EV EN TS

Art Party: Golden Boy

Friday, September 8 | 6:00–8:00 p.m.
Free with Museum Admission | Cash bar by The Esquire Tavern

Lennox Lecture: Rome: Sexuality and Empire

by Caroline Vout, PhD, University of Cambridge September 1–November 26, 2017
Tuesday, September 12 | 6:30–7:30 p.m.
Free | Space is limited
In partnership with Trinity University

Art Out: Romosexuality and Antinous the Gay God

Friday, September 15 | 7:30–8:30 p.m.
$5 Members | $15 non-members

Educator Workshop: Science and Art: Ancient to Contemporary 

Saturday, September 16 | 9:30 a.m.–3:30 p.m. 
$20 members | $35 non-members | 6 CPE/GT credits
Register: samuseum.org/calendar | K-5 or 6-12 track

Lecture: A to X: Antinous, the Alamo, and X-Ray Fluorescence

by Michelle Bushey, PhD, National Science Foundation
Tuesday, September 19 | 6:30–7:30 p.m.
Free | Space is limited

Film on the Green: La Dolce Vita

Friday, September 22 | Sundown | West Courtyard
Free | Cash bar by The Brooklynite | Food trucks
Pre-Film Gallery Talk: The Tragedies of the Sweet Life
7:30–8:30 p.m. | Meet in the Great Hall | Free with Museum admission

Museum Book Club: Memoirs of Hadrian

Tuesday, November 7 | 6:30–8:30 p.m.
$5 members | $15 non-members

Lecture: Searching for Antinous: New Discoveries in the Field and

Museum by Elizabeth Bartman, PhD
Tuesday, November 14 | 6:30–7:30 p.m.
Free | Space is limited
In partnership with Southwest Texas Archaeological Society

For full calendar details visit samuseum.org/calendar.

In addition to the Lennox Lecture at the Museum on September 12,

Trinity University will host Lennox lectures on October 2, November 6,
and November 27. Visit events.trinity.edu for more details.

CAPTIONS:
Cover. Portrait of Antinous as Dionysos, Roman, AD 130–138, marble, h. 15 in. San Antonio
Museum of Art, gift of Gilbert M. Denman, Jr., 86.134.164. Photo: Peggy Tenison.
Figure 1. Aureus of Hadrian, minted in Rome, AD 134–138, gold, diam. 7/8 in. San Antonio Museum
of Art, gift of Gilbert M. Denman, Jr., 91.111.52. Photo: Peggy Tenison.
Figure 2. Statuette of Apollo, Greek or Roman, 1st century BC, bronze, h. 11 1/2 in. J. Paul Getty
Museum, Villa Collection, Malibu, California, gift of Barbara and Lawrence Fleischman, 96.AB.306.
Figure 3. Portrait of Antinous as Dionysos, detail of gold leaf. Photo: Peggy Tenison.
Inside flap. Portrait of Antinous as Dionysos, back view. Photo: Peggy Tenison.
Figure 4. Portrait of Antinous as Dionysos, microscopic view of sample with gold leaf and purple
areas. Photo: Michelle Bushey.

San Antonio Museum of Art | 200 West Jones Avenue | samuseum.org SAN ANTONIO MUSEUM of ART
E X H I BIT IO N

