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"The Cesnola Collection in The Metropolitan Museum of Art is the richest and most varied representation, outside Cyprus, of Cypriot antiquities. These works were purchased by the newly established Museum in the mid-1870s from General Luigi Palma di Cesnola, a Civil War cavalry officer who had amassed the objects while serving as the American consul on Cyprus." "This catalogue is published on the occasion of the opening of the Museum's four permanent galleries for ancient art from Cyprus. It is also the first scholarly publication since 1914 devoted to the Cesnola Collection (which totals approximately six thousand objects). The volume features some five hundred pieces from the collection, illustrated in new color photography. Dating from about 2500 B.C. to about A.D. 300, these works rank among the finest examples of Cypriot art from the prehistoric, Geometric, Archaic, Classical, Hellenistic, and Roman periods. Among the objects are monumental sculpture; weapons, tools, and domestic utensils; vases, lamps, and ritual paraphernalia; dedicatory figurines; engraved sealstones and jewelry; and luxury objects."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
The fourth catalogue in a series that documents the renowned Cesnola Collection of Cypriot Art, this book focuses on the collection’s 453 terracotta oil lamps dating from the Classical, Hellenistic, Roman, and Early Byzantine periods. The rich iconography on many of these common, everyday objects provides a rare look into daily life on Cyprus in antiquity and highlights the island’s participation in Roman artistic and cultural production. Each lamp is illustrated, and the accompanying text addresses typology, decoration, and makers’ marks on each of these objects that provide new insights into art, craft, and trade in the ancient Mediterranean.
The Cesnola Collection of antiquities was assembled on Cyprus in the 1860s and 1870s by Luigi Palma de Cesnola, who sold it to The Metropolitan Museum of Art in 1872. Cesnola subsequently served as the institution's first director.
The Cesnola Collection of antiquities from Cyprus preserves the island’s artistic traditions from prehistoric through Roman times and represents the first large group of ancient Mediterranean works to enter the museum’s collection. This publication which focuses on Ancient Glass and is the third volume in a series aimed at publishing the collection in its entirety. This catalogue contains descriptions and illustrations of 520 glass vessels and objects. Although the majority of the glass is Roman, the scope of the collection extends from the Late Bronze Age through the end of antiquity (ca. 1500 B.C.– A.D. 600). It is the first attempt in over a century to provide a detailed account of the ancient glass found on Cyprus by Cesnola.
A history of the Department of Greek and Roman art -- Floor plan of the galleries of the Department of Greek and Roman art -- Art of the Neolithic and the Aegean bronze age : ca. 6000- B.C. -- Art of geometric and archaic Greece : ca. 1050-480 B.C. -- Art of classical Greece : ca. 480-323 B.C. -- Art of the Hellenistic Age : ca. 323-31 B.C. -- Art of Cyprus : ca. 3900 B.C.-ca. A.D. 100 -- Art of Etruria : ca. 900-100 B.C. -- Art of the Roman Empire : ca. 31 B.C.-A.D. 330 -- Notes on the works of art : Art of the Neolithic and the Aegean bronze age -- Art of geometric and archaic Greece -- Art of classical Greece -- Art of the Hellenistic age -- Art of Cyprus -- Art of Etruria -- Art of the Roman Empire -- Concordance -- Index of works of art
To what extent does locality influence contemporary art? Can any particular artistic practices be defined as uniquely Cypriot? And does art from Cyprus transcend Western boundaries once it enters the global art scene? This volume uses Cyprus as a case study for the exploration of notions of identity, regionalism, and the global and local in contemporary art practice; it is not, therefore, a complete historiography of contemporary Cypriot art. Rather, this critical text provides a theoretical and historical framework that frames and contextualizes art practices from Cyprus, while always relating these back to the international art world. Numerous current and pressing issues-all relevant beyond Cyprus-are investigated in this book including, but not limited to, art as capital, the emergence of the “periphery”, the importance of thriving localities, issues of memory and memorialization, archaeology, artists' identities, conflict and politics, social engagement, gender politics, and such curatorial alternatives as artist-run spaces. In doing all of this, Contemporary Art from Cyprus not only bears on current and future art practices in this region but highlights the importance of Cypriot art in a global context too.
Ancient Mediterranean Art in the Ackland Art Museum presents the collection of ancient art in the Ackland Art Museum at The University of North Carolina at Chapel Hill. This collection includes a broad array of works of art that come from many parts of the ancient Mediterranean world, including Egypt and the Nile Valley, Mesopotamia, Iran, Cyprus, Greece, and Italy, ranging in date from ca. 5000 BCE to 1100 CE. The collection contains large- and small-scale sculptures made of marble, bronze, terracotta, limestone, and gold and vessels formed of clay, stone, and bronze. Notable groups of objects include Egyptian amulets made of faience, Near Eastern cylinder seals, Cypriot votive statuary of limestone, Greek and Roman coins, and Roman vessels of glass. Started in 1958, the collection has grown considerably and now includes objects discovered through official excavations in Egypt and the Nile valley and Italy, along with gifts of former faculty members and friends of the University and Museum. From its beginning, the collection was intended to be diverse in scope and was founded to bring to Chapel Hill works of art that would directly support the teaching mission of the university. This volume showcases a significant and valuable collection as never before.
Dramatic social and political change marks the period from the end of the Late Bronze Age into the Iron Age (ca. 1300-700 BCE) across the Mediterranean. Inland palatial centers of bureaucratic power weakened or collapsed ca. 1200 BCE while entrepreneurial exchange by sea survived and even expanded, becoming the Mediterranean-wide network of Phoenician trade. At the heart of that system was Kition, one of the largest harbor cities of ancient Cyprus. Earlier research has suggested that Phoenician rule was established at Kition after the abandonment of part of its Bronze Age settlement. A reexamination of Kition's architecture, stratigraphy, inscriptions, sculpture, and ceramics demonstrates that it was not abandoned. This study emphasizes the placement and scale of images and how they reveal the development of economic and social control at Kition from its establishment in the thirteenth century BCE until the development of a centralized form of government by the Phoenicians, backed by the Assyrian king, in 707 BCE.