern were the profile partial heads on the shoulders, the monster face on the lower body area, the baselike band across the lower edge, the three circles incised on the forehead of the primary face, the scratches on the eyes, and the meandering line incised across the mouth. In addition, the opaque surface of the lower part of the plaque resembled an artificial patina used by Mexican forgers during the 1950s and 1960s.
During the 1990s, other scholars questioned the verdict of modern forgery and encouraged us to return the plaque to the galleries, where its authenticity could be openly discussed. We invite you to compare the plaque with other Olmec stone objects in the collection, all of which are considered authentic. We will revise this information as our quest for the truth progresses.
Adapted from
Carol Robbins, Label text, A. H. Meadows Galleries.
Catalogue essays
Artist/designers
Cultures
Pre-Columbian (American): AAT: 300016619
Olmec: AAT: 300017051
Gulf Coast Mesoamerican styles: AAT: 300108063
Geography
Mexico (nation): TGN: 7005560
Guerrero (state): TGN: 7005585
Ahuelicán (inhabited place): TGN: 7350170
Process/materials
serpentine: AAT: 300011627
cinnabar (mineral and pigment): AAT: 300311452
cinnabar (pigment): AAT: 300400883
carving: AAT: 300053149
polishing (finishing): AAT: 300053867
incising: AAT: 300053847
drillwork (sculpture technique): AAT: 300186211
Historical periods
Middle Preclassic Period (Formative): AAT: 300016973
Preclassic (Archaic / Formative / Mesoamerican period): AAT: 300016967
Formative Period (Preclassic): AAT: 300016973
Individuals
Subject terms
sculpture: AAT: 300047090
plaque (flat objects): AAT: 300010262
supernatural (concepts): AAT: 300055947
deities: AAT: 300343850
jaguar: AAT: 300310389
were-jaguar (Mesoamerican mythical figure / deity): DMA
transformations (concepts / processes): DMA
green (color): AAT: 300128438
fires (events): AAT: 300068986
rain (precipitation / weather): AAT: 300055377
head: AAT: 300262520
bands (decorative): DMA
circles (plane figures): AAT: 300055627
anthropomorphic: AAT: 300010335
Fire Serpent (Mesoamerican deity): DMA
cleft head (motif): DMA
RELATED OBJECTS
PROVENANCE
From 1969: Dallas Museum of Fine Arts, The Art Museum League Fund, purchased from Teochita, Inc., New York (Frances Pratt, dealer) [1], [2]
[1] The main source for this provenance is Acquisition Record (dated May 27, 1969, copy in Dallas Museum of Art Collections Records Object File). Exceptions and other supporting documents are noted.
[2] The Dallas Art Association is the predecessor to the Dallas Museum of Fine Arts. The name was abandoned in 1970. Works from this collection were transferred to the Dallas Museum of Fine Arts. The name of the Dallas Museum of Fine Arts, founded in 1933, changed to the Dallas Museum of Art in 1983.
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