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Greek Art/Roman Eyes
Greek Art/Roman Eyes: The Reception of Greek Art in the Private Sphere in Ancient Italy A Symposium at the Los Angeles County Museum of Art and the Getty Villa Thursday, Friday, and Saturday, June 4-6, 2009 Program schedule as of May 19, 2009; subject to change. THURSDAY, JUNE 4, 2009 – LOS ANGELES COUNTY MUSEUM OF ART, LEO S. BING THEATER 5905 Wilshire Blvd., Los Angeles, CA 90036 7:00 p.m. Keynote address The Roman Home Transformed: Greek Art and Roman Luxury Andrew Wallace-Hadrill, British School at Rome 8:00 p.m. Pompeii and the Roman Villa: Art and Culture Around the Bay of Naples Exhibtition viewing until 9:30 p.m. FRIDAY, JUNE 5, 2009 – GETTY VILLA, AUDITORIUM 17985 Pacific Coast Highway, Pacific Palisades, CA 90272 8:45 a.m. Check-in opens 9:30 a.m. Welcome: Kenneth Lapatin, J. Paul Getty Museum SESSION ONE: Greeks and Etruscans Moderator: François Lissarrague, Centre Louis Gernet/Getty Research Institute Banquets, Games, Parades, or Something Else? Ideology, Commissions, and Cultural Interaction in Etruscan Regiae Luca Cerchiai, Università degli Studi di Salerno Greek Drinking in Ancient Etruria: Practice and Images Maurizio Harari, Università di Pavia Break Loving Children and the Power of Women: Greek Myths on Etruscan Mirrors Francesco de Angelis, Columbia University Lost in Translation? Greek Myths in Etruscan Painting in the Classical Period Agnès Rouveret, CNRS/Université Paris Ouest Nanterre La Défense Discussion 1:00 p.m. Lunch break and museum visit © 2009 J. Paul Getty Trust Page 1 of 3 3:30 p.m. SESSION TWO: Encounters between Greeks and Italians Moderator: Carol C. -
Malibu 90265 Introduction
Malibu 90265 Introduction by Taylor Coffman FROM THE SANTA MONICA PIER, it’s a six-mile drive up Pacific Coast Highway to Tuna Canyon Road. Not far along this northwest-to- westerly route lies the site of the Beach House, as William Randolph Hearst and Marion Davies called their grand mansion of the 1920s and ’30s, once the film colony’s most palatial home. Past that, in Pacific Palisades, lies the Bel-Air Bay Club; and then PCH reaches Sunset Boulevard, the world’s only street so-named. On the ocean side is the fish restaurant known as Gladstone’s Malibu. But it’s a false start: the border of that famous town lies almost a mile ahead still. Thelma Todd’s house and the section of Pacific Palisades called Castellammare are next; tucked away nearby, invisible from the main road, is the Getty Villa (J. Paul Getty greatly admired Hearst). Then comes the more working-class enclave of Sunset Mesa, or Parker Mesa. Right past it is the last part of what, overall, amounts to outlying Los Angeles and its coveted Westside, namely, the place where Topanga Canyon Boulevard reaches Topanga State Beach, once a Bohemian seaside haunt but now a bittersweet memory. Go another half mile, past the City of Malibu sign, and watch for a larger sign next to Tuna Canyon Road. It announces “Malibu 27 Miles of Scenic Beauty.” Years ago, in this same spirit of local pride, the old Malibu Township was often said to extend for twenty-six miles. In reality, twenty-nine miles (and even closer to thirty) is more like it in embracing the total Malibu coastline, the long shorefront of what I like to call greater Malibu, the storied land of postal ZIP code 90265. -
Urban Planning in the Greek Colonies in Sicily and Magna Graecia
Urban Planning in the Greek Colonies in Sicily and Magna Graecia (8th – 6th centuries BCE) An honors thesis for the Department of Classics Olivia E. Hayden Tufts University, 2013 Abstract: Although ancient Greeks were traversing the western Mediterranean as early as the Mycenaean Period, the end of the “Dark Age” saw a surge of Greek colonial activity throughout the Mediterranean. Contemporary cities of the Greek homeland were in the process of growing from small, irregularly planned settlements into organized urban spaces. By contrast, the colonies founded overseas in the 8th and 6th centuries BCE lacked any pre-existing structures or spatial organization, allowing the inhabitants to closely approximate their conceptual ideals. For