Uva-DARE (Digital Academic Repository)
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
From Boston to Rome: Reflections on Returning Antiquities David Gill* and Christopher Chippindale**
International Journal of Cultural Property (2006) 13:311–331. Printed in the USA. Copyright © 2006 International Cultural Property Society DOI: 10.1017/S0940739106060206 From Boston to Rome: Reflections on Returning Antiquities David Gill* and Christopher Chippindale** Abstract: The return of 13 classical antiquities from Boston’s Museum of Fine Arts (MFA) to Italy provides a glimpse into a major museum’s acquisition patterns from 1971 to 1999. Evidence emerging during the trial of Marion True and Robert E. Hecht Jr. in Rome is allowing the Italian authorities to identify antiquities that have been removed from their archaeological contexts by illicit digging. Key dealers and galleries are identified, and with them other objects that have followed the same route. The fabrication of old collections to hide the recent surfacing of antiquities is also explored. In October 2006 the MFA agreed to return to Italy a series of 13 antiquities (Ap- pendix). These included Attic, Apulian, and Lucanian pottery as well as a Roman portrait of Sabina and a Roman relief fragment.1 This return is forming a pattern as other museums in North America are invited to deaccession antiquities that are claimed to have been illegally removed from Italy. The evidence that the pieces were acquired in a less than transparent way is beginning to emerge. For example, a Polaroid photograph of the portrait of Sabina (Appendix no. 1) was seized in the raid on the warehousing facility of Giacomo Medici in the Geneva Freeport.2 Polaroids of two Apulian pots, an amphora (no. 9) and a loutrophoros (no. 11), were also seized.3 As other photographic and documentary evidence emerges dur- ing the ongoing legal case against Marion True and Robert E. -
Attic Black Figure from Samothrace
ATTIC BLACK FIGURE FROM SAMOTHRACE (PLATES 51-56) 1 RAGMENTS of two large black-figure column-kraters,potted and painted about j1t the middle of the sixth century, have been recovered during recent excavations at Samothrace.' Most of these fragments come from an earth fill used for the terrace east of the Stoa.2 Non-joining fragments found in the area of the Arsinoeion in 1939 and in 1949 belong to one of these vessels.3 A few fragments of each krater show traces of burning, for either the clay is gray throughout or the glaze has cracked because of intense heat. The surface of many fragments is scratched and pitted in places, both inside and outside; the glaze and the accessory colors, especially the white, have sometimes flaked. and the foot of a man to right, then a woman A. Column krater with decoration continuing to right facing a man. Next is a man or youtlh around the vase. in a mantle facing a sphinx similar to one on a 1. 65.1057A, 65.1061, 72.5, 72.6, 72.7. nuptial lebes in Houston by the Painter of P1. 51 Louvre F 6 (P1. 53, a).4 Of our sphinx, its forelegs, its haunches articulated by three hori- P.H. 0.285, Diam. of foot 0.203, Th. at ground zontal lines with accessory red between them, line 0.090 m. and part of its tail are preserved. Between the Twenty-six joining pieces from the lower forelegs and haunches are splashes of black glaze portion of the figure zone and the foot with representing an imitation inscription. -
VI the Voice of the Workshop: Signatures As a Source of Information on Potters, Painters and the Ways They Worked Together
