Katalog Over Den Kongelige Afstøbningssamling

Total Page:16

File Type:pdf, Size:1020Kb

Katalog Over Den Kongelige Afstøbningssamling Katalog over Den Kongelige Afstøbningssamling Afstøbningssamlings Venner takker Statens Museum for Kunst for at have stillet dette materiale til rådighed. Kataloget er skabt på basis af en database som for en stor del er udarbejdet af Jan Zahle, mens han fungerede som museumsinspektør på Afstøbningssamlingen. Kataloget er senest blevet opdateret 1.4.2002. Kommentarer om fejl, mangler, figurernes placering og bevaringstilstand skal stiles til Statens Museum for Kunst. Manglende inventarnumre skyldes at skulpturerne ikke forefindes i Vestindisk Pakhus (forsvundne eller uddeponerede). Bemærk, at figurerne kan siden 2002 være flyttede fra den her angivne placering. Beckett henviser til Francis Beckett: Katalog over den Kongelige Afstøbningssamling, København 1902-1904. Brug browserens søgefunktion – ctrl + F eller æble + F – til at finde det, du leder efter. Et givet værk kan også slås op i SMKs illustrerede katalog på http://www.smk.dk/ – skriv værkets KAS-inventarnummer på følgende vis: kas4 eller kas577. KAS inv.nr. 1 – Beckett nr.: 296 Statue. Stående nøgen atlet, som har holdt olieflaske i løftede h. hånd. H. arm og v. hånd afslået Højde: 193 1. sal, baghus, magasin Originalen: Marmor Græsk, klassisk 4. årh. f.Kr. Romersk kopi Oprindelsessted: Italien, Erhvervet i Rom 1811 ved Vincenzo Camuccini Nuværende placering: Tyskland, München, Glyptothek Inv. Gl. 302 KAS inv.nr. 3 – Beckett nr.: 512 Kephisodotos I: Statuegruppe. Eirene stående med Ploutos (KAS 1074/1) på armen Højde: 257 Stuen, baghus Originalen: Marmor Græsk, klassisk ca. 370 f.Kr. Romersk kopi Oprindelsessted: Italien, Ex Villa Albani Nuværende placering: Tyskland, München, Glyptothek Inv. Gl. 219 KAS inv.nr. 4 – Beckett nr.: 522 Hoved. Ung satyr med horn i panden, 'Winckelmanns Faun' Højde: 55 2. sal, baghus, reol 5 Originalen: Marmor Græsk, klassisk 4. årh. f.Kr. Romersk kopi Oprindelsessted: Italien, Ex Bartolomeo Cavaceppi, Winckelmann, Villa Albani Nuværende placering: Tyskland, München, Glyptothek Inv. Gl. 261 KAS inv.nr. 5 – Beckett nr.: 457 Hoved. Ung mand med bånd om håret Højde: 59 2. sal, baghus, reol 3 Originalen: Bronze Græsk / romersk 1. årh. f./e.Kr. Oprindelsessted: Italien, 'Napoli-området' Nuværende placering: Tyskland, München, Glyptothek Inv. Gl. 457 KAS inv.nr. 6 – Beckett nr.: 739 Buste. Ung satyr Højde: 60 2. sal, baghus, reol 3 Originalen: Bronze Græsk, hellenistisk 2.-1. årh. f.Kr. Oprindelsessted: Italien, Ex Villa Albani 1815 Nuværende placering: Tyskland, München, Glyptothek Inv. FW 450 KAS inv.nr. 7 – Beckett nr.: 970 Hoved. Portræt af ældre, skaldet og skægløs mand Højde: 52 2. sal, baghus, reol 7 Originalen: Marmor Romersk, 1. årh. f.Kr. Oprindelsessted: Italien, Ex Palazzo Bevilacqua i Verona 1811 Nuværende placering: Tyskland, München, Glyptothek Inv. Gl. 320 KAS inv.nr. 8 – Beckett nr.: 139 Hoved. Mand med skæg, 'Sabouroff-hovedet' Højde: 39 2. sal, baghus, reol 5 Originalen: Marmor Græsk, arkaisk ca. 550-540 f.Kr. Oprindelsessted: Grækenland, Athen eller Aigina Nuværende placering: Tyskland, Berlin, SMPK Inv. SK 308 KAS inv.nr. 9 – Beckett nr.: 184 Kritios & Nesiotes: Statue. Skægløs ung mand med h. arm løftet, tyranmorderen Harmodios Højde: 217 Stuen, baghus