- Classical Archaeology, Classical Reception Studies, Medieval Art, Ancient Greek and Roman Art, Late Antique Art and Archaeology, Portraits of Alexander the Great, and 53 moreByzantine Mosaics, Polychromy in Ancient Art, Early Christian Art, LATE ANTIQUE ART, Greek Archaeology, Late Antiquity, Late Roman Archaeology, The Use of Marble and Other Stones, Greek Sculpture, Art History, Fashion History, Constantinople, Spolia, Byzantine Archaeology, Late Antique Archaeology, Aesthetics, Art Theory, Byzantine Architecture, Byzantium, Roman Marble Quarries, Late Antique Sculpture, Byzantine art, History of Archaeology, Opus Sectile, Byzantine Aesthetics, Reception of Antiquity, Late Antique and Byzantine Studies, Neuroaesthetics, Roman Archaeology, Monuments of Thessaloniki, Early Byzantine Art, Late Antique and Byzantine Art, Polychromy of Ancient Sculpture, Early Byzantine Mosaics, Greek and Roman Sculpture, Early Christian Mosaics, Late Roman Sculpture, Late Antique Portraiture, Color Psychology and Use of Colour, Byzantine Studies, Byzantine Iconography, Portraiture, Early Christianity, Iconography, Fashion Theory, Dress Studies, Sociology of Dress, Medieval Archaeology, Cultural Heritage, Late Antique and Byzantine History, Cognitive Neuroscience, Byzantine dress, and Gender Studiesedit
- Professor of Art Historyedit
The chapter discusses cultural and social aspects of clothing in Byzantium. Issues addressed are gendering of clothes, female power dressing, elite garments, gendered response to foreign influences, work wear, and clothes as a means of... more
The chapter discusses cultural and social aspects of clothing in Byzantium. Issues addressed are gendering of clothes, female power dressing, elite garments, gendered response to foreign influences, work wear, and clothes as a means of communicating gendered values. A short epilogue presents the refashioning of Byzantine costumes in contemporary fashion. Research is based on a combination of visual, archaeological, and textual sources.
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After a presentation of the Danish architect and archaeologist Ejnar Dyggve's excavations in Thessaloniki in the late antique palace complex (1939), the article turns to the Dano-Norwegian archaeological and art-historical studies in the... more
After a presentation of the Danish architect and archaeologist Ejnar Dyggve's excavations in Thessaloniki in the late antique palace complex (1939), the article turns to the Dano-Norwegian archaeological and art-historical studies in the Rotunda (1953). The local authorities' positive attitude made it possible for Hjalmar Torp to work for four months on the scaffolding inside the monument to examine, describe and make drawings and photographs of the cupola mosaics. Permission was also granted to excavate in the choir of the church. These excavations uncovered remains of holy relics. The forensic report on the contents of the altar relic tomb is published here in full for the first time.
Research Interests: Historiography, Late Antique Archaeology, Late Antiquity, Historiography (in Art History), Relics (Religion), and 14 moreLate Roman Archaeology, Early Christian Archaeology, Byzantine Mosaics, Byzantine art, THESSALONIKI, Early Christian Martyrs, Relics and Relic Veneration, Historiography (in Art History), Reliques, Monuments of Thessaloniki, Cult of Relics, Ejnar Dyggve, Rotunda Thessaloniki, and early christian saints relics
The article focuses on female clothing depicted in wall paintings from Pompeii, Herculaneum and Stabiae. A main point is to establish the semantics of costumes and colour: how do the aesthetic spaces of 'real' Pompeian garments worn by... more
The article focuses on female clothing depicted in wall paintings from Pompeii, Herculaneum and Stabiae. A main point is to establish the semantics of costumes and colour: how do the aesthetic spaces of 'real' Pompeian garments worn by professional and working women in the first century intersect with 'ideal' garb represented in mythological and genre scenes? What do the colours chosen for clothing reveal about status and how did the ancient viewers negotiate the shifting meanings of a given hue according to context? I argue that the colours of both real and represented clothing were largely dictated by fabric, with pastel hues for silk and saturated primary hues for wool. The article proposes two interrelated colour domains, each with its particular connotations: saturated basic chromatics for everyday wear and a pastel palette for elite attire.
Research Interests: History of Costume, Pompeii (Archaeology), Fashion History, Costume and Identity, Herculaneum, and 12 morePompeii, Pompeii and Herculaneum, Colour, Roman Art, History of clothing and fashion, Roman Wall Painting, Museo Archeologico Nazionale di Napoli, Meaning of colours in antiquity, Stabiae, Roman Archaeology, Ancient Roman Clothing and Fashion, and representations of women in antiquity
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In recent years, important discoveries have been made at archaeological sites in the Bay of Naples, and scholars have used new approaches such as gender studies and material agency to explore both familiar and less familiar aspects of... more
In recent years, important discoveries have been made at archaeological sites in the Bay of Naples, and scholars have used new approaches such as gender studies and material agency to explore both familiar and less familiar aspects of Pompeii and the surrounding areas. The current special issue of CLARA: Pompeii from the Real to the Ideal focuses on the presentation and interpretation of the archaeological evidence from Pompeii and its impact on later art and culture.
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Dear professors, researchers and students CLARA (Classical Art and Archaeology) is an online, open access and peer-reviewed journal which covers a wide range of topics that can be termed antiquity studies. Hosted by the Museum of Cultural... more
Dear professors, researchers and students CLARA (Classical Art and Archaeology) is an online, open access and peer-reviewed journal which covers a wide range of topics that can be termed antiquity studies. Hosted by the Museum of Cultural History at the University of Oslo, CLARA aims to publish articles, essays, reviews and special issues of a high academic quality within the field of classical art and archaeology and make them accessible to a wide scholarly public.
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In his formalist art history, Alois Riegl (1858-1905) focuses on figure and ground, light and dark, and tactile versus optical features. Strangely, he shows little interest in colour. Thus, in Stilfragen (1893) and in Spätrömische... more
In his formalist art history, Alois Riegl (1858-1905) focuses on figure and ground, light and dark, and tactile versus optical features. Strangely, he shows little interest in colour. Thus, in Stilfragen (1893) and in Spätrömische Kunstindustrie (1901) artefacts and monuments are discussed as if they were fashioned in black and white. Even when describing mosaics and book illuminations, Riegl refrains from mentioning specific colours. In connection with baroque painting (Die Entstehung der Barockkunst in Rom, 1908) the almost total lack of colour description is even more striking. Although Riegl may have found form to be more objective than colour, and he also relied heavily on black and white reproductions, another explanation for his exclusion of chromatic features could be that he did not see colour well. The article proposes that Riegl may have been among the 8-10 per cent of males who suffer from colour blindness
Research Interests: Art History, Art Theory, Colour Vision, Late Antique Archaeology, Late Antiquity, and 10 moreHistoriography (in Art History), Late Antique Art and Archaeology, Alois Riegl, Color vision deficiency, Color blindness, Kunstwollen, Spätantike, Archeologia Tardoantica, arte e archeologia tardoantica, and Late Roman art
The people who commissioned artworks and monumental decorations in late antiquity are for the most part unknown. Even when names are recorded, it is often difficult to tell to what extent the demands of the patron determined the visual... more
The people who commissioned artworks and monumental decorations in late antiquity are for the most part unknown. Even when names are recorded, it is often difficult to tell to what extent the demands of the patron determined the visual characteristics of a given work. Since styles were tied to workshop traditions and contentions, it can be argued that in most instances, the patron had but limited influence on stylistic properties. Evidence actually suggests that the style of a work often came about independently of the one who commissioned or purchased it. The style was conditioned by function and context. The article, therefore, proposes a functional paradigm for evaluating visual expressions, defining three main domains of representation: public monuments, religious programmes, and artworks. In search of the late antique patron, the conclusion reached is that the patron had most impact in the religious domain.
Research Interests: History, Archaeology, Art History, Late Antique and Byzantine Studies, Late Antique Archaeology, and 13 moreLate Antiquity, Late Antique Art and Archaeology, Late Roman Archaeology, Late Antique Sculpture, Ancient Rome, Paleochristian and Late Antique Archaeology, Patronage, Late Antique, Mosaics, Monuments of Thessaloniki, Styles, Patrons, and Style and Meaning in the Late Antique Visual Arts
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Research Interests: Physiognomy, Neuroaesthetics, Alexander the Great, Ancient Emotions, Neurophysiology, and 9 moreAncient Greek and Roman Art, Hellenistic Delos, Greek Sculpture, Hellenistic art, Hellenistic Sculpture, Hellenistic and Roman Art, History of Greek Art, Vilayanur Ramachandran, and Hellenistic Portraiture
In the twenty-first century, famous antique statues have been reinterpreted by artists of very different backgrounds. A characteristic feature of the contemporary artwork is the use of unconventional sculptural materials such as paper,... more
In the twenty-first century, famous antique statues have been reinterpreted by artists of very different backgrounds. A characteristic feature of the contemporary artwork is the use of unconventional sculptural materials such as paper, soap, concrete, polycarbonate and metal cans. In the dialogue called the Cratylus, Socrates explains that 'images are far from possessing the same qualities as the originals they imitate' (432d). Socrates refers to the relationship between an image (eikon) and its human model, but much the same can be said about the relationship between the new images and their ancient art-historical models. Aristotle holds that matter (hyle) is separate from form (eidos). In the contemporary works, the matter is changed-e.g. from marble to hydrostone or from bronze to concrete-but the form is preserved. The antique statue is the underlying thing (Aristotle's hypokeimenon) that persists through the material changes. The article presents some of the ways that European, Asian and American artists, in the second decade of the twenty-first century, transform the appearance of renowned antique statues.
