International Training Programme 2009
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Arcl0017 Greek Art and Architecture Ucl - Institute of Archaeology
ARCL0017 GREEK ART AND ARCHITECTURE UCL - INSTITUTE OF ARCHAEOLOGY Coordinator: Dr. Eva Mol Office hours: weekly chat sessions Wed 12-1pm or by appointment between Mon-Wed 9-17pm. Email: [email protected]; Year 2/3 BA Module, 15 credits Please see the online IoA Student Handbook for instructions on coursework submission, IoA referencing guidelines and marking criteria, as well as UCL policies on penalties for late submission. ARCL0017 1. OVERVIEW&SCHEDULE Introduction This module introduces Greek art and architecture in the period 2500-50 BC. In the context of a broad chronological survey, the focus is on three main themes: (1) the relationship between Greek art and society (2) addressing current problems in Greek art history and contemporary society, and (3) extensive training in visual analysis and the different lenses to look at Greek art. This year, as the course will be taught remotely, it will consist of different modes of online teaching that contain individual creativity, group fun, and lively discussions using famous objects and buildings belonging to the so-called ‘Greek canon’, and lesser known or even excluded object categories that will expand our idea of what Greek art is. Normally, we would go to the British Museum together, and look at all the incredible objects up close. This is not possible for the semester, but that does not mean we cannot discuss or study them. In fact, teaching the module online will provide us with the great opportunity to look beyond the British Museum (or any museum for that matter) and the Classical canon, and discuss together what Greek Art is right now, and how make it more relevant in the future. -
And KEEPING up with the PERSIANS Some Reflections on Cultural Links in the Persian Empire
Working draft, not for distribution without permission of the author 1 ‘MANNERS MAKYTH MAN’ and KEEPING UP WITH THE PERSIANS Some reflections on cultural links in the Persian Empire Christopher Tuplin (University of Liverpool) Revised version: 9 June 2008 The purpose of the meeting (according to the web site) is to explore how ancient peoples expressed their identities by establishing, constructing, or inventing links with other societies that crossed traditional ethnic and geographic lines. These cross-cultural links complicates, undermine, or give nuance to conventional dichotomies such as self/other, Greek/barbarian, and Jew/gentile In the Achaemenid imperial context this offers a fairly wide remit. But it is a remit limited – or distorted – by the evidence. For in this, as in all aspects of Achaemenid history, we face a set of sources that spreads unevenly across the temporal, spatial and analytical space of the empire. For what might count as an unmediated means of access to a specifically Persian viewpoint we are pretty much confined to iconographically decorated monuments and associated royal inscriptions at Behistun, Persepolis and Susa (which are at least, on the face of it, intended to broach ideological topics) and the Persepolis Fortification and Treasury archives (which emphatically are not). This material is not formally or (to a large extent) chronologically commensurate with the voluminous, but unevenly distributed, Greek discourse that provides so much of the narrative of Achaemenid imperial history. Some of it may appear more commensurate with the substantial body of iconographically decorated monuments (most not associated with inscriptions) derived from western Anatolia that provides much of the material in the two papers under discussion. -
The Parthenon and Its Sculptures
P1: FCH/J-SPH P2: FCH/J-SPH QC: FCH/J-SPH T1: FCH CB720-FM CB720-Cosmopoulos-v1 July 2, 2004 15:49 The Parthenon and its Sculptures Edited by Michael B. Cosmopoulos University of Missouri–St. Louis iii P1: FCH/J-SPH P2: FCH/J-SPH QC: FCH/J-SPH T1: FCH CB720-FM CB720-Cosmopoulos-v1 July 2, 2004 15:49 published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge cb2 2ru, uk 40 West 20th Street, New York, ny 10011-4211, usa 477 Williamstown Road, Port Melbourne, vic 3207, Australia Ruiz de Alarcon´ 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org C Cambridge University Press 2004 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2004 Printed in the United Kingdom at the University Press, Cambridge Typefaces Adobe Garamond 11.25/15 pt. and Lithos System LATEX 2ε [tb] A catalog record for this book is available from the British Library. Library of Congress Cataloging in Publication Data is available. isbn 0 521 83673 5 hardback iv P1: FCH/J-SPH P2: FCH/J-SPH QC: FCH/J-SPH T1: FCH CB720-FM CB720-Cosmopoulos-v1 July 2, 2004 15:49 Contents List of Figures page vii On Abbreviations and Transliteration xiii List of Contributors xv Introduction: The Methodological Framework of Parthenon Studies 1 Michael B. -
