

Marble and bronze, Roman copy of an Hellenistic original of the 2nd century BC. Naples, Museo archeologico nazionale


Artemis, the goddess of the hunt, wild animals, wilderness, childbirth, virginity and the moon, was represented differently according to the locality of her cult. This terracotta statuette from the 4th century B.C.E., was found in the Acradina quarter of Siracusa in 1967; however, its representation of the divinity is more akin to the Ephesian Artemis (The mother goddess worshipped at Ephesus in modern-day Turkey) than the youthful, vigorous archer we are accustomed to seeing in Siracusa, where the Fontana di Diana (Diana is the Roman equivalent of Artemis.) takes center stage in the Piazza Archimede.
To me, this statuette, which is on display at the archeological Museo Orsi in Siracusa and depicts Artemis sitting with rose pendants on her polos (crown), is similar to the well-known Artemis statue found at Ephesus because she possesses a decorated breastplate—in this case with acorns, grapes, eggs, or similar—representing the balance of natural life forces. I find it fascinating to see the distance that this iconography traveled across the Mediterranean, from east to west.
Artemis, the goddess of the hunt, wild animals, wilderness, childbirth, virginity and the moon, was represented differently according to the locality of her cult. This terracotta statuette from the 4th century B.C.E., was found in the Acradina quarter of Siracusa in 1967; however, its representation of the divinity is more akin to the Ephesian Artemis (The mother goddess worshipped at Ephesus in modern-day Turkey) than the youthful, vigorous archer we are accustomed to seeing in Siracusa, where the Fontana di Diana (Diana is the Roman equivalent of Artemis.) takes center stage in the Piazza Archimede.
To me, this statuette, which is on display at the archeological Museo Orsi in Siracusa and depicts Artemis sitting with rose pendants on her polos (crown), is similar to the well-known Artemis statue found at Ephesus because she possesses a decorated breastplate—in this case with acorns, grapes, eggs, or similar—representing the balance of natural life forces. I find it fascinating to see the distance that this iconography traveled across the Mediterranean, from east to west.


Torso of Artemis Ephesia
Torso of a simplistic replica of the Artemis type in the Temple of Ephesus. Artemis, the goddess of the hunt, was next Zeus the most important deity of the Greco-Roman Dekapolis.
Possibly Asia Minor work from the second half of the 1st century. A.D.
White marble. H 46 cm.


Archaeological Museum of Brauron: Terracotta votive tablets with depictions of the goddess Artemis.(c. 500-480 B.C) Artemis on a hunt, holding a mace, accompanied by a dog


Limestone statue of the goddess Artemis,3rd century B.C.
Cypriot
Artemis, the Greek goddess responsible for the nurture of wild animals as well as the hunt, was sister of Apollo, and a number of statues representing her have been found at the sanctuary of Apollo at Pyla. Her cult was probably introduced on Cyprus during the fifth century B.C., and, like the Greek goddess Aphrodite, she became assimilated with the Great Goddess of fertility who had been worshiped on the island for centuries. Artemis carries a quiver and is accompanied by a fawn.


This shallow relief depicts Artemis capturing a stag, not with her usual bow and arrow but with a spear. It is probably a dedication of some kind to the hunting goddess dating from the Roman period. The style however is influenced by fifth century BCE Greek sculpture
Artemis Brauronia VIII


A family of worshippers has just reached the sanctuary to sacrifice a goat to Artemis. The goddess having close by her favorite deer is seated on a rock wearing a long chiton and sandals. A young man leads a goat for sacrifice. He is Followed by the members of the family and one servant bearing a box on her head.
Marble relief
Ca. 350 BC
Brauron, Archaeological Museum, inv. 1153
Antefix with the Head of Artemis/Bendis Wearing a Lion Skin Cap


Title:
Antefix with the Head of Artemis/Bendis Wearing a Lion Skin Cap
Artist/Maker:
Unknown
Culture:
Greek (South Italian, Tarantine)
Place:
Tarentum (Taras), South Italy (Place Created)
Date:
late 4th century B.C.
Medium:
Terracotta
Object Number:
71.AD.364
Dimensions:
17.5 cm (6 7/8 in.)
http://www.getty.edu/art/collection/objects/6817/unknown-maker-antefix-with-the-head-of-artemisbendis-wearing-a-lion-skin-cap-greek-south-italian-tarantine-late-4th-century-bc/
Limestone statue of Artemis Bendis, ca. 3rd century B.C. Cypriot


The head and the body come from different statues. Bendis was a goddess of the hunt, similar to Artemis. Her worship originated in Thrace, a rugged mountainous region in what is today Bulgaria, but became fairly widespread throughout the Greek world by the Hellenistic period. She wears Oriental dress, with a soft leather Phrygian cap and a long-sleeved tunic and trousers.
Cypriote statuette of Artemis, ca. 400 BCE–ca. 300 BCE


