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Roman sculpture was an integral part of Roman life, and the Romans placed statues and reliefs in their flora, basilicas, temples and public baths as well as in their houses, villas, gardens and tombs.
The nineteen papers in this volume stem from a symposium that brought together academics, archaeologists, museum curators, conservators, and a practicing marble sculptor to discuss varying approaches to restoration of ancient stone sculpture. Contributors and their subjects include Marion True and Jerry Podany on changing approaches to conservation; Seymour Howard on restoration and the antique model; Nancy H. Ramage’s case study on the relationship between a restorer, Vincenzo Pacetti, and his patron, Luciano Bonaparte; Mette Moltesen on de-restoring and re-restoring in the Ny Carlsberg Glyptotek; Miranda Marvin on the Ludovisi collection; and Andreas Scholl on the history of restoration of ancient sculptures in the Altes Museum in Berlin. The book also features contributions by Elizabeth Bartman, Brigitte Bourgeois, Jane Fejfer, Angela Gallottini, Sascha Kansteiner, Giovanna Martellotti, Orietta Rossi Pinelli, Peter Rockwell, Edmund Southworth, Samantha Sportun, and Markus Trunk. Charles Rhyne summarizes the themes, approaches, issues, and questions raised by the symposium.
A History of Roman Art provides a wide-ranging survey of the subject from the founding of Rome to the rule of Rome's first Christian emperor, Constantine. Incorporating the most up-to-date information available on the topic, this new textbook explores the creation, use, and meaning of art in the Roman world. Extensively illustrated with 375 color photographs and line drawings Broadly defines Roman art to include the various cultures that contributed to the Roman system Focuses throughout on the overarching themes of Rome's cultural inclusiveness and art's important role in promoting Roman values Discusses a wide range of Roman painting, mosaic, sculpture, and decorative arts, as well as architecture and associated sculptures within the cultural contexts they were created and developed Offers helpful and instructive pedagogical features for students, such as timelines; key terms defined in margins; a glossary; sidebars with key lessons and explanatory material on artistic technique, stories, and ancient authors; textboxes on art and literature, art from the provinces, and important scholarly perspectives; and primary sources in translation A book companion website is available at www.wiley.com/go/romanart with the following resources: PowerPoint slides, glossary, and timeline Steven Tuck is the 2014 recipient of the American Archaeological Association's Excellence in Undergraduate Teaching Award.
What can modern art have to do with ancient sculpture? Surely the excitement of modern art lies in its utter repudiation of classical example? Elizabeth Prettejohn's important and revisionist new book argues otherwise: that ancient sculpture and modern art have been in constant dialogue since Johann Joachim Winckelmann invented the modern discipline of art history. It shows how ancient sculptures could inspire artists such as Rodin, Leighton or Picasso, and how modern artworks could help to interpret sculptors such as Pheidias and Praxiteles. The Modernity of Ancient Sculpture will have strong appeal to students of modern art and the classics alike.
In sixteen essays, prominent art historians, sculptors, scientists, and conservators discuss ancient marble sculpture. The essays are based on a symposium held at the J. Paul Getty Museum in April 1988. Topics include the provenancing of marble, the detection of marble forgeries, scientific analysis and authentication of ancient marble, marble quarrying and trade in the ancient world, and the techniques used in ancient sculpture.
Explains the origins, materials, and meaning of traditional art in China, and describes the development of painting, sculpture, calligraphy, architecture, and other media.
"Translation of a foundational text for the disciplines of art history and archaeology. Offers a systematic history of art in ancient Egypt, Persia, Etruria, Rome, and, above all, Greece that synthesizes the visual and written evidence then available"--Provided by publisher.
What is a an anthemion? What is giallo antico marble? Who was Praxiteles? This richly illustrated book -- in the popular Looking At series -- presents definitions and descriptions of these and many other terms relating to Greek and Roman sculpture encountered in museum exhibitions and publications on ancient stone sculpture. This is an indispensable guide to anyone looking for greater understanding of ancient sculpture and heightened enjoyment of the objects. Book jacket.
How did the statues of ancient Greece wind up dictating art history in the West? How did the material culture of the Greeks and Romans come to be seen as "classical" and as "art"? What does "classical art" mean across time and place? In this ambitious, richly illustrated book, art historian and classicist Caroline Vout provides an original history of how classical art has been continuously redefined over the millennia as it has found itself in new contexts and cultures. All of this raises the question of classical art's future. What we call classical art did not simply appear in ancient Rome, or in the Renaissance, or in the eighteenth-century Academy. Endlessly repackaged and revered or rebuked, Greek and Roman artifacts have gathered an amazing array of values, both positive and negative, in each new historical period, even as these objects themselves have reshaped their surroundings. Vout shows how this process began in antiquity, as Greeks of the Hellenistic period transformed the art of fifth-century Greece, and continued through the Roman empire, Constantinople, European court societies, the neoclassical English country house, and the nineteenth century, up to the modern museum. A unique exploration of how each period of Western culture has transformed Greek and Roman antiquities and in turn been transformed by them, this book revolutionizes our understanding of what classical art has meant and continues to mean.