Greek Sculpture

This book presents a new study of Greek large-scale bronze statuary of the late Archaic and Classical periods. It examines the discovery, origin, style, date, artistic attribution, identification, and interpretation of the surviving bronzes, and focuses in particular on their technical features and casting techniques. It contains over 170 plates of photographs and drawings to illustrate its discussion.

It also places the development of the casting techniques in connection with the stylistic evolution in Greek free-standing sculpture. During the Classical period, artists preferred bronze to marble when creating their contrapposto figures. Indisputably, bronze gave particular freedom to artists in creating three-dimensional figures. In addition, the evolution in style encouraged the development of the uses of bronze to serve the new needs and tendencies in sculpture during the late Archaic and especially the Classical period. Through the examination of how technical matters affect style, this book presents fresh interpretations of these important monuments of Greek art and offers a new approach in the field of Greek free-standing bronze sculpture.

This Bachelor-project (final thesis), which is the product of the author alone, addresses two questions: if Greek statues from the Classical Period - as generally perceived by the observer - have small penises, and why that is so, whether as an empirical fact or an optical impression. After measurement of a collection of (casts of) statues and after conversion to a common scale, it can through comparison with a relevant consolidated medical study be established that the statues do not just have small, but indeed very small, penises compared to the real-world. Furthermore a range of analyses are conducted, demonstrating that this conclusion is consistent across a range of thematic sub divisions. In order to explain this, a range of antique sources are investigated, and contributions from modern academia on the subject are critically reviewed. Finally it is posited that Greek statues - which were exhibited in the public space, have small penises in order that the penis represents an unthreatening asexual appearance which do not offend women (and children) while at the same time it does not threaten men in regards the size of their own penis.

Η παρούσα εργασία αναφέρεται στην καταγραφή, μελέτη και ανάδειξη των υπαίθριων γλυπτών (ανδριάντες, μνημεία, προτομές κτλ) της πόλης της Άρτας.

Περιλαμβάνει την καταγραφή δεκαπέντε (15) γλυπτών της πόλης καθώς και παράρτημα με πρωτογενές συνοδευτικό φωτογραφικό υλικό.

Αποτελεί προϊόν επιτόπιας έρευνας και καταγραφής σε συνδυασμό με την μελέτη της υπάρχουσας βιβλιογραφίας.

Avec Alexandre Farnoux, Emanuele Greco et Alain Schnapp, j’ai rédigé la partie consacrée au monde grec dans le premier tome d’une histoire générale de l’art, de la préhistoire à nos jours, d’un grand éditeur. On m’a confié dans ce volume tous les chapitres sur la plastique (archaïque, classique et hellénistique), quelques chapitres sur l’architecture classique et la totalité des chapitres sur la période hellénistique. Les contraintes éditoriales et le public visé m’ont donné l’occasion d’exprimer dans une forme contenue et accessible l’approche et la vision de l’art grec que je me suis forgées tant à travers mes travaux de recherche qu’à travers mon enseignement. J’y ai insisté en particulier sur les contraintes techniques et le métier du sculpteur, sur le poids de la tradition et surtout de la convention dans les arts figurés, mais aussi sur les circonstances historiques, religieuses, politiques et sociales qui constituent le cadre, à la fois contraignant et explicatif, des créations de l’art grec. Au-delà de la familiarité trompeuse des formes, leur signification nous échappe en fait la plupart du temps et demande à être « expliquée ».

Le ricerche condotte sul Colle Madore, nel cuore della Sicilia centro-occidentale, hanno
messo in luce resti archeologici che documentano uno dei periodi della storia antica dell’isola più interessanti per le grandi trasformazioni culturali conseguenti la colonizzazione greca. La fondazione delle nuove città e il loro rapido sviluppo innestarono in tutta l’isola, dalle coste alle vallate più interne, un irripetibile processo di cambiamenti del tradizionale tessuto indigeno contribuendo a disegnare un rinnovato assetto culturale politico ed economico che inciderà profondamente nella storia siciliana.

Bu eserler Kültür ve Turizm Bakanlığı, Kültür Varlıkları ve Müzeler Genel Müdürlüğü'nün 27/04/2006 tarih ve B.16.0.KVM.200.11.02.02.14.01.222.11.(TA 014/G).65675 sayılı izni ile çalışılmıştır. Bahse konu malzeme üzerine başka izinler de alınmıştır.