Research Interests: Classical Archaeology, Aristotle, Contemporary Art, History of Sculpture, Classical Reception Studies, and 14 moreReception of Antiquity, Theory of sculpture, Greek Sculpture, Contemporary Sculpture, Plato's Cratylus, Greek and Roman Sculpture, History of Greek Art, Classical Sculpture, Sculptural Form and Surfaces, Classicism and Contemporary Art, contemporary classicism, Antique sculpture, sculptural materials, and hypokeimenon
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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... more
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.
Research Interests: Reception Studies, Cultural Heritage, Contemporary Art, Classical Reception Studies, Ancient Greek and Roman Art, and 11 moreReception of Antiquity, Greek Sculpture, Contemporary Sculpture, Classical Antiquity, Greek Art, Contemporary Culture, Classical reception, Reception of Antiquity in Popular Culture, History of Greek Art, Classicism and Contemporary Art, and contemporary figural sculpture
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Research Interests:
Depictions of rainbows in late antique and early Byzantine art follow the normal sequence of the spectral colours, only some bows exclude blue and violet. Another characteristic feature of the late antique rainbow is the inclusion of... more
Depictions of rainbows in late antique and early Byzantine art follow the normal sequence of the spectral colours, only some bows exclude blue and violet. Another characteristic feature of the late antique rainbow is the inclusion of white and the non-spectral hue pink. In order to investigate chromatic characteristics, I use as case studies the comparatively few extant rainbow images of third-to sixth-century date from Thessaloniki, Constantinople, Rome and Ravenna. The rainbows, depicted in a floor mosaic, three illuminated manuscripts and three monumental wall mosaic decorations, are either part of narratives or rainbow-patterned borders used to frame other scenes. To throw light on the chromatic variations, ancient descriptions of rainbows are brought into the discussion and the representations are seen in relation to meteorological research. I propose that the late antique rainbow images follow two visual traditions, both of which can be traced back to the Hellenistic period and both of which are grounded in scientific research. One is the sunrise/sunset rainbow that ranges from red to green. I argue that the exclusion of blue/violet may be due to its being more difficult to see against the sky, the wavelength of violet being closest to the boundary beyond which coloured light tends to look black. The variant type, found especially in the church mosaics, covers the whole spectrum from red via green to violet as well as pink and white. I suggest that the non-spectral pink hues can be understood as the gradations of red that can sometimes be observed in the natural bow and that the white band provides highlight, which combined with a silver line indicates a strong luminance. The dictionary defines a rainbow as 'an arch of colours formed in the sky in certain circumstances, and caused by the refraction and dispersion of the sun's light by rain or other water droplets in the atmosphere. The colours of the
Research Interests: Colour Vision, Meteorology, Visual perception, Late Antiquity, Late Antique Art and Archaeology, and 15 moreColour and Light, Ravenna, Ammianus Marcellinus, San Vitale Ravenna, Byzantine Mosaics, Color Theory, THESSALONIKI, Rainbows, Meaning of colours in antiquity, Late antique mosaics, Monuments of Thessaloniki, Early Byzantine Art, Roman and Late Antique Archeology Huistory of Art, Aristotle's On Meteorology, and early Byzantine aesthetics
We invite proposals for articles for a special issue of CLARA on the use of antiquity in contemporary art, especially in the last two decades. The special issue aims to explore why classical (Greek and Roman) sculpture and other artwork... more
We invite proposals for articles for a special issue of CLARA on the use of antiquity in contemporary art, especially in the last two decades. The special issue aims to explore why classical (Greek and Roman) sculpture and other artwork continue to fascinate artists in the twenty-first century. Background Continuing a trend of the late twentieth century, the early twenty-first century has witnessed an enduring interest in Greek and Roman antiquity and the classical heritage. A growing number of artists of very different backgrounds, including (alphabetically) have created new works of art based on renowned antique statues such as the Venus de Milo, the Nike of Samothrace, the Apollo Belvedere, the Belvedere torso and the Hercules Farnese. While some artists make new versions of ancient sculptures, other artists create new works in a classical style. Classical images, ranging from statues to temples, also turn up in advertising to promote ideas of high quality and excellent taste. In fashion design, brands such as Versace, Chanel and not least Dolce & Gabbana, who in recent collections have presented male and female couture decorated with Greek coins, Sicilian temples and Black-and Red-figure vases, have similarly embraced the classical.
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Mimetophobia, the fear of imitation, in the sense of a negative or sceptical attitude towards resemblance, may have been caused by a too narrow interpretation of the concept mimesis as naturalistic representation and slavish imitation.... more
Mimetophobia, the fear of imitation, in the sense of a negative or sceptical attitude towards resemblance, may have been caused by a too narrow interpretation of the concept mimesis as naturalistic representation and slavish imitation. Greek and Roman texts suggest that mimesis had a wide range of meanings: mimesis as neutral representation; mimesis as lifelikeness; mimesis as naturalism and illusion; mimesis as visualisation (phantasia) and mimesis as artistic repetition. Discussing the term mimesis in connection with ancient art, I propose that the artists used different mimetic modes depending on the function of the images. I further argue that the antique mimesis was "medium-specific", and that the artists were more concerned with material and technical excellence than with imitating natural appearances. Comparing antique and contemporary practices, it is found that the hyperrealistic sculptures of Carole A. Feuerman, John DeAndrea and Ron Mueck are closer to Plato's concept of mimesis as visual deception than any ancient work could ever have been.
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Research Interests:
The article discusses the material and aesthetic qualities of the female stucco saints in the Tempietto Longobardo at Cividale del Friuli (c. AD 750). The stuccoes combine two artistic and technical traditions: marble statuary of antique... more
The article discusses the material and aesthetic qualities of the female stucco saints in the Tempietto Longobardo at Cividale del Friuli (c. AD 750). The stuccoes combine two artistic and technical traditions: marble statuary of antique derivation and figural stucco relief. The surface texture of stucco differs considerably from that of marble: while marble is shiny, stucco tends to be dull. Since colours enhanced the visual impact of the saintly figures in the Tempietto, the polychromy-of which only very faint traces remain-was probably the most important aspect of the sculpture. It is a matter of speculation whether the viewer would have perceived any physical difference in surface appearance between the painted stucco and painted stone when seen from a distance. In order to gain an idea of the aesthetic impact of the reliefs when painted and perhaps gilded, the article presents hypothetical reconstructions of colour based on the wall paintings preserved in the Tempietto. Located in the gastaldaga, the seat of the Longobard king's representative at Cividale del Friuli (Udine), Sa Maria in Valle, better known as the Tempietto Longobardo, served as a palatine chapel. 1 The dedicatory inscription mentions 'pies auctores'. 2 These 'pious founders' were plausibly the Longobard king, Aistulf (749-756), and his wife Giseltrude. Upon the death of Aistulf, Giseltrude became a nun. A local tradition has it that a certain Pertrude, by some scholars identified with Giseltrude, founded the monastery of Sa Maria in Valle. 3 Whatever the case, at least the importance bestowed upon female saints in the decoration of the chapel, and the marked interest in issues of fashion and design evidenced in their vestments, may bespeak the presence of a female patron.
Research Interests: Art History, Material Culture Studies, Early Medieval Archaeology, Medieval Art, Early Medieval Art, and 13 morePolychromy, Polychromy in Ancient Art, Byzantine art, Polychromy of Ancient Sculpture, Painted Stucco Decoration, Policromia, Sculptural polychromy, Italo-Byzantine Art, Longobardi archeologia, Medieval Polychromy, Medieval Polychrome Sculpture, Stucco, and Cividale Del Friuli
The twenty-first century has witnessed a growing interest in antique and medieval polychromy. By now it is generally acknowledged that colour is an integral part of their sculpture. In the present special issue of CLARA, scholars from... more
The twenty-first century has witnessed a growing interest in antique and medieval polychromy. By now it is generally acknowledged that colour is an integral part of their sculpture. In the present special issue of CLARA, scholars from various disciplines explore different aspects of sculptural polychromy in marble, glass, stucco, wood and terracotta – from Antiquity to the Renaissance: The multisensory perception of colour, the interplay of colour and texture, the treatment of sculpted surfaces, the importance of gilding and polishes, and the challenges when reconstructing lost polychromy. Combining empirical and theoretical data, the special issue includes hitherto unpublished colour reconstructions and scientific details.
This collection of articles is the result of a seminar with the title Perceiving Matter: Visual, Material and Sensual Communication from Antiquity to the –Middle Ages and Beyond, held April 5th 2019 at the Museum of Cultural History (MCH), University of Oslo. The seminar was arranged by Marina Prusac-Lindhagen and Kaja Kollandsrud and established the research group ‘Polychrome Art History’ https://www.khm.uio.no/english/research/research-groups/polychrome-art-history/
This collection of articles is the result of a seminar with the title Perceiving Matter: Visual, Material and Sensual Communication from Antiquity to the –Middle Ages and Beyond, held April 5th 2019 at the Museum of Cultural History (MCH), University of Oslo. The seminar was arranged by Marina Prusac-Lindhagen and Kaja Kollandsrud and established the research group ‘Polychrome Art History’ https://www.khm.uio.no/english/research/research-groups/polychrome-art-history/
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Research Interests:
Research Interests: Late Antique and Byzantine Studies, Egyptian Art and Archaeology, Egyptian Archaeology, Late Antique Archaeology, Coptic Studies, and 11 moreLate Antiquity, Late Antique Art and Archaeology, Coptic (Archaeology), Coptic art, Coptic Monasteries, Paleochristian and Late Antique Archaeology, Coptic Wall Paintings, Byzantine Egypt, Late Antique Egypt, Bawit, and Style and Meaning in the Late Antique Visual Arts
Research Interests: Aesthetics, Art History, Late Antique and Byzantine Studies, Art Theory, Abstract Art, and 15 moreLate Antique Archaeology, Visual perception, Late Antiquity, Late Antique Art and Archaeology, Early Christian Art, Theory of ornament, Ravenna, Paleochristian and Late Antique Archaeology, San Vitale Ravenna, Early Christian Mosaics, Late antique mosaics, LATE ANTIQUE ART, Pareidolia, Early Byzantine Mosaics, and Late Roman art
Research Interests: Art History, Late Antique and Byzantine Studies, Saints' Cults, Byzantine Studies, Late Antiquity, and 8 moreColor Perception, Byzantine Mosaics, Color Psychology and Use of Colour, Byzantine art, Early Christian Mosaics, Late Antique Aesthetics, Early Christian Art and Iconography, and Monuments of Thessaloniki
The article discusses Byzantine attire by focusing on imperial and courtly dress from early to late Byzantium, with main emphasis on Constantinopolitan styles. The visual evidence - mosaics and illuminations - is seen in relation to the... more
The article discusses Byzantine attire by focusing on imperial and courtly dress from early to late Byzantium, with main emphasis on Constantinopolitan styles. The visual evidence - mosaics and illuminations - is seen in relation to the written and material sources. Key looks from the sixth to the fifteenth centuries are presented.
