The Factors Behind the Architectural Change and Dramatic Design Plans
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Classical Nakedness in British Sculpture and Historical Painting 1798-1840 Cora Hatshepsut Gilroy-Ware Ph.D Univ
MARMOREALITIES: CLASSICAL NAKEDNESS IN BRITISH SCULPTURE AND HISTORICAL PAINTING 1798-1840 CORA HATSHEPSUT GILROY-WARE PH.D UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2013 ABSTRACT Exploring the fortunes of naked Graeco-Roman corporealities in British art achieved between 1798 and 1840, this study looks at the ideal body’s evolution from a site of ideological significance to a form designed consciously to evade political meaning. While the ways in which the incorporation of antiquity into the French Revolutionary project forged a new kind of investment in the classical world have been well-documented, the drastic effects of the Revolution in terms of this particular cultural formation have remained largely unexamined in the context of British sculpture and historical painting. By 1820, a reaction against ideal forms and their ubiquitous presence during the Revolutionary and Napoleonic wartime becomes commonplace in British cultural criticism. Taking shape in a series of chronological case-studies each centring on some of the nation’s most conspicuous artists during the period, this thesis navigates the causes and effects of this backlash, beginning with a state-funded marble monument to a fallen naval captain produced in 1798-1803 by the actively radical sculptor Thomas Banks. The next four chapters focus on distinct manifestations of classical nakedness by Benjamin West, Benjamin Robert Haydon, Thomas Stothard together with Richard Westall, and Henry Howard together with John Gibson and Richard James Wyatt, mapping what I identify as -
Welsh Bulletin
BOTANICAL SOCIETY OF THE BRITISH ISLES WELSH BULLETIN Editors: R. D. Pryce & G. Hutchinson No. 76, June 2005 Mibora minima - one oftlle earliest-flow~ring grosses in Wales (see p. 16) (Illustration from Sowerby's 'English Botany') 2 Contents CONTENTS Editorial ....................................................................................................................... ,3 43rd Welsh AGM, & 23rd Exhibition Meeting, 2005 ............................ " ............... ,.... 4 Welsh Field Meetings - 2005 ................................... " .................... " .................. 5 Peter Benoit's anniversary; a correction ............... """"'"'''''''''''''''' ...... "'''''''''' ... 5 An early observation of Ranunculus Iriparlitus DC. ? ............................................... 5 A Week's Brambling in East Pembrokeshire ................. , ....................................... 6 Recording in Caernarfonshire, v.c.49 ................................................................... 8 Note on Meliltis melissophyllum in Pembrokeshire, v.c. 45 ....................................... 10 Lusitanian affinities in Welsh Early Sand-grass? ................................................... 16 Welsh Plant Records - 2003-2004 ........................... " ..... " .............. " ............... 17 PLANTLIFE - WALES NEWSLETTER - 2 ........................ " ......... , ...................... 1 Most back issues of the BSBI Welsh Bulletin are still available on request (originals or photocopies). Please enquire before sending cheque -
Lord Elgin and the Ottomans: the Question of Permission
Yeshiva University, Cardozo School of Law LARC @ Cardozo Law Articles Faculty 2002 Lord Elgin and the Ottomans: The Question of Permission David Rudenstine Benjamin N. Cardozo School of Law, [email protected] Follow this and additional works at: https://larc.cardozo.yu.edu/faculty-articles Part of the Law Commons Recommended Citation David Rudenstine, Lord Elgin and the Ottomans: The Question of Permission, 23 Cardozo Law Review 449 (2002). Available at: https://larc.cardozo.yu.edu/faculty-articles/167 This Article is brought to you for free and open access by the Faculty at LARC @ Cardozo Law. It has been accepted for inclusion in Articles by an authorized administrator of LARC @ Cardozo Law. For more information, please contact [email protected], [email protected]. LORD ELGIN AND THE OTTOMANS: THE QUESTION OF PERMISSION David Rudenstine* In the early morning light on July 31, 1801, a ship-carpenter, five crew members, and twenty Athenian laborers "mounted the walls" of the Parthenon and with the aid of ropes and pulleys detached and lowered a sculptured marble block depicting a youth and centaur in combatJ The next day the group lowered a second sculptured marble from the magnificent templet Within months, the workers had lowered dozens of additional marble sculptures, and within a few years, most of the rest of the Parthenon's priceless marbles were removed.