This is an unpublished master's thesis in Turkish language at the Dokuz Eylül University, submitted by Olcay Kılınç in 2012. It focuses on Roman statues at the Archaeological Museum of Adana in Cilicia (southern Turkey) which is one of the oldest museum of Turkey.
The Archaeological Museum of Adana was first established at the Police Department building just after the formation of the Turkish Republic in 1924. It initially started with the collection of the columns, column capitals and sarcophagi found in the vicinity of the building. Alyanakzade Halil Kamil Bey from Adana was appointed as the museum director and with his successful work, the accumulated material was moved in 1928 to the madrasah section of the no longer existing Cafer Pasha Mosque and then opened to the public. The museum was moved to the building presently occupied by the Ethnographic Museum at Kuruköprü (former Greek church) in 1950. In the 1950s the Regional Museum of Adana was the only museum of the region with material obtained either through purchases or court decisions from a large area reaching from Kahramanmaraş and Gaziantep to Anamur and Alanya, the museum moved to its next premises in January 1972. In 2017 a new building was opened and all the collection moved to this new and larger building.
The catalogue of Roman statues at the Archaeological Museum of Adana features 43 pieces of, mostly life-size, statues. As a result of our studies the earliest Roman statues in Adana are from the early first century A.D. and they continue until the end of the fourth century A.D. The majority of pieces belong to the third century A.D. The rich Roman portrait sculpture of Adana is a remarkable collection. Most of the statues are ideal sculptures. Almost half of the collection remains as unpublished.

Although the inluence of Classical sculpture on Nazi monuments is well established , the use of classicizing imagery to promote the American eugenics movement is relatively unexplored. This paper analyses the use of Classical and classicizing sculpture to illustrate the aims of the Race Betterment Foundation at the Panama-Paciic International Exposition held in San Francisco in 1915. The fair itself utilized classicizing monuments to create a utopian vision of a modern Arcadia for the relatively young state of California, at a time when San Francisco was rebuilding from the devastating 1906 earthquake and ire. Within this context, the popular Race Betterment booth displayed casts of the Venus de Milo, Apollo Belvedere and the Farnese Atlas as models of racial perfection. In speeches at the Exposition, the founder of the Race Betterment Foundation, John H. Kellogg, proclaimed that the movement promised a new "golden age" in which an "aristocracy of Apollos and Venuses" would be achieved by means of science. Kellogg's ideas were further illustrated by a morality play in which two hundred students from the University of California at Berkeley dressed in ancient costumes. In stark contrast to the white ideal promoted by the fair, the accompanying Joy Zone featured various racist "entertainments" that served as examples of "race degeneracy." As scholars, we must be mindful of such modern abuses of the classical past, in order that they not be perpetuated.

This paper attempts to reconstruct the main point(s) of view of the Vatican Laocoon Group by analysing the spatial design of the group. The focus lies on the composition lines and surfaces and also on the placing and movement of the single figures. Of particular interest is the close linkage between composition, point of view and narration, which was highly responsible for the group's fame.

The paper was published in the exhibition catalogue "Ansichtssache. Antike Skulpturengruppen im Raum" (University of Freiburg).

Chicago
Spyropoulos, George. “Appropriation and Synthesis in the Villa of Herodes Atticus at Eva (Loukou), Greece.” In Egypt and the Classical World: Cross-Cultural Encounters in Antiquity, by Jeffrey Spier and Sara E. Cole. Los Angeles: J. Paul Getty Museum. /06/.

MLA
Spyropoulos, George. “Appropriation and Synthesis in the Villa of Herodes Atticus at Eva (Loukou), Greece.” Egypt and the Classical World: Cross-Cultural Encounters in Antiquity, by Jeffrey Spier and Sara E. Cole. J. Paul Getty Museum. /06/. Accessed 7 Dec. 2021.

This publication was created using Quire™, a multiformat publishing tool from Getty.

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  Identifiers: LCCN (print) | LCCN (ebook) | ISBN 9781606066874 (paperback) | ISBN 9781606067673 (ebook) | ISBN
   
Front cover: Osiris Canopus, Roman, AD 117–138 (detail). Alabaster. H: 50.8 cm (20 in.); Diam: 27.9 cm (11 in.). The Hague, Royal Collections, 4-1690. Reproduced with permission (final credit line TK).

Die Kelten – sie sind edle Barbaren und mutige Krieger, zugleich aber auch Trunkenbolde, Frauenschänder und Menschenfresser. So wird es zumindest in antiken Geschichtsbüchern und Erdbeschreibungen dargestellt und auf einer Reihe hellenistischer Bildwerke gezeigt. Weshalb?
Weil die Kelten lediglich Mittel zum Zweck sind! So lautet die Kernthese dieses Buches. Deshalb werden die Kelten das eine Mal als unverdorbene und unerbittliche Kämpfernaturen aus dem rauen Norden lobpriesen, um die zivilisationskranken Griechen und Römer an die Härte ihrer eigenen heroischen Vorfahren zu erinnern. Doch gerade diese archaische Urtümlichkeit wird ein anderes Mal wieder ins Negative gewendet, um das Schreckensszenario vom Kelten als Zivilisationsfeind heraufzubeschwören, der die geordnete Welt im Chaos versinken lässt. Daraus ergab resultierte sich für Herrscher die perfekte Plattform, um sich als Retter und Bewahrer der Zivilisation aufzuspielen. Städtische Eliten hingegen, die sich durch einen hochkultivierten und moderaten Lebensstil auszeichneten, benutzten die Kelten auf eine nochmals andere Weise. Für sie verkörpern die Kelten all das, was sie aus ihrer Sicht aufgrund ihrer Moderatio und Kultiviertheit von den unkultivierten Völkern am Rand der hellenistischen Welt unterschied. Davon wiederum gänzlich verschiedenen ist die Inszenierungsweise der Kelten selbst, die als gefürchtete Söldner im Dienste griechischer wie römischer Machthaber kämpften und in Kleinasien oder Ägypten eine neue Existenz begründet hatten. Im Habitus und in der Ikonographie makedonisch-hellenischer Offiziere liessen sie sich auf ihren Grabstelen abbilden. Daher sind auch sie funktionalisierte Keltenbilder, die nur wenig Konkretes über die historischen Kelten überliefern.

