Caeretan hydria (water jar), attributed to Eagle Painter (Greek, Caeretan, active 530‒500 BC), 520‒510 BC. Terracotta, height 17 1/2 in. (44.6 cm). Herakles and Iolaos attacking the hydra. Courtesy of the J. Paul Getty Museum, Los Angeles, 83.AE.346
The Etruscans: From the Heart of Ancient Italy
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Togas, temples, hydraulic engineering, winemaking, and even “Roman” numerals, all widely credited to the Romans, were actually Etruscan innovations. The Etruscans thrived in what is now Italy for almost a millennium, from around 900 to 100 BC, before the rise of the Roman Empire. They laid the foundation for present-day architecture, engineering, and artistic achievements. Yet their culture remains overshadowed by ancient Greece and Rome. Drawing on the latest archaeological discoveries and cutting-edge scholarship, this is the most comprehensive exhibition on Etruscan culture in the United States to date. Almost 200 exquisitely crafted and well-preserved examples of bronze and terracotta sculpture, gold jewelry, ceramics, and architectural features, as well as the longest-surviving piece of Etruscan writing, reveal a legacy that continues to captivate today.
Sponsors
This exhibition is organized by the Fine Arts Museums of San Francisco.
Presenting Sponsor
John A. Gunn and Cynthia Fry Gunn
Lead Sponsor
Diane B. Wilsey
Major Support
Elizabeth and Bruce Dunlevie
Stanlee Gatti
Edina Jennison
San Francisco Auxiliary of the Fine Arts Museums
Estate of Sheila Wishek for the Ancient Art Council
Barbara A. Wolfe
The National Endowment for the Humanities: Democracy demands wisdom
Significant Support
Lorna Meyer Calas and Dennis Calas
Generous Support
Matthew and Janice Barger
Sandra Bessières
Ronald M. Costell, M.D.
Cathy and Howard Moreland
Karen Wilberding Diefenbach and John Diefenbach
Additional support provided by Bernard and Jane von Bothmer, the Chang Mooi Family Foundation, Anthony J. Hardy in memory of Susan Chen Hardy, the Samuel H. Kress Foundation, Jan and Bob Newman, and the Sack Family Fund.
Any views, findings, conclusions, or recommendations expressed in this exhibition do not necessarily represent those of the National Endowment for the Humanities.
