The Vatican Apoxyomenos by Lysippus, in the Museo Pio-Clementino, found in Trastevere, 1849

Apoxyomenos (the "Scraper") is one of the conventional subjects of ancient Greek votive sculpture; it represents an athlete, caught in the familiar act of scraping sweat and dust from his body with the small curved instrument that the Romans called a strigil.

The most renowned Apoxyomenos in Classical Antiquity was that of Lysippos of Sikyon, the court sculptor of Alexander the Great, made ca 330 BCE. The bronze original is lost, but it is known from its description in Pliny the Elder's Natural History, which relates that the Roman general Marcus Vipsanius Agrippa installed Lysippos's masterpiece in the Baths of Agrippa that he erected in Rome, around 20 BCE. Later, the emperor Tiberius became so enamored of the figure that he had it removed to his bedroom.^[1] However an uproar in the theatre, "Give us back our Apoxyomenos", shamed the emperor into replacing it.

The sculpture is commonly represented by the Pentelic marble copy in the Museo Pio-Clementino in Rome, discovered in 1849 when it was excavated in Trastevere (illustration, right). Plaster casts of it soon found their way into national academy collections, and it is the standard version in textbooks. The sculpture, slightly larger than lifesize, is characteristic of the new canon of proportion pioneered by Lysippos, with a slightly smaller head (1:8 of the total height, rather than the 1:7 of Polykleitos) and longer and thinner limbs. Pliny notes a remark that Lysippos "used commonly to say" - that while other artists "made men as they really were, he made them as they appeared to be." Lysippus poses his subject in a true contrapposto, with an arm outstretched to create a sense of movement and interest from a range of viewing angles.

Pliny also mentioned treatments of this motif by Polykleitos and by his pupil or follower, Daidalos of Sikyon, who seems to have produced two variants on the theme.^[2] A fragmentary^[3] bronze statue of the Polycleitan/Sikyonian type,^[4] who holds his hands low to clean the sweat and dust from his left hand,^[5] was excavated in 1896 at the site of Ephesus in Turkey; it is conserved in the Kunsthistorisches Museum, Vienna. Its quality is so fine that scholars have debated whether it is a fourth-century original, in the sense that workshop repetitions are all "originals" or a later copy made during the Hellenistic period.^[6] A classicising version in the neo-Attic style in the Medici collections at the Uffizi had led earlier scholars to posit a classical fifth-century original, before the bronze was unearthed at Ephesus.^[7]

The Croatian Apoxyomenos

A substantially complete bronze Apoxyomenos of this model, who strigilates his left hand, held close to his thigh, was recovered by Rene Wouten from the northern Adriatic Sea between two islets, Vele Orjule and Kosjak, near Lošinj in Croatia, in April 1999. Rene Wouten found the bronze statue fully covered in sponges and sea life. No parts of the statue were missing, though its head was disconnected from the body. 1.92m long, the statue is currently thought to be a Hellenistic copy of Lysippos’ Apoxyomenos from the second or first century BCE; it is conserved in Zadar Museum as the 'Croatian Apoxyomenos (illustration, left).^[8] It shares with the Ephesus bronze "the almost portrait-like individuality of the face, by no means a 'classical' type", with its broad, fleshy jaw and short chin and "hair made rough and unruly by sweat and dust".^[9]

An "excellent copy" of the head is conserved in the Hermitage Museum.^[10] Another refined bronze head of an Apoxyomenos of this type (now in the Kimball Art Museum)^[11] had found its way into the collection of Bernardo Nani in Venice in the early eighteenth century. Other antiquities in Nani's collection had come from the Peloponnesus; the Kimball Art Museum suggests that the Nani head may have come from mainland Greece too. The head, like the Croatian Apoxyomenos, has lips that were originally veneered with copper^[12] and his eyes were inlaid in glass, stone, and copper. Another half-dozen fragments of the Croatian/Kimball type suggests that this was the more popular apoxyomenos type in Antiquity, and that the famous Vatican Apoxyomenos (illustration above right), which reverses the pose,^[13] may be a variant of Lysippus' original.