ANTINOUS In the Greek and Roman pantheon, Antinous was often portrayed
in the guise of Apollo and Dionysos, whose statues emphasize
Antinous has attracted renewed fascination since the Renaissance. Already in the
sixteenth century, several portraits of him were known in Rome, where they were
The Emperor’s Beloved: Investigating a Roman Portrait their attractive physiques. The hand-on-head pose of the admired by some of the most prominent artists and patrons of that period. By the
Museum's portrait had been used for these gods for several 1700s, Antinous was celebrated, or notorious, for the romantic nature of his
September 1–November 26, 2017
centuries; it shows them in an attitude of relaxation, with a relationship with Hadrian. Aristocrats making the Grand Tour eagerly sought his
hipshot stance that draws attention to the smooth, curving image and readily acquired casts or prints if they could not succeed in purchasing
Gold! In the summer of 2011, Trinity University chemistry professor Michelle contours of their bodies [fig. 2]. Because of his death by drowning ancient sculptures of him.
Bushey, her undergraduate research assistant Madeline Corona, and San Antonio in the Nile, Antinous was also associated with the Egyptian god
Museum of Art curator Jessica Powers made the unexpected discovery of ancient Osiris and was sometimes depicted in Egyptian attire. A cavity above In the course of the nineteenth century, as modern gay and lesbian identities
gilding on a Roman portrait of a young man named Antinous in the Museum’s the forehead of the Museum’s portrait likely served for the developed, Antinous was increasingly recognized as homosexual and became
collection. At first glance, the portrait—stained, partly covered in burial deposits, and attachment of an Egyptian-style metal crown. Similar cavities appear something of an icon. He served as a touchstone for Victorian writers, such as
disfigured by the removal of old restorations—may not attract the eye, but on some portraits of Alexander the Great and his successors in Egypt, Oscar Wilde and John Addington Symonds, who explored homoerotic themes.
painstaking investigation has recovered the rich tales obscured by its unappealing the Ptolemies. The now-missing crowns probably took the form of To the present day, Antinous has continued to inspire a diverse array of artists
appearance. Our groundbreaking research reveals the complex story of this marble the elaborate hem-hem crown worn by Osiris and his son, Horus. and writers, most notably Marguerite Yourcenar, whose classic Memoirs of
portrait, from its creation in the second century AD to the present day. We invite you Hadrian (1951) presents a sensitive imagining of his relationship with Hadrian.
to take a closer look in Antinous, the Emperor’s Beloved. In antiquity, when the Museum’s Antinous was complete, the statue’s Antinous remains an evocative figure for the LGBTQ community and even an
headgear would have given it a striking appearance. The youth’s ivy object of worship for some, as his presence online and in social media attest.
Little is known about Antinous’s life. Born in Bithynia, a wreath was gilded, complementing the brilliance of his now-missing
Roman province in the northwest of present-day Turkey, metal crown. The tiny traces of gold leaf that survive today are barely
he might have met Hadrian when the emperor traveled visible to the naked eye [fig. 3], but examination of the portrait’s
there in the 120s [fig. 1]. Antinous accompanied Hadrian, marble surface under magnification and with x-ray fluorescence
the empress Sabina, and the imperial retinue to Egypt in (XRF) revealed vestiges of ancient gilding on each of the ivy leaves.
130. He was probably only in his late teens or early The Museum’s portrait is the only marble statue of Antinous on
twenties when he died by drowning in the Nile. Ancient which gilding has been found.
authors record Antinous’s physical beauty and his prowess Figure 2
as a hunter, as well as Hadrian’s desire for him. This
intimate relationship would not have seemed particularly