UvA-DARE (Digital Academic Repository) Pottery to the people. The producttion, distribution and consumption of decorated pottery in the Greek world in the Archaic period (650-480 BC) Stissi, V.V. Publication date 2002 Link to publication Citation for published version (APA): Stissi, V. V. (2002). Pottery to the people. The producttion, distribution and consumption of decorated pottery in the Greek world in the Archaic period (650-480 BC). General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:06 Oct 2021 VI The voice of the workshop: signatures as a source of information on potters, painters and the ways they worked together 97 VI. 1 Introduction: much discussion, little progress -
Corpus Vasorum Antiquorum Malibu 2 (Bareiss) (25) CVA 2
CORPVS VASORVM ANTIQVORVM UNITED STATES OF AMERICA • FASCICULE 25 The J. Paul Getty Museum, Malibu, Fascicule 2 This page intentionally left blank UNION ACADÉMIQUE INTERNATIONALE CORPVS VASORVM ANTIQVORVM THE J. PAUL GETTY MUSEUM • MALIBU Molly and Walter Bareiss Collection Attic black-figured oinochoai, lekythoi, pyxides, exaleiptron, epinetron, kyathoi, mastoid cup, skyphoi, cup-skyphos, cups, a fragment of an undetermined closed shape, and lids from neck-amphorae ANDREW J. CLARK THE J. PAUL GETTY MUSEUM FASCICULE 2 . [U.S.A. FASCICULE 25] 1990 \\\ LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA (Revised for fasc. 2) Corpus vasorum antiquorum. [United States of America.] The J. Paul Getty Museum, Malibu. (Corpus vasorum antiquorum. United States of America; fasc. 23) Fasc. 1- by Andrew J. Clark. At head of title: Union académique internationale. Includes index. Contents: fasc. 1. Molly and Walter Bareiss Collection: Attic black-figured amphorae, neck-amphorae, kraters, stamnos, hydriai, and fragments of undetermined closed shapes.—fasc. 2. Molly and Walter Bareiss Collection: Attic black-figured oinochoai, lekythoi, pyxides, exaleiptron, epinetron, kyathoi, mastoid cup, skyphoi, cup-skyphos, cups, a fragment of an undetermined open shape, and lids from neck-amphorae 1. Vases, Greek—Catalogs. 2. Bareiss, Molly—Art collections—Catalogs. 3. Bareiss, Walter—Art collections—Catalogs. 4. Vases—Private collections— California—Malibu—Catalogs. 5. Vases—California— Malibu—Catalogs. 6. J. Paul Getty Museum—Catalogs. I. Clark, Andrew J., 1949- . IL J. Paul Getty Museum. III. Series: Corpus vasorum antiquorum. United States of America; fasc. 23, etc. NK4640.C6U5 fasc. 23, etc. 738.3'82'o938o74 s 88-12781 [NK4624.B37] [738.3'82093807479493] ISBN 0-89236-134-4 (fasc. -
Teaching Gallery Picturing Narrative: Greek Mythology in the Visual Arts
list of Works c Painter andré racz (Greek, Attic, active c. 575–555 BC) (American, b. Romania, 1916–1994) after giovanni Jacopo caraglio Siana Cup, 560–550 BC Perseus Beheading Medusa, VIII, 1945 Teaching gallery fall 2014 3 5 1 1 (Italian, c. 1500/1505–1565) Terracotta, 5 /8 x 12 /8" engraving with aquatint, 7/25, 26 /8 x 18 /4" after rosso fiorentino gift of robert Brookings and charles University purchase, Kende Sale Fund, 1946 (Italian, 1494–1540) Parsons, 1904 Mercury, 16th century (after 1526) Marcantonio raimondi 1 Pen and ink wash on paper, 10 /8 x 8" ca Painter (Italian, c. 1480–c. 1530) gift of the Washington University (Greek, South Italian, Campanian) after raphael Department of art and archaeology, 1969 Bell Krater, mid-4th century BC (Italian, 1483–1520) 1 5 Terracotta, 17 /2 x 16 /8" Judgment of Paris, c. 1517–20 3 15 after gustave Moreau gift of robert Brookings and charles engraving, 11 /8 x 16 /16" Picturing narrative: greek (French, 1826–1898) Parsons, 1904 gift of J. lionberger Davis, 1966 Jeune fille de Thrace portant la tête d’Orphée (Thracian Girl Carrying the alan Davie school of orazio fontana Mythology in the visual arts Head of Orpheus), c. 1865 (Scottish, 1920–2014) (Italian, 1510–1571) 1 1 Oil on canvas, 39 /2 x 25 /2" Transformation of the Wooden Horse I, How Cadmus Killed the Serpent, c. 1540 7 5 University purchase, Parsons Fund, 1965 1960 Maiolica, 1 /8 x 10 /8" 1 1 Oil on canvas, 60 /8 x 72 /4" University purchase, elizabeth northrup after Marcantonio raimondi gift of Mr. -