A Reappraisal of J. Paul Getty's Ancient Art Collecting by Kirsten Gabrielle Desperrier a Thesis Subm
Collection and Identity: A Reappraisal of J. Paul Getty’s Ancient Art Collecting by Kirsten Gabrielle Desperrier A Thesis submitted to Sonoma State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS in History Dr. Steve Estes, Jr. Dr. Michelle Jolly Dr. Samuel Cohen Copyright 2018 By Kirsten Gabrielle Desperrier Authorization for Reproduction of Master’s Thesis I grant permission for the print or digital reproduction of this thesis in its entirety, without further authorization from me, on the condition that the person or agency requesting reproduction absorb the cost and provide proper acknowledgment of authorship. iii Collection and Identity: A Reappraisal of J. Paul Getty’s Ancient Art Collecting Thesis by Kirsten Gabrielle Desperrier ABSTRACT Purpose of Study: To examine J. Paul Getty’s ancient art collection that he acquired within in his life-time. The motivation behind Getty’s art collecting and philanthropy are examined and reassessed, as well as his inspiration for the founding of his museum the Getty Villa. The history of ancient Greco-Roman art collectors from ancient Rome, 17th- 19th century Britain, and 20th century American collectors are analyzed in relation to Getty’s place in the history of ancient art collectors. The influence of the Getty Villa on the intellectual identity of Los Angeles is explored, as is Getty’s lasting legacy on the museum landscape of the area. Procedure: To assess J. Paul Getty as a collector and philanthropist by using his autobiographies and personal journals from 1938-1976. The Getty Family Papers include the history of Getty’s ancient art collecting, and provided documents, such as receipts, customs documents, inventory lists and correspondence between Getty and art dealers. -
The Nereid Monument
XA NTHI A N MA RBLE S T H E N E R E I D M O N U M E N T ; AN HISTORICAL AND MYTHOLOG ICAL Y ESSA . B Y WI L LIAM WATKI SS LLOYD . A L D I LON D O N W I LLI A M P I C K E RI N G . 1 845 . l l l l l Den Zusamm nhan und G ist des alten G laubens e g e , Dichwns und Bildens zu erforschen und in den W rk n dos Alterthums den reli iosen Mitwl unkt e e g p , w orin sie sich vereini en nacbzuw eisen . g , F n . C B E U Z ER . S I R C H A R L S F L L O W S E E , H E S E P E S E I N S B D T A G A R C RI E , H I S O B L I G E D F R I E N D , WI LLI A M WA TK I SS LLOYD . N E R E I D M O N U M E N T. THA OOEN EK ATKI HZ E AN OOT AI I O I E TO , A N H N E . X A N TH I A N M A R B L E S I T THE NERE D MONUMEN . N the course of a review of the relics and records of n n a o n ou n of m n a cie t Lyci , the heter ge e s ess the ele e ts that encountered w ithin its bo undaries is very striking n mo so om n on w a s om eve re , the c pact ati ality that c patible w —if not u f om — m u u n u n ith, it did res lt r , their t al i fl e ces a nd reactions . -
Greek Art Greek Art of Virginia, and a Fellow of the Society of Antiquaries of London
BLACKWELL COMPANIONS TO THE ANCIENT WORLD BLACKWELL COMPANIONS TO THE ANCIENT WORLD the editors A COMPANION TO A COMPANION TO Tyler Jo Smith is Associate Professor of A COMPANION TO Classical Art and Archaeology at the University greek art greek art of Virginia, and a Fellow of the Society of Antiquaries of London. She is the author of E D I T E D B Y Contributors to this COMPANION: Komast Dancers in Archaic Greek Art (2010). tyler jo Smith and EDITED BY smith and plantzos dimitris plantzos Sue Blundell, John Boardman, Jan Bouzek, Lucilla Burn, greek art Dimitris Plantzos is Assistant Professor of Classical Archaeology at the University of François de Callataÿ, Beth Cohen, Dimitris Damaskos, Jill Johnson Deupi, This well-illustrated two-volume set offers a Ioannina, Greece. He is the author of Hellenistic Stephen L. Dyson, Eleni Hasaki, Tamar Hodos, Anthony Kaldellis, EDITED BY tyler jo smith comprehensive, authoritative account of the A COMPANION TO Engraved Gems (1999). Veli Köse, Kenneth Lapatin, Stelios Lekakis, François Lissarrague, development of Greek art through the 1st greek art and dimitris plantzos Kathleen M. Lynch, Eleni Manakidou, Thomas Mannack, millennium bc. While there is no shortage of Clemente Marconi, Timothy J. McNiven, Jenifer Neils, John H. Oakley, introductory handbooks on Greek art, the Olga Palagia, Stavros A. Paspalas, Dimitris Plantzos, H.A. Shapiro, v o lum e I current publication takes a fresh look at the Amy C. Smith, Tyler Jo Smith, Lucie Wall Stylianopoulos, Michael Squire, many facets of the subject, from the basic Delia Tzortzaki, Claudia Wagner, Nicki Waugh, Sabine Weber, forms, materials, and types, to colonization, iconography, and finally the reception of Greek Ruth Westgate, James Whitley, Marina Yeroulanou art in post-classical periods. -
