Pandora

1864

Chauncey Bradley Ives American, 1810-1894

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Published References

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Catalogue Raisonné

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Credit Line for Reproduction

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About the Artwork

Representing the Greek myth of Pandora, this is Ives’s most famous work. The first version of the subject, produced in 1851, was the hit of the Crystal Palace Exhibition in London in 1862. In this second version, Ives made changes in the shape of the jar and in the tilt of the subject’s head. The classical ideal for which Ives aimed is most obvious in the face and hair, whereas the rest of the figure emphasizes nineteenth-century naturalism. Pandora is shown the moment she can no longer resist the temptation to open the jar, thereby unleashing into the world all the ills that beset humanity. She saved only Hope, which lay at the bottom of the jar. Thus, though victims of every evil, we always retain hope.

Title Pandora

Artwork Date 1864

Artist Chauncey Bradley Ives

Life Dates 1810-1894

Nationality Please note: Definitions for nationality may vary significantly, depending on chronology and world events. Some definitions include: Belonging to a people having a common origin based on a geography and/or descent and/or tradition and/or culture and/or religion and/or language, or sharing membership in a legally defined nation. American

Culture Please note: Cultures may be defined by the language, customs, religious beliefs, social norms, and material traits of a group. Unknown

Medium Marble

Dimensions various dimensions

Classification Sculpture

Department American Art before 1950

Credit Founders Society Purchase, Gibbs-Williams Fund and Edward T. Rothman Fund

Accession Number This unique number is assigned to an individual artwork as part of the cataloguing process at the time of entry into the permanent collection. Most frequently, accession numbers begin with the year in which the artwork entered the museum’s holdings. For example, 2008.3 refers to the year of acquisition and notes that it was the 3rd of that year. The DIA has a few additional systems—no longer assigned—that identify specific donors or museum patronage groups. 82.28

Markings

Inscriptions Inscribed, on base: C.B.IVES.FECIT. | ROMAE.1864

Provenance

Mr. Almon W. Griswold (Elmwood P.O. (or Hancock Junction), New Hampshire)

1923, New Hampshire Historical Society (Concord)

1982-present, purchase by the Detroit Institute of Arts (Detroit, Michigan, USA)

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Exhibition History

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The exhibition history of a number of objects in our collection only begins after their acquisition by the museum, and may reflect an incomplete record.

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Published References

Tuckerman, Henry T. Book of the Artists. New York, 1867, p. 382.

Craven, Wayne. Sculpture in America. New York, 1968, p. 286.

Gerdts, William. American Neo-Classics Sculpture. New York, 1973, pp. 54-55 (fig. 6).

Exh. cat., Hirschl and Adler Gallery. New York, 1982, pp. 24-25, no. 7 (ill.).

Bulletin of the DIA 61, 3 (1982-1983): p. 11 (ill.).

Clark, H. Nichols. A Marble Quarry: The James B. Ricau Collection of Sculpture at the Chrysler Museum of Art. New York, 1997, pp. 98-121 (ill.).

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Catalogue Raisoneé

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Credit Line for Reproduction

Chauncey Bradley Ives, Pandora, 1864, marble. Detroit Institute of Arts, Founders Society Purchase, Gibbs-Williams Fund and Edward T. Rothman Fund, 82.28.