Originalen: Marmor Græsk, klassisk 477/76 f.Kr. Romersk kopi Oprindelsessted: Italien, Tivoli? Før 1510 i Palazzo Medici-Madama. Fra 1538 Farnese familien Nuværende placering: Italien, Napoli, Museo Archeologico Inv. 6009 KAS inv.nr. 10 – Beckett nr.: 184 Kritios & Nesiotes: Statue. Skægget mand med kappe over fremstrakte v. arm, tyranmorderen Aristogeiton. Med hoved i Madrid (= KAS 387). Se KAS 2308/1-5 for antik afstøbning Højde: 199 Stuen, baghus Originalen: Marmor Græsk, klassisk 477/76 f.Kr. Romersk kopi Oprindelsessted: Italien, Tivoli? Før 1510 i Palazzo Medici-Madama. Fra 1538 Farnese familien Nuværende placering: Italien, Napoli, Museo Archeologico Inv. 6010 KAS inv.nr. 11 – Beckett nr.: 432 Polyklet (aktiv 460-415 f.Kr.): Statue. Stående nøgen ung mand med bøjet v. arm, 'Spydbæreren'. Se andre kopier KAS 97 & KAS 1242 efter samme original Højde: 213 1. sal, forhus, helligdom Originalen: Marmor Græsk, klassisk ca. 450 f.Kr. Romersk kopi Oprindelsessted: Italien, Pompeii, Palaestra Samnitica 1797 Nuværende placering: Italien, Napoli, Museo Archeologico Inv. 6011 KAS inv.nr. 12 – Beckett nr.: 536 Relief. Gravrelief. Stående ung mand mod v. med fugl i h. hånd Højde: 108 2. sal, baghus, net 1 Originalen: Marmor Græsk, klassisk ca. 370 f.Kr. Oprindelsessted: Grækenland, Athen Nuværende placering: Holland, Leiden, Rijksmuseum van Oudheden Inv. ROI A.2 KAS inv.nr. 13 – Beckett nr.: 845 Statue. Torso af den ved hænderne ophængte Marsyas. Se andre kopier KAS 2254 & KAS 2348 efter samme original Højde: 88 1. sal, baghus Originalen: Marmor Græsk, hellenistisk 2. årh. f.Kr. Romersk kopi Oprindelsessted: Italien, Rom, Palatin's sydside v. Circus Maximus 1845 Nuværende placering: Tyskland, Berlin, SMPK Inv. 213 KAS inv.nr. 14 – Beckett nr.: 1269 Desiderio da Settignano (ca. 1430-1464): Buste. Portræt af ung kvinde, 'Marietta Strozzi' Højde: 53 2. sal, baghus, reol 13 Originalen: Marmor Renæssance, ca. 1455 Oprindelsessted: Italien, Firenze, Villa del Boschetto (Vasari) Nuværende placering: Tyskland, Berlin, SMPK, Dahlem Inv. 77 KAS inv.nr. 15 – Beckett nr.: 1270 Maestro della Sibilia, tidl. Desiderio: Buste. Portræt af prinsesse af Urbino? Højde: 49 2. sal, baghus, reol 13 Originalen: Kalksten Renæssance, ca. 1460 Oprindelsessted: Italien, Urbino, evt. Palazzo di Urbino Nuværende placering: Tyskland, Berlin, SMPK KAS inv.nr. 16 – Beckett nr.: 1294 Francesco Laurana (ca. 1420-1502): Buste. Portræt af Eleonore af Aragonien Højde: 49 2. sal, baghus, reol 13 Originalen: Marmor Renæssance, ca. 1473 Oprindelsessted: Italien, Firenze, Palazzo Strozzi (indtil 1877) Nuværende placering: Tyskland, Berlin, SMPK KAS inv.nr. 17 – Beckett nr.: 1171 Statue. Portræt af Enrico Scrovegni (- ca. 1336) Højde: 180 2. sal, forhus Originalen: Marmor Gotisk, ca. 1350 Oprindelsessted: Italien, Padova, Capella della Madonna dell'Arena (- degli Scrovegni) Nuværende placering: Italien, Padova, Capella della Madonna dell'Arena (- degli Scrovegni) KAS inv.nr. 19 – Beckett nr.: 779 Relief. Reliefferne KAS 19/3,5-11, 104 & 425 stammer fra samme monument, Zeusaltret i Pergamon Stuen, forhus Originalen: Marmor Græsk, hellenistisk 170-155 f.Kr. Oprindelsessted: Tyrkiet, Pergamon 1878-86 Nuværende placering: Tyskland, Berlin, SMPK KAS inv.nr. 19, 3 – Beckett nr.: 780 Relief. Dionysos og to satyrer Højde: 236 Stuen, forhus, Hersker Originalen: Marmor Græsk, hellenistisk 170-155 f.Kr. Oprindelsessted: Tyrkiet, Pergamon, Zeusaltret, vest, h. risalit Nuværende placering: Tyskland, Berlin, SMPK KAS inv.nr. 19, 5 – Beckett nr.: 782 Relief. Selene til hest Højde: 165 Stuen, forhus, Hersker Originalen: Marmor Græsk, hellenistisk 170-155 f.Kr. Oprindelsessted: Tyrkiet, Pergamon, Zeusaltret, syd Nuværende placering: Tyskland, Berlin, SMPK KAS inv.nr. 19, 6 – Beckett nr.: 783 Relief. Overkrop af gigant, Klytios? Højde: 118,5 Stuen, forhus, Hersker Originalen: Marmor Græsk, hellenistisk 170-155 f.Kr. Oprindelsessted: Tyrkiet, Pergamon, Zeusaltret, øst Nuværende placering: Tyskland, Berlin, SMPK KAS inv.nr. 19, 7 – Beckett nr.: 784 Relief. Gigant bides af Artemis' hund, t.h. hendes venstre fod Højde: 230 Stuen, forhus, Hersker Originalen: Marmor Græsk, hellenistisk 170-155 f.Kr. Oprindelsessted: Tyrkiet, Pergamon, Zeusaltret, øst Nuværende placering: Tyskland, Berlin, SMPK KAS inv.nr. 19, 8 – Beckett nr.: 787 Relief. Athena-gruppen. Athena, Alkyoneus, Ge og Nike Højde: 311 Stuen, forhus, Hersker Originalen: Marmor Græsk, hellenistisk 170-155 f.Kr. Oprindelsessted: Tyrkiet, Pergamon, Zeusaltret, øst Nuværende placering: Tyskland, Berlin, SMPK KAS inv.nr. 19, 9 – Beckett nr.: 788 Relief. En Erinye (hævngudinde), tidl. gudinden Nyx Højde: 240 Stuen, forhus, Hersker Originalen: Marmor Græsk, hellenistisk 170-155 f.Kr. Oprindelsessted: Tyrkiet, Pergamon, Zeusaltret, nord Nuværende placering: Tyskland, Berlin, SMPK KAS inv.nr. 19, 10 – Beckett nr.: 790 Relief. Hoved af gigant Højde: 67 Stuen, forhus, Hersker Originalen: Marmor Græsk, hellenistisk 170-155 f.Kr. Oprindelsessted: Tyrkiet, Pergamon, Zeusaltret, nord Nuværende placering: Tyskland, Berlin, SMPK KAS inv.nr. 19, 11 – Beckett nr.: 791 Relief. Herakles og Telefos, der dier en løvinde Højde: 108 Stuen, forhus, Hersker Originalen: Marmor Græsk, hellenistisk 170-155 f.Kr. Oprindelsessted: Tyrkiet, Pergamon, Zeusaltret, indvendige frise Nuværende placering: Tyskland, Berlin, SMPK KAS inv.nr. 20 – Beckett nr.: 2 Buste. Overkrop af mand med glatraget ansigt og paryk Højde: 28 1. sal, baghus, montre Originalen: Kalksten Egyptisk, 5. dynasti ca. 2450 f.Kr.? Oprindelsessted: Egypten, Giza Nuværende placering: Egypten, Cairo, Det Egyptiske Museum KAS inv.nr. 21 – Beckett nr.: 19 Hoved. Portræt af skaldet mand, 'Det grønne hoved' Højde: 22 1. sal, baghus, montre, Orienten Originalen: Hård grøn sten Egyptisk, 2.-1. årh. f.Kr. Oprindelsessted: Egypten Nuværende placering: Tyskland, Berlin, SMPK, Ägyptishces Museum Inv. 12 500 KAS inv.nr. 22 – Beckett nr.: 138 Hoved. Skægget, med hjelm. Fra statue af våbenløber? KAS 23/1 hører måske til samme statue Højde: 40 2. sal, baghus, reol 5 Originalen: Marmor Græsk, arkaisk ca. 490 f.Kr. Oprindelsessted: Grækenland, Olympia, foran Pelopion porten Nuværende placering: Grækenland, Olympia, Arkæologiske Museum KAS inv.nr. 23, 1 – Beckett nr.: 138 Statue. Venstre arm med rest af skjold med relief: Phrixos på vædderen 2. sal, baghus, reol 11 Originalen:
Recommended publications
  • The Art and Archaeology of Ancient Greece Judith M
