Reception and Ancient Art: The Case of the Venus de Milo

Prettejohn, Elizabeth

doi:10.1002/9780470774007.ch19

Cited by 21 publications

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“…2 The aesthetic narrative of the classical display as a frame in which the transcendental aesthetic values of ancient art could be contemplated continued. There was increased focus on the concept of the ancient "masterpiece," understood as a pinnacle of artistic and cultural development, such as the Venus de Milo acquired by the Louvre in 1821 and immediately given a central position in the museum, physically as well as discursively ( Dyson 2006 , 142;Prettejohn 2006 ).…”

Section: The Imagined Geographies Of Collectingmentioning

confidence: 99%

Classical Heritage and European Identities

Funder¹,

Kristensen²,

Nørskov³

2019

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Classical Heritage and European Identities examines how the heritages of classical antiquity have been used to construct European identities, and especially the concept of citizenship, in Denmark from the eighteenth century to the present day. It implements a critical historiographical perspective in line with recent work on the "reception" of classical antiquity that has stressed the dialectic relationship between past, present and future.Arguing that the continuous employment and appropriation of classical heritages in the Danish context constitute an interesting case of an imagined geography that is simultaneously based on both national and European identities, this book shows how Denmark's imagined geography is naturalised through very distinctive uses of classical heritages within the educational and heritage sectors. It does so by exploring three significant and interrelated arenas where the heritages of classical antiquity are used to shape Danes as European citizens. Together, these three cases emphasise different but interconnected ways in which classical heritages are being put to use in order to construct Denmark's own distinctive national identity within Europe. Finally, the book also sheds light on some of the challenges that face unified and homogenous conceptions of European heritage and identity, as well as the notion of the "classical" itself.Classical Heritage and European Identities is the first English-language monograph to situate the Danish case within the wider European context. As such, the book should be essential reading for researchers and students engaged in the study of heritage and museums, classics, education and modern European history.

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Section: The Imagined Geographies Of Collectingmentioning

confidence: 99%

Classical Heritage and European Identities

Funder¹,

Kristensen²,

Nørskov³

2019

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“…24 For these and other artists, Arman, Jim Dine, Ruy-Blas, etc. etc., see Cuzin et al 2000, 458-499;Salmon 2000;Prettejohn 2006Prettejohn , 2012 Kiilerich 2009, 244-249. 26 Kiilerich 2012, 51, fig.…”

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The Classical in Contemporary Art and Visual Culture – an Introduction

Kiilerich

2021

Classical Art and Archaeology

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This special issue of CLARA titled ‘The Classical in Contemporary Art and Visual Culture’ focuses on the impact of Greco-Roman antiquity on present day art and culture. Over the last few decades, antique statues have been revived again and again, turning up in new guises in contemporary art from all over the globe. In addition to new works based on specific ancient statues, some artists create art that references the past in a more general way. Other artists question the divide between past and present raising the possibility of ‘multi-temporality’, a phenomenon that will be explored in connection with recent exhibitions. Another aspect of the interaction of antiquity and the contemporary world is the association between luxury brands and antique monuments, fashion brands taking on the role of patrons, paying large sums for the restoration of Roman landmarks. By studying various types of exchanges between the classical and the contemporary, the papers aim to throw light on why artists and designers continue to draw inspiration from ancient art; in short, why antiquity continues to fascinate.

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“…The material form of the Venus effectively shaped the archival record at the Préfecture, ensuring that other kinds of evidence were re-made in its shadow, although the surface of the statue itself remained remarkably resistant to interpretation. Yet as Elizabeth Prettejohn (2006) has outlined, the reappearance of the Venus did have serious implications for its status as evidence, a status which was often more a product of its reception than anything known about the statue's original production or meaning: on recovery it was discovered that the two blocks of the statue had been assembled incorrectly when it first appeared at the Louvre, making it lean forward and to the side. However, the idea of presenting the Venus to the French people in an unfamiliar form was considered politically undesirable, and it was not exhibited in its 'authentic' state until 1883 -19th-century viewers saw more than one 'Venus', and the lack of original documentation regarding the statue's proper function in antiquity paradoxically enabled its use as evidence in support of an array of nationalistic, aesthetic and otherwise ideological positions.…”

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confidence: 99%

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2010

Journal of Visual Culture

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Reception and Ancient Art: The Case of the Venus de Milo

Cited by 21 publications

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Classical Heritage and European Identities

Classical Heritage and European Identities

The Classical in Contemporary Art and Visual Culture – an Introduction

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