Gallery[link]

Notes[link]

Wikimedia Commons has media related to: Croatian Apoxyomenos

References[link]

• Croatian Conservation Institute - "The Croatian Apoxyomenos"
• Digitizing the Lošinj Apoxyomenos
• "Lysippos' Apoxyomenon"
• Apoxomenos and the Role of Athletics in Ancient Greek Culture
• Apoxyomenos
• Encyclopaedia Romana

Yuja Wang (王羽佳)
Yuja Wang at Stadtcasino, Basel, on 19th March 2012.
Born	(1987-02-10) February 10, 1987 (age 25) Beijing, China
Nationality	Chinese
Alma mater	Central Conservatory of Music, Beijing Curtis Institute of Music, Philadelphia, 2008
Occupation	Pianist

Yuja Wang (Chinese: 王羽佳; pinyin: Wáng Yǔjiā;^[1] born February 10, 1987^[2]) is a Chinese classical pianist. She was born in Beijing, began studying piano there at age six, and went on to study at the Central Conservatory of Music in Beijing.^[3]

Early life[link]

Wang comes from a musical family. She entered Beijing's Central Conservatory of Music at age seven and studied there for three years. At age 11, Wang was accepted as the youngest student in the Morningside Music Bridge International Music Festival at Mount Royal University in Calgary, Canada. ^[4]. After several summers of participating in the program, Wang moved to Canada at age 14 to continue her studies at the Mount Royal University Conservatory.^[5]

Career[link]

In 1998, Wang won 3rd Prize in the Ettlingen International Competition for Young Pianists, in Ettlingen, Germany. In 2001, she won Third Prize and Special Jury Prize (awarded to an especially superior finalist of less than 20 years in age, prize money of 500,000 Japanese Yen) in the Piano Section at the First Sendai International Music Competition in Sendai, Japan.^[6]

In 2003 Wang made her European debut with the Tonhalle Orchestra in Zurich, Switzerland, playing Beethoven's Piano Concerto No. 4 under the baton of David Zinman. She made her North American debut in Ottawa in the 2005–06 season replacing Radu Lupu performing the Beethoven concerto with Pinchas Zukerman conducting.

On September 11, 2005, Wang was named a 2006 biennial Gilmore Young Artist award winner, given to the most promising pianists age 21 and younger. As part of the award, she received $15,000, appeared at Gilmore Festival concerts, and had a new piano work commissioned for her.^[7]

Starting at age 15, she studied for five years with Gary Graffman, who was also Lang Lang's teacher, at the Curtis Institute of Music in Philadelphia, Pennsylvania, and graduated in May 2008. She is increasing the number of concerts she is playing, and has "developed a novel reputation" of replacing sick pianists, yet going on "to deliver a knockout performance."^[3][8]

In 2006–2007, she performed with the New York Philharmonic, the Houston Symphony, the Chicago Symphony, and San Francisco Symphony, the NHK Symphony Orchestra in Japan, the St. Petersburg Philharmonic in the Netherlands, the China Philharmonic in Beijing and the Guangzhou Symphony and the Santa Fe Chamber Music Festival.

In March 2007, Wang replaced the legendary pianist Martha Argerich in concerts held in Boston.^[8] Argerich had cancelled her appearances with the Boston Symphony Orchestra on four subscription concerts from March 8 to March 13.^[8] Wang performed Tchaikovsky's Piano Concerto No. 1, with Charles Dutoit conducting, receiving highly favorable reviews.^[3]

On March 14, 2007, Wang was featured on National Public Radio's All Things Considered program.^[9]

Wang played twice in Albuquerque in summer 2007,^[10] and three concerts in Kansas City with its Symphony in November 2007.^[11]

On January 21, 2008, She played at Hill Auditorium in Ann Arbor, Michigan and, to standing ovations, returned to the stage repeatedly for a triple encore that included Gluck's Mélodie from Orfeo (Wang's transcription, after Giovanni Sgambati), Turkish March by Mozart (Volodos's transcription), and Rimsky-Korsakov's Flight of the Bumblebee (Cziffra's virtuosic arrangement).

On April 2, 2008, Wang played with the Academy of St. Martin in the Fields in Boston Symphony Hall, on a concert originally scheduled to be conducted from the keyboard by Murray Perahia and she performed in the 2008 Verbier Festival to great acclaim.