    Cambridge University Press 978-1-107-00123-7 - The Art and Archaeology of Ancient Greece Judith M. Barringer Frontmatter More information The Art and This richly illustrated, color textbook introduces the art and Archaeology of archaeology of ancient Greece, from the Bronze Age through the Roman conquest. Suitable for students with no prior knowledge of Ancient Greece ancient art, this book reviews the main objects and monuments of the ancient Greek world, emphasizing the context and function of these artefacts in their particular place and time. Students are led to a rich understanding of how objects were meant to be perceived, what “messages” they transmitted, and how the surrounding environment shaped their meaning. The book includes more than 500 illustrations (with over 400 in color), including specially commissioned photographs, maps, fl oorplans, and reconstructions. Judith Barringer examines a variety of media, including marble and bronze sculpture, public and domestic architecture, painted vases, coins, mosaics, terracotta fi gurines, reliefs, jewelry, armor, and wall paintings. Numerous text boxes, chapter summaries, and timelines, complemented by a detailed glossary, support student learning. • More than 500 illustrations, with over 400 in color, including specially commissioned photographs, maps, plans, and reconstructions • Includes text boxes, chapter summaries and timelines, and detailed glossary • Looks at Greek art from the perspectives of both art history and archaeology, giving students an understanding of the historical and everyday context of art objects Judith M. Barringer is Professor of Greek Art and Archaeology in Classics at the University of Edinburgh. Her areas of specialization are Greek art and archaeology and Greek history, myth, and religion.
    [Show full text]
  • Chapter 5 Th a F a I G E Art of Ancient Greece (Iron Age)
    Chapter 5 The Art of A nci ent G reece (Iron Age) Famous Greeks: Playwriters: Aeschylus (“father of Greek tragedy”), Sophocles (Antigone, Oedipus), Euripides, Aristophanes (Comedies. Lysistrata) Philosophers: Heraclitus (“You can never step into the same river twice”) Plato,,, Socrates, Aristotles Mathematicians and scientists: Archimedes, Pythagoras, Aristotles, Euclid Authors and poets: Homer (Odyssey and Iliad), Sappho of Lesbos, Aesop Historians: Herodotus ("The Father of History,"). Thucydides The Greek World GtiPid(9Geometric Period (9-8th c. BCE) Early Geometric Krater. C. 800 BCE Krater A bowl for mixing wine and water Greek key or Meander An ornament consisting of interlocking geometric motifs. An ornamental pattern of contiguous straight lines joined usually at right angles. Geometric krater, from the Dipylon cemetery, Athens, Greece, ca. 740 BCE. Approx. 3’ 4 1/2” high. Metropolitan Museum of Art, New York. Geometric krater, from the Dipylon cemetery. Detail. Hero and Centaur (Herakles and Nessos? Achilles and Chiron?) ca. 750–730 BCE. Bron ze, a pprox. 4 1/2” high. Metropolitan Museum of Art, New York. Geometric krater, from the Dipylon cemetery, Athens, Greece, ca. 740 BCE. Approx. 3’ 4 1/2” high. Hero and Centaur (Herakles and Nessos? Achilles and Chiron?) ca. 750–730 BCE. Bronze, approx. 4 1/2” high. Greek Vase Painting Orientalizing Period (7th c. BCE) Pitcher (olpe) Corinth, c. 600 BCE Ceramic with black-figure decoration, height 11½ " British Mus . London Rosette: A round or oval ornament resembling a rose Comppyarison: Assyrian.. Lamassu, ca. 720–705 BCE. Pitcher (olpe) Corinth, c. 600 BCE Ceramic with black-figure decoration, height 11½" British Mus.
