  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.
  
  
  
  
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  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
  
  
  Copyright
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