Marice Rose's most recent research focuses on ancient hairstyling, art history pedagogy, and popular classical reception. With colleague Katherine Schwab she co-curated the exhibition Hair in the Classical World at the Fairfield University Art Museum. She has also published on the subject of images of women in late Roman domestic decoration. She holds a PhD in Art History from Rutgers University, and a BA in French and Art History from Fairfield University, where she is currently Chair of the Department of Visual and Performing Arts.
Roman Sculpture in Context: Selected Papers in Ancient Art and Architecture, Volume 6, 2021
Download here: https://works.bepress.com/marice_rose/21/ The Farnese Hercules, discovered in 1546... more Download here: https://works.bepress.com/marice_rose/21/ The Farnese Hercules, discovered in 1546 in the Baths of Caracalla’s central hall, has a rich history of reception. As its display in the Farnese Palace became an essential stop on the Grand Tour, versions were created in various sizes and media, and the statue continues to be replicated by artists and for use in domestic interior design. While art historians tend to reference the statue as a replica of a possibly Lysippan original, post-antique imitations of the statue are unconcerned with its artistic pedigree. Contemporary artists alter its appearance to engage with notions of high culture, good taste, and the Western canon that relate to its early modern display within an antiquities collection, while body builders’ and physical educators’ emulation of Hercules’ physique relates closely to the statue’s original context in an ancient Roman bath complex.
In this article, two professors share methods and examples of active learning in order to teach W... more In this article, two professors share methods and examples of active learning in order to teach Western European and Byzantine medieval art through a multisensory lens. The course content and pedagogy are situated in the “sensory turn,” a conceptual and methodological approach that began in anthropology and has transformed medieval art historical scholarship in recent years. The discipline of art history has traditionally focused on the visual impact of objects and monuments, but the sensory turn has prompted art historians and architectural historians to investigate how art objects and monuments engage all five senses, transforming the “period eye” into the broader “period sensorium.” Research in experiential learning demonstrates that the object-based activities that involve the senses, including teaching outside the classroom and hands-on art making projects, are pedagogically appropriate, and students demonstrated success in learning the material, as well as increased engagement. The paper gives practical suggestions for readings and resources, such as local or campus library archives for the topic of medieval manuscripts, and local re-enactors for dress and applied arts. The methods can be used within general art history survey classes as well as dedicated medieval art courses.
Download here: https://works.bepress.com/marice_rose/17/ This article describes an approach to te... more Download here: https://works.bepress.com/marice_rose/17/ This article describes an approach to teaching ancient Roman art using historical empathy and current world events to foster students’ engagement with, and learning about, both ancient Roman art and, more broadly, the power of art. This pedagogical approach can inspire richer understanding and increased motivation to learn, while offering possibilities for civic engagement. The suggestions may be helpful for secondary or college-level teachers of Roman art, and for classics teachers who incorporate ancient visual culture.
Fairfield University’s Bellarmine Museum of Art presented the exhibition Hair in the Classical Wo... more Fairfield University’s Bellarmine Museum of Art presented the exhibition Hair in the Classical World, co-curated by Dr. Katherine Schwab and Dr. Marice Rose, from October 7, 2015, through December 18, 2015. From antiquity to the present day, hair has seldom been worn in its natural state. Whether cut, shorn, curled, straightened, braided, beaded, worn in an upsweep or down to the knees, adorned with pins, combs, bows, garlands, extensions, and other accoutrements, hair has the power to reflect societal norms. In ancient cultures, not only did hairstyles and their depictions signal wealth and social status, or divine and mythological iconography; they were also tied to rites of passage and religious rituals.
As the first exhibition of its kind in the United States, Hair in the Classical World l examined the role of hair in ancient Greece, Cyprus, and Rome through three thematic lenses: Arrangement and Adornment; Rituals and Rites of Passage; and Divine and Royal Iconography. Presenting 27 objects dating from the Bronze Age to late Antiquity (1500 BCE – 600 CE), as well as photographs of other artworks, the exhibition illustrated ways in which hair and hairstyles served as important signifiers in Classical Antiquity. The sculptures, coins, and hair styling tools on view in the exhibition have been lent by the Metropolitan Museum of Art, the Yale University Art Gallery, and the American Numismatic Society.