Bareiss Collection Attic Black-Figured Amphorae, Neck-Amphorae, Kraters, Stamnos, Hydriai, and Fragments of Undetermined Closed Shapes
CORPVS VASORVM ANTIQVORVM UNITED STATES OF AMERICA • FASCICULE 23 The J. Paul Getty Museum, Malibu, Fascicule 1 This page intentionally left blank UNION ACADÉMIQUE INTERNATIONALE CORPVS VASORVM ANTIQVORVM THE J. PAUL GETTY MUSEUM • MALIBU Molly and Walter Bareiss Collection Attic black-figured amphorae, neck-amphorae, kraters, stamnos, hydriai, and fragments of undetermined closed shapes ANDREW J. CLARK THE J. PAUL GETTY MUSEUM FASCICULE 1 • [U.S.A. FASCICULE 23] 1988 LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA Corpus vasorum antiquorum. [United States of America.] The J. Paul Getty Museum, Malibu. (Corpus vasorum antiquorum. United States of America; fase. 23- ) Vol. i by Andrew J. Clark. At head of title : Union académique internationale. Includes index. Contents: v. i. Molly and Walter Bareiss Collection: Attic black-figured amphorae, neck-amphorae, kraters, stamnos, hydriai, and fragments of undetermined closed shapes. i. Vases, Greek—Catalogs. 2. Bareiss, Molly—Art collections—Catalogs. 3. Bareiss, Walter—Art collections—Catalogs. 4. Vases—Private collections— California—Malibu—Catalogs. 5. Vases—California— Malibu—Catalogs. 6. J. Paul Getty Museum—Catalogs. I. Clark, Andrew J., 1949- . II. J. Paul Getty Museum. III. Series: Corpus vasorum antiquorum. United States of America; fase. 23, etc. NK4640.C6.U5 fase. 23, etc. 73 8.3'82*0938074 s 88-12781 [NK4Ó24.B3 7] [73 8.3 '82J093 8074019493] ISBN 0-89236-134-4 © 1988 The J. Paul Getty Museum, Malibu, California All rights reserved Library of Congress Cataloging-in-Publication -
Cambridge University Press 978-1-107-16236-5 — the Frame in Classical Art Edited by Verity Platt , Michael Squire Index More Information
Cambridge University Press 978-1-107-16236-5 — The Frame in Classical Art Edited by Verity Platt , Michael Squire Index More Information Index Achilles, 129–35, 144, 146–8, 176, anachronism, 39, 92, 95, 196–206, 213, 229, 429 280–1, 381, 458, 592 Adonis, 361–3 Anastasios, 552–5 Adorno, Theodor, 199n22 Anavyssos kouros (Kroisos), 287–9, 309n74 aediculae, 7, 23, 68–70, 243–4, 354, 375–8, 381, Anemurium, Church of the Holy Apostles, 479 571–5 Aelian, Tactica, 519–20 angels, 487–8, 494–6, 548–9 Aeschylus, 470 aniconism, 207n48, 285n30, 470–2, 485, 488, aesthetics, 4, 8–9, 38–59, 97, 118, 192–201, 497–9 278, 315, 485, 545 animals (as motifs), 13–14, 135, 194n14, deconstructionist, 41, 46–59, 595 see also 258–60, 264–5, 294–5, 399, 434, 518, Derrida, Jacques 580, 592 Kantian, 39–52 see also Kant, Immanuel: birds, 16, 108–12, 210, 212n69, 221–9, 235, Critique of Judgment 247, 519, 552, 579–80, 596 post-Enlightenment, 38–9, 41, 44, 48–59, lions, 18, 33, 77, 130, 194, 258, 367, 412–13, 97, 189–201, 271–4 see also 567 anachronism; art; galleries/museums in Roman wall-painting, 109, 112, 210, (modern); history of art, modern; 221–9, 238, 247 picture-galleries (pinacothecae) Antaeus, 143–4 Ajax, 129–35, 176, 458–9 Antenor, 310–13 Akragas, Temple of Zeus, 432 anthropomorphism, 27, 91–2, 285–7, 396–401 akroteria, 23, 411, 432–3 Antia Julia Polla (portrait statue), 339–46 Alabanda, Temple of Apollo, 433 Antioch, House of the Buffet Supper, 552–3 Alberti, Leon Battista, 23n44, 69, 99, 113, Aphrodite/Venus, 319, 322–3, 329, 333–4, 272n3, 593–4 349–50, -