this reason the Greek colonies in Sicily and Magna Graecia, known for their extensive use of gridded urban planning, exemplified the overarching trajectory of urban planning in this period. Over the course of the 8th to 6th centuries BCE the Greek cities in Sicily and Magna Graecia developed many common features, including the zoning of domestic, religious, and political space and the implementation of a gridded street plan in the domestic sector. Each city, however, had its own peculiarities and experimental design elements. I will argue that the interplay between standardization and idiosyncrasy in each city developed as a result of vying for recognition within this tight-knit network of affluent Sicilian and South Italian cities. This competition both stimulated the widespread adoption of popular ideas and encouraged the continuous initiation of new trends. ii Table of Contents: Abstract. …………………….………………………………………………………………….... ii Table of Contents …………………………………….………………………………….…….... iii 1. Introduction …………………………………………………………………………..……….. 1 2. -
Sicily's Ancient Landscapes & Timeless Traditions 2021
YOUR O.A.T. ADVENTURE TRAVEL PLANNING GUIDE® Sicily’s Ancient Landscapes & Timeless Traditions 2021 Small Groups: 8-16 travelers—guaranteed! (average of 13) Overseas Adventure Travel ® The Leader in Personalized Small Group Adventures on the Road Less Traveled 1 Dear Traveler, At last, the world is opening up again for curious travel lovers like you and me. And the O.A.T. Sicily’s Ancient Landscapes & Timeless Traditions itinerary you’ve expressed interest in will be a wonderful way to resume the discoveries that bring us so much joy. You might soon be enjoying standout moments like these: Who doesn’t love to eat in Italy? But Sicilian food, which is heavily influenced by the Arabs who thrived here, is in a league of its own. Sample the local flavors when you visit the Tunisian-inflected town of Mazara del Vallo and share a traditional Sicilian lunch with a local family. As you savor the home-cooked fare, you’ll learn how the city’s identity continues to evolve, and the vital role of the local fishing industry. You’ll also visit a home of a very different sort, one that traveler Carol Bowman described as “a house full of hope.” It’s Casa di Maria, an organization (and Grand Circle Foundation partner) established by a family in Catania to provide a loving home for children who are refugees or victims of neglect and domestic violence. The daughter-in-law of the founders (Sergio and Carmela) will enlighten you about Sicily’s foster care system. And you’ll meet more of the Casa’s extended family, including a young Nigerian woman who literally showed up on Sicily’s shores with nothing and grew up here, and hear her harrowing—but ultimately inspiring—story. -
Marina Gavryushkina UC Berkeley Art History 2013
UC Berkeley Berkeley Undergraduate Journal of Classics Title The Persian Alexander: The Numismatic Portraiture of the Pontic Dynasty Permalink https://escholarship.org/uc/item/7xh6g8nn Journal Berkeley Undergraduate Journal of Classics, 2(1) ISSN 2373-7115 Author Gavryushkina, Marina Publication Date 2013 Peer reviewed|Undergraduate eScholarship.org Powered by the California Digital Library University of California Gavryushkina 1 The Persian Alexander: The Numismatic Portraiture of the Pontic Dynasty Marina Gavryushkina UC Berkeley Art History 2013 Abstract: Hellenistic coinage is a popular topic in art historical research as it is an invaluable resource of information about the political relationship between Greek rulers and their subjects. However, most scholars have focused on the wealthier and more famous dynasties of the Ptolemies and the Seleucids. Thus, there have been considerably fewer studies done on the artistic styles of the coins of the smaller outlying Hellenistic kingdoms. This paper analyzes the numismatic portraiture of the kings of Pontus, a peripheral kingdom located in northern Anatolia along the shores of the Black Sea. In order to evaluate the degree of similarity or difference in the Pontic kings’ modes of representation in relation to the traditional royal Hellenistic style, their coinage is compared to the numismatic depictions of Alexander the Great of Macedon. A careful art historical analysis reveals that Pontic portrait styles correlate with the individual political motivations and historical circumstances of each king. Pontic rulers actively choose to diverge from or emulate the royal Hellenistic portrait style with the intention of either gaining support from their Anatolian and Persian subjects or being accepted as legitimate Greek sovereigns within the context of international politics. -
