June 21, 2004
BOSTON, Mass. (June 21, 2004) — In celebration of the Olympic games this summer the Museum of Fine Arts, Boston (MFA) has organized the first major American exhibition dedicated to Greek athletics, Games for the Gods: The Greek Athlete and the Olympic Spirit presented by New Balance Athletic Shoe, Inc.
On view in the Museum's Torf Gallery from July 21 through November 28, 2004, Games for the Gods brings this fascinating history of the Olympic games to life through more than 180 objects — many from the MFA's world-class collection, as well as important loans of impressive and rarely seen Greek and Roman masterworks including a decorative relief depicting a boating event from Athens' National Museum. The exhibition features video footage and photographs of modern day athletes such as Jackie Joyner-Kersee by Herb Ritts, and Michael Johnson by John Huet. Through the juxtaposition of contemporary imagery with objects from antiquity, Games for the Gods forges a connection between modern and ancient athletes, demonstrating the vital role sports have played throughout history and continue to play today. The exhibition's media sponsor is Classical 102.5 WCRB.
"In honor of the return of the Olympics to Athens this summer, the MFA is mounting the only major American exhibition dedicated to the Greek athlete and the Olympic Games," said Malcolm Rogers, Ann and Graham Gund Director of the MFA. "Through objects from the MFA's rich Classical collection and impressive loans including an extraordinary work from Greece, the birthplace of the Olympics, Games for the Gods sheds much light on the history of these magnificent competitions."
Organized into four main themes: Origins of the Games; Athletic Events; the Training Grounds; and Victors and Prizes, Games for the Gods celebrates the return of the Olympic games to Greece for the first time since their modern revival in 1896. Through the exploration of these themes, the exhibition highlights many of the differences between the original games versus today. Entrance to Games for the Gods is included as part of general MFA admission.
"Games for the Gods offers a unique comparison of the Olympic games today versus those of ancient Greece," said Christine Kondoleon, George and Margo Behrakis Curator of Greek and Roman Art, Art of the Ancient World. "Visitors have the opportunity to discover little-known facts about the origins of the games and how they may have inspired today's competitions through beautiful objects such as vases depicting sprinters in motion."
ORIGINS OF THE GAMES
The origins of the Olympic games are thought to lie in the religious festivals held in honor of the gods, when athletes from around the Mediterranean gathered to compete in rigorous sporting events. The oldest and most prestigious games began in Olympia in 776 B.C. in honor of Zeus. Athletes began the Olympic contests by making pious offerings and vows of good sportsmanship in the presence of an imposing statue of Zeus, such as Head of Zeus (Late Classical period, about 350 – 340 B.C., MFA, Boston) — a copy of the statue inside the temple of Zeus, considered one of the seven wonders of the ancient world. The bridge between god and man was made through Zeus' mortal son Herakles, who is said to have founded the Olympic games in honor of his father. Ancient life revolved around athletics and religion, to the extent that victors became the physical embodiment of the idealized heroes and gods who were believed to be the founders of the games.
There were other athletic games modeled after those at Olympia, which served to honor gods in other regions of Greece. The most famous were those held as part of the Panathenaic festival in Athens, in honor of Athena. A monumental sculpture of Athena, created in the fifth century B.C., was the principle image in the Parthenon, the temple dedicated to Athena which still crowns the Acropolis today. Visitors to Games for the Gods can view a small replica of this sculpture, Statue of Athena the Virgin (known as Athena Parthenos) (Roman Imperial period, about A.C. 138 – 238, MFA, Boston).
ATHLETIC EVENTS
Many of the athletic contests of the modern Olympics date back to ancient times, such as running, wrestling, javelin and discus throw, as well as boxing. Games for the Gods explores a number of these events through classical objects including vases, bronzes and coins.
Running
Footraces are the oldest of the athletic competitions. The Greeks were fascinated with the idea of identifying the fastest men on earth and revered the winners of footraces more than any other ancient athletes. In contrast to the sports outfits and technically advanced footwear of runners today, Greek athletes ran barefoot as illustrated in Wine-mixing bowl (krater) depicting sprinters (Classical period, 392 or 391 B.C., MFA, Boston). Additionally, ancient runners started from a standing position, unlike today's athletes who start from a kneeling position. A trumpet signaled the start of the ancient footraces. The only known example of a Greek trumpet still in existence is the MFA's Trumpet (salpinx) (Roman Imperial period, about 1st or 2nd century A.D., MFA, Boston).
