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In 2008, the Berlin Antikensammlung initiated a project with the J. Paul Getty Museum to conserve a group of ancient funerary vases from southern Italy. Monumental in scale and richly decorated, these magnificent vessels were discovered in hundreds of fragments in the early nineteenth century at Ceglie, near Bari. Acquired by a Bohemian diplomat, they were reconstructed in the Neapolitan workshop of Raffaele Gargiulo, who was considered one of the leading restorers of antiquities in Europe. His methods exemplify what was referred to as “une perfection dangereuse,” an approach to reassembly and repainting that made it difficult to distinguish what was ancient and what was modern. Bringing...
This volume aims to merge theoretical models with methodological approaches on ceramic technology and artisanal networks in the Classical world. This convergence of analytical frameworks allowed scholars to explore some traditional archaeological topics that usually have a very low-level of visibility, such as the skillful gestures of the craftspeople involved, the organization of the ceramic production, the dynamics of apprenticeship and knowledge transfer as well as intra and inter-regional artisanal mobility, in the Graeco-Roman ‘communities of practice’. The papers promote interdisciplinary dialogues among various fields of study, such as archaeology, archaeometry, anthropology, ethnoarchaeology, experimental archaeology, and digital humanities - such as Social Network Analysis, computational imaging, and big data analysis.
For nearly a millennium, universities have searched forknowledge, understanding and truth. Internationally renowned neuroscientist,Professor Maxwell Bennett, evaluates the work of 20 of the greatest scholars inthe University of Sydney’s history and shows how this university’s search hasbenefitted society in manifold ways. The Search forKnowledge and Understanding demonstrates an interdisciplinary approach, asBennett crafts short but insightful biographies of some of the most significantscholars that have worked at Australia’s oldest university over the past halfcentury, in medicine, the life sciences, the physical sciences and thehumanities and social sciences. Bennet provides a striking account of how this particularscholarly community has flourished by nurturing scholars and allowing them withthe intellectual freedom to pursue their passions. The book clarifies thenotion of understanding as it holds in different disciplines and depicts thebenefit the world of scholarship can have on the wider community.
In this book the author explores the work of the fifth-century BC Athenian vase-painter, Sotades, one of the most familiar names in vase painting. Previous scholarship has dealt mainly with questions of attribution, style, and iconographic interpretation, but Dr Hoffman concentrates on inherent meaning: what does the imagery of these decorated vases really signify. He argues that, contrary to widely held conceptions, there is an underlying unity of meaning in Greek vases and their imagery, a unity rooted in the religious beliefs and ritual practices of the society from which they spring. Each chapter discusses a specific aspect of the artist's iconology, placing it in the context of fifth-century BC Greek philosophical and religious thought.
During the Second World War, Australia maintained a super-secret organisation, the Diplomatic (or `D’) Special Section, dedicated to breaking Japanese diplomatic codes. The Section has remained officially secret as successive Australian Governments have consistently refused to admit that Australia ever intercepted diplomatic communications, even in war-time. This book recounts the history of the Special Section and describes its code-breaking activities. It was a small but very select organisation, whose `technical’ members came from the worlds of Classics and Mathematics. It concentrated on lower-grade Japanese diplomatic codes and cyphers, such as J-19 (FUJI), LA and GEAM. However, towards the end of the war it also worked on some Soviet messages, evidently contributing to the effort to track down intelligence leakages from Australia to the Soviet Union.
The collection of Barbara and Lawrence Fleischman of New York is one of the most important private collections of ancient Greek and Roman art in the United States and among the most important in the world. Composed of approximately three hundred objects from the Bronze Age to the Late Antique, it includes bronze statuettes, marble sculpture, vases, jewelry, lamps and candelabra, keys, weights, and silver bowls and utensils. The Fleischmans have a particular fascination with pieces associated with everyday life in antiquity, since these objects evoke a human connection to the past. They are also drawn to pieces that exemplify the human propensity to transform a functional object into a thing ...
This comprehensive view of the Orpheus myth in modern art focuses on an extremely rich artistic symbol and cuts through all the clichés to explore truly significant problems of meaning. The author takes a new approach to the iconography of major modern artists by incorporating psychological and literary analysis, as well as biography. The three parts of the book explore the ways in which artists have identified with different aspects of the often paradoxical Orpheus myth. The first deals with artists such as Paul Klee, Carl Milles, and Barbara Hepworth. In the second, Max Beckmann, Oskar Kokoschka, and Isamu Noguchi are discussed. Artists examined in the final part include Pablo Picasso, Jacques Lipchitz, Ethel Schwabacher, and Cy Twombly. The author documents her argument with more than sixty illustrations.