Magnifici ritorni. Schätze Aquileias aus dem Kunsthistorischen Museum Wien (Rom 2019)
Magnifici r... more Magnifici ritorni. Schätze Aquileias aus dem Kunsthistorischen Museum Wien (Rom 2019) Magnifici ritorni. Treasures of Aquileia from the Kunsthistorisches Museum in Vienna (Rome 2019)
Im Jahr 1799 wurde nahe des Dorfs Nagyszentmiklós (damals Königreich Ungarn, heute Sânnicolau Mar... more Im Jahr 1799 wurde nahe des Dorfs Nagyszentmiklós (damals Königreich Ungarn, heute Sânnicolau Mare, Rumänien) einer der bedeutendsten Goldschätze des europäischen Frühmittelalters entdeckt. Er befindet sich heute in der Antikensammlung des Kunsthistorischen Museums in Wien und besteht aus 23 Goldgefäßen, hauptsächlich zu Kannen umgearbeitete Flaschen, Schalen, zwei Becher, zwei Stielschalen und einem Trinkhorn. Insgesamt wiegen die Gegenstände fast 10 kg. Was den Schatz so wertvoll macht, ist jedoch nicht das Material, sondern die hohe Qualität der Verarbeitung, die exotische Schönheit einiger der Gefäße, vor allem aber die Tatsache, dass er eine einzigartige Quelle für die Erforschung von kulturellen Verbindungen zwischen der mediterranen Welt und den nomadischen Gesellschaften Eurasiens darstellt. Dazu hat das RGZM in Zusammenarbeit mit der Antikensammlung des Kunsthistorischen Museums 2010 in Wien eine Tagung veranstaltet, deren Ergebnisse in teils stark erweiterter Form hier vorgestellt werden. Die Artikel befassen sich mit allgemeinen Fragen zum gegenwärtigen Forschungsstand (Csanád Bálint), den Ergebnissen aus goldschmiedetechnischen Untersuchungen und Materialanalysen (Viktor Freiberger und Birgit Bühler), den möglichen Zusammenhängen zwischen dem Schatz und der sasanidischen Kultur (Ádám Bollók und Bruno Overlaet) und den Inschriften des Goldschatzes im byzantinischen Kontext (Stefan Albrecht).
Unfertigkeit in der kaiserzeitlichen Architektur, 2021
Geißler, Birte - Wulf-Rheidt, Ulrike, Aspekte von Unfertigkeit in der kaiserzeitlichen Architektu... more Geißler, Birte - Wulf-Rheidt, Ulrike, Aspekte von Unfertigkeit in der kaiserzeitlichen Architektur. Ergebnisse eines Workshops am Architekturreferat des Deutschen Archäologischen Instituts, 26. und 27. September 2016; Tagungen und Kongresse 1
M. MEYER (Hrsg.), Neue Zeiten – Neue Sitten. Zu Rezeption und Integration römischen und italischen Kulturguts in Kleinasien, WForsch 12 (Wien 2007) 125-132, 2007
M. Maischberger – B. Feller (Hrsg.), Aussenräume in Innenräumen. Die musealen Raumkonzeptionen von Walter Andrae und Theodor Wiegand im Pergamonmuseum (Berlin 2018), 215–233, 2018
P. Pensabene – M. Milella – F. Caprioli (Hrsg.), Decor. Decorazione e architettura nel mondo romano 1. Atti del Convegno Internazionale Roma 21 -- 24 maggio 2014, Thiasos Monografie 9 (Rom 2017), 2017
To explain patterns in architectural decoration the existence of workshops ('Bauhütten') as owner... more To explain patterns in architectural decoration the existence of workshops ('Bauhütten') as owner and developer of these patterns has been proposed. Structure and processes of decisions have however not been sufficiently discussed. Meanwhile, our knowledge of ancient architecture has decisively increased. Information about the origin of raw material lead to a clear differentiation and precise questions of specialization, exchange of masons and organization of the companies. The various criteria that shape decoration have to be separated sufficiently: the Syntax of the decoration (combination of various forms of decorations and motives), the iconography of ornamental elements (design of the Palmette in the Anthemion etc.) and the style and 'handwriting' of the respective operating mason. Rather than thinking of the migration of entire workshops from Asia Minor to Rome, one can accept the consideration that finished architectural blocks were shipped, what would explain