    [Show full text]
  • Lucy What Were Ancient Statues For?
    Lucy What were ancient statues for? Ancient statues were generally made for religious or political purposes which could include making a statue for worshipping a God or to show the power that the emperor has over the people which can be seen in various examples which will be discussed later. The purpose of Greek and Roman statues differs slightly because the ways in which the statues of the Ancient Greeks and Romans are made are slightly different but do have some similarities for example, in most sculptures Greeks and Romans use the same materials as bronze and marble, and the Greeks occasionally used wood. However, they are different because during the middle of the first century BC the Romans started to look for their own identity when sculptors tried to capture light and shadow to make the sculptures look more realistic which eventually lead to impressionism using light to create more abstract forms and sculptures. Firstly, from studying statues in Ancient Greece we can see that they generally took inspiration from Egyptian and Nera Eastern monumental art around 800 to 300 BCE, which then started to develop over centuries and eventually evolved into a uniquely Greek vision of sculpture. This can be seen in the sculpture of Aphrodite of Knidos by Praxiteles of Athens which was built around the 4th century BCE. Even though the original Greek sculpture is no longer in existence, there are many surviving Roman copies of this influential work of art. Around the mid-4th century BCE, the Greek sculptor Praxiteles was commissioned to sculpt the Goddess Aphrodite by the island if Kos.
    [Show full text]
  • RAYMOND V. SCHODER, S.J. (1916-1987) Classical Studies Department
    y RAYMOND V. SCHODER, S.J. (1916-1987) Classical Studies Department SLIDE COLLECTION OF FIFTH CENTURY SCULPTURES 113 slides Prepared by Laszlo Sulyok Ace. No. 89-15 Computer Name:SCULPTSC.SCH 1 Metal Box Loca lion: 17B The following slides of Fifth Century Sculptures arc from the collection of Fr. Raymond V. Schoder, S.J. They are arranged numerically in the order in which they were received at the archives. The list below provides a brief description of the categorical breakdown of the slides and is copied verbatim from Schoder's own notes on the material.· The collection also contains some replicas of the original artifacts. I. SCULPT: Owl, V c (A crop.) # 2. SCULPT: 'Leonidas' (Sparta) c.400 3. SCULPT: Vc: Boy ded. by Lysikleidcs at Rhamnous, c. 420:30" (A) 4. SCULPT: Vc. Girl, Rhamnous (A) 5. SCULPT: V c. hd, c.475 (Cyrene) 6. SCULPT: Peplophoros * B arberini, c. 475 (T) 7. SCUPLT: Horse, fr. Thasos Hcracles T. pediment, c. 465 (Thas) 8. SCULPT: Base for loutrophoros, Attic, c. 410: Hermes (1), Dead w. apples (Elysian?) (A) 9. SCULPT: Aphrod. on Turtle, aft. or.c. 410 1459 (E. Berlin) 10. SCULPT: fem. fig. fr. frieze Arcs T? (Ag) II. SCULPT: V c. style hd: Diomedes (B) 12. SCULPT: v C. Hercules (Mykonos) 13. SCULPT: V c. style goddcs hd. colossal: Roman copy (Istb) 14. SCULPT: Vc Goddes; Farn. 6269; Rom. (N) 15. SCULPT: Gk. Here. pre-Lysippus (Csv) 16. SCULPT: Choiseui-Gouffier Apollo·· aft early V c (BM) 17. SCULPT: Choiseui/Gouffier Apollo, c. 460 (BM) 18.
