Menu Shopping cart
Your basket is empty.
Support us
PISAVA
VELIKOST

CTRL+ ZA POVEČAVO
CTRL- ZA POMANJŠAVO

VELIKE/MALE
STIL
Permanent Collection

1800–1820

Miltiades
(1927), plaster, 57 x 28 x 33 cm

NG P 916, National Gallery of Slovenia, Ljubljana
An essential component of all collections of plaster casts of ancient statues were portraits of figures, both mythical and real, who embodied various desirable qualities such as generosity, loyalty, honour, justice, bravery or the willingness to sacrifice oneself for the common good. 
One such figure was the Athenian strategos or general Miltiades (554–489 BC), who was responsible for the Greek victory over the Persians at the Battle of Marathon (490 BC). The Persian army was very successful at besieging cities, so Miltiades, who had the most experience of fighting the Persians, proposed a plan of battle that would instead see the opposing armies engage each other outside the city, in open country. The numerically superior Persians were defeated for the first time in decades and the Greek victory took its place in world history. 
This plaster cast is based on a Roman copy from the second century AD, which was itself based on a Greek original from the 5th–4th century BC. Several portraits of Miltiades from Roman times survive, all of them based on Greek originals. One of the best known originals was created by the sculptor Phidias (480–430 BC) as part of a group of thirteen sculptures which, between 465 and 460 BC, the citizens of Athens dedicated at Delphi in thanks for the victory over the Persians at Marathon. The group was one of Phidias’s earliest works. As well as Miltiades, whom Phidias placed between the deities Athena and Apollo, the protectors of Athens and Delphi respectively, the group included depictions of ten other Attic heroes. 
The bronze group was an embodied hymn to the divine protectors, the city of Athens, fraternal heroism, victory, wisdom and prudence. 
The decoration on Miltiades’s helmet is clearly visible in the plaster cast, with depictions of griffins on either side and a bull on the neck guard. Miltiades is said to have donated his helmet to the temple of Zeus in thanks for his victory. Today it is kept in the museum at Olympia.


Plaster cast; Roman copy

Neoclassicism
Franc Kavčič/Caucig was an important representative of European Neo-classicist painting. Even though he depicted stories from Greco-Roman antiquity, his ethical message is fully contemporary and mirrors the time of great social changes. 

In the 1780s, Kavčič was trained in Rome where he drew also at the French Academy at the time of the second sojourn of Jacques Louis David in the Eternal City, and when Angelika Kauffmann occupied the former residence of Anton Raphael Mengs. After more than twenty years of professorship at the Vienna art academy, Kavčič was appointed director of its painting and sculpture school. He also led the painting department of the Viennese porcelain factory, and towards the end of his life he became an honorary member of the Accademia di San Luca in Rome. Several of his compositions thus appeared on the products of the imperial porcelain works. 

His paintings are characteristic for their compositional monumentality and clarity, impeccable modelling by means of sharp drawing, thin polished paintlayers, underlined role of female protagonists in his scenes, and academic reserve. He relied for his motifs on the rich treasury of classical history and mythology as well as biblical stories. The Old-Testament Judgement of Solomon as a narrative of the ruler’s wisdom was thus a very suitable subject matter for the prestigious commission from Emperor Francis I. As to literary sources, Kavčič was inspired by the Idylls of Salomon Gessner. The painter’s landscapes are of the Arcadian type, they are ideal and thoughtfully composed in accord with classical rules and his travel memories. They contain architectural vestiges of the glorious past and are animated by means of tiny pastoral scenes. 

The painting output by Kavčič had some influence on his numerous Viennese students in the first half of the 19th century, while in the history of art he also left trace by taking part in the intense polemics with the members of the Brotherhood of St Luke, when he defended the then already conservative ideas.