the vast presence of 'eastern' capitals throughout the Roman Empire. When evaluating new and alien impacts, the motivation of the employer as well as the background of the region receiving these influences must be questioned. Local traditions, the availability of raw material and the knowledge in working with this material are important factors for the response on such impacts. L'esistenza di officine ('Bauhütten') come centri di produzione e sviluppo è stata proposta per spiegare l'esistenza di modelli nella decorazione architettonica. La loro struttura e i processi decisionali non sono stati tuttavia sufficientemente discussi. Negli ultimi anni, la nostra conoscenza dell'architettura antica è cresciuta enormemente. Le informazioni acquisite sul materiale prima della lavorazione ci portano ad una chiara differenziazione e pongono precise domande sulla specializzazione, gli scambi di maestranze e l'organizzazione delle officine. I vari criteri che danno forma alla decorazione vanno separati coerentemente: la sintassi della decorazione (la combinazione cioè delle varie forme e dei motivi), l'iconografia degli elementi ornamentali (il disegno delle palmette nell'anthemion, etc.), lo stile e la firma delle rispettive maestranze. Piuttosto che pensare alla migrazione di intere officine dall'Asia minore a Roma, si può considerare la possibilità che fosse spedito il prodotto finito; questo spiegherebbe la massiccia presenza di capitelli "orientali" in tutto l'impero romano. Nell'analisi dei nuovi apporti, esterni, devono essere considerate sia la motivazione del committente che le preesistenze della regione che riceve queste influenze. Tradizioni locali, la reperibilità di materiale grezzo, e la conoscenza delle modalità di lavorazione sono fattori importanti per conoscere la portata di queste influenze. Since archaeology deals with development and style of architectural decoration, scholars try to understand the background and to find explanations and reasons for conventions and changes in course of time
Magnifici ritorni. Schätze Aquileias aus dem Kunsthistorischen Museum Wien (Rom 2019)
Magnifici r... more Magnifici ritorni. Schätze Aquileias aus dem Kunsthistorischen Museum Wien (Rom 2019) Magnifici ritorni. Treasures of Aquileia from the Kunsthistorisches Museum in Vienna (Rome 2019)
Im Jahr 1799 wurde nahe des Dorfs Nagyszentmiklós (damals Königreich Ungarn, heute Sânnicolau Mar... more Im Jahr 1799 wurde nahe des Dorfs Nagyszentmiklós (damals Königreich Ungarn, heute Sânnicolau Mare, Rumänien) einer der bedeutendsten Goldschätze des europäischen Frühmittelalters entdeckt. Er befindet sich heute in der Antikensammlung des Kunsthistorischen Museums in Wien und besteht aus 23 Goldgefäßen, hauptsächlich zu Kannen umgearbeitete Flaschen, Schalen, zwei Becher, zwei Stielschalen und einem Trinkhorn. Insgesamt wiegen die Gegenstände fast 10 kg. Was den Schatz so wertvoll macht, ist jedoch nicht das Material, sondern die hohe Qualität der Verarbeitung, die exotische Schönheit einiger der Gefäße, vor allem aber die Tatsache, dass er eine einzigartige Quelle für die Erforschung von kulturellen Verbindungen zwischen der mediterranen Welt und den nomadischen Gesellschaften Eurasiens darstellt. Dazu hat das RGZM in Zusammenarbeit mit der Antikensammlung des Kunsthistorischen Museums 2010 in Wien eine Tagung veranstaltet, deren Ergebnisse in teils stark erweiterter Form hier vorgestellt werden. Die Artikel befassen sich mit allgemeinen Fragen zum gegenwärtigen Forschungsstand (Csanád Bálint), den Ergebnissen aus goldschmiedetechnischen Untersuchungen und Materialanalysen (Viktor Freiberger und Birgit Bühler), den möglichen Zusammenhängen zwischen dem Schatz und der sasanidischen Kultur (Ádám Bollók und Bruno Overlaet) und den Inschriften des Goldschatzes im byzantinischen Kontext (Stefan Albrecht).