remarkable to their contemporaries: sexual relations Figure 1 The youth’s ivy wreath was gilded,
between men were widely accepted in Roman society. complementing the brilliance of
The mysterious circumstances of Antinous’s death and Hadrian’s elaborate mourning his now-missing metal crown.
for him occasioned hostile speculation. Later writers cast doubt on the emperor’s
official explanation of Antinous’s drowning as an accident, and they related rumors
that Antinous either volunteered, or was forced, to sacrifice himself on Hadrian’s The purple stains on several ivy leaves at the back of the wreath are related to its Figure 3 Figure 4
behalf. Hadrian elevated the deceased youth to divine status and named a new city ancient gilding [inside flap]. Analysis of samples from these areas with scanning
in Egypt “Antinoopolis” in his honor, and he commissioned many portrait statues of electron microscopes (SEM) at Trinity University and the University of Georgia
Antinous. The worship of the new god spread rapidly throughout the eastern showed that the purple color is caused by gold nanoparticles [fig. 4]. Exposure of
provinces of the Roman Empire. Festivals were held in Antinous’s honor, and his the gilded marble to water and acids in the soil while the sculpture was buried,
likeness appeared on the coins of more than thirty cities. The cult of Antinous prior to its modern discovery, apparently caused the ancient gold leaf to break
continued into the fourth century AD, nearly two hundred years after his death. Many people collaborated on the research presented here, and the Museum gratefully acknowledges their
down into these very small particles, which appear purple in visible light. Scholars contributions: Dr. Michelle Bushey (Trinity University and National Science Foundation); Madeline J.
have only recently recognized that purple areas on some Roman statues indicate Corona, Nicole Feldman, and Natalie Seitzman (Trinity University undergraduate students); Dr. Mark Abbe
Around one hundred stone portraits of Antinous survive, more than any other figure the presence of gilding rather than of painted color. (University of Georgia); Dr. Scott Pike (Willamette University); Jane Gillies (Museum of Fine Arts, Houston);
from the Roman world except the emperors Augustus and Hadrian. The statues and Dr. Cory Rogge (Museum of Fine Arts, Houston/The Menil Collection—Scientific Laboratory); Dr. Robyn
busts emphasize his youthful beauty, with full cheeks, pouty lips, thick curly hair, and Hodgkins (National Gallery of Art and Trinity University); and Peggy Tenison (photographer). Our research
Although Greek and Roman marble statues often appear white today, in antiquity was supported by the bequest of Gilbert M. Denman, Jr., Trinity University, the Earl C. Sam Summer
a sensuous body, often portrayed in the nude, and many assimilate him to various they were usually brightly colored with paint or gilding. Painted features typically Undergraduate Research Fellowship, the Welch Foundation, the W. M. Keck Foundation Undergraduate
Egyptian, Greek, and Roman gods. The combination of attributes in the Museum’s included clothing and shoes, jewelry, facial features, hair, and skin. Exposure to the Research Program, and the National Science Foundation.
Antinous, once part of an over-life-size statue, is unique among the surviving statues: environment and aggressive cleaning have removed or damaged the ancient Antinous, the Emperor's Beloved: Investigating a Roman Portrait has been made possible by generous
he wears a wreath of ivy leaves, an attribute borrowed from the god Dionysos, and a polychromy of many statues. Apart from the gilded wreath, no clear evidence support from the bequest of Gilbert M. Denman, Jr.; in memory of Myriam McGinnis, from her family; Louis
metal crown, now missing, was attached in the cavity above his forehead. survives of the ancient coloration of the Museum’s Antinous. J. Lamm, Jr.; the Alice Kleberg Reynolds Foundation; and the Friends of Ancient Art.
E X H I BIT IO N