The torch race, as depicted in Wine-mixing bowl (krater) depicting torch race (Classical period, about 430 – 420 B.C., Arthur M. Sackler Museum, Harvard University), is another race that has inspired today's games. Rather than being an actual contest, today runners mark the ceremonial start of the competition by carrying the Olympic flame from Olympia to the Games' venue.
The Pentathlon
The Pentathlon was made up of five events: long jump, javelin, discus, a short footrace, and wrestling, although footraces and wrestling also existed as separate competitions. All five events of the pentathlon were held on the same day. If an athlete won the first three, he was declared the winner, and the final events — usually running and wrestling — were cancelled. Participants in the pentathlon, as seen in Drinking cup (kylix) depicting pentathletes (Late Archaic period, about 500 – 490 B.C., MFA, Boston), were highly regarded for their endurance, strength and the beauty of their bodies.
Jumping is the least understood of the pentathlon events. Images of jumpers show them holding weights such as Jumping weight (halter) (Archaic or Classical period, 6th - 4th century B.C., MFA, Boston), distinguishing them from modern jumpers. Javelin and discus throwing were more closely related to the events of today.
Combat Events
Spectators of combat events such as wrestling and boxing were particularly invested in the heroic success and humiliating defeat of combat athletes. These events were the most dangerous of the ancient games, and at times, life threatening. As a result, champions of these events were considered legends and their immortal counterpart was Herakles, who allegedly wrestled a lion with his bare hands. The ancient games also included the pankration — a no-holds-barred combination of boxing and wrestling, which was by far the most dangerous of the combat events. A number of Greek vases featured in Games for the Gods, including Deep cup (skyphos) depicting pankratists (Late Archaic period, about 500 B.C., Metropolitan Museum of Art, New York), illustrate the variety of the holds and throws practiced by pankration athletes.
Equestrian Events
Horse racing and chariot racing comprised the ancient equestrian events. Horses were bred and owned by an elite class of ancient Greeks, who, rather than the paid servants who rode in competition, claimed the prizes and accolades. Charioteers were the only athletic contestants to be clothed. The artisans of the day depicted these athletes in long sleeveless tunics fitted to the form of their muscular bodies, as seen on vases and coins including Coin depicting a rider with two horses (Late Archaic period, about 510 – 485 B.C., MFA, Boston). For ancient artists, athletes in action and in repose, such as horse and chariot racers, were sources for images of human beauty and glorified nature.
TRAINING GROUNDS
Games for the Gods also highlights the training grounds or athletic complexes where athletes trained. Our word gymnasium is derived from the Greek word gymnos, or "naked", as this was where athletes performed their exercises in the nude. The gymnasium was also where athletes' minds were engaged, receiving lessons in philosophy and music. To demonstrate the presence of philosophy and music at the training grounds, Portrait head of Socrates (Roman period, about A.D. 170 – 95, MFA, Boston) and Deep cup (skyphos) depicting a young athlete taking a music lesson (Archaic period, about 530 – 520 B.C., Museum of Fine Arts, Boston), are on view.
By piecing together written descriptions and physical evidence, scholars have been able to determine the approximate layout of these athletic facilities. In the earliest phases, during the
sixth century B.C., the training grounds consisted of large outdoor areas with running
facilities set off from the city centers and protected by walls. Archaeological evidence also indicates a general plan of a large square or rectangular colonnaded court whose dimensions corresponded to the measurement of a footrace, approximately 180 meters. Other writings mention paths and walks, as well as open-air and covered running tracks.
The training grounds were also a place for hygiene and grooming. A key ritual in preparing for exercise and competition was to rub olive oil over the body followed by a dusting of sand. The presumed benefits were to inhibit sweating, thereby retaining strength. After competing the athletes stripped the oil and dirt from their bodies by using a metal scraper, known in Greek as a stlengis, examples of which will be on display in Games for the Gods.
