36. Grave Stele of Hegeso

Grave stele of Hegeso Attributed to Kallimachos. c. 410 B.C.E. Athens, Greece. Marble and paint. 

In the relief sculpture, the theme is the treatment and portrayal of women in ancient Greek society, which did not allow women an independent life. A contemplative seated woman picks jewellery from a box held for her by a standing slave-girl. The jewellery would have been painted on to the marble surface. Most likely sculpted by Callimachus

Form: Stele (upright slabs with relief sculptures) (like a modern day grave stone) 5'2" Marble and paint Function: grave stones  Content: Relief sculpture of Hegeso and servant girl servant holds a jewelry box, and Hegeso hold and looks at a necklace now we cant see the necklace because it was painted on the stele and has worn off might represent a dowry drapery elaborate forms and swirls very close to her body She does not touch the ground her foot is on a pedestal Composition of the drapery Inscription on top says Hegeso, daughter of Proxenos Context: in the Dipylon cemetery in Athens 410 BCE: end of fifth century BCE (High classical moment) resurgence of funerary sculpture in Athens same time as the sculpture of the Parthenon and other buildings of acropolis Big time for public sculpture, but moving into private sculpture during period of democracy the state was the most important, nobles were not, sculpture showed that Hegeso woman domestic basically in a house on the stele: two walls and a roof not citizens of Athens women were defined by their relationships to men (daughter of __, or wife of __) noble, her family grave plot was super magnificent attributed to the sculptor Kallimachos	Detailing of Drapery naturalistic closely follows the fold of the body resembles the carving we see on the figures of the parthenon frieze has its own motion pools around belly area, very detailed http://www.namuseum.gr/collections/sculpture /classical/classic11-en.html	Perception of depth with drapery delicate veil around her head that is further away drapery near her feet goes behind the leg of the chair drapery at her hips hangs in front of the chair shallow space with full width of the body in the carving vivid imagery, but somehow still quiet and appropriate for a stele.