Eve

Inscriptions

Not signed.

Label

The objects on this table evoke an early modern collector’s home—perhaps a studiolo in the Italian peninsula or a cabinet or Kunstkammer north of the Alps. Between 1400 and 1750, Europeans lived with, and expressed themselves through, sculpture. Three-dimensional and tactile, sculpture was regularly handled and moved, and spaces for exhibition in the early modern home facilitated active engagement with these works.

The sculptures in this grouping relate to the 15th- and 16th-century interest in Humanism, a tradition of learning with roots in Greek and Roman sources that emphasizes agency and inquiry. Sculptures of classical subjects like Arion or biblical ones like Eve could serve as prompts for conversation and debate about morality, philosophy, and literature. In this way, collections offered social spaces that connected friends, scholars, and rivals.

From the 2024 exhibition Living with Sculpture: Presence and Power in Europe, 1400–1750, curated by Elizabeth Rice Mattison, Andrew W. Mellon Curator of Academic Programming and Curator of European Art, and Ashley B. Offill, Curator of Collections

Course History

FRIT 34, Sex and Gender in the Italian Renaissance, Courtney Quaintance, Spring 2015

ITAL 7, Women in Renaissance Venice, Courtney Quaintance, Spring 2015

ARTH 15.1, Gothic Art, Jane Carroll, Spring 2019

GERM 03, Intermediate German, Klaus Mladek and Lisa Oberberger, Spring 2020

GERM 03, Intermediate German, Klaus Mladek and Lisa Oberberger, Spring 2020

GERM 003, Intermediate German, Lisa Oberberger, Fall 2020

GERM 003, Intermediate German, Lisa Oberberger, Fall 2020

GERM 03, Intermediate German, Lisa Oberberger, Winter 2021

GERM 03, Intermediate German, Lisa Oberberger, Spring 2021

GERM 03, Intermediate German, Klaus Mladek and Lisa Oberberger, Spring 2021

History 42.01, Women's Gender, and Sexuality Studies 22.01, Gender & European Society, Patrick Meehan, Spring 2024

History 96.39, Saints and Relics, Cecilia Gaposchkin, Spring 2024

Italian 1.01, Introductory Italian I, Noemi Perego, Spring 2024

Italian 11.01, Intensive Italian, Floriana Ciniglia, Spring 2024

Italian 2.01, Introductory Italian II, Floriana Ciniglia, Spring 2024

Italian 3.01, Introductory Italian III, Tania Convertini, Spring 2024

Italian 3.02, Introductory Italian III, Giorgio Alberti, Spring 2024

Exhibition History

Creating the Feminine: Representations of Biblical Women from Sixteenth-Century Germany, A Space for Dialogue 85, Sara E. Trautz, Class of 2015, Mellon Special Project Intern, Main Lobby, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, November 8-December 21, 2014.

From Titian to Sargent: Dartmouth Alumni and Friends Collect, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, September 12-November 1, 1987.

Ivan Albright Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, June 5, 1995-January 14, 1996.

Ivan Albright Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire.

Living with Sculpture: Presence and Power in Europe, 1400–1750, Citrin Family Gallery and Engles Family Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, March 23, 2024–March 22, 2025.

Renaissance Bronzes From The Collection of Roger Arvid Anderson, Class of 1968, Ivan Albright Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, May 13-August 29, 1993.

Publication History

Sara E. Trautz, Creating the Feminine: Representations of Biblical Women from Sixteenth-Century Germany, A Space for Dialogue 85, Hanover, New Hampshire, Hood Museum of Art, Dartmouth College, 2014, checklist no. 5.

Roger Arvid Anderson, The Roger Arvid Anderson Collection, Medals, Medallions, Plaquettes and Small Reliefs, Paintings, Sculpture, Works on Paper and Textiles, San Francisco: Roger Arvid Anderson (published privately), design by David L. Wilson, 2015, p. 269.

Barbara J. MacAdam and Hilliard T. Goldfarb, From Titian to Sargent: Dartmouth Alumni and Friends Collect, Hanover, New Hampshire: Trustees of Dartmouth College, 1987, no. 6.

Provenance

Acquired by Roger Arvid Anderson, San Francisco, date unknown; lent to present collection,1987; sold to present collection, 2016.

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Subject