Ancient Copies. Contributions to the History of Greek and Roman Art

Biers, William R.; Bieber, Margarete

doi:10.2307/4349024

Cited by 6 publications

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“…Konu hakkında bilgi için bkz. : Zanker 1974, Bieber 1977, Vermeule 1977, Pollitt 1978, Ridgway 1984 MÖ 480 ile 330 yılları arasındaki Yunan orijinallerin kopya edildiği bu stile neo-klasik ya da klasisizm adı verilir. Detaylı bilgi için bkz., Kousser 2008;Pollitt 1986:164 vd.…”

Section: öZetunclassified

Eski̇ Roma Uygarliği Ve Heykel: Yağma – Koleksi̇yonculuk

Turak¹

2017

TÜBA-AR

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Magnificent works of the Roman Civilization, which was the political and cultural leader of the Mediterranean area from 753 BC to 476 AD, has been evolved by intertwining the arts of the well-rooted cultures. The sculpture has come into prominence in Roman art. Republic period of Rome was the timeframe where the Romans have met the Greeks and knew their art sculptures. It was detected that the Romans have estimated those Greek sculptures as looting materials and valuable commodities in the first place, and that point of view has emerged the idea of collecting. It is understood that Roman conservatives have opposed looting in the earlier stages. However, in the following years, it is observed that looting has gained momentum, and obtained Greek works have become a status symbol for the Romans, thus collecting has become widespread. The most important sources on this subject are undoubtedly the narrations and statements of ancient writers. From these sources, we learned that, the philosopher Cicero was a great collector, besides many Roman aristocrats, Roman statesmen and orators. Cicero's correspondence with an art dealer which he held its records, reveals that how collectorship was conducted professionally. In parallel with these developments, it can be said that the city of Rome has become a center for sculptors at the end of the 1st century. It is not right to say that the Romans have met the sculpture thanks to Greeks, but the Roman sculpture has become the product of the pot where Etruscan and local Italic peoples' art were melted with the Greek art.

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Eski̇ Roma Uygarliği Ve Heykel: Yağma – Koleksi̇yonculuk

Turak¹

2017

TÜBA-AR

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“…10 Certainly copies are now less trusted to give a precise reflection of an original, they are seen more as adaptations that need to be viewed within the context of their own period of manufacture and of the social milieu that valued them, and for what they say of the taste of the owners who paraded them. 11 Such works look odd in 'modern' books amongst original Greek sculptures, but the very juxtaposition of copies and original works has its own pedagogical effect. The late and fragmentary written sources are also now viewed with a more guarded eye; but Pausanias, Pliny the Elder, Lucian etc., continue to yield assistance.…”

Section: Greek Sculpturementioning

confidence: 99%

I. Introduction

1991

New Surveys in the Classics

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The rise in popularity of school and university courses in Classical civilization, and the related decline in the study of the Greek and Latin languages, have given Classical art, and above all Greek art, a prominence that it never enjoyed before. Increasingly good photographs, the chance to see architecture and art in its local context that improved travel facilities have brought, the need for the material to be seen in its historical setting, and the necessity of explaining the intricacies of the study to a wider audience, all these have produced a wealth of new publications. These new works include one-volume histories, of larger or narrower compass, books that concentrate on one medium (sculpture, painted pottery, terracotta figurines, etc), and much more specific volumes that look more closely at a brief period or restricted region, or even an individual building or a single vase-painter. 1 All this is underpinned by a massive output of more academic literature in journals in all languages that gradually alters our knowledge or understanding of the subject. 2 Such changes are brought about by new finds (one thinks of the Riace bronzes (Figs. 8-9), the tomb of Philip II of Macedon (Colour Plate IB), the Mozia youth (Fig. 5), the kouros from Samos (Fig. 3), the New York Euphronios krater), but new interpretations are also brought about by a fresh look at old material and ideas, a move down different avenues with new preoccupations and emphases. Recently there has been greater stress on the contexts within which the craftsmen of ancient Greece worked and for which they made their products. Pure aesthetics are seen as too inward-looking an approach, Greek art and craftsmanship did not exist in a hermetically sealed vacuum; the social, historical, and religious background to any work of art is felt to deserve an important share of the scholar's and the student's concern. Also, the need to judge the significance of material that has survived against the whole production of any period has been urged, and the 'positivist' approach (i.e. an emphasis on or a restriction to considering only that which has survived) has come in for some hard knocks. Conferences and museum exhibitions are two ways of disseminating new ideas, and the Acta and Catalogues that stem from them are useful publications of up-to-date ideas and finds (here one thinks of the Parthenon Congress at Basel, the Amasis Painter Exhibition in New York and elsewhere, the Athens Conference on Archaic and Classical sculpture). 3 Other museum publications attempt to present the material in a manner that is intelligible to the student and the

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“…;Despinis (1971) 203; Fuchs (1972) Helbig, IV, no. 3342;Bieber (1977) 121. 1310 Baumer (1997) 19 and n. 81.…”

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18. Olympias/Sappho

2013

Bulletin of the Institute of Classical Studies

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The so-called 'Olympias' type is known today in no less than twelve replicas, and the one which gives the type its name is in Rome.1260 This statue and its head were originally executed together as a portrait of Faustina Minor. The head was then reworked in the Constantinian period to represent a portrait of the emperor's mother, Helena. Although the head does not reflect that of a Classical original, it has been fitted to a body type that probably does go back to such an original and, to judge from the number of copies, an important masterpiece. The statue depicts a woman leaning back in a chair in a very relaxed pose. She is wearing a fine chiton and a himation that is wrapped around her legs and back, and falls over her left elbow. Her legs are stretched out before her and the right foot is crossed over her left. The right arm lies in her lap, while the left is pulled back and rests casually on the back of the chair. Her head is turned slightly to her right. The treatment of the drapery shows an effective contrast between the delicate, clinging folds of the chiton and the heavier material of the himation, which reveals the knees and lower legs in taut modelling lines and sits in a heavy bunch of loose folds gathered in the lap. All these characteristics are typical of the 'rich' style in sculpture, which is first seen on the sculptures of the Parthenon, particularly on the Parthenon frieze, and the figures from the east pediment. Many scholars agree on the Pheidian characteristics of the drapery and pose. The fine folds of the chiton may be compared to those of Artemis on the east frieze, while the pose of the statue reminds one of Aphrodite, who leans back against the legs of Artemis. The large number of replicas, some of them of high quality, suggests an important and well-known work.On the basis of the comparisons with the Parthenon sculptures a date for the original statue in the decade 440-430 BC has been proposed by a number of scholars. 1261 In an attempt to associate the type with a statue base on the Athenian Akropolis dating from 450-440 BC, Delivorrias suggested that the sculpture in the round influenced the Parthenon reliefs of the east frieze and he dated the original of the Olympias type to before 438 BC.1262 Yet the drapery style and the appearance of echoes of the type in Attic vase painting of the late 430s and the 420s BC suggest a date nearer 430

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Ancient Copies. Contributions to the History of Greek and Roman Art

Cited by 6 publications

References 0 publications

Eski̇ Roma Uygarliği Ve Heykel: Yağma – Koleksi̇yonculuk

Eski̇ Roma Uygarliği Ve Heykel: Yağma – Koleksi̇yonculuk

I. Introduction

18. Olympias/Sappho

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