Research Interests: Late Antique and Byzantine History, Late Antique and Byzantine Studies, Fashion Theory, Dress Studies, Sociology of Dress, and 37 moreHistory of Dress, Medieval Dress, Material Culture Studies, History of Costume, History of Textiles, Fashion History, Costume and Identity, Byzantine Studies, Byzantine History, Byzantine Iconography, Byzantine Archaeology, Dress and Personal Adornment (Archaeology), Dress and identity, Medieval Art, Costume (Art History), Byzantium, Constantinople, History of Costumes, Late Antiquity and Byzantium (History and Art), Byzantine culture, Daily Life in Byzantium, Byzantine Mosaics, Archaeological textiles and clothing, Colour Terms, Byzantine art, History of clothing and fashion, History and Theory of Dress, Medieval Textiles and Clothing, Bizans Sanatı, Early Byzantine material culture, Arte Bizantina, Byzantine history and archaeology, Byzantine Clothing, Arte Bizantino, Court Fashion, Dress and Personal Adornment, and imperial attire
Research Interests: Art History, Reception Studies, Contemporary Art, History of Sculpture, The Classical Tradition, and 11 moreClassical Reception Studies, Reception of Antiquity, Greek Sculpture, Contemporary Sculpture, Appropriation in Art, Classical reception, Globalization and Contemporary Art, Global Art History, History of Greek Art, Classicism In Art, and Classicism and Contemporary Art
Research Interests: Cultural History, Late Antique and Byzantine Studies, Cultural Heritage, Medieval Archaeology, Byzantine Studies, and 21 moreLate Antiquity, Byzantine History, Byzantine Architecture, Byzantine Archaeology, Medieval Art, Byzantine Architectural Sculpture, Post-byzantine history, Byzantine churches, Athens, Spolia, Byzantine art, Post-byzantine art history, Byzantine and Post Byzantine Art, Medieval church architecture, Reuse of Materials, Il reimpiego in architettura: recupero, trasformazione, uso, Byzantine sculpture, Roman Spolia, Byzantine history and archaeology, Post-byzantine Architecture, and Byzantine Athens
Research Interests: Late Antique Archaeology, Late Antiquity, Historiography (in Art History), Late Roman Empire, Late Roman Archaeology, and 15 moreLate Antiquity and Byzantium (History and Art), Roman Sculpture, Later Roman Empire, Roman, Late Antique and Medieval archaeology in the Balkans, Roman Art, THESSALONIKI, Archaeologists, Monuments of Thessaloniki, Roman Archaeology, Early archaeologists in Nineteenth century, Galerius, Roman Art; Late Antique Art, Emperor Galerius palace, Historiography of Late Antique and Early Christian Art, and Late Roman art
Research Interests: Late Antique and Byzantine Studies, Art and Science, Colour and Light, Byzantine Mosaics, Color Psychology and Use of Colour, and 9 moreTHESSALONIKI, Early Christian Mosaics, Late Antique Aesthetics, Colour Symbolism, Early Byzantine Archaeology, Meaning of colours in antiquity, Wilhelm von BEZOLD, Chevreul, and Color and luminance
The people who commissioned artworks and monumental decorations in late antiquity are for the most part unknown. Even when names are recorded, it is often difficult to tell to what extent the demands of the patron determined the visual... more
The people who commissioned artworks and monumental decorations in late antiquity are for the most part unknown. Even when names are recorded, it is often difficult to tell to what extent the demands of the patron determined the visual characteristics of a given work. Since styles were tied to workshop traditions and conventions, it can be argued that in most instances, the patron had but limited influence on stylistic properties. Evidence actually suggests that the style of a work often came about independently of the one who commissioned or purchased it. Style was conditioned by function and context. The article therefore proposes a functional paradigm for evaluating visual expressions, defining three main domains of representation: public monuments, religious programs and artworks.
Research Interests: Late Antique Archaeology, Late Antiquity, Late Antique Art and Archaeology, Late Roman Archaeology, Late Antique Sculpture, and 8 moreAncient Rome, Paleochristian and Late Antique Archaeology, Late Roman and Early Christian Art, Early Christian Mosaics, Late Antique and Byzantine Archaeology, Architecture and History of Art, Monuments of Thessaloniki, Style and Meaning in the Late Antique Visual Arts, and Monumental topography at Thessaloniki
Research Interests: Late Antique and Byzantine Studies, Late Antique Archaeology, Late Antiquity, Late Roman Empire, Glass (Archaeology), and 13 moreLate Antique Art and Archaeology, Late Roman Archaeology, Late Antique Architecture, Ancient Glass, Paleochristian and Late Antique Archaeology, Ancient Glass Analysis, Roman Mosaics, Alexandria, Opus Sectile, LATE ANTIQUE ART, Late Antique Egypt, Late Roman History Art and Archaeology, and Egyptianizing style
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Research Interests: Late Antique Archaeology, Cult of Saints, Byzantine Studies, Portraiture, Late Antiquity, and 15 moreByzantine Iconography, Byzantine Archaeology, Late Antique Art and Archaeology, Late Roman Archaeology, Late Antique Architecture, Late Antique and Byzantine Art, Late Roman and Early Christian Art, Byzantine Mosaics, Byzantine art, THESSALONIKI, Early Christian Martyrs, Early Christian Mosaics, Early Byzantine Archaeology, Monuments of Thessaloniki, and Archéologie paléochrétienne
Some portraits show Alexander the Great with his neck twisted and head tilted, mostly to the left, occasionally to the right. Similarly, Plutarch and later Sources describe Alexander as having a tilted or twisted neck. This head posture... more
Some portraits show Alexander the Great with his neck twisted and head tilted, mostly to the left, occasionally to the right. Similarly, Plutarch and later Sources describe Alexander as having a tilted or twisted neck. This head posture has been subject to discussion by archaeologists as well as physicians. While most archaeologists believe the posture to be a question of iconography, many physicians have put it down to a physical defect. In fact, in very recent medical publications, Alexander is still presented as suffering from torticollis, twisted neck, a diagnosis launched in the mid-nineteenth century. This study concludes that a potential physical defect is unlikely to have been depicted in the official portraits of Alexander.
