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Destroy the Copy – Plaster Cast Collections in the 19th–20th Centuries
Based on two international conferences held at Cornell University and the Freie Universität of Berlin in 2010 and 2015, this volume is the first ever to explicitly address the destruction of plaster cast collections of ancient Mediterranean and Western sculpture. Focusing on Europe, the Americas, and Japan, art historians, archaeologists and a literary scholar discuss how different museum and academic traditions – national as well as disciplinary –, notions of value and authenticity, or colonialism impacted the fate of collections. The texts offer detailed documentation of degrees of destruction by spectacular acts of defacement, demolition, discarding, or neglect. They also shed light on the accompanying discourses regarding aesthetic ideals, political ideologies, educational and scholarly practices, or race. With destruction being understood as a critical part of reception, the histories of cast collections defy the traditional, homogenous narrative of rise and decline. Their diverse histories provide critical evidence for rethinking the use and display of plaster cast collections in the contemporary moment.
Cultural Heritage
Human heritage is an endless mine of knowledge, skills, ethos and accomplishments, which visualize and examine the power of human creativity and innovation throughout the history. The contributions cast an insight into the human psyche to perceive its Weltanschauung, and its way of thinking and making artefacts associated with knowledge, existence and identity in the context of other existing systems in the world. They demonstrate the diversity of topics as well as the state-of-the art of interdisciplinary approaches that participants of the Humboldt-Kolleg use in their research on cultural heritage, and confirm, once again, that the strengths of the Alexander von Humboldt Network should be celebrated and honoured. The present volume invites us to seek more novel research approaches that aim towards an understanding of the complex nature of human inheritance.
Philostratus's Heroikos
This multidimensional collection of essays explores the interrelation of religion, cultural identity, politics, literature, myth, and memory during the Roman Empire by focusing on the cultural dynamics embedded in and surrounding Philostratus s Heroikos, an early third-century C.E. dialogue about Homer and the heroes of the Trojan War. The essays focus on ritual and literary dimensions of hero cult; cultural and community identity reflected in the Heroikos and in early Christianity; and the cultural, literary, and political turn toward heroes in the negotiation of difference, particularly with those outside the Roman Empire. Contributors to this volume include classicists, archaeologists, ancient historians, and scholars of early Christianity: Ellen Bradshaw Aitken, Susan E. Alcock, Hans Dieter Betz, Alain Blomart, Walter Burkert, Casey Dué, Simone Follet, Sidney H. Griffith, Jackson P. Hershbell, Christopher Jones, Jennifer K. Berenson Maclean, Francesca Mestre, Gregory Nagy, Corinne Ondine Pache, Jeffrey Rusten, M. Rahim Shayegan, James C. Skedros, and Tim Whitmarsh.Paperback edition is available from the Society of Biblical Literature (www.sbl-site.org).
The Codrus Painter
The Codrus Painter was a painter of cups and vases in fifth-century B.C.E. Athens with a distinctive style; he is named after Codrus, a legendary Athenian king depicted on one of his most characteristic vases. He was active as an artist during the rule of Pericles, as the Parthenon was built and then as the troubled times of the Peloponnesian War began. In contrast to the work of fellow artists of his day, the vases of the Codrus Painter appear to have been created almost exclusively for export to markets outside Athens and Greece, especially to the Etruscans in central Italy and to points further west. Amalia Avramidou offers a thoroughly researched, amply illustrated study of the Codrus Pa...
The Glory of Byzantium
Serves as both visual and textual record of the exhibition of the same name, surveying the art of the Middle Byzantine period from the restoration of the use of icons by the Orthodox Church in 843 to the occupation of Constantinople by the Crusader forces from the West from 1204 to 1261. Conceived as a sequel to the 1976 exhibition "Age of Spirituality," which focused on the first centuries of Byzantium. Preceding the catalogue, 17 essays treat the historical context, religious sphere, and secular courtly realm of the empire, and the interactions between Byzantium and other medieval cultures. Abundantly illustrated. Annotation copyrighted by Book News, Inc., Portland, OR
The Colors of Clay
"The catalogue ... is truly excellent and makes an important contribution to the study of Greek Art." --Bryn Mawr Classical Review "An overwhelming volume. The subject matter ... is described in great detail in nine chapters. Essential." --Choice This catalogue documents a major exhibition at the Getty Villa that was the first ever to focus on ancient Athenian terracotta vases made by techniques other than the well-known black- and red-figure styles. The exhibition comprised vases executed in bilingual, coral-red gloss, outline, Kerch-style, white ground, and Six's technique, as well as examples with added clay and gilding, and plastic vases and additions. The Colors of Clay opens with an introductory essay that integrates the diverse themes of the exhibition and sets them within the context of vase making in general; a second essay discusses conservation issues related to several of the techniques. A detailed discussion of the techniques featured in the exhibition precedes each section of the catalogue. More than a hundred vases from museums in the United States and Europe are described in depth.
History of Restoration of Ancient Stone Sculptures
The nineteen papers in this volume stem from a symposium that brought together academics, archaeologists, museum curators, conservators, and a practicing marble sculptor to discuss varying approaches to restoration of ancient stone sculpture. Contributors and their subjects include Marion True and Jerry Podany on changing approaches to conservation; Seymour Howard on restoration and the antique model; Nancy H. Ramage’s case study on the relationship between a restorer, Vincenzo Pacetti, and his patron, Luciano Bonaparte; Mette Moltesen on de-restoring and re-restoring in the Ny Carlsberg Glyptotek; Miranda Marvin on the Ludovisi collection; and Andreas Scholl on the history of restoration of ancient sculptures in the Altes Museum in Berlin. The book also features contributions by Elizabeth Bartman, Brigitte Bourgeois, Jane Fejfer, Angela Gallottini, Sascha Kansteiner, Giovanna Martellotti, Orietta Rossi Pinelli, Peter Rockwell, Edmund Southworth, Samantha Sportun, and Markus Trunk. Charles Rhyne summarizes the themes, approaches, issues, and questions raised by the symposium.
The Colossus of Rhodes
The Colossus of Rhodes is both the most famous and the least well-known monument of Ancient Greece. Numbered among the Seven Wonders of the World, this bronze statue of the god Helios, thirty-four metres in height, was created by the sculptor Chares of Lindos between the years 295 and 283 BC, only to be destroyed by an earthquake in 227 BC. The legends that have spread after its collapse seem so strange and contradictory that, from an archaeological point of view, it has become a minor and almost neglected object, which specialists in Greek sculpture barely mention in their work. In The Colossus of Rhodes, the first comprehensive examination of the Colossus, Nathan Badoud mobilises a large a...
Cultural Identity in the Ancient Mediterranean
Cultural identity in the classical world is explored from a variety of angles.
Hellenistic Architectural Sculpture
She finds that figural sculptures adorn structures at every level from the ground to the roof, and display a wide variety of motifs on such architectural elements as columns, walls, entablatures, pediments, and cornices. 142 illustrations of Hellenistic monuments - temples, altars, cult buildings, heroa, theaters, bouleuteria, stoas, gymnasia, and houses - and their sculptured adornment complement the author's descriptions and analyses.