Maussollos'mnema
Maussollos’mnema Elisabeth Mcgowan To cite this version: Elisabeth Mcgowan. Maussollos’mnema. 2èmes Rencontres d’archéologie de l’IFEA : Le Mort dans la ville Pratiques, contextes et impacts des inhumations intra-muros en Anatolie, du début de l’Age du Bronze à l’époque romaine., Nov 2011, Istanbul, Turkey. pp.157-174. halshs-00808257 HAL Id: halshs-00808257 https://halshs.archives-ouvertes.fr/halshs-00808257 Submitted on 5 Apr 2013 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. MAUSSOLLOS’S MNEMA An iconographical approach to the architecture of the Maussolleion at Halikarnassos Elizabeth McGowan Williams College [email protected] Abstract Undoubtedly the most renowned example of intramural burial in antiquity was the Maussolleion at Halicarnassus. Since its rediscovery within the writing of Vitruvius, Pliny and other ancient authors by Renaissance architects its form has been a frequent subject of speculation. The results of the archaeological campaigns of the 19th and 20th centuries have allowed the discussion to encompass an aesthetic evaluation of the temple-tomb’s actual remains. The Maussolleion’s seemingly disparate assortment of architectural forms, which samples motifs from prominent Mediterranean cultures (Lykian podium, Greek temple, and Egyptian pyramid) has been characterized as the ultimate statement in bad taste by a self-aggrandizing satrap. -
Ground Floor Level 2 95 67 Toilets Level 2 Only Down to 33 North Level 2 Stairs Accessible Toilet
Ground floor Level 2 95 67 Toilets Level 2 Only down to 33 North Level 2 stairs Accessible toilet Don’t miss Level 1 33a 33 C 33 B Baby changing Level 1 Only up to 95 and 67 A The Holy Thorn Reliquary, North Level 1 stairs Room 2a Baby feeding A medieval masterpiece Members’ Montague cloakroom Place entrance Montague B Tang dynasty figures, Level -1 Anthropology Library Café 33b Shop Room 33 and Research Centre From the tomb of a general North stairs Level Up to 24 and Great Court or down -1 & 0 to the Montague Place entrance Great Court Restaurant C Shiva Nataraja Level 0 (Lord of the Dance), Room 33 30 A remarkable bronze sculpture Café from south India West 24 26 27 D Up to 20a stairs Hoa Hakananai’a, Room 24 Information Desk A colossal ancestor figure from Level 0 29a 29b East D Down stairs Rapa Nui/Easter Island 20 to 25 Up to Members’ Room via Court Café Tickets & Membership Desk E The Rosetta Stone, Room 4 21 West stairs & lift The key to deciphering 18 19 Great Court hieroglyphs Shop 9 4 Level 0 Level 0 1 F Families Desk Court (weekends and school holidays only) F Assyrian Lion Hunt reliefs, 22 Café Room 10 18b Cloakroom An ancient king’s triumph over G E nature 18 17 23 8 4 Collections Book 1 Shop Shop Audio guide G Parthenon sculptures, 18a Down to 91 Room 18 F Level 5 16 94 93 92 Iconic sculpture from ancient Stairs Greece 10 7 4 1 North stairs 18 15 Great Court Level 5 F Lift Down to Down to Level 0 14 Clore Centre Clore Centre South Grenville Level access lift 13 6 stairs Room 2 12 6 3 A Up to 94 Please note that some 2a Level 4 55 91a 91 90 90a galleries may be closed Pizzeria at short notice due to North Levels unforeseen circumstances Forecourt 3 & 4 Level 0 Main entrance stairs or refurbishment. -
ITP 2019 Final Report
ITP 2019 Final Report Asuman Alpagut, Museum Researcher and Anthropologist, Anatolian Civilization Museum 16 Sept. 2019 Supported by the de Laszlo Foundation Since 2000, I have been a museum researcher and an anthropologist at the Anatolian Civilizations Museum. In the Museum of the Anatolian Civilizations, the protection of the artefacts that belong to Paleolithic, Neolithic and Chalcolithic Age sections for inventory, security, identification and exhibitions are among my responsibilities. Also, I am responsible for the inventory, security, data and the identification of the collections in storage. This includes the cleaning process and reporting stages as well. In the museum education section, I'm managing both daily and long-term projects which are created by me with the school groups. I never really thought I would go to the British Museum as an ITP member. Like my colleague Okan Cinemre, who participated in this programme last year, it was like dreaming of being a member of this family. This dream came to life in February 2019 with an e-mail from Claire Messenger (British Museum International Training Programme, Manager). I would like to express my gratitude to the ITP team, including Claire Messenger, for their great contribution to the realisation of this dream. I would also like to thank the de Laszlo Foundation for supporting me to become a member of this important training programme. As I mentioned in my blog, me and my ITP colleagues, we were amazed to be in the garden in front of the British Museum on the 8th July. Yes, there was the gorgeous British Museum building where tons of cultural heritage from many places around the world sit together. -