Research Interests: Portraits, Portraiture, Greek Archaeology, Alexander the Great, Ancient Greek and Roman Art, and 15 moreGreek Sculpture, Hellenistic art, Hellenistic Sculpture, Hellenistic culture and society, Greek and Roman Portraiture, Greek and Roman Archaeology, Alexander the Great, Alejandro Magno, Alessandro Magno, Greek and Roman Sculpture, History of Greek Art, Hellenistic Portraiture, Torticolis, Congenital Muscular Torticollis, Ancient Physiognomy, Brown's syndrome, and hellenistic portraits
Research Interests: Late Antique and Byzantine Studies, Late Antique Archaeology, Ancient Aesthetics, Byzantine Studies, Late Antiquity, and 15 moreLate Antique Art and Archaeology, Late Antique Hagiography, Byzantine Aesthetics, Color Perception, Colour and Light, Late Antiquity and Byzantium (History and Art), Byzantine Mosaics, Byzantine art, THESSALONIKI, Early Christian Martyrs, Late Antique Aesthetics, Meaning of colours in antiquity, Late antique mosaics, Monuments of Thessaloniki, and Early Byzantine Art
Research Interests: Late Antique and Byzantine Studies, Late Antique Archaeology, Late Antiquity, Ostia (Archaeology), Late Roman Empire, and 26 moreLate Antique Art and Archaeology, Late Roman Archaeology, Roman Marble trade and distribution, Late Antique Architectural Decoration, Marbles, Polychromy in Ancient Art, Late Antiquity and Byzantium (History and Art), Paleochristian and Late Antique Archaeology, Later Roman Empire, late antique Rome, Roman Art, Ostia, The Use of Marble and Other Stones, Opus Sectile, Roman Ostia, Late Antique Aesthetics, Marble, Ancient Roman Marbles, Ostia Antica, LATE ANTIQUE ART, Late Antique and Byzantine Archaeology, Architecture and History of Art, Late Antique Ostia, Porfido, Roman and Late Antique Archeology Huistory of Art, Roman Art; Late Antique Art, and arte e archeologia tardoantica
Research Interests: Art History, History of Sculpture, History of Art, Historiography (in Art History), Ancient Greek and Roman Art, and 25 moreLate Antique Sculpture, Greek Sculpture, Polychromy, Polychromy in Ancient Art, Roman Sculpture, Hellenistic Sculpture, Roman Art, Polychromy of Ancient Sculpture, Meaning of colours in antiquity, Greek and Roman Sculpture, Policromia, Sculptural polychromy, Roman Archaeology, The polychromy of Greek and Roman sculpture, The polychromy of Greek and Roman architecture, Polychromie, Medieval Polychromy, Polychrome, Medieval Polychrome Sculpture, Ancient Greek and Roman Polychromy, Historiography of Art History, Archaic Greek Art & Polychromy, Polychromie Médiévale, Ancient Greek Sculpture, and Scultura Policroma
Edited by: Siri Sande, Turid Karlsen Seim, Sebastian Salvadó Contents: Siri Sande – The “Barbarian Princes” in the Ara Pacis Procession and the Origin and Development of the so-called Camillus Coiffure Eve D’Ambra – Elite and Mass... more
Edited by: Siri Sande, Turid Karlsen Seim, Sebastian Salvadó
Contents:
Siri Sande – The “Barbarian Princes” in the Ara Pacis Procession and the Origin and Development of the so-called Camillus Coiffure
Eve D’Ambra – Elite and Mass Appeal of Roman Imperial Female Portraiture: The Case of Vibia Sabina
Bente Kiilerich – The Barletta Colossos Revisited
Hjalmar Torp – Lo Sfondo Storico-Iconografico dell'Immagine di Cristo nel Tempietto Longobardo a Cividale
Per Jonas Nordhagen – In the Iconographer’s Studio. The Fashioning of New Motif Types in Pre-Iconoclastic Art
Lasse Hodne – Umbra et Figura. La Pittura Fiorentina del Quattrocento e il “Modo Figurativo”
Louis Cellauro – Palladio and Vitruvius: Composition, Style, and Vocabulary of the Quattro Libri
Contents:
Siri Sande – The “Barbarian Princes” in the Ara Pacis Procession and the Origin and Development of the so-called Camillus Coiffure
Eve D’Ambra – Elite and Mass Appeal of Roman Imperial Female Portraiture: The Case of Vibia Sabina
Bente Kiilerich – The Barletta Colossos Revisited
Hjalmar Torp – Lo Sfondo Storico-Iconografico dell'Immagine di Cristo nel Tempietto Longobardo a Cividale
Per Jonas Nordhagen – In the Iconographer’s Studio. The Fashioning of New Motif Types in Pre-Iconoclastic Art
Lasse Hodne – Umbra et Figura. La Pittura Fiorentina del Quattrocento e il “Modo Figurativo”
Louis Cellauro – Palladio and Vitruvius: Composition, Style, and Vocabulary of the Quattro Libri
Research Interests:
The Barletta colossus is the sole large-scale statue in bronze preserved of a late antique emperor; the only comparable image is the even larger, but fragmentary, Constantinian emperor in Rome. According to local tradition, the Barletta... more
The Barletta colossus is the sole large-scale statue in bronze preserved of a late antique emperor; the only comparable image is the even larger, but fragmentary, Constantinian emperor in Rome. According to local tradition, the Barletta colossus depicts the Byzantine emperor Heraclius (610-641). Modern researchers tend to regard this attribution as mere folklore and fiction. But while there is general agreement that the statue does not portray Heraclius, there is no agreement as to whom it may have been intended to portray. About a dozen different emperors have been proposed, suggested dates ranging from the fourth to the eighth century. The present article reviews the evidence and discusses the methodological problems we face when dealing with this enigmatic work.
Research Interests: Portraits, Late Antique and Byzantine Studies, Late Antique Archaeology, Byzantine Studies, Portraiture, and 35 moreLate Antiquity, Late Roman Empire, Roman Empire, Late Antique Art and Archaeology, Late Roman Archaeology, Byzantium, Late Antique Sculpture, Byzantine Imperial Ideology, Late Antique and Byzantine Art, Late Antiquity and Byzantium (History and Art), Roman Sculpture, Later Roman Empire, Statues, Roman Art, Byzantine art, Greek and Roman Portraiture, Roman Emperors, Roman Imperial Portraits, Ancient Bronzes, Heraclius, Byzantine emperors, Byzantine Empire, Ancient Bronze Statuary, Early Byzantine Archaeology, Roman statues, Roman Portraiture, Roman Archaeology, Imperial Portraiture, Portrait Statues, Barletta, Portraiture and the Problematic of Representation, Roman Bronze Statuary, Imperial Portraits, Colossal statues, and Late Antique Portraiture
Summary A study of the visual characteristics of the Centcelles mosaics reveals that different figurative modes were used to convey the different messages of the figural zones, and that the ornaments were chosen to match the style and... more
Summary
A study of the visual characteristics of the Centcelles mosaics reveals that different figurative modes were used to convey the different messages of the figural zones, and that the ornaments were chosen to match the style and content of the images they frame. Although a local tradition for wall- and floors mosaic exists in the Tarraconensis, closely comparable material is lacking. ... The commissioner was probably a member of the senatorial aristocracy, here tentatively identified as the provincial governor Lucilius Constantius. Suggested date: 375-400.
A study of the visual characteristics of the Centcelles mosaics reveals that different figurative modes were used to convey the different messages of the figural zones, and that the ornaments were chosen to match the style and content of the images they frame. Although a local tradition for wall- and floors mosaic exists in the Tarraconensis, closely comparable material is lacking. ... The commissioner was probably a member of the senatorial aristocracy, here tentatively identified as the provincial governor Lucilius Constantius. Suggested date: 375-400.
Research Interests: Late Antique Archaeology, Late Antiquity, Late Roman Empire, Late Antique Art and Archaeology, Early Christian Art, and 17 moreLate Roman Archaeology, Archaeology of Roman Hispania, Ancient Mosaics, Graeco-Roman Mosaics and Wall Paintings, Late roman villas, Early Christian Archaeology, Late Antiquity and Byzantium (History and Art), Late Roman Spain, Later Roman Empire, Roman Hispania Mosaics, Centcelles, Roman Mosaics, Early Christian Mosaics, Hispania romana, Roman Mosaics and Wall Paintings, Late antique mosaics, and Roman Archaeology
Research Interests: Late Antique and Byzantine Studies, Byzantine Studies, Byzantine Archaeology, Medieval Art, Late Antique Art and Archaeology, and 11 moreByzantine Aesthetics, Byzantium, Late Antique and Byzantine Art, Polychromy in Ancient Art, Byzantine Art and Archaeolgy, Byzantine Mosaics, Colour, Byzantine art, Sculptural polychromy, Late Antique and Byzantine Archaeology, Architecture and History of Art, and Medieval Polychromy
The survey discusses wall- and vault mosaics (Centcelles, Rotunda Thessaloniki), floor mosaics (Aquileia, Madaba, Petra), paintings, textiles, sculpture, sumptuary arts (silver, ivory), iconographical themes (martyrs, Christ, baptism,... more
The survey discusses wall- and vault mosaics (Centcelles, Rotunda Thessaloniki), floor mosaics (Aquileia, Madaba, Petra), paintings, textiles, sculpture, sumptuary arts (silver, ivory), iconographical themes (martyrs, Christ, baptism, crucifixion), etc.
Research Interests: Iconography, Art History, Late Antique and Byzantine Studies, Late Antique Archaeology, Early Christianity, and 28 moreLate Antiquity, Late Antique Art and Archaeology, Early Christian Art, Christian Iconography, Constantinople, Early Christian Archaeology, Paleochristian and Late Antique Archaeology, Aquileia, Early Christian Studies, Medieval Iconography, Early Christianity, Late Antiquity, Pavement Mosaics, Archeologia Tardoantica E Paleocristiana, Archeologia Cristiana, Centcelles, Early Christian baptisteries, THESSALONIKI, Early Christian Archaeology and Art, Early Christian Iconography, Early Christian Mosaics, early Christian sculpture, Early Christian Art and Iconography, Early Christian Archaelogy, Iconografia Cristiana, Arte Paleocristiana, Early Christian and Byzantine Sculpture, Archeologia cristiana e Tardoantica, and Historiography of Late Antique and Early Christian Art