The Recovery of Helen
THE RECOVERYOF HELEN JrT is my purposehere to examineaspects of the iconographyof the Recoveryof Helen on the night that Troy fell. The attempt seems the more worth while now that a canonical pattern of interpretation is likely to be established by Kunze's short but authoritative study and by the detailed, well-illustrated treatment in the recent book by Mme. Lilly B. Ghali-Kahil.1 The main episodes of the Recovery, established by the end of -the sixth century B.C., are credited to the Cyclic Epic poets Arktinos and Lesches, the lyricists Ibykos and his older contemporary Stesichoros. The first three alone are concerned with the iconography of the Recovery as it appears during the sixth and fifth centuries B.C.2 The earliest extant reference to an episode of the Recovery is found at Andro- mache 627-631, Euripides' play staged about 425 B.C.3 The old lord Peleus speaks, insulting Menelaos: EAXW&E Tpotav.. OvKOKKravEg EKT,E 7VcvKLyvvatKa XEtptav~'~ XacW,8AaBV, aAAX,g eTet&Eg pacrrov, EK/ctXOv ti'oo 4n I E8E!, IT/ O8OTlV atKaAXOVKva, 71rTOIV -7TE4VK&J KVmpt8og, d' KaaKUtrTE 01. When you took Troy, you failed to put your wife to death, though you had her in your power- on the contrary, when you looked at her breast, you threw away your sword and accepted her kiss, caressing the traitorous bitch, you miserable wretch, born slave to lust. E. Kunze, Archaische Schildbander (Olympische Forschungen, II, 1950), pp. 163-167; Lilly B. Ghali-Kahil, Les enlevements et le retour d'Helene, Paris, 1955, particularly pp. -
The Fabric of the City: Imaging Textile Production in Classical Athens
HESPERIA JJ (2OO8) THE FABRIC OF THE CITY Pages 283-334 Imaging Textile Production in Classical Athens ABSTRACT Scenes of textile production on Athenian vases are often interpreted as confirming the oppression of women, who many argue were confined to "women's quarters" and exploited as free labor. However, reexamination - of the iconography together with a reconsideration of gender roles and - the archaeology of Greek houses dating to the 5th and 4th centuries B.C. suggests that these images idealize female contributions to the household in a positive way. The scenes utilize the dual metaphor of weaving and marriage to express the hartnonia of oikos and polis, a theme particularly significant under the evolving Athenian democracy. The past 30 years have witnessed significant change in the study of ancient Athenian iconography.1Of particularimportance has been the increased attention given to so-called genre scenes or "scenes of everyday life" in Athenian vase painting, a response to the dominating focus of earlier scholarship on mythological subject matter. This trend began in the late 1970s, and escalated in the 1980s with a series of publications primarily by French authors, most notably the groundbreaking volume La cite des imagesin 1984 (translatedinto English in 1989). Severalscholars have ques- tioned the efficacy of the image and the apparentreality of genre iconog- raphy.2All too often, the tendency has been to treat scenes on Athenian vases as mere illustrations,but recent iconographic studies have assertedthe opposite:that images are constructionsin which each element is consciously or unconsciously chosen as part of a larger system of signs and symbols. -
Oooooooooooo