ANTINOUS In the Greek and Roman pantheon, Antinous was often portrayed
in the guise of Apollo and Dionysos, whose statues emphasize
Antinous has attracted renewed fascination since the Renaissance. Already in the
sixteenth century, several portraits of him were known in Rome, where they were
The Emperor’s Beloved: Investigating a Roman Portrait their attractive physiques. The hand-on-head pose of the admired by some of the most prominent artists and patrons of that period. By the
Museum's portrait had been used for these gods for several 1700s, Antinous was celebrated, or notorious, for the romantic nature of his
September 1–November 26, 2017
centuries; it shows them in an attitude of relaxation, with a relationship with Hadrian. Aristocrats making the Grand Tour eagerly sought his
hipshot stance that draws attention to the smooth, curving image and readily acquired casts or prints if they could not succeed in purchasing
Gold! In the summer of 2011, Trinity University chemistry professor Michelle contours of their bodies [fig. 2]. Because of his death by drowning ancient sculptures of him.
Bushey, her undergraduate research assistant Madeline Corona, and San Antonio in the Nile, Antinous was also associated with the Egyptian god
Museum of Art curator Jessica Powers made the unexpected discovery of ancient Osiris and was sometimes depicted in Egyptian attire. A cavity above In the course of the nineteenth century, as modern gay and lesbian identities
gilding on a Roman portrait of a young man named Antinous in the Museum’s the forehead of the Museum’s portrait likely served for the developed, Antinous was increasingly recognized as homosexual and became
collection. At first glance, the portrait—stained, partly covered in burial deposits, and attachment of an Egyptian-style metal crown. Similar cavities appear something of an icon. He served as a touchstone for Victorian writers, such as
disfigured by the removal of old restorations—may not attract the eye, but on some portraits of Alexander the Great and his successors in Egypt, Oscar Wilde and John Addington Symonds, who explored homoerotic themes.
painstaking investigation has recovered the rich tales obscured by its unappealing the Ptolemies. The now-missing crowns probably took the form of To the present day, Antinous has continued to inspire a diverse array of artists
appearance. Our groundbreaking research reveals the complex story of this marble the elaborate hem-hem crown worn by Osiris and his son, Horus. and writers, most notably Marguerite Yourcenar, whose classic Memoirs of
portrait, from its creation in the second century AD to the present day. We invite you Hadrian (1951) presents a sensitive imagining of his relationship with Hadrian.
to take a closer look in Antinous, the Emperor’s Beloved. In antiquity, when the Museum’s Antinous was complete, the statue’s Antinous remains an evocative figure for the LGBTQ community and even an
headgear would have given it a striking appearance. The youth’s ivy object of worship for some, as his presence online and in social media attest.
Little is known about Antinous’s life. Born in Bithynia, a wreath was gilded, complementing the brilliance of his now-missing
Roman province in the northwest of present-day Turkey, metal crown. The tiny traces of gold leaf that survive today are barely
he might have met Hadrian when the emperor traveled visible to the naked eye [fig. 3], but examination of the portrait’s
there in the 120s [fig. 1]. Antinous accompanied Hadrian, marble surface under magnification and with x-ray fluorescence
the empress Sabina, and the imperial retinue to Egypt in (XRF) revealed vestiges of ancient gilding on each of the ivy leaves.
130. He was probably only in his late teens or early The Museum’s portrait is the only marble statue of Antinous on
twenties when he died by drowning in the Nile. Ancient which gilding has been found.
authors record Antinous’s physical beauty and his prowess Figure 2
as a hunter, as well as Hadrian’s desire for him. This
intimate relationship would not have seemed particularly