Research Interests: Optics, Art History, Late Antique and Byzantine Studies, Colour Science, Colour Vision, and 41 moreLate Antique Archaeology, Art and Science, Byzantine Studies, Colour Theory, Late Antiquity, History of Art, Byzantine Iconography, Byzantine Archaeology, Late Antique Art and Archaeology, Early Christian Art, Ancient Mosaics, Byzantine Aesthetics, Byzantium, Color Perception, Late Antique and Byzantine Art, Colour and Light, Colours, Early Christian Archaeology, Color, Color symbolism, Byzantine Mosaics, Color Theory, Color Psychology and Use of Colour, Colour, Byzantine art, Color Science, Bisanzio, THESSALONIKI, Early Christian Mosaics, Late Antique Aesthetics, Roman Mosaics and Wall Paintings, Early Byzantine Archaeology, Meaning of colours in antiquity, Late antique mosaics, Mosaics, LATE ANTIQUE ART, Pointillism, Wilhelm von BEZOLD, Early Byzantine Art, Chevreul, and Color and luminance
Research Interests: Art History, Late Antique and Byzantine Studies, Late Antique Archaeology, Byzantine Studies, Late Antiquity, and 15 moreAncient Near East, Late Roman Empire, Late Antique Art and Archaeology, Ancient Art, Late Roman Archaeology, Roman Syria (Archaeology), Ancient Mosaics, Later Roman Empire, Pavement Mosaics, Ancient Greece, Ancient Music, Iconography, Roman Mosaics, Late antique mosaics, Ancient Music, Late Antique and Byzantine Archaeology, Architecture and History of Art, and Roman Archaeology
Research Interests: Ancient History, Late Antique and Byzantine Studies, Late Antique Archaeology, Late Antiquity, Ostia (Archaeology), and 16 moreLate Roman Empire, Late Antique Art and Archaeology, Late Roman Archaeology, Roman Marble trade and distribution, Roman Glass, Marbles, Paleochristian and Late Antique Archaeology, Marble Provenance, Ostia, The Use of Marble and Other Stones, Opus Sectile, Roman Ostia, Ancient Roman Marbles, Ostia Antica, Roman Archaeology, and Study of Ancient Marble
Research Interests: Late Antique and Byzantine History, Late Antique and Byzantine Studies, Mesopotamian Archaeology, Late Antique Archaeology, Iconoclasm, and 25 moreByzantine Studies, Late Antiquity, Byzantine Iconography, Imperial Rome, Late Antique Art and Archaeology, Late Roman Archaeology, Byzantium, Ancient Greek and Roman Art, Constantinople, Damnatio Memoriae, Constantine, Ancient Rome, Late Antiquity and Byzantium (History and Art), Roman Sculpture, Byzantine Art and Archaeolgy, Byzantine Mosaics, Roman Art, Byzantine art, Byzantine Iconoclasm, THESSALONIKI, Roman Imperial Portraits, Hagia Sophia, Sargon of Akkad, Scultura greca e romana, and Roman Archaeology
Research Interests: Art History, Late Antique Archaeology, Byzantine Studies, Late Antiquity, Late Roman Empire, and 17 moreLate Antique Art and Archaeology, Late Roman Archaeology, Late Antique Sculpture, Constantine, Ancient Rome, Alois Riegl, Roman Sculpture, Later Roman Empire, Roman Triumph, Archeologia Tardoantica E Paleocristiana, Roman Art, Spätantike, Roman Archaeology, Tardo Antico, The Later Roman Empire, Roman and Late Antique Archeology Huistory of Art, and Roman Art; Late Antique Art
Research Interests: Architecture, Landscape Archaeology, Late Antique Archaeology, Early Christianity, Late Antiquity, and 27 moreSculpture, Greek Archaeology, Early Christian Art, Ancient Topography (Archaeology), Sacred Landscape (Archaeology), Greek Architecture, Early Christian Architecture, Parthenon, Caryatids, Greece, - Christianization and Ancient Christianity, Greek sanctuaries, Archaic Period, Pagan/Christian Relations in the Early Middle Ages, Early Christian Archaeology, Athens, Greek and Roman Art and Architecture, Acropolis, Acropolis of Athens, Erechtheion, Athenian Acropolis, Sanctuaries, Ancient Athens, Athens and Attica, Late Antique and Byzantine Attica, Greek temples, and Erechtheum
Research Interests: Late Antique and Byzantine Studies, Late Antique Art and Archaeology, Early Christian Art, Early Christian Archaeology, Polychromy in Ancient Art, and 11 morePaleochristian and Late Antique Archaeology, Byzantine Mosaics, Roman Imperial Portraits, Polychromy of Ancient Sculpture, Colour Symbolism, Meaning of colours in antiquity, Policromia, Sculptural polychromy, Monuments of Thessaloniki, Polychrome Sculptures, and Style and Meaning in the Late Antique Visual Arts
In this comprehensive monograph (vol. I: 568 pp text; vol. II: 192 pp photos in colour and b/w, including architectural drawings by E. Dyggve, not previously published), Hjalmar Torp presents the results of his life-long research on the... more
In this comprehensive monograph (vol. I: 568 pp text; vol. II: 192 pp photos in colour and b/w, including architectural drawings by E. Dyggve, not previously published), Hjalmar Torp presents the results of his life-long research on the Rotunda at Thessaloniki. He explores the archaeological data, the architectural phases of the building and the chronological problems of the monument. He pays special attention to the mosaics of cupola and vaults. The detailed descriptions of the mosaics are based on in situ study from scaffoldings in 1953 and later. The execution of the palatine church and its decoration is attributed to the initiative of the emperor Theodosius the Great.
Research Interests: Art History, Late Antique and Byzantine Studies, Late Antique Archaeology, Cult of Saints, Byzantine Studies, and 15 moreByzantine Architecture, Byzantine Iconography, Byzantine Archaeology, Late Antique Art and Archaeology, Early Christian Art, Byzantine Mosaics, Byzantine art, THESSALONIKI, Early Christian Martyrs, Early Christian Mosaics, Early Byzantine Archaeology, Monuments of Thessaloniki, Byzantine history and archaeology, Early Byzantine Mosaics, and Mosaïques romaines
Research Interests: Art History, Late Antique and Byzantine History, Late Antique and Byzantine Studies, Late Antique Archaeology, Byzantine Studies, and 40 moreLate Antiquity, History of Art, Byzantine Architecture, Byzantine Iconography, Byzantine Archaeology, Greco-Roman Art and Early Christian Theology, Late Roman Empire, Late Antique Art and Archaeology, Early Christian Art, Late Roman Archaeology, Ancient Mosaics, Late Antique Hagiography, Byzantine Aesthetics, Byzantine Epigraphy, Graeco-Roman Mosaics and Wall Paintings, Byzantine Hagiography, Early Christian Architecture, Byzantine Military Saints, Early Christian Archaeology, Late Antiquity and Byzantium (History and Art), Paleochristian and Late Antique Archaeology, Later Roman Empire, Byzantine Mosaics, Byzantine art, Roman Mosaics, THESSALONIKI, Early Christian Martyrs, Theodosius, Early Christian Mosaics, Late Antique and Christian archaeology, Mediaeval Cult of Relics and Saints, Early Byzantine Archaeology, Late antique mosaics, Mosaics, Late Antique and Byzantine Archaeology, Architecture and History of Art, Monuments of Thessaloniki, Byzantine history and archaeology, Byzantine Tesserae, early Byzantine aesthetics, and Theodosian art
Research Interests: Art History, Late Antique and Byzantine Studies, Hagiography, Late Antique Archaeology, Byzantine Studies, and 36 moreLate Antiquity, Byzantine Architecture, Byzantine Liturgy, Byzantine Iconography, Byzantine Archaeology, Late Roman Empire, Late Antique Art and Archaeology, Early Christian Art, Late Roman Archaeology, Ancient Mosaics, Late Antique Hagiography, Byzantine Aesthetics, Graeco-Roman Mosaics and Wall Paintings, Byzantium, Byzantine Hagiography, Late Antique and Byzantine Art, Late Antiquity and Byzantium (History and Art), Paleochristian and Late Antique Archaeology, Byzantine Art and Archaeolgy, Byzantine Mosaics, Mosaic Restoration and Conservation, Classical Art - Byzantine Art - Iconology - Visual Studies - Ancient Aesthetics, Byzantine art, THESSALONIKI, Early Christian Martyrs, Early Christian Mosaics, Late Antique Aesthetics, Early Byzantine Archaeology, Late antique mosaics, Mosaics, Late Antique and Byzantine Archaeology, Architecture and History of Art, Monuments of Thessaloniki, Mosaici, Byzantine Tesserae, Byzantine art and aesthetic, and early Byzantine aesthetics
Research Interests: Aesthetics, Art History, Late Antique and Byzantine History, Late Antique and Byzantine Studies, Art Theory, and 62 moreLate Antique Archaeology, Byzantine Studies, Late Antiquity, History of Art, Byzantine Archaeology, Late Roman Empire, Medieval Art, Late Antique Art and Archaeology, Early Christian Art, Late Roman Archaeology, Visual Arts, Ancient Mosaics, Late Antique Religion, Ancient Greek and Roman Art, Late Antique Sculpture, Constantinople, Late roman villas, Late Roman and Early Byzantine Syria-Palestine, Early Christian Archaeology, Polychromy in Ancient Art, Ancient Sicily, Late Antiquity and Byzantium (History and Art), Late Roman Spain, Alois Riegl, Ravenna, Paleochristian and Late Antique Archaeology, Roman Sculpture, Roman Spain, Later Roman Empire, Aphrodisias, San Vitale Ravenna, Pavement Mosaics, Byzantine Mosaics, Archeologia Tardoantica E Paleocristiana, Byzantine art, ROMAN TUNISIA, Late Roman Sicily, Roman Mosaics, THESSALONIKI, Early Christian Archaeology and Art, Hagia Sophia, Opus Sectile, Early Christian Mosaics, Late Antique Aesthetics, Idealplastik, Early Christian Art and Iconography, Late Antique and Christian archaeology, Roman Mosaics and Wall Paintings, Early Byzantine Archaeology, Early Byzantine material culture, Spätantike, Late antique mosaics, Mosaics, Art and Art History, Roman Portraiture, Late Antique and Byzantine Archaeology, Architecture and History of Art, Monuments of Thessaloniki, Roman Archaeology, Arte Paleocristiana, Costantinople, Tardo Antico, and Spatantike
Illustrations (600dpi) to the book Visual Dynamics. Reflections on Late Antique Images (2015)
Research Interests: Late Antique and Byzantine Studies, Late Antique Archaeology, Portraiture, Late Antiquity, Sculpture, and 32 moreLate Roman Empire, Late Antique Art and Archaeology, Early Christian Art, Late Roman Archaeology, Ancient Mosaics, Late Antique Sculpture, Constantinople, Late Roman and Early Byzantine Syria-Palestine, Ravenna, Paleochristian and Late Antique Archaeology, Roman Sculpture, Late Roman and Early Christian Art, Later Roman Empire, San Vitale Ravenna, Pavement Mosaics, Byzantine Mosaics, Byzantine art, Roman Mosaics, THESSALONIKI, Constantine the Great, Roman Empire, Early Christianity, Roman Sculpture in Greece, Early Christian Iconography, Early Christian Mosaics, Late Antique and Christian archaeology, Early Byzantine Archaeology, Late antique mosaics, Greek and Roman Sculpture, Late Antique and Byzantine Archaeology, Architecture and History of Art, Late antique portrait, Arte Paleocristiana, The Later Roman Empire, and Late Antique Spain