Catwalk: The Journal of Fashion, Beauty, and Style , 2015
The fishtail braid, newly popular in the past five years on adult women on New York streets and t... more The fishtail braid, newly popular in the past five years on adult women on New York streets and the runway, also conspicuously adorns the famed Caryatids, or maidens, 430 BCE, from the Erechtheion on the Athenian Acropolis. The Caryatids have been carefully studied for their pose and clothing, but their unique hairstyles have been overlooked. Previous scholars described these ancient hairstyles simply as braided without defining the specific braids used or whether or not the hairstyle could be recreated. No one had identified the fishtail braid as the main braid down the back and as the style of some of the side braids wrapped around the heads of the Caryatids. The authors worked with a professional hairstylist and six Fairfield University student models to demonstrate that these ancient Greek arrangements of braids were not merely the creations of sculptors but could have been worn. Our project recreating the braids and their arrangements is a research method known as experimental archaeology, a way to test hypotheses related to antiquity by using methods as archaeologically accurate as possible, and striving for historically accurate results. The project’s genesis began in 2007 with the exhibition The Creative Photograph in Archaeology at Fairfield University, in which detailed photographs of the Caryatids provided uncommon views of their hair. In 2009, Professor of Art History Katherine A. Schwab made an internationally-screened short film which provides the basis for further inquiry on technique and meaning. Coincidentally, at the same time, the fishtail braid began to be featured prominently on runways and in the fashion press. This article examines the techniques and meanings of the fishtail braid, which connect girls and women today to their counterparts in antiquity. Students who wore the braids thought about hairstyles in an entirely new way and as a compelling portal to another time and place. Ancient Athenians were no longer a vague concept but real people whose lives were played out in the surviving art.
Download Introduction: "Classical Reception, Gender Studies, and Art History" here: https://works... more Download Introduction: "Classical Reception, Gender Studies, and Art History" here: https://works.bepress.com/marice_rose/12/ Receptions of Antiquity, Constructions of Gender in European Art, 1300-1600 presents scholarship in classical reception at its nexus with art history and gender studies. It considers the ways that artists, patrons, collectors, and viewers in late medieval and early modern Europe used ancient Greek and Roman art, texts, myths, and history to interact with and shape notions of gender. The essays examine Giotto's Arena Chapel frescoes, Michelangelo's Medici Chapel personifications, Giulio Romano's decoration of the Palazzo del Te, and other famous and lesser-known sculptures, paintings, engravings, book illustrations, and domestic objects as well as displays of ancient art. Visual responses to antiquity in this era, the volume demonstrates, bore a complex and significant relationship to the construction of, and challenges to, contemporary gender norms.
Download here: https://works.bepress.com/marice_rose/3/ As a philosopher and an art historian, ... more Download here: https://works.bepress.com/marice_rose/3/ As a philosopher and an art historian, the authors decided to record their experience after discovering they shared similar journeys changing their courses. They had both been dissatisfied with their students' learning outcomes and their own tired patterns of teaching. After learning about ...
Roman Sculpture in Context: Selected Papers in Ancient Art and Architecture, Volume 6, 2021
Download here: https://works.bepress.com/marice_rose/21/ The Farnese Hercules, discovered in 1546... more Download here: https://works.bepress.com/marice_rose/21/ The Farnese Hercules, discovered in 1546 in the Baths of Caracalla’s central hall, has a rich history of reception. As its display in the Farnese Palace became an essential stop on the Grand Tour, versions were created in various sizes and media, and the statue continues to be replicated by artists and for use in domestic interior design. While art historians tend to reference the statue as a replica of a possibly Lysippan original, post-antique imitations of the statue are unconcerned with its artistic pedigree. Contemporary artists alter its appearance to engage with notions of high culture, good taste, and the Western canon that relate to its early modern display within an antiquities collection, while body builders’ and physical educators’ emulation of Hercules’ physique relates closely to the statue’s original context in an ancient Roman bath complex.