remarkable to their contemporaries: sexual relations Figure 1 The youth’s ivy wreath was gilded,
between men were widely accepted in Roman society. complementing the brilliance of
The mysterious circumstances of Antinous’s death and Hadrian’s elaborate mourning his now-missing metal crown.
for him occasioned hostile speculation. Later writers cast doubt on the emperor’s
official explanation of Antinous’s drowning as an accident, and they related rumors
that Antinous either volunteered, or was forced, to sacrifice himself on Hadrian’s The purple stains on several ivy leaves at the back of the wreath are related to its Figure 3 Figure 4
behalf. Hadrian elevated the deceased youth to divine status and named a new city ancient gilding [inside flap]. Analysis of samples from these areas with scanning
in Egypt “Antinoopolis” in his honor, and he commissioned many portrait statues of electron microscopes (SEM) at Trinity University and the University of Georgia
Antinous. The worship of the new god spread rapidly throughout the eastern showed that the purple color is caused by gold nanoparticles [fig. 4]. Exposure of
provinces of the Roman Empire. Festivals were held in Antinous’s honor, and his the gilded marble to water and acids in the soil while the sculpture was buried,
likeness appeared on the coins of more than thirty cities. The cult of Antinous prior to its modern discovery, apparently caused the ancient gold leaf to break
continued into the fourth century AD, nearly two hundred years after his death. Many people collaborated on the research presented here, and the Museum gratefully acknowledges their
down into these very small particles, which appear purple in visible light. Scholars contributions: Dr. Michelle Bushey (Trinity University and National Science Foundation); Madeline J.
have only recently recognized that purple areas on some Roman statues indicate Corona, Nicole Feldman, and Natalie Seitzman (Trinity University undergraduate students); Dr. Mark Abbe
Around one hundred stone portraits of Antinous survive, more than any other figure the presence of gilding rather than of painted color. (University of Georgia); Dr. Scott Pike (Willamette University); Jane Gillies (Museum of Fine Arts, Houston);
from the Roman world except the emperors Augustus and Hadrian. The statues and Dr. Cory Rogge (Museum of Fine Arts, Houston/The Menil Collection—Scientific Laboratory); Dr. Robyn
busts emphasize his youthful beauty, with full cheeks, pouty lips, thick curly hair, and Hodgkins (National Gallery of Art and Trinity University); and Peggy Tenison (photographer). Our research
Although Greek and Roman marble statues often appear white today, in antiquity was supported by the bequest of Gilbert M. Denman, Jr., Trinity University, the Earl C. Sam Summer
a sensuous body, often portrayed in the nude, and many assimilate him to various they were usually brightly colored with paint or gilding. Painted features typically Undergraduate Research Fellowship, the Welch Foundation, the W. M. Keck Foundation Undergraduate
Egyptian, Greek, and Roman gods. The combination of attributes in the Museum’s included clothing and shoes, jewelry, facial features, hair, and skin. Exposure to the Research Program, and the National Science Foundation.
Antinous, once part of an over-life-size statue, is unique among the surviving statues: environment and aggressive cleaning have removed or damaged the ancient Antinous, the Emperor's Beloved: Investigating a Roman Portrait has been made possible by generous
he wears a wreath of ivy leaves, an attribute borrowed from the god Dionysos, and a polychromy of many statues. Apart from the gilded wreath, no clear evidence support from the bequest of Gilbert M. Denman, Jr.; in memory of Myriam McGinnis, from her family; Louis
metal crown, now missing, was attached in the cavity above his forehead. survives of the ancient coloration of the Museum’s Antinous. J. Lamm, Jr.; the Alice Kleberg Reynolds Foundation; and the Friends of Ancient Art.
E X H I BIT IO N