Museum Is the World Magnólia Costa
Museum is the world Magnólia Costa Introduction In 1966, Brazilian artist Hélio Oiticica wrote: “Museum is the world”.1 This phrase could be part of the definition of ‘universal museum’ – a place where cultural assets produced in every area of the planet are preserved, studied and exhibited, in a wide temporal arch. Considering that ‘universal museums’ generate knowledge that subsidises the narratives of many different peoples, the relationships between universal museums and Brazilian museums may elucidate common points and emphasise differences. If ‘museum is the world’, then it reflects the manner in which cultures are understood and presented among themselves. The concept of universal museum has been debated since the publication of Declaration on the Importance and Value of Universal Museums.2 This document was signed by many different museums; among them the ‘Big Five’ – three of which are located within the European Community: the Louvre, the Berlin State Museums and the British Museum, which was responsible for composing the text. Heritage and legitimacy In the Declaration, the self-denominated universal museums affirm their right of ownership over archaeological, artistic and ethnical artefacts of exogenous cultures that were incorporated into their collections. This affirmation is supported by two series of arguments: one regarding the legitimisation of actions that resulted in the incorporation of such artefacts; the other exalting their historic role as their preservers. 1 Oiticica, Hélio (1966). From the series Programa ambiental. Typed document, dated and preserved: 0253/66. Available at http://www.itaucultural.org.br/aplicexternas/enciclopedia/ho/detalhe/docs/dsp_imagem.cfm?name=Normal/0253.66%2 0p03%20-%20235.JPG (accessed on 9 July 2013). -
Exhibiting Ancient Greek Architectural Sculpture: a Comparison of The
EXHIBITING ANCIENT GREEK ARCHITECTURAL SCULPTURE: A COMPARISON OF THE HERITAGESCAPE AND VISITOR RESPONSES IN TEN EUROPEAN COLLECTIONS by LAURA JANE CAROLINE SNOOK A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Institute of Archaeology and Antiquity College of Arts and Law University of Birmingham April 2015 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis examines the exhibitions of Greek architectural sculpture in ten European collections. The exhibitions used as case studies display both original sculptures and plaster copies. These displays can be found in the Acropolis Museum, Athens; the British Museum, London; the Musée du Louvre, Paris; the Archaeological Museum of Olympia, Olympia; Delphi Archaeological Museum, Delphi; the Museum of Classical Archaeology, Cambridge; the Ashmolean Museum of Art and Archaeology, Oxford; the Kongelige Afstøbningssamling, Copenhagen; and the Skulpturhalle, Basel. These exhibitions are assessed using the heritagescape methodology, considering the boundaries, visibility and cohesion within the displays. This assessment is then compared with the results of a survey of visitors to the same exhibitions, asking for their responses to interpretive material within the exhibitions, specifically, tours, models, pictures, information labels and videos. -
Penelope's Geese
Penelope’s Geese Pets of the Ancient Greeks by kenneth kitchell ost people are familiar with the strong character of Penelope, who waited at Ithaca while her husband Odysseus was away 20 long years. In Homer’s Odyssey we watch in admiration as she holds together MOdysseus’ kingdom and keeps a horde of suitors at bay until he returns. But many readers quickly pass over the fact that she kept a flock of geese to help ease her heart. Indeed, later Greek art often shows women in domestic situations with geese or ducks. Penelope’s geese are just one example of the importance of pets to the ancient Greeks. As illustrated on vases, bowls, jugs, reliefs, figurines, and even funerary stelae, pets and people enjoyed a strong emotional bond. I have twenty geese here about the house, and they feed on Grains of wheat from the water trough. I love to watch them. Odyssey 19.535-37, trans. Lattimore A red figure amphora dating to 470–460 BC shows a woman spending her leisure time playing ball (a ball is in each hand) while a goose looks on (1). A Hellenistic terracotta of the late 4th century BC (2) shows another woman looking into a mirror as she adjusts her dress with the help of an atten- dant. At her feet sits a goose whose head has unfortunately been lost. Such scenes may have been commonplace in Greek households, with pets nearby during many domestic activities. British Museum 1836,0224.140 1 (ca. 470–460 BC) 14 volume 53, number 3 expedition Another pet in the Odyssey is justifiably famous— British Museum 1982,0729.83 Odysseus’ long-suffering dog.