Unfertigkeit in der kaiserzeitlichen Architektur, 2021
Geißler, Birte - Wulf-Rheidt, Ulrike, Aspekte von Unfertigkeit in der kaiserzeitlichen Architektu... more Geißler, Birte - Wulf-Rheidt, Ulrike, Aspekte von Unfertigkeit in der kaiserzeitlichen Architektur. Ergebnisse eines Workshops am Architekturreferat des Deutschen Archäologischen Instituts, 26. und 27. September 2016; Tagungen und Kongresse 1
M. MEYER (Hrsg.), Neue Zeiten – Neue Sitten. Zu Rezeption und Integration römischen und italischen Kulturguts in Kleinasien, WForsch 12 (Wien 2007) 125-132, 2007
M. Maischberger – B. Feller (Hrsg.), Aussenräume in Innenräumen. Die musealen Raumkonzeptionen von Walter Andrae und Theodor Wiegand im Pergamonmuseum (Berlin 2018), 215–233, 2018
P. Pensabene – M. Milella – F. Caprioli (Hrsg.), Decor. Decorazione e architettura nel mondo romano 1. Atti del Convegno Internazionale Roma 21 -- 24 maggio 2014, Thiasos Monografie 9 (Rom 2017), 2017
To explain patterns in architectural decoration the existence of workshops ('Bauhütten') as owner... more To explain patterns in architectural decoration the existence of workshops ('Bauhütten') as owner and developer of these patterns has been proposed. Structure and processes of decisions have however not been sufficiently discussed. Meanwhile, our knowledge of ancient architecture has decisively increased. Information about the origin of raw material lead to a clear differentiation and precise questions of specialization, exchange of masons and organization of the companies. The various criteria that shape decoration have to be separated sufficiently: the Syntax of the decoration (combination of various forms of decorations and motives), the iconography of ornamental elements (design of the Palmette in the Anthemion etc.) and the style and 'handwriting' of the respective operating mason. Rather than thinking of the migration of entire workshops from Asia Minor to Rome, one can accept the consideration that finished architectural blocks were shipped, what would explain the vast presence of 'eastern' capitals throughout the Roman Empire. When evaluating new and alien impacts, the motivation of the employer as well as the background of the region receiving these influences must be questioned. Local traditions, the availability of raw material and the knowledge in working with this material are important factors for the response on such impacts. L'esistenza di officine ('Bauhütten') come centri di produzione e sviluppo è stata proposta per spiegare l'esistenza di modelli nella decorazione architettonica. La loro struttura e i processi decisionali non sono stati tuttavia sufficientemente discussi. Negli ultimi anni, la nostra conoscenza dell'architettura antica è cresciuta enormemente. Le informazioni acquisite sul materiale prima della lavorazione ci portano ad una chiara differenziazione e pongono precise domande sulla specializzazione, gli scambi di maestranze e l'organizzazione delle officine. I vari criteri che danno forma alla decorazione vanno separati coerentemente: la sintassi della decorazione (la combinazione cioè delle varie forme e dei motivi), l'iconografia degli elementi ornamentali (il disegno delle palmette nell'anthemion, etc.), lo stile e la firma delle rispettive maestranze. Piuttosto che pensare alla migrazione di intere officine dall'Asia minore a Roma, si può considerare la possibilità che fosse spedito il prodotto finito; questo spiegherebbe la massiccia presenza di capitelli "orientali" in tutto l'impero romano. Nell'analisi dei nuovi apporti, esterni, devono essere considerate sia la motivazione del committente che le preesistenze della regione che riceve queste influenze. Tradizioni locali, la reperibilità di materiale grezzo, e la conoscenza delle modalità di lavorazione sono fattori importanti per conoscere la portata di queste influenze. Since archaeology deals with development and style of architectural decoration, scholars try to understand the background and to find explanations and reasons for conventions and changes in course of time
T. Ismaelli - G. Scardozzi (Hrsg.), Ancient Quarries and Building Sites in Asia Minor. Research on Hierapolis in Phrygia and other cities in south-western Anatolia: archaeology, archeometry, conservation, Bibliotheca Archaeologica 45 (Bari 2016) , 2016
G. Adornato – G. Cirucci – W. Cupperi (Hrsg.), Beyond „Art Collections“. Owning and Accumulating Objects from Greek Antiquity to The Early Modern Period, 2020