ANTINOUS In the Greek and Roman pantheon, Antinous was often portrayed
in the guise of Apollo and Dionysos, whose statues emphasize
Antinous has attracted renewed fascination since the Renaissance. Already in the
sixteenth century, several portraits of him were known in Rome, where they were
The Emperor’s Beloved: Investigating a Roman Portrait their attractive physiques. The hand-on-head pose of the admired by some of the most prominent artists and patrons of that period. By the
Museum's portrait had been used for these gods for several 1700s, Antinous was celebrated, or notorious, for the romantic nature of his
September 1–November 26, 2017
centuries; it shows them in an attitude of relaxation, with a relationship with Hadrian. Aristocrats making the Grand Tour eagerly sought his
hipshot stance that draws attention to the smooth, curving image and readily acquired casts or prints if they could not succeed in purchasing
Gold! In the summer of 2011, Trinity University chemistry professor Michelle contours of their bodies [fig. 2]. Because of his death by drowning ancient sculptures of him.
Bushey, her undergraduate research assistant Madeline Corona, and San Antonio in the Nile, Antinous was also associated with the Egyptian god
Museum of Art curator Jessica Powers made the unexpected discovery of ancient Osiris and was sometimes depicted in Egyptian attire. A cavity above In the course of the nineteenth century, as modern gay and lesbian identities
gilding on a Roman portrait of a young man named Antinous in the Museum’s the forehead of the Museum’s portrait likely served for the developed, Antinous was increasingly recognized as homosexual and became
collection. At first glance, the portrait—stained, partly covered in burial deposits, and attachment of an Egyptian-style metal crown. Similar cavities appear something of an icon. He served as a touchstone for Victorian writers, such as
disfigured by the removal of old restorations—may not attract the eye, but on some portraits of Alexander the Great and his successors in Egypt, Oscar Wilde and John Addington Symonds, who explored homoerotic themes.
painstaking investigation has recovered the rich tales obscured by its unappealing the Ptolemies. The now-missing crowns probably took the form of To the present day, Antinous has continued to inspire a diverse array of artists
appearance. Our groundbreaking research reveals the complex story of this marble the elaborate hem-hem crown worn by Osiris and his son, Horus. and writers, most notably Marguerite Yourcenar, whose classic Memoirs of
portrait, from its creation in the second century AD to the present day. We invite you Hadrian (1951) presents a sensitive imagining of his relationship with Hadrian.
to take a closer look in Antinous, the Emperor’s Beloved. In antiquity, when the Museum’s Antinous was complete, the statue’s Antinous remains an evocative figure for the LGBTQ community and even an
headgear would have given it a striking appearance. The youth’s ivy object of worship for some, as his presence online and in social media attest.
Little is known about Antinous’s life. Born in Bithynia, a wreath was gilded, complementing the brilliance of his now-missing
Roman province in the northwest of present-day Turkey, metal crown. The tiny traces of gold leaf that survive today are barely
he might have met Hadrian when the emperor traveled visible to the naked eye [fig. 3], but examination of the portrait’s
there in the 120s [fig. 1]. Antinous accompanied Hadrian, marble surface under magnification and with x-ray fluorescence
the empress Sabina, and the imperial retinue to Egypt in (XRF) revealed vestiges of ancient gilding on each of the ivy leaves.
130. He was probably only in his late teens or early The Museum’s portrait is the only marble statue of Antinous on
twenties when he died by drowning in the Nile. Ancient which gilding has been found.
authors record Antinous’s physical beauty and his prowess Figure 2
as a hunter, as well as Hadrian’s desire for him. This
intimate relationship would not have seemed particularly
remarkable to their contemporaries: sexual relations Figure 1 The youth’s ivy wreath was gilded,
between men were widely accepted in Roman society. complementing the brilliance of
The mysterious circumstances of Antinous’s death and Hadrian’s elaborate mourning his now-missing metal crown.
for him occasioned hostile speculation. Later writers cast doubt on the emperor’s
official explanation of Antinous’s drowning as an accident, and they related rumors
that Antinous either volunteered, or was forced, to sacrifice himself on Hadrian’s The purple stains on several ivy leaves at the back of the wreath are related to its Figure 3 Figure 4
behalf. Hadrian elevated the deceased youth to divine status and named a new city ancient gilding [inside flap]. Analysis of samples from these areas with scanning
in Egypt “Antinoopolis” in his honor, and he commissioned many portrait statues of electron microscopes (SEM) at Trinity University and the University of Georgia
Antinous. The worship of the new god spread rapidly throughout the eastern showed that the purple color is caused by gold nanoparticles [fig. 4]. Exposure of
provinces of the Roman Empire. Festivals were held in Antinous’s honor, and his the gilded marble to water and acids in the soil while the sculpture was buried,
likeness appeared on the coins of more than thirty cities. The cult of Antinous prior to its modern discovery, apparently caused the ancient gold leaf to break
continued into the fourth century AD, nearly two hundred years after his death. Many people collaborated on the research presented here, and the Museum gratefully acknowledges their
down into these very small particles, which appear purple in visible light. Scholars contributions: Dr. Michelle Bushey (Trinity University and National Science Foundation); Madeline J.
have only recently recognized that purple areas on some Roman statues indicate Corona, Nicole Feldman, and Natalie Seitzman (Trinity University undergraduate students); Dr. Mark Abbe
Around one hundred stone portraits of Antinous survive, more than any other figure the presence of gilding rather than of painted color. (University of Georgia); Dr. Scott Pike (Willamette University); Jane Gillies (Museum of Fine Arts, Houston);
from the Roman world except the emperors Augustus and Hadrian. The statues and Dr. Cory Rogge (Museum of Fine Arts, Houston/The Menil Collection—Scientific Laboratory); Dr. Robyn
busts emphasize his youthful beauty, with full cheeks, pouty lips, thick curly hair, and Hodgkins (National Gallery of Art and Trinity University); and Peggy Tenison (photographer). Our research
Although Greek and Roman marble statues often appear white today, in antiquity was supported by the bequest of Gilbert M. Denman, Jr., Trinity University, the Earl C. Sam Summer
a sensuous body, often portrayed in the nude, and many assimilate him to various they were usually brightly colored with paint or gilding. Painted features typically Undergraduate Research Fellowship, the Welch Foundation, the W. M. Keck Foundation Undergraduate
Egyptian, Greek, and Roman gods. The combination of attributes in the Museum’s included clothing and shoes, jewelry, facial features, hair, and skin. Exposure to the Research Program, and the National Science Foundation.
Antinous, once part of an over-life-size statue, is unique among the surviving statues: environment and aggressive cleaning have removed or damaged the ancient Antinous, the Emperor's Beloved: Investigating a Roman Portrait has been made possible by generous
he wears a wreath of ivy leaves, an attribute borrowed from the god Dionysos, and a polychromy of many statues. Apart from the gilded wreath, no clear evidence support from the bequest of Gilbert M. Denman, Jr.; in memory of Myriam McGinnis, from her family; Louis
metal crown, now missing, was attached in the cavity above his forehead. survives of the ancient coloration of the Museum’s Antinous. J. Lamm, Jr.; the Alice Kleberg Reynolds Foundation; and the Friends of Ancient Art.
EV EN TS