VICTORY
Similar to the Olympic medal winners of today, victors of the ancient Olympics were awarded non-monetary prizes. These ancient athletes competed for honor and glory, and through their victories achieved the status of demigods. Their recognition also brought glory and fame to their hometown, where their achievements became a symbol of pride for the whole community. The four most prestigious competitions, those held at Olympia, Isthmia, Nemea and Delphi, were known as the crown games because the official prizes were wreaths — or crowns — of leaves. These wreaths were made of organic materials such as olive, laurel or wild celery leaves. Elite members of Greek society, whether or not they were victors of the games, were occasionally buried with gold replicas of these wreaths. Visitors to the Games for the Gods can view an extraordinary example of a gold wreath, Wreath of Olive Leaves (Late Classical or early Hellenistic period, 4th century B.C., MFA, Boston). Victors of the games were also honored through statues erected in their hometowns, or by odes, composed by poets (Pindar) to immortalize their achievements.
ADMISSION
Admission to Games for the Gods is included as part of the Museum's general admission pricing (which includes two visits in a 10 day period, but does not include Gund Gallery exhibitions): free for MFA members; $15 for adults; and $13 for senior citizens and students age 18 and above (students who are University Members are free). Admission is free for children 17 years of age and under during non-school hours. Thursday and Friday evenings after 5:00 p.m., admission is reduced by $2. Wednesdays after 4:00 p.m., admission is by voluntary contribution. Open seven days a week, the MFA's hours are: Saturday - Tuesday 10:00 a.m. - 4:45 p.m., Wednesday - Friday 10:00 a.m. - 9:45 p.m. (Thursday and Friday after 5:00 p.m. only the West Wing is open).
EXHIBITION PUBLICATION
An accompanying catalogue explores the ancient contests, unearthing the original traditions of athletics and comparing them to our own. A series of texts investigates the Olympics then and now, the origins of the games and various athletic events, and the ways in which the contests were prepared for and the victors honored. The catalogue is by John J. Herrmann, Jr., and Christine Kondoleon, with a foreword by Bill Littlefield, host of NPR's Only a Game. The book illustrates over 160 sculptures, vases, and coins from collections across the United States, and includes photographs of modern athletics by Herb Ritts, Annie Leibovitz, Eadweard Muybridge, Howard Schatz, and others. The catalogue, hardcover $45.00 and softcover $29.95, will be available in the MFA Bookstore and Shop, online at www.mfa.org, or by calling 617.369.3575.
MUSEUM LEARNING AND PUBLIC PROGRAMS
In conjunction with Games for the Gods, the MFA is presenting a number of educational programs for both children and adults made possible by a grant from the N2004) — In celebration of the Olympic games this summer the Museum of Fine Arts, Boston (MFA) has organized the first major American exhibition dedicated to Greek athletics, Games for the Gods: The Greek Athlete and the Olympic Spirit presented by New Balance Athletic Shoe, Inc.
On view in the Museum's Torf Gallery from July 21 through November 28, 2004, Games for the Gods brings this fascinating history of the Olympic games to life through more than 180 objects — many from the MFA's world-class collection, as well as important loans of impressive and rarely seen Greek and Roman masterworks including a decorative relief depicting a boating event from Athens' National Museum. The exhibition features video footage and photographs of modern day athletes such as Jackie Joyner-Kersee by Herb Ritts, and Michael Johnson by John Huet. Through the juxtaposition of contemporary imagery with objects from antiquity, Games for the Gods forges a connection between modern and ancient athletes, demonstrating the vital role sports have played throughout history and continue to play today. The exhibition's media sponsor is Classical 102.5 WCRB.
"In honor of the return of the Olympics to Athens this summer, the MFA is mounting the only major American exhibition dedicated to the Greek athlete and the Olympic Games," said Malcolm Rogers, Ann and Graham Gund Director of the MFA. "Through objects from the MFA's rich Classical collection and impressive loans including an extraordinary work from Greece, the birthplace of the Olympics, Games for the Gods sheds much light on the history of these magnificent competitions."
Organized into four main themes: Origins of the Games; Athletic Events; the Training Grounds; and Victors and Prizes, Games for the Gods celebrates the return of the Olympic games to Greece for the first time since their modern revival in 1896. Through the exploration of these themes, the exhibition highlights many of the differences between the original games versus today. Entrance to Games for the Gods is included as part of general MFA admission.