    [Show full text]
  • Competing Ideologies in Greek Culture, Ancient and Modern
    Competing Ideologies in Greek Culture, Ancient and Modern Competing Ideologies in Greek Culture, Ancient and Modern By Evy Johanne Håland Competing Ideologies in Greek Culture, Ancient and Modern By Evy Johanne Håland This book first published in English 2019 Originally published in Norwegian (2011 Bodø: Licentia Publishers) Translated to English by the author Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2019 by Evy Johanne Håland All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-2612-7 ISBN (13): 978-1-5275-2612-9 This book is dedicated to the memory of my Besta (“Granny”), who through her practical faith demonstrated that it is possible to believe in Huldra (a supernatural female creature or kind of Nymph) and Christ at one and the same time. TABLE OF CONTENTS List of Tables .............................................................................................. ix List of Figures.............................................................................................. x A Note on Transliteration ......................................................................... xix Preface to the English Edition and Acknowledgements
    [Show full text]
  • 705 Glossary
    INDEXRUNNING HEAD VERSO PAGES 715 Sights and monuments in larger cities (Athens and Thessaloniki) are listed as sub- indices of that city. For the Parthenon, for example, look under ‘Athens: Parthenon’. In general, explanatory or more detailed references (where there are many) are given in bold. Numbers in italics are picture references. Dates are given for all artists, archi- tects and sculptors. Ancient place names and works of art are listed in italics. The stressed syllables of modern place names are indicated. A Ag. Andrèas (Pàtras) 404 Abdera 688–90; (finds from) 662, 693 Ag. Apòstoloi (Kastorià) 641 Abdul Hamid, sultan 596 Ag. Apòstoloi (Leondàri) 277 Acarnanìa 485, 488, 500 Ag. Apòstoloi (Seliàna) 408 Acciaioli, Franco 64 Ag. Athanàsios (Chalandrìtsa) 414 Achaea, Roman province 19, 154, 300, 399 Ag. Athanàsios (Geràki) 319 Achaea, region (see Achaia) Ag. Athanàsios (Kastorià) 641 Achaeans 154, 204, 271, 485 Ag. Athanàsios (Leondàri) 277 Achaean League 18, 274, 400, 405, 407 Ag. Charalàmbos (Kalamàta) 343 Achaìa 399ff Ag. Charalàmbos (Maròneia) 695 Achaia Clauss winery 404–05 Ag. Dimìtrios (Chr`ysafa) 317 Achelòös, river 488, 540, 542 Ag. Dimìtrios (Mistrà) 312 Achèrondas, river (Acheron) 527, 528, 529 Ag. Dimìtrios Katsoùri (Plisioì) 506 Achilles 536, 563, 564 Ag. Dion`ysios (Olympus) 580 Achladòkambos 254 Ag. Geòrgios (Androùsa) 344 Acrocorinth 178–80, 179 Ag. Geòrgios (Nàfplion) 235 Actium, battle of 19, 485, 499–500 Ag. Geòrgios (Sithonìa) 681 Adrastus of Argos 190, 222, 419 Ag. Geòrgios (Stemnìtsa) 282 Adrianople (see Adrianoupolis) Ag. Geòrgios (village in Thessaly) 576 Adrianoùpolis 41, 47, 702 Ag. Geòrgios (Vasilikò, Epirus) 526 Aegeiai, site of 325 Ag.