2008 residency at SPAC[link]

In the summer of 2008, Wang played two performances at Saratoga Performing Arts Center (SPAC), for which she was introduced by SPAC President Marcia White.^[12][13] Wang was called a "new pianist star", "a phenom", "a whiz", and "a sensation" after her concerto concerts at SPAC in August 2008.^{[3][14][15][16]}

In her first concert, with the Saratoga Chamber Orchestra, Wang "performed Liszt’s prodigiously difficult" Sonata in B minor.^[15][16] A reviewer said that:

It’s a very long work that goes for almost 50 minutes [actually 30 minutes] of constant playing. Like much of Liszt’s music, this one ebbed and flowed from great dramatic moments to quiet ephemeral sections filled with a romantically ethereal melody. It took a page or so of music before Wang was completely involved emotionally, but once she was—wozzah. She has technique to burn. Her octave runs at lightning speed were incredible. The volume and big sound she got out of the piano, which in the big chordal passages sounded like giant footsteps, contrasted sharply with the lacy streams of notes. Her delicate stroking of the melody was like angels singing. Now and then, she’d lift off the piano stool in her intensity. Yet with all her passion, Wang was always in control. Her concentration was focused. She was unhesitating in pacing herself in accordance with the work’s demands. Her vision was a dramatic one. It was great stuff and the crowd loved it. Wang got a standing ovation and several curtain calls.

—Geraldine Freedman, in The Daily Gazette^[15]

Another reviewer wrote that:

Some say this music shows the different facets of the composer's personality, and Wang exposed the most gentle, languorous aspects of the piece every bit as perfectly as the hard-edged, pounding furor. Just 21, hair blunt-cut to hide her face in profile at the piano, Wang is a quiet, unaffected presence as she plays, utterly without body language except when the force of her arms on the keys lifts her slight frame from the bench. This young pianist is a technical whiz who makes every note speak for itself.

—Judith White, in The Saratogian^[16]

She also played Brahms' Horn Trio with the Philadelphia Orchestra concertmaster, David Kim, and Philadelphia's principal horn, Jennifer Montone, in which "Wang showed herself entirely capable of playing in ensemble."^[16]

For her second concert, she performed Prokofiev's Piano Concerto No. 1 at SPAC to spectacular reviews, in which it was noted that she "is probably not much older than Prokofiev when he wrote the work."^[14] One reviewer wrote:

Wang used punchy, dry articulated fingerwork and strongly accented the pulses, which only added to the flavor. In the inner slow movement with its plaintive melody, Wang stroked the keys tenderly and gave the lovely melody good lift. The orchestra under Charles Dutoit was solidly enthusiastic. The crowd went wild with whistles and cheers and gave her a standing ovation and several curtain calls. Wang was a real-life star....

—Geraldine Freedman, in The Daily Gazette^[14]

Recording contract[link]

In January 2009, Wang signed an exclusive recording contract for five discs with Deutsche Grammophon.^[17] In March, she made her debut with the Los Angeles Philharmonic, National Symphony Orchestra, Dallas Symphony Orchestra and Pittsburgh Symphony Orchestra. On April 15, 2009 Wang performed at the Youtube Symphony Orchestra event held in New York at Carnegie Hall. In May, she performed Sergei Prokofiev's Piano Concerto number 2 with the San Francisco Symphony.^[18] In August, she played his third Piano Concerto under Claudio Abbado in the Opening Concert of the Lucerne Festival, with live broadcast and telecast in the Swiss first national programm SF 1.^[19] In June/July, she appeared, like the year before, at the Verbier Festival, and in November, she had her first solo concert in Zurich at the prestiguous Tonhalle Zurich (her second visit after her famous European debut here in 2003, see above), with a program featuring Liszt, Schumann, and Chopin.^[20]

Personal life[link]

Wang currently lives in New York City, but travels most of the time playing concerts around the world.

Discography[link]

Wang has released four CDs with Deutsche Grammophon: Sonatas & Etudes in 2009; Transformation in 2010; Rachmaninov in 2011;^[21] and Fantasia in March 2012.^[22]

In addition, EuroArts has released a DVD on which she performs Sergei Prokofiev's Piano Concerto No. 3 in C Major, with Abbado conducting.^[23]

Although there are reports that Wang released a debut CD in 1995,^[24][25][26] there is little information available about it.

References[link]

External links[link]

• Official website
• Yuja Wang at Allmusic
• Profile of Yuja Wang on Opus3 Artists site