Cambridge University Press 978-0-521-12557-4 - Looking at Greek Art Mark D. Stansbury-O’Donnell Index More information oooooooooooo Index abstract, 22, 26, 30, 35, 36 assimilation, 215 acculturation, 202 Assyria, 204, 211 adaptation, 203 Athanodoras, Hagesandros, and Polydoros (artists), 45 adult, 191 Athens, 30, 33, 44, 68, 95, 104–106, 114, 118, 119, Africa and Africans, 199.Seealsoethnicity 132, 148, 181, 190, 202 agalma, 138, 140, 162 Acropolis, 138, 151 agency (theory), 149–154, 189–190 Agora, 40, 49, 134–136 agenda, 98, 106, 131–133 Erechtheion, 119–120, 124, 126 agent (agency term), 150, 151, 153–154, Kerameikos, 122, 138 189 Parthenon, 36–39, 70–72, 113, 121, 131, 157 agora (context), 100, 117, 134–136 attribute, 59, 62, 101, 150 aidos (modesty), 174, 179–181, 182 attribution, 24, 26–27, 29, 30, 50, 218 Aigina, Temple of Aphaia, 40–41 Alexandria (Egypt), 61, 63, 93, 161, 208 Barthes, R., 77, 79 Alkman, 60, 180, 181 Baxandall, M., 116 Amasis, 200–201 Beazley, J. D., 23, 26, 28, 29, 54 anakalypsis, 177, 186 behavior, 137, 155, 171–172, 174, 177, 179 analysis, iconographical, 59–70, 77 Bell, C., 155 anathema, 138 Berlin Painter, 23, 28, 29, 37, 50, 125 Andokides Painter, 30–33, 35 biography, artistic, 50–54 andron, 146, 185 Boardman, J., 104, 162 Antonaccio, C., 202 brand identity, 128 Antonymy, 89, 234 Brinkmann, V., 33 aparche (first-fruit), 138 bronze, 23, 112, 115 Appadurai, A., 164 Archelaos of Priene (artist), 60 Cantarella, E., 191 Aristotle, 173, 193 Carpenter, T., 214 Arsinoe¨ II, 208–209 catalyst, 79, 80 Arsinoe¨ III, 160 center-periphery, 202, 214 artist (agency term), 150–153, 189 ceramics, 112, 113 arts, decorative or minor, 48, 216 chronology, 5, 20, 30–36, 46, 47 arts, fine, 49, 216 absolute, 30, 34 assemblage, 97 relative, 30 assemblages, 202 color, 21–24, 33, 40 249 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-12557-4 - Looking at Greek Art Mark D. -
VII Signatures, Attribution and the Size and Organisation of Workshops
UvA-DARE (Digital Academic Repository) Pottery to the people. The producttion, distribution and consumption of decorated pottery in the Greek world in the Archaic period (650-480 BC) Stissi, V.V. Publication date 2002 Link to publication Citation for published version (APA): Stissi, V. V. (2002). Pottery to the people. The producttion, distribution and consumption of decorated pottery in the Greek world in the Archaic period (650-480 BC). General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:04 Oct 2021 VII Signatures, attribution and the size and organisation of workshops 123 VII.1 Signatures, cooperation and specialisation The signatures tell us something about more than only the personal backgrounds of potters and painters, individually or as a group. -
Uva-DARE (Digital Academic Repository)
UvA-DARE (Digital Academic Repository) Athenian little-master cups Heesen, P. Publication date 2009 Link to publication Citation for published version (APA): Heesen, P. (2009). Athenian little-master cups. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:01 Oct 2021 2. XENOKLES, XENOKLES PAINTER, MULE PAINTER, PAINTER OF THE DEEPDENE CUP, POTTER AND PAINTER OF LONDON B 425 (nos. 50-92; pls. 13-27) Introduction Of the 41 cups and fragments with Xenokles’ epoiesen-signatures, 27 were known to J.D. Beazley, who assigned them to the potter Xenokles and recognized the hand of the so-called Xenokles Painter on most of them.254 Since then, another nine lip-cups and five band-cups can be added.255 Moreover, two unsigned lip-cups attributed to the Mule Painter can also be considered products of the potter Xenokles.