^ These fabulous marbles, sculptured during the age of Pericles'' under the guiding hand of Phidias' out of fine white Pentelic marble quarried ten miles from Athens and hauled by ox-cart to the Acropolis,® had remained on the Parthenon for 2,200 years before being removed. -
Reflecting Antiquity Explores the Rediscovery of Roman Glass and Its Influence on Modern Glass Production
Reflecting Antiquity explores the rediscovery of Roman glass and its influence on modern glass production. It brings together 112 objects from more than 24 lenders, featuring ancient Roman originals as well as the modern replicas they inspired. Following are some of the highlights on view in the exhibition. Portland Vase Base Disk The Portland Vase is the most important and famous work of cameo glass to have survived from ancient Rome. Modern analysis of the vase, with special attention to the elongation of the bubbles preserved in the lower body, suggest that it was originally shaped as an amphora (storage vessel) with a pointed base. At some point in antiquity, the vessel suffered some damage and acquired this replacement disk. The male figure and the foliage on the disk were not carved by the same Unknown artist that created the mythological frieze on the vase. Wearing a Phrygian cap Portland Vase Base Disk Roman, 25 B.C.–A.D. 25 and pointing to his mouth in a gesture of uncertainty, the young man is Paris, a Glass Object: Diam.: 12.2 cm (4 13/16 in.) prince of Troy who chose Aphrodite over Hera and Athena as the most beautiful British Museum. London, England GR1945.9-27.2 goddess on Mount Olympus. It is clear from the way the image is truncated that VEX.2007.3.1 it was cut from a larger composition, presumably depicting the Judgment of Paris. The Great Tazza A masterpiece of cameo-glass carving, this footed bowl (tazza) consists of five layers of glass: semiopaque green encased in opaque white, green, a second white, and pink. -
Bibliography
Bibliography Many books were read and researched in the compilation of Binford, L. R, 1983, Working at Archaeology. Academic Press, The Encyclopedic Dictionary of Archaeology: New York. Binford, L. R, and Binford, S. R (eds.), 1968, New Perspectives in American Museum of Natural History, 1993, The First Humans. Archaeology. Aldine, Chicago. HarperSanFrancisco, San Francisco. Braidwood, R 1.,1960, Archaeologists and What They Do. Franklin American Museum of Natural History, 1993, People of the Stone Watts, New York. Age. HarperSanFrancisco, San Francisco. Branigan, Keith (ed.), 1982, The Atlas ofArchaeology. St. Martin's, American Museum of Natural History, 1994, New World and Pacific New York. Civilizations. HarperSanFrancisco, San Francisco. Bray, w., and Tump, D., 1972, Penguin Dictionary ofArchaeology. American Museum of Natural History, 1994, Old World Civiliza Penguin, New York. tions. HarperSanFrancisco, San Francisco. Brennan, L., 1973, Beginner's Guide to Archaeology. Stackpole Ashmore, w., and Sharer, R. J., 1988, Discovering Our Past: A Brief Books, Harrisburg, PA. Introduction to Archaeology. Mayfield, Mountain View, CA. Broderick, M., and Morton, A. A., 1924, A Concise Dictionary of Atkinson, R J. C., 1985, Field Archaeology, 2d ed. Hyperion, New Egyptian Archaeology. Ares Publishers, Chicago. York. Brothwell, D., 1963, Digging Up Bones: The Excavation, Treatment Bacon, E. (ed.), 1976, The Great Archaeologists. Bobbs-Merrill, and Study ofHuman Skeletal Remains. British Museum, London. New York. Brothwell, D., and Higgs, E. (eds.), 1969, Science in Archaeology, Bahn, P., 1993, Collins Dictionary of Archaeology. ABC-CLIO, 2d ed. Thames and Hudson, London. Santa Barbara, CA. Budge, E. A. Wallis, 1929, The Rosetta Stone. Dover, New York. Bahn, P. -
Prehistoric Britain What Is Prehistoric?