Art Party: Golden Boy

Friday, September 8 | 6:00–8:00 p.m.
Free with Museum Admission | Cash bar by The Esquire Tavern

Lennox Lecture: Rome: Sexuality and Empire

by Caroline Vout, PhD, University of Cambridge September 1–November 26, 2017
Tuesday, September 12 | 6:30–7:30 p.m.
Free | Space is limited
In partnership with Trinity University

Art Out: Romosexuality and Antinous the Gay God

Friday, September 15 | 7:30–8:30 p.m.
$5 Members | $15 non-members

Educator Workshop: Science and Art: Ancient to Contemporary 

Saturday, September 16 | 9:30 a.m.–3:30 p.m. 
$20 members | $35 non-members | 6 CPE/GT credits
Register: samuseum.org/calendar | K-5 or 6-12 track

Lecture: A to X: Antinous, the Alamo, and X-Ray Fluorescence

by Michelle Bushey, PhD, National Science Foundation
Tuesday, September 19 | 6:30–7:30 p.m.
Free | Space is limited

Film on the Green: La Dolce Vita

Friday, September 22 | Sundown | West Courtyard
Free | Cash bar by The Brooklynite | Food trucks
Pre-Film Gallery Talk: The Tragedies of the Sweet Life
7:30–8:30 p.m. | Meet in the Great Hall | Free with Museum admission

Museum Book Club: Memoirs of Hadrian

Tuesday, November 7 | 6:30–8:30 p.m.
$5 members | $15 non-members

Lecture: Searching for Antinous: New Discoveries in the Field and

Museum by Elizabeth Bartman, PhD
Tuesday, November 14 | 6:30–7:30 p.m.
Free | Space is limited
In partnership with Southwest Texas Archaeological Society

For full calendar details visit samuseum.org/calendar.

In addition to the Lennox Lecture at the Museum on September 12,

Trinity University will host Lennox lectures on October 2, November 6,
and November 27. Visit events.trinity.edu for more details.