In this article, two professors share methods and examples of active learning in order to teach W... more In this article, two professors share methods and examples of active learning in order to teach Western European and Byzantine medieval art through a multisensory lens. The course content and pedagogy are situated in the “sensory turn,” a conceptual and methodological approach that began in anthropology and has transformed medieval art historical scholarship in recent years. The discipline of art history has traditionally focused on the visual impact of objects and monuments, but the sensory turn has prompted art historians and architectural historians to investigate how art objects and monuments engage all five senses, transforming the “period eye” into the broader “period sensorium.” Research in experiential learning demonstrates that the object-based activities that involve the senses, including teaching outside the classroom and hands-on art making projects, are pedagogically appropriate, and students demonstrated success in learning the material, as well as increased engagement. The paper gives practical suggestions for readings and resources, such as local or campus library archives for the topic of medieval manuscripts, and local re-enactors for dress and applied arts. The methods can be used within general art history survey classes as well as dedicated medieval art courses.
Download here: https://works.bepress.com/marice_rose/17/ This article describes an approach to te... more Download here: https://works.bepress.com/marice_rose/17/ This article describes an approach to teaching ancient Roman art using historical empathy and current world events to foster students’ engagement with, and learning about, both ancient Roman art and, more broadly, the power of art. This pedagogical approach can inspire richer understanding and increased motivation to learn, while offering possibilities for civic engagement. The suggestions may be helpful for secondary or college-level teachers of Roman art, and for classics teachers who incorporate ancient visual culture.
Fairfield University’s Bellarmine Museum of Art presented the exhibition Hair in the Classical Wo... more Fairfield University’s Bellarmine Museum of Art presented the exhibition Hair in the Classical World, co-curated by Dr. Katherine Schwab and Dr. Marice Rose, from October 7, 2015, through December 18, 2015. From antiquity to the present day, hair has seldom been worn in its natural state. Whether cut, shorn, curled, straightened, braided, beaded, worn in an upsweep or down to the knees, adorned with pins, combs, bows, garlands, extensions, and other accoutrements, hair has the power to reflect societal norms. In ancient cultures, not only did hairstyles and their depictions signal wealth and social status, or divine and mythological iconography; they were also tied to rites of passage and religious rituals.
As the first exhibition of its kind in the United States, Hair in the Classical World l examined the role of hair in ancient Greece, Cyprus, and Rome through three thematic lenses: Arrangement and Adornment; Rituals and Rites of Passage; and Divine and Royal Iconography. Presenting 27 objects dating from the Bronze Age to late Antiquity (1500 BCE – 600 CE), as well as photographs of other artworks, the exhibition illustrated ways in which hair and hairstyles served as important signifiers in Classical Antiquity. The sculptures, coins, and hair styling tools on view in the exhibition have been lent by the Metropolitan Museum of Art, the Yale University Art Gallery, and the American Numismatic Society.
Catwalk: The Journal of Fashion, Beauty, and Style , 2015
The fishtail braid, newly popular in the past five years on adult women on New York streets and t... more The fishtail braid, newly popular in the past five years on adult women on New York streets and the runway, also conspicuously adorns the famed Caryatids, or maidens, 430 BCE, from the Erechtheion on the Athenian Acropolis. The Caryatids have been carefully studied for their pose and clothing, but their unique hairstyles have been overlooked. Previous scholars described these ancient hairstyles simply as braided without defining the specific braids used or whether or not the hairstyle could be recreated. No one had identified the fishtail braid as the main braid down the back and as the style of some of the side braids wrapped around the heads of the Caryatids. The authors worked with a professional hairstylist and six Fairfield University student models to demonstrate that these ancient Greek arrangements of braids were not merely the creations of sculptors but could have been worn. Our project recreating the braids and their arrangements is a research method known as experimental archaeology, a way to test hypotheses related to antiquity by using methods as archaeologically accurate as possible, and striving for historically accurate results. The project’s genesis began in 2007 with the exhibition The Creative Photograph in Archaeology at Fairfield University, in which detailed photographs of the Caryatids provided uncommon views of their hair. In 2009, Professor of Art History Katherine A. Schwab made an internationally-screened short film which provides the basis for further inquiry on technique and meaning. Coincidentally, at the same time, the fishtail braid began to be featured prominently on runways and in the fashion press. This article examines the techniques and meanings of the fishtail braid, which connect girls and women today to their counterparts in antiquity. Students who wore the braids thought about hairstyles in an entirely new way and as a compelling portal to another time and place. Ancient Athenians were no longer a vague concept but real people whose lives were played out in the surviving art.