Ceificate of Auenticity
S T E V E N B A T T E L L E Ce!ificate of Au"enticity This coin has been personally inspected and determined to be an authentic ancient coin . If deemed a forgery by the ACCS, IGC, NGC, or PCGS, it may be returned at any time for a refund of the purchase price. Athens, Attica, 449-404 BC, AR Tetradrachm B076961 / U02697 17.1 Gm 25 mm Obv: Head of Athena right, wearing earring, necklace, and crested Attic helmet decorated with three olive leaves over visor and a spiral palmette on the bowl. Rev: Owl standing right with head facing, olive sprig with berry and crescent in upper left field, AOE to right; all within incuse square. Kroll 8; SNG Copenhagen 31; Dewing 1591-8 The Athenian “owl” silver tetradrachm is unquestionably one of the most influential coins of all time. During the fifth century BC, when Athens emerged as the greatest of all Greek cities, owls were the most widely used international coin and helped to spread Greek culture throughout the Mediterranean world. With the help of her powerful navy, and through the taxation of her allies, Athens accomplished to gain pre-eminance in Hellas and achieved a celebrated prosperity. The Athenian tetradrachms were well-accepted all over the Mediterranean world, while several imitations modeled on them were issued within the Persian state. The Peloponnesian War (431-404 BC) exhausted the silver resources of Athens and eventually destroyed irreparably the Athenian supremacy. With the mines lost and their treasury depleted by the ruinous cost of the Pelloponesian war with Sparta, the Athenians resorted to an emergency issue of plated silver tetradrachms. -
Ancient Greek Coins
Ancient Greek Coins Notes for teachers • Dolphin shaped coins. Late 6th to 5th century BC. These coins were minted in Olbia on the Black Sea coast of Ukraine. From the 8th century BC Greek cities began establishing colonies around the coast of the Black Sea. The mixture of Greek and native currencies resulted in a curious variety of monetary forms including these bronze dolphin shaped items of currency. • Silver stater. Aegina c 485 – 480 BC This coin shows a turtle symbolising the naval strength of Aegina and a punch mark In Athens a stater was valued at a tetradrachm (4 drachms) • Silver staterAspendus c 380 BC This shows wrestlers on one side and part of a horse and star on the other. The inscription gives the name of a city in Pamphylian. • Small silver half drachm. Heracles wearing a lionskin is shown on the obverse and Zeus seated, holding eagle and sceptre on the reverse. • Silver tetradrachm. Athens 450 – 400 BC. This coin design was very poular and shows the goddess Athena in a helmet and has her sacred bird the Owl and an olive sprig on the reverse. Coin values The Greeks didn’t write a value on their coins. Value was determined by the material the coins were made of and by weight. A gold coin was worth more than a silver coin which was worth more than a bronze one. A heavy coin would buy more than a light one. 12 chalkoi = 1 Obol 6 obols = 1 drachm 100 drachma = 1 mina 60 minas = 1 talent An unskilled worker, like someone who unloaded boats or dug ditches in Athens, would be paid about two obols a day. -
The Coinage of Akragas C