PREHISTORIC BRITAIN WHAT IS PREHISTORIC? Prehistory is the time before written records began. It begins when the earliest hunter-gatherers came to Britain around 450,000 BC. HOW DO WE KNOW WHAT LIFE WAS LIKE IF THERE ARE NO WRITTEN RECORDS? The things we know about this time period comes from artefacts and monuments that archaeologists have discovered. Prehistory is sometimes referred to as the Stone Age and can be split into three distinct time periods: 1. Stone Age 2. Bronze Age 3. Iron Age During this time period there was immense change. People developed from nomadic hunter-gatherers to highly-organised people capable of erecting monuments which survive today. THE STONE AGE The Stone Age is split into three separate time periods: Old Stone Age Palaeolithic 450,000 BC – 10,000 BC People would have used stone tools- artefacts from this time period are rare and we have no evidence of settlements or monuments. Middle Stone Age Mesolithic 10,000 BC- 14,500BC This period began after the last ice age when Britain became an island. Tools became more complex and there is evidence of hunter- gatherer campsites but these are very rare. New Stone Age Neolithic 4,500 BC- 2,300BC People began to become more settled and we see the beginning of farming in England. Plants and animals became domesticated and we see the first pottery. Monuments have been found at this time and they are called henges. STONE AGE ARTEFACTS Palaeolithic Hand axe found in Stonehenge- Neolithic Hampshire monument Neolithic pots THE BRONZE AGE The Bronze Age spanned from 2,300-700 BC. -
Cyrus and His Cylinder
BASELLO & GIOVINAZZO, Cyrus and his cylinder Lecture to be given at the National Museum of Iran, Tehran (24th November 2010, 10:00) Cyrus and his Cylinder: The King and his Mirror Gian Pietro BASELLO and Grazia GIOVINAZZO (“L’Orientale” University of Naples & DARIOSH Project) 2010, November 17, 18:30, revised final draft Text in parentheses is not intended to be read but it is left for translation. We can see the cylinder of Cyrus (II) as a fragment of history which, evidently, gives rise to many questions. It is an object rich of personality. The genitive “of Cyrus” commonly used both in exhibition labels and academic studies seems to suggest that it belonged personally to Cyrus, a sense amplified by the perception of oneness of such artifact. By the way, we don’t know if Cyrus ever saw the Cylinder. Surely he knew the message of the text and, maybe, some parts of it were publicly declaimed by the king himself. Notwithstanding this, most probably it was not Cyrus to compile it, even if the king is speaking in the first person in the text, just like our statesmen in Italy read speeches written by their ghostwriters. This is not a blame for Cyrus. Rather it shows the existence of an organized state apparatus, in which there was a chancellery with a well-defined political discourse and a well-tested communication practice. Cloister of the Dome of Brixen, dream of Astyage It is somewhat astounding to find a medieval fresco depicting Cyrus as a luxuriant vine in a cloister in Northern Italy, among the green valleys of the Alps. -
2 the Assyrian Empire, the Conquest of Israel, and the Colonization of Judah 37 I
ISRAEL AND EMPIRE ii ISRAEL AND EMPIRE A Postcolonial History of Israel and Early Judaism Leo G. Perdue and Warren Carter Edited by Coleman A. Baker LONDON • NEW DELHI • NEW YORK • SYDNEY 1 Bloomsbury T&T Clark An imprint of Bloomsbury Publishing Plc Imprint previously known as T&T Clark 50 Bedford Square 1385 Broadway London New York WC1B 3DP NY 10018 UK USA www.bloomsbury.com Bloomsbury, T&T Clark and the Diana logo are trademarks of Bloomsbury Publishing Plc First published 2015 © Leo G. Perdue, Warren Carter and Coleman A. Baker, 2015 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. Leo G. Perdue, Warren Carter and Coleman A. Baker have asserted their rights under the Copyright, Designs and Patents Act, 1988, to be identified as Authors of this work. No responsibility for loss caused to any individual or organization acting on or refraining from action as a result of the material in this publication can be accepted by Bloomsbury or the authors. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN: HB: 978-0-56705-409-8 PB: 978-0-56724-328-7 ePDF: 978-0-56728-051-0 Library of Congress Cataloging-in-Publication Data A catalogue record for this book is available from the British Library. Typeset by Forthcoming Publications (www.forthpub.com) 1 Contents Abbreviations vii Preface ix Introduction: Empires, Colonies, and Postcolonial Interpretation 1 I. -
Nationalism, Colonialism, and the Past