Dementsprechend geht es in diesem Buch auch weniger um die historischen Kelten. Vielmehr wird danach geforscht, wann, wie und wo vermeintliches Wissen über die Kelten in der hellenistischen Welt funktionalisiert worden ist, um dadurch positiv wie negativ belegte Bilder von Normen und Werten zu schaffen.

What is the relationship between art history and its objects? Responding to Jaś Elsner’s claim that art-historical writing is inevitably ekphrastic, this essay revisits a site of intense disciplinary anxiety—Johann Joachim Winckelmann’s 1759 description of the Belvedere Torso and its revised version in his 1764 History of Ancient Art. Description has been cast as the “scapegoat” (or pharmakos) of Winckelmann’s art history—that which must be excised yet is fundamental to the operations of the whole. But although it often serves as a site of perceived excess and sublimation in his work, the ekphrastic elements of Winckelmann’s prose are nevertheless some of the most historicist aspects of his scholarship, shaped by a deep engagement with Greco-Roman ekphrastic literature. Description, in this sense, serves as a Platonic pharmakon—both affliction and cure for classical art history’s medial and ontological separation from its ruined and fragmented objects. In Winckelmann’s description of the torso, ekphrasis holds out the potential for the statue’s “completion” (Ergänzung). But understood according to eighteenth-century practices of visual restoration, this raises the question of whether such “whole-making” should be understood as proper or supplemental to the original image. What does it mean to “re-member” the Belvedere Torso through ekphrastic strategies drawn from antiquity itself? And what does this imply for our own textual (and pharmacological) mediations of the visual?

Fifty classical marble objects in the collections of the Michael C. Carlos Museum at Emory University have been analyzed, making use of several complementary techniques to determine the quarry sources for the marble. This collaborative project has been supported most generously over many years by the Andrew W. Mellon Foundation and the Thalia and Michael Carlos Foundation. Using a multi-method approach, including visual assessment, maximum grain size, testing for dolomite, stable isotope analysis, elemental analysis, and electron paramagnetic resonance, it was possible to assign most objects with a high degree of probability to a single source. Five objects, presented in chronological order, have been selected here for special attention either for art-historical reasons or for the use of marble from unexpected sources. These include an under life-size Hellenistic statue of a draped female (Aphrodite?) (Fig. 1), whose head is carved from marble assigned to the Paros 1 quarries, while the body is Pentelic. An archaistic relief of a woman carrying a jug (Fig. 2) is carved from Denizli marble, perhaps the first such identification for archaistic sculpture. A Roman statue representing Leda and the Swan (Fig. 3) is carved from Aphrodisias marble. A fine Roman statuette representing Apollo of the Anzio type (Fig. 4) is carved from Parian marble. An unusual Roman third-century relief of a ploughman (Fig. 5) uses marble from Göktepe.

Genealogische Verbindung der makedonischen Königsdynastie zu ihrem Ahnherren Herakles. Ausbreitung des Herakleskultes im Gefolge des Alexanderzuges. Bedeutung und Rezeption der Bronzestatuette des "Herakles Epitrapezios". Verschmelzung von Alexander und Herakles in der Bildkunst und im Münzbild.

During the Hellenistic period, Boeotia was one of the most important anthemion-stele producing centers in Greece. Due to the antiluxury decree of Demetrios of Phaleron (317-307 B.C.) in Athens, many Athenian artists immigrated to nearby Boeotia, where they continued the attic anthemion-stele tradition.
In the Middle Hellenistic period, while workshops in central, southern (Thebes, Thespiae) and east Boeotia (Tanagra) continued the traditional baroque style, artisans of Chaironeia in northwestern Boeotia differed. Once students of the Thespian baroque masters, the Chaironean craftsmen created a naïv version of the baroque tradition using local, thick grained gray-blue marble. This new naïv style eventually spread throughout Phocis and Doris.

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.