ACTA UNIVERSITATIS UPSALIENSIS Studia Numismatica Upsaliensia 6:1 STUDIA NUMISMATICA UPSALIENSIA 6:1 The Coinage of Akragas c. 510–406 BC Text and Plates ULLA WESTERMARK I STUDIA NUMISMATICA UPSALIENSIA Editors: Harald Nilsson, Hendrik Mäkeler and Ragnar Hedlund 1. Uppsala University Coin Cabinet. Anglo-Saxon and later British Coins. By Elsa Lindberger. 2006. 2. Münzkabinett der Universität Uppsala. Deutsche Münzen der Wikingerzeit sowie des hohen und späten Mittelalters. By Peter Berghaus and Hendrik Mäkeler. 2006. 3. Uppsala universitets myntkabinett. Svenska vikingatida och medeltida mynt präglade på fastlandet. By Jonas Rundberg and Kjell Holmberg. 2008. 4. Opus mixtum. Uppsatser kring Uppsala universitets myntkabinett. 2009. 5. ”…achieved nothing worthy of memory”. Coinage and authority in the Roman empire c. AD 260–295. By Ragnar Hedlund. 2008. 6:1–2. The Coinage of Akragas c. 510–406 BC. By Ulla Westermark. 2018 7. Musik på medaljer, mynt och jetonger i Nils Uno Fornanders samling. By Eva Wiséhn. 2015. 8. Erik Wallers samling av medicinhistoriska medaljer. By Harald Nilsson. 2013. © Ulla Westermark, 2018 Database right Uppsala University ISSN 1652-7232 ISBN 978-91-513-0269-0 urn:nbn:se:uu:diva-345876 (http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-345876) Typeset in Times New Roman by Elin Klingstedt and Magnus Wijk, Uppsala Printed in Sweden on acid-free paper by DanagårdLiTHO AB, Ödeshög 2018 Distributor: Uppsala University Library, Box 510, SE-751 20 Uppsala www.uu.se, [email protected] The publication of this volume has been assisted by generous grants from Uppsala University, Uppsala Sven Svenssons stiftelse för numismatik, Stockholm Gunnar Ekströms stiftelse för numismatisk forskning, Stockholm Faith and Fred Sandstrom, Haverford, PA, USA CONTENTS FOREWORDS ......................................................................................... -
The German/American Exchange on Nazi-Era Art Provenance Research
2017 PREP Exchanges The Metropolitan Museum of Art, New York (February 5–10) Stiftung Preußischer Kulturbesitz, Staatliche Museen zu Berlin (September 24–29) 2018 PREP Exchanges The Getty Research Institute, Los Angeles (February 25–March 2) Zentralinstitut für Kunstgeschichte, Munich (October 8–12) 2019 PREP Exchanges Staatliche Kunstsammlungen Dresden (Spring) Smithsonian Institution, Provenance Research Initiative, Washington, D.C. (Fall) Major support for the German/American Provenance Research Exchange Program comes from The German Program for Transatlantic Encounters, financed by the European Recovery Program through Germany's Federal Ministry for Economic Affairs and Energy, and its Commissioner for Culture and the Media Additional funding comes from the PREP Partner Institutions, The German/American Exchange on the Smithsonian Women's Committee, James P. Hayes, Nazi-Era Art Provenance Research Suzanne and Norman Cohn, and the Ferdinand-Möller-Stiftung, Berlin 3RD PREP Exchange in Los Angeles February 25 — March 2, 2018 Front cover: Photos and auction catalogs from the 1910s in the Getty Research Institute’s provenance research holdings The Getty Research Institute 1200 Getty Center Drive Los Angeles, CA 90049 © 2018Paul J.Getty Trust ORGANIZING PARTNERS Smithsonian Provenance Research Initiative, Smithsonian Institution Washington, D.C. Stiftung Preußischer Kulturbesitz—Staatliche Museen zu Berlin (Prussian Cultural Heritage Foundation—National Museums in Berlin) PARTNERS The Metropolitan Museum of Art, New York The Getty Research -
The Art of Ancient Greek Theater LOS ANGELES—The Art of Ancient
DATE: June 9, 2010 FOR IMMEDIATE RELEASE GETTY MUSEUM EXHIBITION FOCUSES ON THE REPRESENTATION OF THEATRICAL PERFORMANCE IN ANCIENT GREECE The Art of Ancient Greek Theater At the J. Paul Getty Museum, the Getty Villa August 26, 2010–January 3, 2011 Mixing Vessel with Dionysos and Comic Actors, Greek, About 390 – 380 B.C., Red-figured volute krater attributed to the Pronomos Painter. Terracotta. Lent by the Cleveland Museum of Art, John L. Severance Fund. LOS ANGELES—The Art of Ancient Greek Theater, on view at the Getty Villa from August 26, 2010 – January 3, 2011, is the first exhibition in the United States in over fifty years to focus on the artistic representation of theatrical performance in ancient Greece. Assembling international loans of antiquities from many museums and private collections, the exhibition illustrates the ways in which dramatic performance was depicted in the visual arts of ancient Greece between the fifth and the first centuries B.C. The exhibition is being presented