Download Introduction: "Classical Reception, Gender Studies, and Art History" here: https://works... more Download Introduction: "Classical Reception, Gender Studies, and Art History" here: https://works.bepress.com/marice_rose/12/ Receptions of Antiquity, Constructions of Gender in European Art, 1300-1600 presents scholarship in classical reception at its nexus with art history and gender studies. It considers the ways that artists, patrons, collectors, and viewers in late medieval and early modern Europe used ancient Greek and Roman art, texts, myths, and history to interact with and shape notions of gender. The essays examine Giotto's Arena Chapel frescoes, Michelangelo's Medici Chapel personifications, Giulio Romano's decoration of the Palazzo del Te, and other famous and lesser-known sculptures, paintings, engravings, book illustrations, and domestic objects as well as displays of ancient art. Visual responses to antiquity in this era, the volume demonstrates, bore a complex and significant relationship to the construction of, and challenges to, contemporary gender norms.
Download here: https://works.bepress.com/marice_rose/3/ As a philosopher and an art historian, ... more Download here: https://works.bepress.com/marice_rose/3/ As a philosopher and an art historian, the authors decided to record their experience after discovering they shared similar journeys changing their courses. They had both been dissatisfied with their students' learning outcomes and their own tired patterns of teaching. After learning about ...
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Papers by Marice Rose
As the first exhibition of its kind in the United States, Hair in the Classical World l examined the role of hair in ancient Greece, Cyprus, and Rome through three thematic lenses: Arrangement and Adornment; Rituals and Rites of Passage; and Divine and Royal Iconography. Presenting 27 objects dating from the Bronze Age to late Antiquity (1500 BCE – 600 CE), as well as photographs of other artworks, the exhibition illustrated ways in which hair and hairstyles served as important signifiers in Classical Antiquity. The sculptures, coins, and hair styling tools on view in the exhibition have been lent by the Metropolitan Museum of Art, the Yale University Art Gallery, and the American Numismatic Society.
that these ancient Greek arrangements of braids were not merely the creations of sculptors but could have been worn. Our project recreating the braids and their arrangements is a research method known as experimental archaeology, a way to test hypotheses related to antiquity by using methods
as archaeologically accurate as possible, and striving for historically accurate results. The project’s genesis began in 2007 with the exhibition The Creative Photograph in Archaeology at Fairfield University, in which detailed photographs of the Caryatids provided uncommon views of their hair. In 2009, Professor of Art History Katherine A. Schwab made an internationally-screened short film which provides the basis for further inquiry on technique and meaning. Coincidentally, at the same time, the fishtail braid began to be featured prominently on runways and in the fashion press. This
article examines the techniques and meanings of the fishtail braid, which connect girls and women today to their counterparts in antiquity. Students who wore the braids thought about hairstyles in an entirely new way and as a compelling portal to another time and place. Ancient Athenians were no longer a vague concept but real people whose lives were played out in the surviving art.
As the first exhibition of its kind in the United States, Hair in the Classical World l examined the role of hair in ancient Greece, Cyprus, and Rome through three thematic lenses: Arrangement and Adornment; Rituals and Rites of Passage; and Divine and Royal Iconography. Presenting 27 objects dating from the Bronze Age to late Antiquity (1500 BCE – 600 CE), as well as photographs of other artworks, the exhibition illustrated ways in which hair and hairstyles served as important signifiers in Classical Antiquity. The sculptures, coins, and hair styling tools on view in the exhibition have been lent by the Metropolitan Museum of Art, the Yale University Art Gallery, and the American Numismatic Society.
that these ancient Greek arrangements of braids were not merely the creations of sculptors but could have been worn. Our project recreating the braids and their arrangements is a research method known as experimental archaeology, a way to test hypotheses related to antiquity by using methods
as archaeologically accurate as possible, and striving for historically accurate results. The project’s genesis began in 2007 with the exhibition The Creative Photograph in Archaeology at Fairfield University, in which detailed photographs of the Caryatids provided uncommon views of their hair. In 2009, Professor of Art History Katherine A. Schwab made an internationally-screened short film which provides the basis for further inquiry on technique and meaning. Coincidentally, at the same time, the fishtail braid began to be featured prominently on runways and in the fashion press. This
article examines the techniques and meanings of the fishtail braid, which connect girls and women today to their counterparts in antiquity. Students who wore the braids thought about hairstyles in an entirely new way and as a compelling portal to another time and place. Ancient Athenians were no longer a vague concept but real people whose lives were played out in the surviving art.