    [Show full text]
  • Restaging Greek Artworks in Roman Times in Part II
    RestagingArte-Potere Greek Artworks inForme Roman artistiche, istituzioni, Times paradigmi interpretativi a cura di editedMarianna by Castiglione e Alessandro Poggio Gianfranco Adornato, Irene Bald Romano, Gabriella Cirucci and Alessandro Poggio Atti del convegno di studio tenuto a Pisa withScuola an AfterwordNormale Superiore, by Christopher 25-27 H. Novembre Hallett 2010 Castiglione-poggio-Prime pagine.indd 2 20/12/12 15.53 Archeologia e Arte antica DIREZIONE Gianfranco Adornato Scuola Normale Superiore COMITATO SCIENTIFICO Franz Alto Bauer Ludwig-Maximilians-Universität München Francesco de Angelis Columbia University, New York Monica de Cesare Università degli Studi di Palermo Jas´ Elsner University of Oxford - Corpus Christi College Elena Ghisellini Università degli Studi di Roma Tor Vergata Kenneth Lapatin The J. Paul Getty Museum, Los Angeles Clemente Marconi Institute of Fine Arts, New York University, New York Massimo Osanna Università degli Studi di Napoli “Federico II” Maurizio Paoletti Università degli Studi della Calabria Francis Prost Université de Paris I Sorbonne Gemma Sena Chiesa Università degli Studi di Milano Salvatore Settis Scuola Normale Superiore Jeremy Tanner University College London Pietro Vannicelli Sapienza Università di Roma Le opere presentate al Comitato scientifico per la pubblicazione nella Collana sono sottoposte in forma anonima ad almeno due revisori esterni. INTRODUCTION Gianfranco Adornato - Scuola Normale Superiore, Pisa Irene Bald Romano - University of Arizona, Tucson Gabriella Cirucci - Scuola Normale Superiore, Pisa Alessandro Poggio - IMT School for Advanced Studies Lucca DOI: http://dx.doi.org/10.7359/832-2018-ado1 This volume offers a collection of essays dealing with the material and immaterial (metaphori- cal) reuse of Greek art in Roman times from different perspectives and with regard to a wide range of contexts and aspects 1.
    [Show full text]
  • Pheidias and Olympia
    PHEIDIAS AND OLYMPIA (FRONTISPIECE AND PLATES 79-86) INTRODUCTION PHEIDIAS and the Parthenon,for a centuryand a half, have been regardedas virtual synonyms. The kinship has so far extended itself that certain char- acteristics of the one have been transferred to the other. Thus Athena springing full-grown from the head of Zeus is paralleled by the style of Pheidias erupting suddenly and maturely from the mind of the artist. Such a parthenogenic concept is unique in the history of art. The standard interpretation of the life and style of Pheidias was evolved in the nineteenth century. It represents a fusion of the antique with the romantic science of its creators. The nineteenth century coupled fervent imagination with a thorough sense of order; and when thought soared up to garner stars, practicality sorted, evaluated, classified and filed the harvest in the best tradition of the Victorian house- keeper's motto: "A place for everything, and everything in its place." It took good care that its treasures might remain secure. The current version, of which Miss Richter's account in her Sculpture anJd Sculptors of the Greeks is not only the best known, but also the clearest, fullest and fairest, needs no retelling here. It may reasonably be assumed that the reader will be familiar with it. The present account is written on the basis of another type of selection and evaluation. The controversial points between the two are largely con- sidered in the appendices. It should be added that this study was provoked with no iconoclastic intent, but merely as an attempt to determine, if possible, the source of the architectural sculp- tures of the Temple of Zeus at Olympia, using the evidence from antiquity rather than modern hypothesis as a guide.
    [Show full text]
  • 6005883501.Pdf
    Greek Sculpture Greek Sculpture Mark D. Fullerton This edition first published 2016 © 2016 John Wiley & Sons, Inc Registered Office John Wiley & Sons, Ltd, The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, UK Editorial Offices 350 Main Street, Malden, MA 02148‐5020, USA 9600 Garsington Road, Oxford, OX4 2DQ, UK The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, UK For details of our global editorial offices, for customer services, and for information about how to apply for permission to reuse the copyright material in this book please see our website at www.wiley.com/wiley‐blackwell. The right of Mark D. Fullerton to be identified as the author of this work has been asserted in accordance with the UK Copyright, Designs and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs and Patents Act 1988, without the prior permission of the publisher. Wiley also publishes its books in a variety of electronic formats. Some content that appears in print may not be available in electronic books. Designations used by companies to distinguish their products are often claimed as trademarks. All brand names and product names used in this book are trade names, service marks, trademarks or registered trademarks of their respective owners. The publisher is not associated with any product or vendor mentioned in this book. Limit of Liability/Disclaimer of Warranty: While the publisher and author have used their best efforts in preparing this book, they make no representations or warranties with respect to the accuracy or completeness of the contents of this book and specifically disclaim any implied warranties of merchantability or fitness for a particular purpose.