in conjunction with the Getty Villa’s annual outdoor theater performance, Sophocles’ Elektra. “Ancient art and theater share a strong and enduring connection–one that is inspired by mythology and the social, cultural, and political realities of life in ancient Greece and Rome,” says David Bomford, acting director of the J. Paul Getty Museum. “With this exhibition and our annual production in the outdoor theater, we are delighted to bring ancient theater alive at the Getty Villa and invite our visitors to join us and discover how those themes found in ancient times persist today.” -more- Page 2 The Art of Ancient Greek Theater spans centuries of artistic production throughout the cities of the Mediterranean. -
Gaia Servadio, Motya: Unearthing a Lost Civilization Laina Farhat-Holzman [email protected]
Comparative Civilizations Review Volume 57 Article 12 Number 57 Fall 2007 10-1-2007 Gaia Servadio, Motya: Unearthing a Lost Civilization Laina Farhat-Holzman [email protected] Follow this and additional works at: https://scholarsarchive.byu.edu/ccr Recommended Citation Farhat-Holzman, Laina (2007) "Gaia Servadio, Motya: Unearthing a Lost Civilization," Comparative Civilizations Review: Vol. 57 : No. 57 , Article 12. Available at: https://scholarsarchive.byu.edu/ccr/vol57/iss57/12 This Book Review is brought to you for free and open access by the All Journals at BYU ScholarsArchive. It has been accepted for inclusion in Comparative Civilizations Review by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Farhat-Holzman: Gaia Servadio, <em>Motya: Unearthing a Lost Civilization</em> Book Reviews 117 Gaia Servadio, Motya: Unearthing a Lost Civilization. London: Phoenix Paperback, 2001. In all of our ISCSC conference discussions of "what is a civiliza- tion?" one of the world's more ancient cultures, the Phoenicians, has rarely come up. We all know something about them—certainly from the Roman accounts of their long relationship with them at first as trading partners, and ultimately in a war to the death, which the Carthaginian Phoenicians lost. We have also heard them described in the Hebrew Scriptures as being among the inhabitants of Canaan. We have not heard anything from the Phoenicians themselves, because although they are credited with having invented the very alpha- bet that is used in variations by Greeks, Hebrews, Romans, and Muslims, any literature that they may have written was destroyed by enemies who had the last word. -
ANCIENT TERRACOTTAS from SOUTH ITALY and SICILY in the J
ANCIENT TERRACOTTAS FROM SOUTH ITALY AND SICILY in the j. paul getty museum The free, online edition of this catalogue, available at http://www.getty.edu/publications/terracottas, includes zoomable high-resolution photography and a select number of 360° rotations; the ability to filter the catalogue by location, typology, and date; and an interactive map drawn from the Ancient World Mapping Center and linked to the Getty’s Thesaurus of Geographic Names and Pleiades. Also available are free PDF, EPUB, and MOBI downloads of the book; CSV and JSON downloads of the object data from the catalogue and the accompanying Guide to the Collection; and JPG and PPT downloads of the main catalogue images. © 2016 J. Paul Getty Trust This work is licensed under the Creative Commons Attribution 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042. First edition, 2016 Last updated, December 19, 2017 https://www.github.com/gettypubs/terracottas Published by the J. Paul Getty Museum, Los Angeles Getty Publications 1200 Getty Center Drive, Suite 500 Los Angeles, California 90049-1682 www.getty.edu/publications Ruth Evans Lane, Benedicte Gilman, and Marina Belozerskaya, Project Editors Robin H. Ray and Mary Christian, Copy Editors Antony Shugaar, Translator Elizabeth Chapin Kahn, Production Stephanie Grimes, Digital Researcher Eric Gardner, Designer & Developer Greg Albers, Project Manager Distributed in the United States and Canada by the University of Chicago Press Distributed outside the United States and Canada by Yale University Press, London Printed in the United States of America Library of Congress Cataloging-in-Publication Data Names: J.