"Games for the Gods offers a unique comparison of the Olympic games today versus those of ancient Greece," said Christine Kondoleon, George and Margo Behrakis Curator of Greek and Roman Art, Art of the Ancient World. "Visitors have the opportunity to discover little-known facts about the origins of the games and how they may have inspired today's competitions through beautiful objects such as vases depicting sprinters in motion."
ORIGINS OF THE GAMES
The origins of the Olympic games are thought to lie in the religious festivals held in honor of the gods, when athletes from around the Mediterranean gathered to compete in rigorous sporting events. The oldest and most prestigious games began in Olympia in 776 B.C. in honor of Zeus. Athletes began the Olympic contests by making pious offerings and vows of good sportsmanship in the presence of an imposing statue of Zeus, such as Head of Zeus (Late Classical period, about 350 – 340 B.C., MFA, Boston) — a copy of the statue inside the temple of Zeus, considered one of the seven wonders of the ancient world. The bridge between god and man was made through Zeus' mortal son Herakles, who is said to have founded the Olympic games in honor of his father. Ancient life revolved around athletics and religion, to the extent that victors became the physical embodiment of the idealized heroes and gods who were believed to be the founders of the games.
There were other athletic games modeled after those at Olympia, which served to honor gods in other regions of Greece. The most famous were those held as part of the Panathenaic festival in Athens, in honor of Athena. A monumental sculpture of Athena, created in the fifth century B.C., was the principle image in the Parthenon, the temple dedicated to Athena which still crowns the Acropolis today. Visitors to Games for the Gods can view a small replica of this sculpture, Statue of Athena the Virgin (known as Athena Parthenos) (Roman Imperial period, about A.C. 138 – 238, MFA, Boston).
ATHLETIC EVENTS
Many of the athletic contests of the modern Olympics date back to ancient times, such as running, wrestling, javelin and discus throw, as well as boxing. Games for the Gods explores a number of these events through classical objects including vases, bronzes and coins.
Running
Footraces are the oldest of the athletic competitions. The Greeks were fascinated with the idea of identifying the fastest men on earth and revered the winners of footraces more than any other ancient athletes. In contrast to the sports outfits and technically advanced footwear of runners today, Greek athletes ran barefoot as illustrated in Wine-mixing bowl (krater) depicting sprinters (Classical period, 392 or 391 B.C., MFA, Boston). Additionally, ancient runners started from a standing position, unlike today's athletes who start from a kneeling position. A trumpet signaled the start of the ancient footraces. The only known example of a Greek trumpet still in existence is the MFA's Trumpet (salpinx) (Roman Imperial period, about 1st or 2nd century A.D., MFA, Boston).
The torch race, as depicted in Wine-mixing bowl (krater) depicting torch race (Classical period, about 430 – 420 B.C., Arthur M. Sackler Museum, Harvard University), is another race that has inspired today's games. Rather than being an actual contest, today runners mark the ceremonial start of the competition by carrying the Olympic flame from Olympia to the Games' venue.
The Pentathlon
The Pentathlon was made up of five events: long jump, javelin, discus, a short footrace, and wrestling, although footraces and wrestling also existed as separate competitions. All five events of the pentathlon were held on the same day. If an athlete won the first three, he was declared the winner, and the final events — usually running and wrestling — were cancelled. Participants in the pentathlon, as seen in Drinking cup (kylix) depicting pentathletes (Late Archaic period, about 500 – 490 B.C., MFA, Boston), were highly regarded for their endurance, strength and the beauty of their bodies.
Jumping is the least understood of the pentathlon events. Images of jumpers show them holding weights such as Jumping weight (halter) (Archaic or Classical period, 6th - 4th century B.C., MFA, Boston), distinguishing them from modern jumpers. Javelin and discus throwing were more closely related to the events of today.
Combat Events
Spectators of combat events such as wrestling and boxing were particularly invested in the heroic success and humiliating defeat of combat athletes. These events were the most dangerous of the ancient games, and at times, life threatening. As a result, champions of these events were considered legends and their immortal counterpart was Herakles, who allegedly wrestled a lion with his bare hands. The ancient games also included the pankration — a no-holds-barred combination of boxing and wrestling, which was by far the most dangerous of the combat events. A number of Greek vases featured in Games for the Gods, including Deep cup (skyphos) depicting pankratists (Late Archaic period, about 500 B.C., Metropolitan Museum of Art, New York), illustrate the variety of the holds and throws practiced by pankration athletes.