M. Christidis – A. Hermary – G. Koiner – A. Ulbrich (Hrsg.), Classical Cyprus. Proceedings of the Conference University of Graz, 21- 23 September 2017, 2020
M. Aurenhammer (Hrsg.), Sculpture in Roman Asia Minor. Proceedings of the International Conference at Selçuk, 1st - 3 rd October 2013, SoSchrÖAI 56 (Wien 2018) 161–173, 2018
L. Cavalier - M.-C. Ferriès - F. Delrieux (eds.), Auguste et l’Asie Mineure, Ausonius. Scripta An... more L. Cavalier - M.-C. Ferriès - F. Delrieux (eds.), Auguste et l’Asie Mineure, Ausonius. Scripta Antiqua 97 (Bordeaux 2017)
Artistry in Bronze. The Greeks and Their Legacy, XIXth International Congress on Ancient Bronzes, 2017
In the second year of the Austrian excavation in Ephesos (1896), fragments of the Athlete of Ephe... more In the second year of the Austrian excavation in Ephesos (1896), fragments of the Athlete of Ephesos were found in the ruins of the Harbor Baths. Vast parts of the marble architecture of the palaestra had been destroyed by earthquake and fire, but 234 statue fragments of various sizes, buried beneath the burnt roofing, were preserved. Most unusually, the base on which the statue was mounted was also preserved. Due to an agreement between the Ottoman sultan and the Austrian emperor, the statue and base were taken to Vienna as a gift to the imperial collections. In Vienna, sculptor Wilhelm Sturm was commissioned to restore the statue. Recognizing the similarity of the statuary type, Sturm based the arrangement and composition of the athlete on the Apoxyomenos in the Uffizi in Florence. The Athlete of Ephesos was put on display immediately, in the first show of finds from Ephesos in Vienna in 1901. Since 1978, it has been part of the Ephesos Museum in the former Austrian Imperial Palace in Vienna. Since the first publication of the statue in 1906, dating and art historical classification of the athlete have been disputed. While it is widely accepted that the cast itself is Roman, some authors cite Greek models from the Late Classical/Early Hellenistic period from the third and second centuries BC, while others argue for a Roman work of eclecticism. Sturm realized the reconstruction of the statue in 1897–98. He built an internal armature scaffold of tinned iron, brass bars, and screws to mount the preserved fragments. These original parts underwent several mechanical and chemical treatments, as was common at that time. Sturm used a magnesiumchloride mortar as a filler and stabilizer. Even in the first exhibition, this hygroscopic material caused problems of efflorescence due to temperature and humidity fluctuations. In the ensuing eight decades, sculptors undertook two major interventions. In 1951, the position of the right arm was corrected, and in 1977 a synthetic resin was added as a new filling material. To dispel lingering doubts concerning the stability and strength of the interior scaffold or the possibility of active corrosion on the original bronze fragments, the Kunsthistorisches Museum together with the Getty Museum undertook scientific investigations to characterize and evaluate the mortar chemically and structurally. A solid construction of aluminum square tubes with custom-fit interior design was developed for transport.
Posterpräsentation anlässlich des 3. Heritage Science Austria Meeting_
Poster presentation on occ... more Posterpräsentation anlässlich des 3. Heritage Science Austria Meeting_ Poster presentation on occasion of the 3. Heritage Science Austria Meeting 23. September 2022
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Magnifici ritorni. Treasures of Aquileia from the Kunsthistorisches Museum in Vienna (Rome 2019)
Was den Schatz so wertvoll macht, ist jedoch nicht das Material, sondern die hohe Qualität der Verarbeitung, die exotische Schönheit einiger der Gefäße, vor allem aber die Tatsache, dass er eine einzigartige Quelle für die Erforschung von kulturellen Verbindungen zwischen der mediterranen Welt und den nomadischen Gesellschaften Eurasiens darstellt. Dazu hat das RGZM in Zusammenarbeit mit der Antikensammlung des Kunsthistorischen Museums 2010 in Wien eine Tagung veranstaltet, deren Ergebnisse in teils stark erweiterter Form hier vorgestellt werden. Die Artikel befassen sich mit allgemeinen Fragen zum gegenwärtigen Forschungsstand (Csanád Bálint), den Ergebnissen aus goldschmiedetechnischen Untersuchungen und Materialanalysen (Viktor Freiberger und Birgit Bühler), den möglichen Zusammenhängen zwischen dem Schatz und der sasanidischen Kultur (Ádám Bollók und Bruno Overlaet) und den Inschriften des Goldschatzes im byzantinischen Kontext (Stefan Albrecht).