Description
Cypriote statuette of Artemis
ca. 400 BCE–ca. 300 BCE
Vienna, Kunsthistorisches Museum
Artemis von Versailles, Jan de Bisschop. c.1669


Gehende Artemis in knielangem Gewand, die rechte Hand am Geweih eines springenden Rehs. Die linke Hand hat sie zu einem Köcher auf ihrem Rücken erhoben.
Radierung de Bisschops nach J. de Gheyn.
Die Plastik befindet sich im Louvre in Paris.
Poseidon, Apollo and Artemis, Parthenon frieze, 5th century BC


Poseidon, Apollo and Artemis in the meeting of gods. East section of the Parthenon frieze, 5th century BC. Acropolis of Athens. Acropolis Museum. Athens. Greece.
A statuette of Artemis Bendis. Tanagra; c. 350 BC


A statuette of Artemis Bendis.
Tanagra; circa 350 BCE.
The Louvre Museum
A statuette of Artemis Bendis, Boeotia; c. 500 BCE.


A statuette of Artemis Bendis.
Boeotia; circa 500 BCE.
The Louvre Museum
A marble slab with Apollon, Leto and Artemis.


A marble slab with Apollon, Leto and Artemis.
Part of an altar or pedestal; found at Mantineia, Arkadia.
The National Archeological Museum, Athens
Artemis holding two lions by their front paws


A terracotta antefix (decorated end of a roof tile) with a
winged figure of Artemis holding two lions by their front paws.
Made in Campania (southern Italy) around 500-480 BC.
From Capua. The figure combines Greek and Etruscan styles.
British Museum. Inv. No. GR 1877.8-2.13 (Terracotta B 588).
Donated by Alessandro Castellani.
XOANON-DIANA EPHESUS-ARTEMIS-Pl. 119-Agostini-Battista-1657


XOANON-DIANA EPHESUS-ARTEMIS-Pl. 119-Agostini-Battista-1657
Giulio Aristide Sartorio (1860-1932) ~ Artemis/Diana of Ephesus 1895-98


Giulio Aristide Sartorio (1860-1932) ~ Artemis/Diana of Ephesus 1895-98
Die Diana von Ephesus: Ulrich Leive


Die Diana von Ephesus
Bibelmalerei - Bilder zur Bibel von Ulrich Leive - Altes und Neues Testament
The Genius of the Arts Unveiling Nature as Isis – Diana of Ephesus: Leopold Kiesling


Leopold Kiesling (1770 Schönleben near Liebenau, Upper Austria – 1827 Vienna)
The Genius of the Arts Unveiling Nature as Isis – Diana of Ephesus,
1808-1809,
A Grotesque with Diana of Ephesus


Master AP
A Grotesque with Diana of Ephesus and Diverse Animals, 1555, National Gallery of Art, Washington, D.C.
Artemis slays Aktaion


Museum: Boston, Museum of Fine Arts
Size: 37.1cm. (bell-crater)
Function: convivial
Technique: red-figure
Style: Mannerist
Subject/s: A. The goat-god Pan, with human body, billy-goat's head, feet and tail, extends human hands towards the young goatherd, wearing a woolly cap, animal skin over his tunic, and boots. With 'choreographed' steps they glide past a woodland herm on a rock. B. Choreography becomes even more theatrical: a tall gangly Artemis, with tiny deer-skin and quiver case over her shoulders, drops back to fire an arrow into Aktaion who falls back dramatically seemingly unaware that he has a sword; the effect of recession is enhanced by patterned boots that seem to fade into the background). His lean hounds with big jaws and tiny eyes tear at his flesh boldly exposed by the slipping mantle.
Apollo Plays his Kithara Between Artemis and Leto


Apollo Plays his Kithara Between Artemis and Leto. Attic Black-Figure Amphora, ca. 550 BC. British Museum, London
Artemis in a chariot.


Artemis in a chariot.
A Red-Figure krater made in Boeotia circa 450-425 BCE.
The Louvre Museum
Artemis, a seated young woman, Hermes and Apollon


Artemis, a seated young woman, Hermes and Apollon.
A Red-Figure krater made circa 380-370 BCE.
The Louvre Museum
Zeus observes his daughter Artemis hunting a stag


Zeus observes his daughter Artemis hunting a stag.
Apollon and Nike are also present.
A Red-Figure pelike made in Athens circa 370-350 BCE.
The British Museum
Herakles breaking an antler from the Keryneian Hind as Artemis and Apollon look on.