Research Interests: Late Antique and Byzantine Studies, Late Antique Archaeology, Byzantine Studies, Late Antiquity, Byzantine Architecture, and 22 moreByzantine Iconography, Byzantine Archaeology, Late Antique Art and Archaeology, Christian Iconography, Byzantium, Constantinople, Constantine, Late Antiquity and Byzantium (History and Art), Icons, Byzantine Mosaics, Byzantine art, THESSALONIKI, Hagia Sophia, Byzantine painting of the Paleologue period, Early Byzantine Archaeology, Mistra, Byzantine painting, Late Antique and Byzantine Archaeology, Architecture and History of Art, Middle-Byzantine Period, Byzantine history and archaeology, Costantinople, and Palaeologan Art
Research Interests: Late Antique and Byzantine History, Late Antique and Byzantine Studies, Late Antique Archaeology, Byzantine Studies, Late Antiquity, and 28 moreSculpture, Byzantine Archaeology, Late Roman Empire, Late Antique Art and Archaeology, Late Roman Archaeology, Byzantium, Late Antique Sculpture, Constantinople, History of Istanbul, Late Antiquity and Byzantium (History and Art), Roman Sculpture, Later Roman Empire, Roman Art, Byzantine art, Costantinopoli, Theodosius, Obelisk, Early Byzantine Archaeology, Greek and Roman Sculpture, Late Roman Sculpture, Late Antique and Byzantine Archaeology, Architecture and History of Art, Roman Archaeology, Byzantine history and archaeology, Costantinople, Obelisks. Ritual Landscape, Urban Studies: Constantinople/Istanbul, Hippodrome (Istanbul), and Obelisk of theodosius
Research Interests: Late Antique and Byzantine History, Late Antique and Byzantine Studies, Late Antique Archaeology, Byzantine Studies, Late Antiquity, and 32 moreLate Roman Empire, Late Antique Art and Archaeology, Early Christian Art, Late Roman Archaeology, Antiquity and Late Antiquity, Constantinople, Silver, Late Roman Spain, Paleochristian and Late Antique Archaeology, Roman Sculpture, Later Roman Empire, Roman Sarcophagi, Byzantine art, Classicism, THESSALONIKI, Roman Sculpture in Greece, Theodosius, Bizans Sanatı, Late Antique and Christian archaeology, Early Byzantine Archaeology, Ivories, Theodosius II, Mildenhall treasure, Roman Portraiture, Diptych, Late Roman Sculpture, Late Antique and Byzantine Archaeology, Architecture and History of Art, Consular Diptychs, Early Byzantine Art, Seuso Treasure, Obelisk of theodosius, and Theodosian empresses
Research Interests: Classical Archaeology, Classics, History of Sculpture, Classical Art, Sculpture, and 26 moreGreek Archaeology, Ancient Greek Iconography, Ancient Greek and Roman Art, Archaic Greece, Parthenon, Greek Sculpture, Athens, Hellenistic Sculpture, Greek and Roman Art and Architecture, Acropolis, Greek art aesthetics Canon Polykleitos, Cultural history of the Ancient world, Greek archaic sculpture, Greek Art, Polychromy of Ancient Sculpture, Ancient Athens, Athens and Attica, Classical Archaeology, Hellenistic Sculpture, Roman Sculpture, Archaic sculpture, Architectural Sculpture, Greek and Roman Sculpture, History of Greek Art, Archaic Greek Sculpture, The Altar of Zeus at Pergamon, Greek and Roman Art, and Ancient Greek Sculpture
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Research Interests: Cultural Studies, Popular Music Studies, Popular Culture, Classical Reception Studies, Classical Mythology, and 9 moreReception of Antiquity, The Reception of Vergil, Heavy Metal Music, Classical reception, Death Metal Music, Heavy Metal music and culture, Metal Music Studies, The Reception of Classical Antiquity, and Antiquity in contemporary society
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Research Interests: Art History, Late Antique and Byzantine Studies, Late Antique Archaeology, Byzantine Studies, Late Antiquity, and 13 moreHistory of Art, Byzantine Iconography, Byzantine Archaeology, Late Antique Art and Archaeology, Early Christian Art, Paleochristian and Late Antique Archaeology, Byzantine Mosaics, Byzantine art, THESSALONIKI, Early Christian Martyrs, Theodosius, Early Christian Mosaics, and Monuments of Thessaloniki
Research Interests: Pompeii (Archaeology), Roman Villae, Art Criticism, Late Antique Art and Archaeology, Graeco-Roman Mosaics and Wall Paintings, and 12 moreAncient Greek and Roman Art, Roman Painting, Roman Sicily, Roman Sculpture, Aphrodisias, Roman Architecture, Roman Sarcophagi, Roman Art, Roman Mosaics, Roman Wall Painting, Roman Mosaics and Wall Paintings, and Roman Archaeology
Research Interests: Late Antique and Byzantine Studies, Late Antique Archaeology, Late Antiquity, Late Roman Empire, Late Antique Art and Archaeology, and 7 moreEarly Christian Art, Late Roman Archaeology, Silver, Paleochristian and Late Antique Archaeology, Later Roman Empire, Early Byzantine material culture, and Early Byzantine Art
Research Interests: Late Antique and Byzantine Studies, Late Antique Archaeology, Late Antiquity, Late Roman Empire, Late Antique Art and Archaeology, and 9 moreLate Roman Archaeology, Classical Mythology, Roman Sculpture, Later Roman Empire, Idealplastik, Roman Marble Sculpture, Late Roman Sculpture, Roman ideal sculpture, and Roman Archaeology
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In connection with the recent publishing of H. Torp, La rotonde palatine à Thessalonique, Athens 2018: a powerpoint presentation in English by Hjalmar Torp and Bente Kiilerich at the occasion of the 30-year Anniversary of the Norwegian... more
In connection with the recent publishing of H. Torp, La rotonde palatine à Thessalonique, Athens 2018: a powerpoint presentation in English by Hjalmar Torp and Bente Kiilerich at the occasion of the 30-year Anniversary of the Norwegian Institute at Athens.
Venue: Swedish Institute at Athens, Mitseon 9, Wednesday 13. March 2019, 15:00-16:00.
Venue: Swedish Institute at Athens, Mitseon 9, Wednesday 13. March 2019, 15:00-16:00.
Research Interests: Late Antique and Byzantine Studies, Late Antique Archaeology, Late Antiquity, Early Christian Art, Late Roman Archaeology, and 7 morePaleochristian and Late Antique Archaeology, Byzantine Mosaics, Byzantine art, THESSALONIKI, Early Byzantine Archaeology, Monuments of Thessaloniki, and Early Byzantine Art
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Research Interests: Late Antique and Byzantine Studies, Cult of Saints, Late Antique Art and Archaeology, Late Antique Hagiography, Byzantine Aesthetics, and 16 moreColor Perception, Colour and Light, Color symbolism, Byzantine Mosaics, Color Psychology and Use of Colour, Colour, Byzantine art, THESSALONIKI, Early Christian Mosaics, Late Antique Aesthetics, Meaning of colours in antiquity, LATE ANTIQUE ART, Late Antique and Byzantine Archaeology, Architecture and History of Art, Monuments of Thessaloniki, Early Byzantine Art, and Style and Meaning in the Late Antique Visual Arts
When the Hephaisteion on the Kolonos Agoraios was converted into a church, the exterior of the building retained most of its classical features including its architectural sculpture. Thus although it functioned as a church, from the... more
When the Hephaisteion on the Kolonos Agoraios was converted into a church, the exterior of the building retained most of its classical features including its architectural sculpture. Thus although it functioned as a church, from the outside it still looked like a temple. Old drawings and prints depict the small no-longer-extant polygonal apse that was added in the east. Today the barrel vault of the cella is the only architectural remains of the Byzantine Church of St George. The date of the conversion and the number of Christian building phases are uncertain. Orlandos (1936) believed the temple was transformed into a church in the fifth century and that it originally had a larger apse, which was later supplanted by the small one. Based on the style of some carved ornaments reused as pilaster capitals in the bema arch, Alison Frantz (1965) proposed that the conversion took place in the seventh century, a date that is now generally accepted. Still, the ornaments are difficult to date with precision and only give a terminus post quem. It is also uncertain whether the barrel vault belongs to the first phase of the church or to a subsequent rebuilding. The paper revisits the chronological problems and tries to reconcile the disparate evidence.
Research Interests: Late Antique and Byzantine Studies, Late Antique Archaeology, Byzantine Studies, Byzantine Architecture, Byzantine Archaeology, and 8 moreGreek Architecture, Byzantine churches, Pagan/Christian Relations in the Early Middle Ages, Athens, Athenian Agora, Processes of Conversion (Christianization), Greek temples, and Byzantine Athens
Research Interests: Early Medieval Art, Byzantine Architectural Sculpture, Langobards, Polychromy, Polychromy in Ancient Art, and 20 moreColour, the Longobards, Cemetery Sculpture and Monuments, Polychromy of Ancient Sculpture, Langobards, Italy, Early Medieval Italy, Painted Stucco Decoration, Architectural Polychromy, Meaning of colours in antiquity, Longobardi, Stucco, Sculpture, Policromia, Medieval aesthetics, Sculptural polychromy, Longobardi archeologia, Byzantine and Italian medieval art, Medieval Polychromy, Polychrome, Stucco Decoration, and Stucco
Research Interests: Late Antique and Byzantine Studies, Late Antiquity, Late Antique Art and Archaeology, Early Christian Art, Byzantine Aesthetics, and 14 moreColor Perception, Late Antique and Byzantine Art, Colour and Light, Byzantine Mosaics, Color Psychology and Use of Colour, Colour, Byzantine art, THESSALONIKI, Early Christian Martyrs, Early Christian Mosaics, Late Antique Aesthetics, Early Byzantine Archaeology, Late Antique and Byzantine Archaeology, Architecture and History of Art, and Early Byzantine Art
Research Interests: Late Antique and Byzantine Studies, Byzantine Studies, Late Antiquity, Late Antique Art and Archaeology, Byzantine Aesthetics, and 8 moreByzantium, Late Antique Architectural Decoration, Constantinople, Marbles, Byzantine art, The Use of Marble and Other Stones, Hagia Sophia, and Analysis of Hagia Sophia and Its Architecture ,the Walls,the Basilica and Its Decorations.