Magnifici ritorni. Treasures of Aquileia from the Kunsthistorisches Museum in Vienna (Rome 2019)
Was den Schatz so wertvoll macht, ist jedoch nicht das Material, sondern die hohe Qualität der Verarbeitung, die exotische Schönheit einiger der Gefäße, vor allem aber die Tatsache, dass er eine einzigartige Quelle für die Erforschung von kulturellen Verbindungen zwischen der mediterranen Welt und den nomadischen Gesellschaften Eurasiens darstellt. Dazu hat das RGZM in Zusammenarbeit mit der Antikensammlung des Kunsthistorischen Museums 2010 in Wien eine Tagung veranstaltet, deren Ergebnisse in teils stark erweiterter Form hier vorgestellt werden. Die Artikel befassen sich mit allgemeinen Fragen zum gegenwärtigen Forschungsstand (Csanád Bálint), den Ergebnissen aus goldschmiedetechnischen Untersuchungen und Materialanalysen (Viktor Freiberger und Birgit Bühler), den möglichen Zusammenhängen zwischen dem Schatz und der sasanidischen Kultur (Ádám Bollók und Bruno Overlaet) und den Inschriften des Goldschatzes im byzantinischen Kontext (Stefan Albrecht).
were found in the ruins of the Harbor Baths. Vast parts of the marble architecture of the palaestra had
been destroyed by earthquake and fire, but 234 statue fragments of various sizes, buried beneath the
burnt roofing, were preserved. Most unusually, the base on which the statue was mounted was also
preserved.
Due to an agreement between the Ottoman sultan and the Austrian emperor, the statue and base
were taken to Vienna as a gift to the imperial collections. In Vienna, sculptor Wilhelm Sturm was
commissioned to restore the statue. Recognizing the similarity of the statuary type, Sturm based the
arrangement and composition of the athlete on the Apoxyomenos in the Uffizi in Florence. The Athlete
of Ephesos was put on display immediately, in the first show of finds from Ephesos in Vienna in 1901.
Since 1978, it has been part of the Ephesos Museum in the former Austrian Imperial Palace in Vienna.
Since the first publication of the statue in 1906, dating and art historical classification of the athlete
have been disputed. While it is widely accepted that the cast itself is Roman, some authors cite Greek
models from the Late Classical/Early Hellenistic period from the third and second centuries BC, while
others argue for a Roman work of eclecticism.
Sturm realized the reconstruction of the statue in 1897–98. He built an internal armature scaffold of
tinned iron, brass bars, and screws to mount the preserved fragments. These original parts underwent
several mechanical and chemical treatments, as was common at that time. Sturm used a magnesiumchloride
mortar as a filler and stabilizer. Even in the first exhibition, this hygroscopic material caused
problems of efflorescence due to temperature and humidity fluctuations.
In the ensuing eight decades, sculptors undertook two major interventions. In 1951, the position of
the right arm was corrected, and in 1977 a synthetic resin was added as a new filling material.
To dispel lingering doubts concerning the stability and strength of the interior scaffold or the
possibility of active corrosion on the original bronze fragments, the Kunsthistorisches Museum
together with the Getty Museum undertook scientific investigations to characterize and evaluate the
mortar chemically and structurally. A solid construction of aluminum square tubes with custom-fit
interior design was developed for transport.
Poster presentation on occasion of the 3. Heritage Science Austria Meeting
23. September 2022