OXFORD STUDIES IN THE HISTORY OF ARCHAEOLOGY Editorial Board BETTINA ARNOLD MICHAEL DIETLER STEPHEN DYSON PETER ROWLEY-CONWY HOWARD WILLIAMS OXFORD STUDIES IN THE HISTORY OF ARCHAEOLOGY consists of scholarly works focusing on the history of archaeology throughout the world. The series covers the development of prehistoric, classical, colonial, and early historic archaeologies up to the present day. The studies, although researched at the highest level, are written in an accessible style and will interest a broad readership. A World History of Nineteenth-Century Archaeology Nationalism, Colonialism, and the Past MARGARITA DI´ AZ-ANDREU 1 3 Great Clarendon Street, Oxford ox26dp Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With oYces in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York ß Margarita Dı´az-Andreu 2007 The moral rights of the author have been asserted Database right Oxford University Press (maker) First published 2007 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, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organization. -
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. -
Susa and Memnon Through the Ages 15 4
Samuel Jordan Center for Persian Studies and Culture www.dabirjournal.org Digital Archive of Brief notes & Iran Review ISSN: 2470-4040 Vol.01 No.04.2017 1 xšnaoθrahe ahurahe mazdå Detail from above the entrance of Tehran’s fire temple, 1286š/1917–18. Photo by © Shervin Farridnejad The Digital Archive of Brief Notes & Iran Review (DABIR) ISSN: 2470-4040 www.dabirjournal.org Samuel Jordan Center for Persian Studies and Culture University of California, Irvine 1st Floor Humanities Gateway Irvine, CA 92697-3370 Editor-in-Chief Touraj Daryaee (University of California, Irvine) Editors Parsa Daneshmand (Oxford University) Arash Zeini (Freie Universität Berlin) Shervin Farridnejad (Freie Universität Berlin) Judith A. Lerner (ISAW NYU) Book Review Editor Shervin Farridnejad (Freie Universität Berlin) Advisory Board Samra Azarnouche (École pratique des hautes études); Dominic P. Brookshaw (Oxford University); Matthew Canepa (University of Minnesota); Ashk Dahlén (Uppsala University); Peyvand Firouzeh (Cambridge University); Leonardo Gregoratti (Durham University); Frantz Grenet (Collège de France); Wouter F.M. Henkelman (École Pratique des Hautes Études); Rasoul Jafarian (Tehran University); Nasir al-Ka‘abi (University of Kufa); Andromache Karanika (UC Irvine); Agnes Korn (Goethe Universität Frankfurt am Main); Lloyd Llewellyn-Jones (University of Edinburgh); Jason Mokhtarain (University of Indiana); Ali Mousavi (UC Irvine); Mahmoud Omidsalar (CSU Los Angeles); Antonio Panaino (Univer- sity of Bologna); Alka Patel (UC Irvine); Richard Payne (University of Chicago); Khodadad Rezakhani (Princeton University); Vesta Sarkhosh Curtis (British Museum); M. Rahim Shayegan (UCLA); Rolf Strootman (Utrecht University); Giusto Traina (University of Paris-Sorbonne); Mohsen Zakeri (Univer- sity of Göttingen) Logo design by Charles Li Layout and typesetting by Kourosh Beighpour Contents Articles & Notes 1. -
The Parthenon Sculptures Sarah Pepin
BRIEFING PAPER Number 02075, 9 June 2017 By John Woodhouse and Sarah Pepin The Parthenon Sculptures Contents: 1. What are the Parthenon Sculptures? 2. How did the British Museum acquire them? 3. Ongoing controversy 4. Further reading www.parliament.uk/commons-library | intranet.parliament.uk/commons-library | [email protected] | @commonslibrary 2 The Parthenon Sculptures Contents Summary 3 1. What are the Parthenon Sculptures? 5 1.1 Early history 5 2. How did the British Museum acquire them? 6 3. Ongoing controversy 7 3.1 Campaign groups in the UK 9 3.2 UK Government position 10 3.3 British Museum position 11 3.4 Greek Government action 14 3.5 UNESCO mediation 14 3.6 Parliamentary interest 15 4. Further reading 20 Contributing Authors: Diana Perks Attribution: Parthenon Sculptures, British Museum by Carole Radatto. Licenced under CC BY-SA 2.0 / image cropped. 3 Commons Library Briefing, 9 June 2017 Summary This paper gives an outline of the more recent history of the Parthenon sculptures, their acquisition by the British Museum and the long-running debate about suggestions they be removed from the British Museum and returned to Athens. The Parthenon sculptures consist of marble, architecture and architectural sculpture from the Parthenon in Athens, acquired by Lord Elgin between 1799 and 1810. Often referred to as both the Elgin Marbles and the Parthenon marbles, “Parthenon sculptures” is the British Museum’s preferred term.1 Lord Elgin’s authority to obtain the sculptures was the subject of a Select Committee inquiry in 1816. It found they were legitimately acquired, and Parliament then voted the funds needed for the British Museum to acquire them later that year.