During this time, Medusa is depicted as a monster; she has a round face, wide eyes, a beard, and a gaping mouth with an extended tongue and gnashing, sharp teeth Medusa remains a popular image on later architectural components, but her form is more specifically human and female. She loses the frightful teeth and beard, but is still recognizable Greek vases, cups, and related terracotta objects sometimes included a decorative gorgoneion as well. In some cases it was painted at the bottom of a drinking vessel Pieces from the seventh and sixth centuries B.
The circular shape of many of these ceramics offers a particularly appropriate space to depict the rotund face of the Archaic Gorgon; it is outrageous, with oversized features that combine the feminine curled hair and earrings with the masculine beard. She is present as the central decoration on many vases Just as in architecture , these late fourth- and third-century B.
Gorgons evolve from the grotesque to the feminine but retain their specific frontal quality. The fifth century B. Perfection and beauty became the standards of this new Classical style, and Medusa, despite her role as a monster, was not exempt. Medusa is truly ubiquitous—she is represented not only in architecture and pottery, but also in metalwork. Her head is a common ornament on the handles of bronze vessels The circular shape and protective qualities of her countenance also lend themselves to jewelry; she appears on earrings, pendants, and rings The Gorgon is also reproduced on armor.
More commonly, the gorgoneion is the central motif on the aegis of Athena. Depictions of the goddess in both vase painting The most renowned sculpture of Athena, the gold and ivory Athena Parthenos that once stood in the Parthenon, included two gorgoneia: one on her aegis and one on her shield. The presence of Medusa on armor reinforces the idea that her presence held significant power to protect the wearer against enemies.
The gorgoneion is not the only artistic representation of Medusa; she is also shown in scenes illustrating the adventures of Perseus. A monumental example of this type is the central decoration of the early sixth-century B. Temple of Artemis on Corfu, though interestingly this depiction leaves out Perseus and the beheading. Other scenes display the moment before the killing.
A metope from Temple C at Selinunte depicts such a tableau and includes Athena, who stands by the hero to guide him. In later illustrations from the fifth century B. Here is a rare instance of a nonfrontal, nonstaring Medusa; in sleep, the threat of her power is canceled.
Indeed, she is portrayed as a peacefully sleeping human figure—only her wings suggest that she is a supernatural creature. Some scenes include the other Gorgons, Stheno and Euryale, pursuing Perseus after he has beheaded Medusa.
One example, on an early seventh-century B. The Gorgons are often represented in this running pose, known as knielauf , on pottery The legends of the Gorgons cast them as foreign others living outside of the known Greek world and horrific beings to be feared and ultimately vanquished.
Archaic depictions are monstrous and inexplicable—the Gorgon seems to be both male and female, both human and animal. The sixth-century B. Classical and Hellenistic images of Medusa are more human, but she retains a sense of the unknown through specific supernatural details such as wings and snakes.
These later images may have lost the gaping mouth, sharp teeth, and beard, but they preserve the most striking quality of the Gorgon: the piercing and unflinching outward gaze. Her very presence is foreign, dangerous, and potent, as are her specific characteristics. Even into the 19th century, as the romanticization continued, her eyes did not close. Her expression is one of surprised, but unblinking, sorrow.
Dangerous Beauty boldly mingles objects from across centuries in the compact exhibition. Still no matter her form — or decapitation — her gaze is never averted, looking directly at the viewer as an assertion of her horrifying power that cannot be completely subverted by beauty. Sign up for our email newsletters!
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