A Black-Figured neck amphora with Herakles breaking an antler
from the Keryneian Hind as Artemis and Apollon look on.
Made in Athens circa 540-530 BCE.
The British Museum
Lucanian Red-Figure Volute Krater


A gathering of deities decorates the front of this red-figure volute-krater (mixing bowl), made in a Greek colony in the region of Lucania in southern Italy. The twin gods Apollo and Artemis occupy the center of the scene. Apollo holds a kithara, denoting his role as god of music, and Artemis, the goddess of the hunt, is accompanied by her sacred deer. Their mother Leto stands at the right. On the left, the god Hermes leans on a pillar inscribed with his name. Two pairs of youths stand conversing on the back of the vase.
The volute-krater was a large serving vessel used to mix wine and water at a symposium or drinking party. Large figure-decorated symposium vessels like this one began to be produced in Southern Italy from the late fifth century B.C. http://www.getty.edu/art/collection/objects/10948/attributed-to-the-palermo-painter-lucanian-red-figure-volute-krater-greek-south-italian-lucanian-415-400-bc/
Mixing Vessel with Apollo and Artemis


Attributed to the Palermo Painter
Greek, Lucania, South Italy, about 415 - 400 B.C.
Terracotta
22 1/16 x 13 3/8 in.
85.AE.101
A gathering of deities decorates the front of this red-figure volute-krater, made in a Greek colony in the region of Lucania in southern Italy. The twin gods Apollo and Artemis occupy the center of the scene. Apollo holds a kithara, denoting his role as god of music, and Artemis, the goddess of the hunt, is accompanied by her sacred deer. Their mother Leto stands at the right. On the left, the god Hermes leans on a pillar inscribed with his name, which represents either a boundary marker or a goalpost. Two pairs of youths stand conversing on the back of the vase.
The volute-krater was a large serving vessel used to mix wine and water at a symposium or drinking party. Large symposium vessels like this one began to be produced in the Greek colonies in Italy in the late 400s B.C. Before this time, the colonists had simply imported their fine pottery from Athens, but at this time local painted pottery workshops emerged. Proportionally few vases made in Lucania, the "toe" of Italy, have survived.
Black Fury painter's Orestes crater


Museum: Naples, Museo Archeologico Nazionale
Size: 90cm. (volute-crater with lid)
Function: convivial, display
Technique: red-figure with white and red paint and washes
Style: South Italian, Apulian early Ornate
Subject/s: lid: seated woman holding a barbiton. Body: Orestes seeks refuge at Delphi. The sanctuary is marked by fine white fluted columns supporting an architrave, by 'golden' tripods and an omphalos. The eponymous black fury lurks on the left where an old priestess flees in alarm. Apollo gallantly defends his territory, holding his bow at ease. Sister Artemis stands like a statue accompanied by her hounds.
Date: early 4th c.
Analysis: the rich colours and intricate shape reveal the beginnings of Ornate Apulian.
Apollo (left) returning to Delos from the land of the Hyperboreans, greeted by Artemis


The body of a large Cycladic krater depicting Apollo (left) returning to Delos from the land of
the Hyperboreans, greeted by Artemis (right) holding a deer by its antlers (see detail below).
Made in a Parian workshop, circa 640 BC.
Apollo, holding a kithara, stands in a chariot drawn by four winged horses,
with two female figures, perhaps Hyperborean maidens. Artemis holds the
deer with her right hand, and has an arrow in her left hand. Above the scene
is a continuous frieze of walking water birds. The neck of the krater shows two
heroes, probably Achilles and Memnon, engaged in Homeric combat (see Homer).
National Archaeological Museum, Athens. Inv. No. 911.
Apollo and Artemis


Apollo and Artemis. Tondo of an Attic red-figure cup by Brygos, potter, and the Briseis Painter, ca. 470 BC.
Artemis hunting a stag, surrounded by Zeus (left), Nikê (top) and Apollo (right).


Artemis hunting a stag, surrounded by Zeus (left), Nikê (top) and Apollo (right). The goddess is welding a torch like a spear, the torch refering to his role of bringer of light. Athenian red-figured pelike, ca. 370/350 BC. From S. Agata dei Goti (Apulia, South Italy).
Artemis in a charriot drawn by hinds


Artemis in a charriot drawn by hinds. Side A from an Boeotian red-figure calyx-krater, 450/25 BC.
Musée du Louvre, Paris, France
Artist/Maker : Painter of the Great Krater in Athens
Dimensions H. 28.80 cm; D. 30.30 cm
Kelebe (Deep Bowl) - Decorated with Greek Warriors, Greek Gods (Zeus, Artemis),


Corinthian - 7th - 6th Century BC, Kelebe (Deep Bowl) - Decorated with Greek Warriors, Greek Gods (Zeus, Artemis), Horse, and Pegasus -
Artemis stands to the left watching.


On the neck of the reverse, antlers sprout from Aktaion's head as he is attacked by four of his dogs. He faces forward and is naked except for his shoes and chlamys. His right arm is bent behind his head and he holds a thick dagger in his right hand. Artemis stands to the left watching. Another woman sits at the right and watches. Vegetal filler indicates that the scene takes place outdoors.
Cambaceres collection (by 1842). David M. Robinson, Baltimore, MD, (by 1960), bequest; to Fogg Art Museum, 1960.