Equestrian Events
Horse racing and chariot racing comprised the ancient equestrian events. Horses were bred and owned by an elite class of ancient Greeks, who, rather than the paid servants who rode in competition, claimed the prizes and accolades. Charioteers were the only athletic contestants to be clothed. The artisans of the day depicted these athletes in long sleeveless tunics fitted to the form of their muscular bodies, as seen on vases and coins including Coin depicting a rider with two horses (Late Archaic period, about 510 – 485 B.C., MFA, Boston). For ancient artists, athletes in action and in repose, such as horse and chariot racers, were sources for images of human beauty and glorified nature.
TRAINING GROUNDS
Games for the Gods also highlights the training grounds or athletic complexes where athletes trained. Our word gymnasium is derived from the Greek word gymnos, or "naked", as this was where athletes performed their exercises in the nude. The gymnasium was also where athletes' minds were engaged, receiving lessons in philosophy and music. To demonstrate the presence of philosophy and music at the training grounds, Portrait head of Socrates (Roman period, about A.D. 170 – 95, MFA, Boston) and Deep cup (skyphos) depicting a young athlete taking a music lesson (Archaic period, about 530 – 520 B.C., Museum of Fine Arts, Boston), are on view.
By piecing together written descriptions and physical evidence, scholars have been able to determine the approximate layout of these athletic facilities. In the earliest phases, during the
sixth century B.C., the training grounds consisted of large outdoor areas with running
facilities set off from the city centers and protected by walls. Archaeological evidence also indicates a general plan of a large square or rectangular colonnaded court whose dimensions corresponded to the measurement of a footrace, approximately 180 meters. Other writings mention paths and walks, as well as open-air and covered running tracks.
The training grounds were also a place for hygiene and grooming. A key ritual in preparing for exercise and competition was to rub olive oil over the body followed by a dusting of sand. The presumed benefits were to inhibit sweating, thereby retaining strength. After competing the athletes stripped the oil and dirt from their bodies by using a metal scraper, known in Greek as a stlengis, examples of which will be on display in Games for the Gods.
VICTORY
Similar to the Olympic medal winners of today, victors of the ancient Olympics were awarded non-monetary prizes. These ancient athletes competed for honor and glory, and through their victories achieved the status of demigods. Their recognition also brought glory and fame to their hometown, where their achievements became a symbol of pride for the whole community. The four most prestigious competitions, those held at Olympia, Isthmia, Nemea and Delphi, were known as the crown games because the official prizes were wreaths — or crowns — of leaves. These wreaths were made of organic materials such as olive, laurel or wild celery leaves. Elite members of Greek society, whether or not they were victors of the games, were occasionally buried with gold replicas of these wreaths. Visitors to the Games for the Gods can view an extraordinary example of a gold wreath, Wreath of Olive Leaves (Late Classical or early Hellenistic period, 4th century B.C., MFA, Boston). Victors of the games were also honored through statues erected in their hometowns, or by odes, composed by poets (Pindar) to immortalize their achievements.
ADMISSION
Admission to Games for the Gods is included as part of the Museum's general admission pricing (which includes two visits in a 10 day period, but does not include Gund Gallery exhibitions): free for MFA members; $15 for adults; and $13 for senior citizens and students age 18 and above (students who are University Members are free). Admission is free for children 17 years of age and under during non-school hours. Thursday and Friday evenings after 5:00 p.m., admission is reduced by $2. Wednesdays after 4:00 p.m., admission is by voluntary contribution. Open seven days a week, the MFA's hours are: Saturday - Tuesday 10:00 a.m. - 4:45 p.m., Wednesday - Friday 10:00 a.m. - 9:45 p.m. (Thursday and Friday after 5:00 p.m. only the West Wing is open).
EXHIBITION PUBLICATION
An accompanying catalogue explores the ancient contests, unearthing the original traditions of athletics and comparing them to our own. A series of texts investigates the Olympics then and now, the origins of the games and various athletic events, and the ways in which the contests were prepared for and the victors honored. The catalogue is by John J. Herrmann, Jr., and Christine Kondoleon, with a foreword by Bill Littlefield, host of NPR's Only a Game. The book illustrates over 160 sculptures, vases, and coins from collections across the United States, and includes photographs of modern athletics by Herb Ritts, Annie Leibovitz, Eadweard Muybridge, Howard Schatz, and others. The catalogue, hardcover $45.00 and softcover $29.95, will be available in the MFA Bookstore and Shop, online at www.mfa.org, or by calling 617.369.3575.