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A discussion of Derrida's discussion of Heidegger and Schapiro's interpretations of van Gogh's paintings of shoes.
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A discussion of some recent attempts to recreate the physical appearance of Roman emperors by means of different methods such as hyperrealistic sculpture, neural net tools and face detection software. These techniques have resulted in... more
A discussion of some recent attempts to recreate the physical appearance of Roman emperors by means of different methods such as hyperrealistic sculpture, neural net tools and face detection software. These techniques have resulted in fascinating visualisations. Still, since the outcome depends on the interpretation of artistic representations, the actual apperances of the ancient subjects remain uncertain. The large variety of "Julius Caesars" is a case in point.
Research Interests: Artificial Intelligence, Portraiture, Roman Empire, Face Detection, Augustus, and 13 moreCaligula, Facial Reconstruction, Roman Sculpture, Julius Caesar, Roman Art, Archeologia Romana, Roman Emperors, Roman Imperial Portraits, Roman Portraiture, Roman Archaeology, Realism in Art, Imperial Portraiture, and roman imperial portraiture
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Research Interests: Contemporary Art, The Classical Tradition, Classical Reception Studies, Reception of Antiquity, Greek Sculpture, and 11 moreContemporary Sculpture, Spolia, Arte Povera, Classical reception, Michelangelo Pistoletto, Greek and Roman Sculpture, Neoclassical sculpture, Contemporary Italian Art, Bertel Thorvaldsen, Antique Art and Sculpture, and Classical Sculpture
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A study of the Greek elements in Dolce & Gabbana's Autumn/Winter 2019/2020 Alta Moda and Alta Sartoria collections.
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Research Interests: Art History, Art Theory, Plato, Mimesis, History of Art, and 13 moreGreek Archaeology, Classical Reception Studies, Ancient Greek and Roman Art, Greek Sculpture, Polychromy in Ancient Art, Imitation, Art Theory and Criticism, Greek Art, History of Greek Art, Theory of Mimesis, Archaic Greek Sculpture, Mimesis In Visual Art, and Mimesis and Representation
A presentation and discussion of Dolce & Gabbana, S/S 2014.
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Research Interests: Classical Archaeology, Contemporary Art, History of Sculpture, The Classical Tradition, Greek Archaeology, and 9 moreClassical Reception Studies, Reception of Antiquity, Greek Sculpture, Contemporary Sculpture, Hellenistic Sculpture, Nike of Samothrace, Winged Victory of Samothrace, Classicism and Contemporary Art, and contemporary classicism
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Research Interests: Cultural Studies, Reception Studies, Fashion design, Popular Culture, Fashion History, and 13 moreByzantine Studies, Norman Sicily, Costume (Art History), Byzantine Art - Reception, Byzantium, Ravenna, Byzantine dress, Byzantine art, History of clothing and fashion, Alexander McQueen, Fashion, Roger II of Sicily, and Byzantine fashion
A discussion of the use of classical statues - the Discobolus, the Zeus from Artemision - in advertising.
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Byzantine influence in the designs of Dolce & Gabbana.
Research Interests: Fashion design, History of Dress, Medievalism, Historicism, Italian Cultural Studies, and 16 moreFashion History, Byzantine Studies, Visual Communication, Byzantine Iconography, Dress and identity, Norman Sicily, Fashion Marketing, Byzantine Mosaics, Byzantine art, History of clothing and fashion, Medievalismo, Fashion and Art, Byzantinization, Fashion, Fashion Industry, and Italian Fashion
The article discusses Pistoletto's iconic Arte Povera sculpture Venere degli stracci (Venus of the Rags), 1967 to 2013, and its relationship to classical and neo-classical statues of Venus (in Danish).
Research Interests: Art History, Contemporary Art, History of Sculpture, Sculpture, Classical Reception Studies, and 12 moreReception of Antiquity, Greek Sculpture, Contemporary Sculpture, Roman Sculpture, Arte Povera, Classical Tradition, Classical reception, Michelangelo Pistoletto, Roman Marble Sculpture, Casts, Copies and Replicas, Greek and Roman Sculpture, and Bertel Thorvaldsen
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A presentation of recent research on the early Byzantine mosaics in the Rotunda at Thessaloniki (in Danish).
Research Interests: Late Antique and Byzantine Studies, Late Antique Archaeology, Cult of Saints, Byzantine Studies, Late Antiquity, and 25 moreByzantine Iconography, Byzantine Archaeology, Late Roman Empire, Late Antique Art and Archaeology, Early Christian Art, Late Roman Archaeology, Late Antique Hagiography, Byzantine Aesthetics, Byzantine Hagiography, Late Antiquity and Byzantium (History and Art), Paleochristian and Late Antique Archaeology, Later Roman Empire, Early Christianity, Late Antiquity, Byzantine Mosaics, Byzantine art, THESSALONIKI, Early Christian Mosaics, Early Byzantine Archaeology, Late antique mosaics, Mosaics, Late Antique and Byzantine Archaeology, Architecture and History of Art, Monuments of Thessaloniki, Early Byzantine Art, Early Byzantine Mosaics, and early Byzantine aesthetics
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Research Interests: Portraits, Late Antique and Byzantine Studies, Late Antique Archaeology, Portraiture, Late Antiquity, and 13 moreLate Roman Empire, Late Antique Art and Archaeology, Ancient Mosaics, Late Antique Sculpture, Late Roman and Early Byzantine Syria-Palestine, Late Roman Spain, Paleochristian and Late Antique Archaeology, Aquileia, Roman Mosaics, THESSALONIKI, Roman Portraiture, Roman Archaeology, and Basilica of Aquileia
Research Interests: Late Antique and Byzantine Studies, Late Antique Archaeology, Late Antiquity, Late Roman Empire, Late Roman Archaeology, and 9 moreArchaeology of Roman Hispania, Graeco-Roman Mosaics and Wall Paintings, Late Roman Spain, Roman Spain, Centcelles, Early Christian Mosaics, Hispania romana, Roman Mosaics and Wall Paintings, and Roman Archaeology
The article discusses the Roman spolia in the medieval church of San Giusto, Trieste. The grave stele of the Barbii has been bisected and re-used to frame the portal; some of the portrait heads have been recut; one head is reworked to... more
The article discusses the Roman spolia in the medieval church of San Giusto, Trieste. The grave stele of the Barbii has been bisected and re-used to frame the portal; some of the portrait heads have been recut; one head is reworked to portray a saint.
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Research Interests: Reception Studies, Fashion design, Popular Culture, Advertising, Fashion History, and 12 moreMarketing & Advertising, Jeans, Fashion Marketing, Creative Advertising, Advertisement, Italian fashion theory, Advertising and Branding, Fashion, Antonio Canova, Fashion Advertisements, Canova, and Italian fashion design
Research Interests: Visual Studies, Art History, Reception Studies, Popular Culture, Contemporary Art, and 15 moreHistory of Sculpture, Sculpture, Greek Archaeology, Classical Reception Studies, Ancient Greek and Roman Art, Reception of Antiquity, Greek Sculpture, Hellenistic art, Appropriation, Hellenistic Sculpture, Venus, Classical reception, Sculpture and the history of sculpture, History of Greek Art, and Cultural appropriation
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Research Interests: Late Antique and Byzantine Studies, Late Antique Archaeology, Late Antiquity, Late Antique Art and Archaeology, Early Christian Art, and 10 moreRoman Iconography, Graeco-Roman Mosaics and Wall Paintings, Sasanian art, Sasanian Empire, Late Roman and Early Christian Art, Byzantine Mosaics, Byzantine art, Monuments of Thessaloniki, arte e archeologia tardoantica, and Rotunda Thessaloniki
Research Interests:
Research Interests:
The Rotunda as part of the imperial palace The Rotunda in Thessaloniki was begun by the emperor Galerius (293-311), but left unfinished and undecorated at the time of his death.1 In a second building phase, the structure was completed and... more
The Rotunda as part of the imperial palace The Rotunda in Thessaloniki was begun by the emperor Galerius (293-311), but left unfinished and undecorated at the time of his death.1 In a second building phase, the structure was completed and converted into a centrally-planed, domed church with presbytery, apse and a wide ambulatory. The impressive church thus created had a diameter of about 54 m.2 The building is situated to the north of the emperor's triumphal arch, the hippo-drome and main parts of the palace, but as is generally acknowledged, in both building phases it formed an integral part of the city's imperial quarters, and the main access to the church remained in the south. Sections of parallel walls running north-south, excavated by E. Dyggve in 1939, provide evidence that the Rotunda, its temenos and the triumphal arch were connected by a monumental, colonnaded processional way.3 In its turn this thoroughly coordinated complex was connected with the palace by a 42 × 18 m great hall, the so-called vestibulum, and a monumental flight of 12 marble steps, more than 18 m broad, and built immediately to the south of the arch.4 There is disagreement as to the date of the Christian rebuilding of the Roman Rotunda; in my opinion, it was done, or at least initiated, by Theodosius I in 379, to serve as his palace church. This should weigh heavily with regard to the question of deliberately inserted elements of imperial connotation in the Rotunda's mosaics, as these were planned and executed together with the transformation of the Roman structure into a church.5 Archaeological evidence indicates that the topographical and architectural integration palace-vestibulum-arch-Rotunda existed into the sixth century, when the ves-tibulum appears to have been destroyed by an earthquake.6 The Rotunda was also severely damaged in the quake. It was then rebuilt and provided with a large, octagonal baptistery in order to serve as the city's metropolitan church.