    [Show full text]
  • Athena Nike Athena Promachos
    The history of Athens is closely associated with the ancient goddess Athena, after whom the city is named. While people no longer believe that she actually exists, the name of Athens serves as a constant reminder of her. In tradition and art, her presence is everywhere apparent, especially on the Acropolis in the centre of the city where her sanctuary shone like a star throughout the ancient world. Athena was worshipped throughout Attica. The famous ancient traveller Pausanias tells us: “And the rest of Athens, as well as the whole of Attica, is equally devoted to her, for those communities which wor- ship other gods and goddesses give no less worship to her.” (Attica 26, 6.) The ancient Athenians believed that the goddess protected the city and the state and took care to make both stronger and richer. Thus they offered her a very large number of votive statues, each of which depicted her in a particular way in order to show one of the many sides of her character. They also organ- ised a wonderful festival for her, the so-called Panathenaea. According to the ancient myths, Athena always protected the great heroes of the ancient Greeks, such as Hercules, Perseus, Achilles, Odysseus –she was always by their side in their struggle. In her person were combined the power of her father, Zeus, and the shrewdness and care of her mother, Metis. For the ancients, she was the protector of whatever had anything to do with culture, wisdom, art in all its forms, philosophy but also the martial arts.
    [Show full text]
  • THE ACROPOLIS in the AGE of PERICLES This Book Is An
    Cambridge University Press 0521820405 - The Acropolis in the Age of Pericles Jeffrey M. Hurwit Frontmatter More information THE ACROPOLIS IN THE AGE OF PERICLES This book is an abridged and revised edition of the author’s monumental The Athenian Acropolis: History, Mythology, and Archaeology from the Neolithic Era tothePresent. It focuses specifically on the development of the Acropolis in the fifth century BC and the building program initiated by Pericles. Placing the century-long development within its historical and cultural contexts, Jeffrey M. Hurwit explores the physical nature of the Acropolis itself, the character of the goddess Athena, and how the building program exploits and reveals the Acropolis’s own venerable history. He also offers an interpretation of the thematic unity that links the many structures of the Periclean Acropolis. Incorporating the latest discoveries and research on individual monuments of the Acropolis, this edition is illustrated with 144 halftones as well as a CD-ROM including 180 color images of the monuments of the Acropolis. Jeffrey M. Hurwit is one of the leading scholars of ancient Greek art in the United States. A professor of art history and classics at the University of Oregon, he is the author of numerous articles on Greek art and archaeology, and is the author of The Art and Culture of Early Greece (1985). A Guggenheim fellow (1987–88), he was appointed in 2000 to the prestigious Martha S. Joukowsky Lectureship for the Archaeological Institute of America. © Cambridge University Press www.cambridge.org Cambridge University Press 0521820405 - The Acropolis in the Age of Pericles Jeffrey M.
    [Show full text]
  • Classical Greek and Roman
    CLASSICAL ART Greek art began in the Cycladic and Minoan civilizations, and gave birth to Western Classical Art. It absorbed influences of Eastern civilizations, of Roman art and its patrons, and the new religion of Orthodox Christianity in the Byzantine era. Greek art is mainly five forms: architecture, sculpture, painting, pottery and jewellery making. The art of ancient Greece is usually divided stylistically into four periods: the Geometric, Archaic, Classical and Hellenistic. The Geometric age is usually dated from about 1000 BC, although in reality little is known about art in Greece during the preceding 200 years, traditionally known as the Greek Dark Ages. The 7th century BC witnessed the slow development of the Archaic style as exemplified by the black-figure style of vase painting. Around 500 BC (shortly before the onset of the Persian Wars 480 BC to 448 BC) is usually taken as the dividing line between the Archaic and the Classical periods, and the reign of Alexander the Great (336 BC to 323 BC) is taken as separating the Classical from the Hellenistic periods. From some point in the 1st century BC onwards "Greco-Roman" is used, or more local terms for the Eastern Greek world. The Sculpture of ancient Greece is the main surviving type of fine ancient Greek art, as, with the exception of painted pottery very little ancient Greek painting survives. Modern scholarship identifies three major stages in monumental sculpture in bronze and stone: the Archaic (from about 650 to 480 BC), Classical (480-323) and Hellenistic. At all periods there were great numbers of Greek terracotta figurines and small sculptures in metal and other materials.
    [Show full text]