MUSEUM LEARNING AND PUBLIC PROGRAMS
In conjunction with Games for the Gods, the MFA is presenting a number of educational programs for both children and adults made possible by a grant from the N2004) — In celebration of the Olympic games this summer the Museum of Fine Arts, Boston (MFA) has organized the first major American exhibition dedicated to Greek athletics, Games for the Gods: The Greek Athlete and the Olympic Spirit presented by New Balance Athletic Shoe, Inc.
On view in the Museum's Torf Gallery from July 21 through November 28, 2004, Games for the Gods brings this fascinating history of the Olympic games to life through more than 180 objects — many from the MFA's world-class collection, as well as important loans of impressive and rarely seen Greek and Roman masterworks including a decorative relief depicting a boating event from Athens' National Museum. The exhibition features video footage and photographs of modern day athletes such as Jackie Joyner-Kersee by Herb Ritts, and Michael Johnson by John Huet. Through the juxtaposition of contemporary imagery with objects from antiquity, Games for the Gods forges a connection between modern and ancient athletes, demonstrating the vital role sports have played throughout history and continue to play today. The exhibition's media sponsor is Classical 102.5 WCRB.
"In honor of the return of the Olympics to Athens this summer, the MFA is mounting the only major American exhibition dedicated to the Greek athlete and the Olympic Games," said Malcolm Rogers, Ann and Graham Gund Director of the MFA. "Through objects from the MFA's rich Classical collection and impressive loans including an extraordinary work from Greece, the birthplace of the Olympics, Games for the Gods sheds much light on the history of these magnificent competitions."
Organized into four main themes: Origins of the Games; Athletic Events; the Training Grounds; and Victors and Prizes, Games for the Gods celebrates the return of the Olympic games to Greece for the first time since their modern revival in 1896. Through the exploration of these themes, the exhibition highlights many of the differences between the original games versus today. Entrance to Games for the Gods is included as part of general MFA admission.
"Games for the Gods offers a unique comparison of the Olympic games today versus those of ancient Greece," said Christine Kondoleon, George and Margo Behrakis Curator of Greek and Roman Art, Art of the Ancient World. "Visitors have the opportunity to discover little-known facts about the origins of the games and how they may have inspired today's competitions through beautiful objects such as vases depicting sprinters in motion."
ORIGINS OF THE GAMES
The origins of the Olympic games are thought to lie in the religious festivals held in honor of the gods, when athletes from around the Mediterranean gathered to compete in rigorous sporting events. The oldest and most prestigious games began in Olympia in 776 B.C. in honor of Zeus. Athletes began the Olympic contests by making pious offerings and vows of good sportsmanship in the presence of an imposing statue of Zeus, such as Head of Zeus (Late Classical period, about 350 – 340 B.C., MFA, Boston) — a copy of the statue inside the temple of Zeus, considered one of the seven wonders of the ancient world. The bridge between god and man was made through Zeus' mortal son Herakles, who is said to have founded the Olympic games in honor of his father. Ancient life revolved around athletics and religion, to the extent that victors became the physical embodiment of the idealized heroes and gods who were believed to be the founders of the games.
There were other athletic games modeled after those at Olympia, which served to honor gods in other regions of Greece. The most famous were those held as part of the Panathenaic festival in Athens, in honor of Athena. A monumental sculpture of Athena, created in the fifth century B.C., was the principle image in the Parthenon, the temple dedicated to Athena which still crowns the Acropolis today. Visitors to Games for the Gods can view a small replica of this sculpture, Statue of Athena the Virgin (known as Athena Parthenos) (Roman Imperial period, about A.C. 138 – 238, MFA, Boston).
ATHLETIC EVENTS
Many of the athletic contests of the modern Olympics date back to ancient times, such as running, wrestling, javelin and discus throw, as well as boxing. Games for the Gods explores a number of these events through classical objects including vases, bronzes and coins.