CAPTIONS:
Cover. Portrait of Antinous as Dionysos, Roman, AD 130–138, marble, h. 15 in. San Antonio
Museum of Art, gift of Gilbert M. Denman, Jr., 86.134.164. Photo: Peggy Tenison.
Figure 1. Aureus of Hadrian, minted in Rome, AD 134–138, gold, diam. 7/8 in. San Antonio Museum
of Art, gift of Gilbert M. Denman, Jr., 91.111.52. Photo: Peggy Tenison.
Figure 2. Statuette of Apollo, Greek or Roman, 1st century BC, bronze, h. 11 1/2 in. J. Paul Getty
Museum, Villa Collection, Malibu, California, gift of Barbara and Lawrence Fleischman, 96.AB.306.
Figure 3. Portrait of Antinous as Dionysos, detail of gold leaf. Photo: Peggy Tenison.
Inside flap. Portrait of Antinous as Dionysos, back view. Photo: Peggy Tenison.
Figure 4. Portrait of Antinous as Dionysos, microscopic view of sample with gold leaf and purple
areas. Photo: Michelle Bushey.

San Antonio Museum of Art | 200 West Jones Avenue | samuseum.org SAN ANTONIO MUSEUM of ART
EV EN TS

Art Party: Golden Boy

Friday, September 8 | 6:00–8:00 p.m.
Free with Museum Admission | Cash bar by The Esquire Tavern

Lennox Lecture: Rome: Sexuality and Empire

by Caroline Vout, PhD, University of Cambridge September 1–November 26, 2017
Tuesday, September 12 | 6:30–7:30 p.m.
Free | Space is limited
In partnership with Trinity University

Art Out: Romosexuality and Antinous the Gay God

Friday, September 15 | 7:30–8:30 p.m.
$5 Members | $15 non-members

Educator Workshop: Science and Art: Ancient to Contemporary 

Saturday, September 16 | 9:30 a.m.–3:30 p.m. 
$20 members | $35 non-members | 6 CPE/GT credits
Register: samuseum.org/calendar | K-5 or 6-12 track

Lecture: A to X: Antinous, the Alamo, and X-Ray Fluorescence

by Michelle Bushey, PhD, National Science Foundation
Tuesday, September 19 | 6:30–7:30 p.m.
Free | Space is limited

Film on the Green: La Dolce Vita

Friday, September 22 | Sundown | West Courtyard
Free | Cash bar by The Brooklynite | Food trucks
Pre-Film Gallery Talk: The Tragedies of the Sweet Life
7:30–8:30 p.m. | Meet in the Great Hall | Free with Museum admission

Museum Book Club: Memoirs of Hadrian

Tuesday, November 7 | 6:30–8:30 p.m.
$5 members | $15 non-members

Lecture: Searching for Antinous: New Discoveries in the Field and

Museum by Elizabeth Bartman, PhD
Tuesday, November 14 | 6:30–7:30 p.m.
Free | Space is limited
In partnership with Southwest Texas Archaeological Society

For full calendar details visit samuseum.org/calendar.

In addition to the Lennox Lecture at the Museum on September 12,

Trinity University will host Lennox lectures on October 2, November 6,
and November 27. Visit events.trinity.edu for more details.

CAPTIONS:
Cover. Portrait of Antinous as Dionysos, Roman, AD 130–138, marble, h. 15 in. San Antonio
Museum of Art, gift of Gilbert M. Denman, Jr., 86.134.164. Photo: Peggy Tenison.
Figure 1. Aureus of Hadrian, minted in Rome, AD 134–138, gold, diam. 7/8 in. San Antonio Museum
of Art, gift of Gilbert M. Denman, Jr., 91.111.52. Photo: Peggy Tenison.
Figure 2. Statuette of Apollo, Greek or Roman, 1st century BC, bronze, h. 11 1/2 in. J. Paul Getty
Museum, Villa Collection, Malibu, California, gift of Barbara and Lawrence Fleischman, 96.AB.306.
Figure 3. Portrait of Antinous as Dionysos, detail of gold leaf. Photo: Peggy Tenison.
Inside flap. Portrait of Antinous as Dionysos, back view. Photo: Peggy Tenison.
Figure 4. Portrait of Antinous as Dionysos, microscopic view of sample with gold leaf and purple
areas. Photo: Michelle Bushey.

San Antonio Museum of Art | 200 West Jones Avenue | samuseum.org SAN ANTONIO MUSEUM of ART