Research Interests:
Research Interests:
The wall-paintings in the Tempietto Longobardo at Cividale, ca 750/760, are rendered in an unmistakable Byzantine style. They were probably made by a workshop lead by a master painter from Constantinople. As such, the paintings are... more
The wall-paintings in the Tempietto Longobardo at Cividale, ca 750/760, are rendered in an unmistakable Byzantine style. They were probably made by a workshop lead by a master painter from Constantinople. As such, the paintings are important as rare evidence of figural religious art from the iconoclastic period. The technically most accomplished part of the decoration is the painting depicting Christ flanked by the archangels Michael and Gabriel in the lunette over the western door, the main entrance to the chapel. The very distinctive physiognomic type of the Christ indicates that the painter rendered a specific prototype. The article discusses parallels and traces the origin of this particular iconographic type.
Research Interests: Byzantine Studies, Byzantine Iconography, Medieval Art, Early Medieval Art, Medieval Wall Paintings, and 10 moreByzantine art, Early Medieval Italy, Mediaeval Cult of Relics and Saints, Italo-Byzantine Art, Mediaeval Art, Longobardi archeologia, Italia Bizantina, Cividale Del Friuli, Arte longobarda, and Arte e cultura Longobarda
Research Interests: Late Antique and Byzantine Studies, Late Antique Archaeology, Late Antiquity, Late Antique Art and Archaeology, Early Christian Art, and 15 moreLate Roman Archaeology, Byzantine Mosaics, Byzantine art, THESSALONIKI, Theodosius, Bizans Sanatı, Early Christian Mosaics, Late Antique and Christian archaeology, Early Byzantine Archaeology, Late antique mosaics, Monuments of Thessaloniki, Storia dell'arte bizantina, Early Byzantine Art, Early Byzantine Mosaics, and Rotunda Thessaloniki
Research Interests: Late Antique and Byzantine Studies, Egyptian Archaeology, Late Antique Archaeology, Coptic Studies, Late Antiquity, and 23 moreByzantine Archaeology, Coptic History, Late Antique Art and Archaeology, Coptic (Archaeology), Archaeology of Medieval Monasteries, Late Antique Sculpture, Ancient Egyptian and Coptic, Early Christian Architecture, Coptic art, Early Christian Archaeology, Coptic Monasteries, Paleochristian and Late Antique Archaeology, Coptic, Coptology, Late Antique and Byzantine settlement, Early monasticism, Coptic art and architecture, Coptic Sculpture, early Egyptian monasticism, Late Antique Egypt, Bawit, Coptic art and archaeology, and Baouît
Research Interests: Late Antique and Byzantine Studies, Architecture, Late Antique Archaeology, Early Christianity, Byzantine Architecture, and 18 moreByzantine Archaeology, Late Roman Empire, Late Antique Art and Archaeology, Early Christian Art, Late Roman Archaeology, Ancient Mosaics, Late Antique and Byzantine Art, Early Christian Archaeology, Late Roman and Early Christian Art, Byzantine Mosaics, Byzantine art, THESSALONIKI, Theodosius, Early Christian Mosaics, Early Byzantine Archaeology, Eastern Roman Empire, Late Antique and Byzantine Archaeology, Architecture and History of Art, and Early Byzantine Art
Research Interests: Late Antique and Byzantine Studies, Hagiography, Late Antique Archaeology, Early Christianity, Greek Epigraphy, and 20 moreByzantine Studies, Late Antiquity, Relics (Religion), Late Roman Empire, Late Antique Art and Archaeology, Early Christian Art, Late Roman Archaeology, Late Antique Hagiography, Late Antique and Byzantine Art, Greek and Roman Epigraphy, Early Christian Archaeology, Inscriptions, Byzantine Mosaics, Byzantine art, THESSALONIKI, Relics and Relic Veneration, Theodosius, Early Byzantine Archaeology, Eastern Roman Empire, and Monuments of Thessaloniki
Research Interests: Late Antique and Byzantine Studies, Early Medieval Archaeology, Medieval Italy, Medieval Art, Early Medieval Art, and 12 moreLangobards, Archeologia medievale, Byzantine Italy, Lombard Italy, Medieval Wall Paintings, Byzantine art, the Longobards, Early Medieval Italy, Medieval wallpainting, Longobardi, Longobardi archeologia, and Italia Bizantina
Research Interests: Early Medieval Archaeology, Historiography (in Art History), Medieval Italy, Medieval Art, Early Medieval Art, and 16 moreMedieval Art History, Langobards, Archeologia medievale, the Longobards, Friuli Venezia Giulia, Early Medieval Architecture, Langobards, Italy, Early Medieval Italy, storia dei Longobardi, Longobardi, Arte Medievale, History of Friuli Venezia Giulia, Longobardi archeologia, Friulian Medieval History, Cividale, and Cividale Del Friuli
Research Interests: Late Antique and Byzantine History, Late Antique and Byzantine Studies, Late Antique Archaeology, Byzantine Studies, Late Antiquity, and 25 moreByzantine Architecture, Byzantine Archaeology, Late Roman Empire, Late Antique Art and Archaeology, Late Roman Archaeology, Ancient Topography (Archaeology), Early Christian Architecture, Ancient Topography, Early Christian Archaeology, Paleochristian and Late Antique Archaeology, Topography, Byzantine Art and Archaeolgy, Later Roman Empire, Byzantine art, THESSALONIKI, Topografia Antica, Antiquite Tardive, Late Antique and Christian archaeology, Early Byzantine Archaeology, Antiquité tardive, Archeologia paleocristiana, tardoantica e altomedievale, Late Antique and Byzantine Archaeology, Architecture and History of Art, Monuments of Thessaloniki, Byzantine history and archaeology, and Arte Paleocristiana
Research Interests: Late Antique and Byzantine History, Late Antique and Byzantine Studies, Late Antique Archaeology, Early Christianity, Cult of Saints, and 40 moreByzantine Studies, Late Antiquity, Byzantine Iconography, Late Antique Art and Archaeology, Early Christian Art, Christian Iconography, Ancient Mosaics, Late Antique Hagiography, Byzantium, Late Antique Liturgy, Early Christian Archaeology, Doctrine of the Trinity, Late Antiquity and Byzantium (History and Art), Paleochristian and Late Antique Archaeology, Early Christianity, Late Antiquity, Iconografia, Byzantine Mosaics, Archeologia Tardoantica E Paleocristiana, Early Christian Liturgy, Byzantine art, Social Doctrine of the Trinity, THESSALONIKI, Early Christian Martyrs, Theodosius, Early Christian Iconography, Archeologia Tardoantica E Cristiana, Early Christian Mosaics, Early Christian Art and Iconography, Late Antique and Christian archaeology, Late antique mosaics, Late Antique and Byzantine Archaeology, Architecture and History of Art, Monuments of Thessaloniki, Arte Bizantina, Arte Paleocristiana, Early Christian and Byzantine Iconography, Tardo Antico, Teodosio I, Early Byzantine Mosaics, Doctrine of the Holy Spirit, and Arte Bizantino del siglo IV al VI
Research Interests: Late Antique and Byzantine Studies, Cult of Saints, Byzantine Studies, Late Antiquity, Byzantine Liturgy, and 28 moreByzantine Iconography, Late Antique Art and Archaeology, Early Christian Art, Christian Iconography, Ancient Mosaics, Byzantium, Late Antique Liturgy, Early Christian Archaeology, Doctrine of the Trinity, Late Antiquity and Byzantium (History and Art), Paleochristian and Late Antique Archaeology, Byzantine Art and Archaeolgy, Later Roman Empire, Byzantine Mosaics, Byzantine art, THESSALONIKI, Early Christian Martyrs, Byzantine Saints, Theodosius, Early Christian Iconography, Early Christian Mosaics, Early Christian Art and Iconography, Early Byzantine Archaeology, Late antique mosaics, Mosaics, Monuments of Thessaloniki, Early Christian and Byzantine Iconography, and Doctrine of the Holy Spirit
Research Interests: Late Antique and Byzantine Studies, Late Antique Archaeology, Byzantine Studies, Late Antiquity, Byzantine Iconography, and 9 moreLate Antique Art and Archaeology, Byzantine Art and Archaeolgy, Byzantine Mosaics, Byzantine art, THESSALONIKI, Monuments of Thessaloniki, Early Byzantine Art, Roman and Early Byzantine Art and Architecture, and Early Byzantine Mosaics
La prima monografia sull'ara di Ratchis.
Research Interests:
Dear professors, researchers and students CLARA (Classical Art and Archaeology) is an online, open access and peer-reviewed journal which covers a wide range of topics that can be termed antiquity studies. Hosted by the Museum of Cultural... more
Dear professors, researchers and students CLARA (Classical Art and Archaeology) is an online, open access and peer-reviewed journal which covers a wide range of topics that can be termed antiquity studies. Hosted by the Museum of Cultural History at the University of Oslo, CLARA aims to publish articles, essays, reviews and special issues of a high academic quality within the field of classical art and archaeology and make them accessible to a wide scholarly public.
Research Interests: Classical Archaeology, Pompeii (Archaeology), Herculaneum, Pompeii, Pompeii and Herculaneum, and 12 moreRoman Sculpture, Pompeii Topography Architecture, Pompeii XIX Century Art Alma-Tadema Godward Poynter Waterhouse, Roman Art, The Last Days of Pompeii, Roman Mosaics, Pompeii, Roman Domestic Space, Roman Wall Painting, Stabiae, Roman Archaeology, Pompeii (Archaeology), Ville Vesuviane, Pompeii and Herculaneum, and Archeologia Pompeiana
Kunst og kultur was established in 1910 and is Norway's only peer review journal of art history. Four issues of the journal is published each year, sometimes based on received contributions on various topics, other times based on open... more
Kunst og kultur was established in 1910 and is Norway's only peer review journal of art history. Four issues of the journal is published each year, sometimes based on received contributions on various topics, other times based on open calls, or as edited theme issues. Kunst og kultur 2/2015 is a theme issue on the reception of Arte Povera in Norway.