Running
Footraces are the oldest of the athletic competitions. The Greeks were fascinated with the idea of identifying the fastest men on earth and revered the winners of footraces more than any other ancient athletes. In contrast to the sports outfits and technically advanced footwear of runners today, Greek athletes ran barefoot as illustrated in Wine-mixing bowl (krater) depicting sprinters (Classical period, 392 or 391 B.C., MFA, Boston). Additionally, ancient runners started from a standing position, unlike today's athletes who start from a kneeling position. A trumpet signaled the start of the ancient footraces. The only known example of a Greek trumpet still in existence is the MFA's Trumpet (salpinx) (Roman Imperial period, about 1st or 2nd century A.D., MFA, Boston).
The torch race, as depicted in Wine-mixing bowl (krater) depicting torch race (Classical period, about 430 – 420 B.C., Arthur M. Sackler Museum, Harvard University), is another race that has inspired today's games. Rather than being an actual contest, today runners mark the ceremonial start of the competition by carrying the Olympic flame from Olympia to the Games' venue.
The Pentathlon
The Pentathlon was made up of five events: long jump, javelin, discus, a short footrace, and wrestling, although footraces and wrestling also existed as separate competitions. All five events of the pentathlon were held on the same day. If an athlete won the first three, he was declared the winner, and the final events — usually running and wrestling — were cancelled. Participants in the pentathlon, as seen in Drinking cup (kylix) depicting pentathletes (Late Archaic period, about 500 – 490 B.C., MFA, Boston), were highly regarded for their endurance, strength and the beauty of their bodies.
Jumping is the least understood of the pentathlon events. Images of jumpers show them holding weights such as Jumping weight (halter) (Archaic or Classical period, 6th - 4th century B.C., MFA, Boston), distinguishing them from modern jumpers. Javelin and discus throwing were more closely related to the events of today.
Combat Events
Spectators of combat events such as wrestling and boxing were particularly invested in the heroic success and humiliating defeat of combat athletes. These events were the most dangerous of the ancient games, and at times, life threatening. As a result, champions of these events were considered legends and their immortal counterpart was Herakles, who allegedly wrestled a lion with his bare hands. The ancient games also included the pankration — a no-holds-barred combination of boxing and wrestling, which was by far the most dangerous of the combat events. A number of Greek vases featured in Games for the Gods, including Deep cup (skyphos) depicting pankratists (Late Archaic period, about 500 B.C., Metropolitan Museum of Art, New York), illustrate the variety of the holds and throws practiced by pankration athletes.
Equestrian Events
Horse racing and chariot racing comprised the ancient equestrian events. Horses were bred and owned by an elite class of ancient Greeks, who, rather than the paid servants who rode in competition, claimed the prizes and accolades. Charioteers were the only athletic contestants to be clothed. The artisans of the day depicted these athletes in long sleeveless tunics fitted to the form of their muscular bodies, as seen on vases and coins including Coin depicting a rider with two horses (Late Archaic period, about 510 – 485 B.C., MFA, Boston). For ancient artists, athletes in action and in repose, such as horse and chariot racers, were sources for images of human beauty and glorified nature.
TRAINING GROUNDS
Games for the Gods also highlights the training grounds or athletic complexes where athletes trained. Our word gymnasium is derived from the Greek word gymnos, or "naked", as this was where athletes performed their exercises in the nude. The gymnasium was also where athletes' minds were engaged, receiving lessons in philosophy and music. To demonstrate the presence of philosophy and music at the training grounds, Portrait head of Socrates (Roman period, about A.D. 170 – 95, MFA, Boston) and Deep cup (skyphos) depicting a young athlete taking a music lesson (Archaic period, about 530 – 520 B.C., Museum of Fine Arts, Boston), are on view.
By piecing together written descriptions and physical evidence, scholars have been able to determine the approximate layout of these athletic facilities. In the earliest phases, during the
sixth century B.C., the training grounds consisted of large outdoor areas with running
facilities set off from the city centers and protected by walls. Archaeological evidence also indicates a general plan of a large square or rectangular colonnaded court whose dimensions corresponded to the measurement of a footrace, approximately 180 meters. Other writings mention paths and walks, as well as open-air and covered running tracks.
The training grounds were also a place for hygiene and grooming. A key ritual in preparing for exercise and competition was to rub olive oil over the body followed by a dusting of sand. The presumed benefits were to inhibit sweating, thereby retaining strength. After competing the athletes stripped the oil and dirt from their bodies by using a metal scraper, known in Greek as a stlengis, examples of which will be on display in Games for the Gods.
