Hercules and the Erymanthian Boar

Paul Manship, Hercules and the Erymanthian Boar, 1956, bronze on marble base, Smithsonian American Art Museum, Bequest of Paul Manship, 1966.47.55
Paul Manship, Hercules and the Erymanthian Boar, 1956, bronze on marble base, 7 1⁄2 x 4 7⁄8 x 3 in. (19.1 x 12.5 x 7.6 cm), Smithsonian American Art Museum, Bequest of Paul Manship, 1966.47.55

Artwork Details

Title
Hercules and the Erymanthian Boar
Artist
Date
1956
Location
Dimensions
7 1⁄2 x 4 7⁄8 x 3 in. (19.1 x 12.5 x 7.6 cm)
Credit Line
Bequest of Paul Manship
Mediums
Mediums Description
bronze on marble base
Classifications
Subjects
  • Mythology — classical — Erymanthian Boar
  • Animal — pig
  • Figure male — full length
Object Number
1966.47.55
Linked Open Data
https://edan.si.edu/saam/id/object/1966.47.55

Artwork Description

Paul Manship modeled many sculptures of Hercules, the son of Zeus and the mortal Alcmena. Zeus’s wife, Queen Hera, was jealous of Hercules and tormented him so much that he murdered his own family in a fit of insanity. As punishment, he was sentenced to serve twelve labors for his cousin and enemy, Eurystheus. These included strangling the Nemean lion, whose skin was impenetrable, destroying the many-headed Hydra, and stealing the belt from the Amazon queen Hippolyte. His final labor was to capture Cerberus, a three-headed dog from the kingdom of the dead. Hercules had many more adventures after these tasks were completed, including stealing the Delphic tripod from his half-brother Apollo, and killing the giant Antaeus. Antaeus gained strength every time he touched his mother, the earth, so Hercules defeated him by lifting him high above his head.

Works by this artist (6 items)

View all artworks
George Segal, The Restaurant, 1975, brush and ink, pen and ink, oil wash, gouache, charcoal and collage: photograph on paper, Smithsonian American Art Museum, Transfer from the General Services Administration, Art-in-Architecture Program, 1977.47.56
The Restaurant
Artist
Date1975
brush and ink, pen and ink, oil wash, gouache, charcoal and collage: photograph on paper
Not on view
George Segal, Untitled--Figure with White Chair, 1970, screenprint on paper, Smithsonian American Art Museum, Transfer from the National Endowment for the Arts, 1988.18.55
Untitled – Figure with White Chair
Artist
Date1970
screenprint on paper
Not on view
George Segal, The Curtain, 1974, mixed media: plaster, glass and painted wood, Smithsonian American Art Museum, Museum purchase, 1978.62, (c) 1978, George Segal
The Curtain
Artist
Date1974
mixed media: plaster, glass and painted wood
Not on view
George Segal, Untitled--Red Chair and Radiator, 1970, screenprint on paper, Smithsonian American Art Museum, Transfer from the National Endowment for the Arts, 1988.18.54
Untitled – Red Chair and Radiator
Artist
Date1970
screenprint on paper
Not on view

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Unidentified, HEREIN LIES WHAT THE MOUNTAIN-LIONS LEFT OF MUCHABONGO. GONE TO THE HAPPY HUNTING GROUNDS, WHERE GAME IS EVER PLENTIFUL, AND THE WHITE MAN NEVER INTRUDES., early 20th century, carved and painted wood and plaster, synthetic fiber and buttons, wool cotton, feathers, and shell, Smithsonian American Art Museum, Gift of Herbert Waide Hemphill, Jr. and museum purchase made possible by Ralph Cross Johnson, 1986.65.313A-B
HEREIN LIES WHAT THE MOUNTAIN-LIONS LEFT OF MUCHABONGO…
Artist
Unidentified
Dateearly 20th century
carved and painted wood and plaster, synthetic fiber and buttons, wool cotton, feathers, and shell
Not on view