VICTORY
Similar to the Olympic medal winners of today, victors of the ancient Olympics were awarded non-monetary prizes. These ancient athletes competed for honor and glory, and through their victories achieved the status of demigods. Their recognition also brought glory and fame to their hometown, where their achievements became a symbol of pride for the whole community. The four most prestigious competitions, those held at Olympia, Isthmia, Nemea and Delphi, were known as the crown games because the official prizes were wreaths — or crowns — of leaves. These wreaths were made of organic materials such as olive, laurel or wild celery leaves. Elite members of Greek society, whether or not they were victors of the games, were occasionally buried with gold replicas of these wreaths. Visitors to the Games for the Gods can view an extraordinary example of a gold wreath, Wreath of Olive Leaves (Late Classical or early Hellenistic period, 4th century B.C., MFA, Boston). Victors of the games were also honored through statues erected in their hometowns, or by odes, composed by poets (Pindar) to immortalize their achievements.
ADMISSION
Admission to Games for the Gods is included as part of the Museum's general admission pricing (which includes two visits in a 10 day period, but does not include Gund Gallery exhibitions): free for MFA members; $15 for adults; and $13 for senior citizens and students age 18 and above (students who are University Members are free). Admission is free for children 17 years of age and under during non-school hours. Thursday and Friday evenings after 5:00 p.m., admission is reduced by $2. Wednesdays after 4:00 p.m., admission is by voluntary contribution. Open seven days a week, the MFA's hours are: Saturday - Tuesday 10:00 a.m. - 4:45 p.m., Wednesday - Friday 10:00 a.m. - 9:45 p.m. (Thursday and Friday after 5:00 p.m. only the West Wing is open).
EXHIBITION PUBLICATION
An accompanying catalogue explores the ancient contests, unearthing the original traditions of athletics and comparing them to our own. A series of texts investigates the Olympics then and now, the origins of the games and various athletic events, and the ways in which the contests were prepared for and the victors honored. The catalogue is by John J. Herrmann, Jr., and Christine Kondoleon, with a foreword by Bill Littlefield, host of NPR's Only a Game. The book illustrates over 160 sculptures, vases, and coins from collections across the United States, and includes photographs of modern athletics by Herb Ritts, Annie Leibovitz, Eadweard Muybridge, Howard Schatz, and others. The catalogue, hardcover $45.00 and softcover $29.95, will be available in the MFA Bookstore and Shop, online at www.mfa.org, or by calling 617.369.3575.
MUSEUM LEARNING AND PUBLIC PROGRAMS
In conjunction with Games for the Gods, the MFA is presenting a number of educational programs for both children and adults made possible by a grant from the New Balance Foundation — from art-making, performances and athletic demonstrations, to discussions and films — providing visitors with opportunities to explore the history and culture of the ancient games beyond the exhibition. For specific details on these programs, please see the supporting Museum Learning and Public Programs document included in the press kit.
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The Museum of Fine Arts, Boston is recognized for the quality and scope of its encyclopedic collection, which includes an estimated 400,000 objects. The Museum's collection is made up of: Art of the Americas; Art of Europe; Contemporary Art; Art of Asia, Oceania and Africa; Art of the Ancient World; Prints, Drawings and Photographs; Textile and Fashion Arts; and Musical Instruments.
Open seven days a week, the MFA's hours are: Saturday - Sunday 10:00 a.m. - 4:45 p.m., Monday - Tuesday 10:00 a.m. - 4:45 p.m., Wednesday - Friday 10:00 a.m. - 9:45 p.m. (Thursday and Friday after 5:00 p.m. only the West Wing is open).
General admission (which includes two visits in a 10 day period, but does not include Gund Gallery exhibitions) is $15 for adults and $13 for senior citizens and students age 18 and above (students who are University Members are free). Admission is free for children 17 years of age and under during non-school hours. Thursday and Friday evenings after 5:00 p.m., admission is reduced by $2. Wednesdays after 4:00 p.m., admission is by voluntary contribution. The Museum is closed on New Year's Day, Patriot's Day, Independence Day, Thanksgiving, and Christmas. For general visitor information, visit the MFA website at www.mfa.org or call 617.267.9300.
http://www.newbalance.com.
