Katherine Schwab | Fairfield University (original) (raw)
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Papers by Katherine Schwab
American Journal of Archaeology, 2003
The world of Art History extends far past memorizing painting and regurgitating dates. Students i... more The world of Art History extends far past memorizing painting and regurgitating dates. Students in the Art History Capstone are engaging in discovery through original research to propose poly-chromatic schemes for a selection of Parthenon sculptures. The seminar consists of seven upperclassman who, through the use of an iPad application, Procreate, and small scale plaster casts,are re-imagining the Parthenon as it was in the Classical World as originally constructed and completed nearly 2500 years ago. This capstone poster is a collaboration of the seven seminar students: DeAnne Dickinson, Annie Kamradt, Maria Klein, Matthew Lerebours, Shelby Quartararo, Meghan Schauer, and Emma Wagner. The poster is presented at the April 25, 2019 Undergraduate Student Innovation Research Symposium.https://digitalcommons.fairfield.edu/vpa_student_image/1000/thumbnail.jp
Kommos: An Excavation on the South Coast of Crete, Volume I, Part II, 2019
The fishtail braid, newly popular in the past five years on adult women on New York streets and t... more The fishtail braid, newly popular in the past five years on adult women on New York streets and the runway, also conspicuously adorns the famed Caryatids, or maidens, 430 BCE, from the Erechtheion on the Athenian Acropolis. The Caryatids have been carefully studied for their pose and clothing, but their unique hairstyles have been overlooked. Previous scholars described these ancient hairstyles simply as braided without defining the specific braids used or whether or not the hairstyle could be recreated. No one had identified the fishtail braid as the main braid down the back and as the style of some of the side braids wrapped around the heads of the Caryatids. The authors worked with a professional hairstylist and six Fairfield University student models to demonstrate that these ancient Greek arrangements of braids were not merely the creations of sculptors but could have been worn. Our project recreating the braids and their arrangements is a research method known as experimental ...
Proceedings of the Xvith Intrnational Congress of Classical Arachaeology Common Ground Archaeology Art Science and Humanities 2006 Isbn 1842171836 Pags 428 431, 2006
American Journal of Archaeology, 1990
American Journal of Archaeology, 1996
Parthenon East Metope XI, one of two metopes with three figures in the composition, has been one ... more Parthenon East Metope XI, one of two metopes with three figures in the composition, has been one of the most problematic in the east series. C. Praschniker, in his study of the east metopes in 1928, was the first to propose Herakles as the central figure. Subsequent scholars have challenged this identification, suggesting instead Apollo, Ares, or Hephaistos. A comparison with representations of the Gigantomachy on vases of the fifth century B.C. supports Herakles for the central figure in East XI. An examination of plaster casts of the metope in Basel and in Athens provides evidence to reconstruct the figure equipped with a large bow in his outstretched left hand and the position of his right foot. The new evidence for the pose and attributes further supports the identification of the central figure as Herakles. Correlations to another three-figure composition in the east metopes, as well as placement on the facade and alignment with the ground plan of the temple, underscore the important role given to Herakles in this representation of the battle of the gods and giants.*
Hair is timeless, eternal and universal-a human attribute common to every culture and historical ... more Hair is timeless, eternal and universal-a human attribute common to every culture and historical era. Precisely because it is so resonant of cultural identity-then as now-hair provides an exceptionally revealing link and accessible portal to the past, as this novel exhibition demonstrates. In the ancient Mediterranean world, the way that hair was styled and sported could signify wealth, social rank, and divinity. Tales about hair figure in mythology and in sacred texts. And the particular way of wearing hair in antiquity was often tied to rites of passage and religious rituals of the day. Hair in the Classical World explores these myriad channels of meaning By examining the treatment and depiction of hair in ancient Greece, Cyprus and Rome, Hair in the Classical World explores these myriad channels of meaning.
A Cultural History of Hair in the Middle Ages, 2019
Fairfield University’s Bellarmine Museum of Art presented the exhibition Hair in the Classical Wo... more Fairfield University’s Bellarmine Museum of Art presented the exhibition Hair in the Classical World, co-curated by Dr. Katherine Schwab and Dr. Marice Rose, from October 7, 2015, through December 18, 2015. From antiquity to the present day, hair has seldom been worn in its natural state. Whether cut, shorn, curled, straightened, braided, beaded, worn in an upsweep or down to the knees, adorned with pins, combs, bows, garlands, extensions, and other accoutrements, hair has the power to reflect societal norms. In ancient cultures, not only did hairstyles and their depictions signal wealth and social status, or divine and mythological iconography; they were also tied to rites of passage and religious rituals.
As the first exhibition of its kind in the United States, Hair in the Classical World l examined the role of hair in ancient Greece, Cyprus, and Rome through three thematic lenses: Arrangement and Adornment; Rituals and Rites of Passage; and Divine and Royal Iconography. Presenting 27 objects dating from the Bronze Age to late Antiquity (1500 BCE – 600 CE), as well as photographs of other artworks, the exhibition illustrated ways in which hair and hairstyles served as important signifiers in Classical Antiquity. The sculptures, coins, and hair styling tools on view in the exhibition have been lent by the Metropolitan Museum of Art, the Yale University Art Gallery, and the American Numismatic Society.
American Journal of Archaeology, 2003
The world of Art History extends far past memorizing painting and regurgitating dates. Students i... more The world of Art History extends far past memorizing painting and regurgitating dates. Students in the Art History Capstone are engaging in discovery through original research to propose poly-chromatic schemes for a selection of Parthenon sculptures. The seminar consists of seven upperclassman who, through the use of an iPad application, Procreate, and small scale plaster casts,are re-imagining the Parthenon as it was in the Classical World as originally constructed and completed nearly 2500 years ago. This capstone poster is a collaboration of the seven seminar students: DeAnne Dickinson, Annie Kamradt, Maria Klein, Matthew Lerebours, Shelby Quartararo, Meghan Schauer, and Emma Wagner. The poster is presented at the April 25, 2019 Undergraduate Student Innovation Research Symposium.https://digitalcommons.fairfield.edu/vpa_student_image/1000/thumbnail.jp
Kommos: An Excavation on the South Coast of Crete, Volume I, Part II, 2019
The fishtail braid, newly popular in the past five years on adult women on New York streets and t... more The fishtail braid, newly popular in the past five years on adult women on New York streets and the runway, also conspicuously adorns the famed Caryatids, or maidens, 430 BCE, from the Erechtheion on the Athenian Acropolis. The Caryatids have been carefully studied for their pose and clothing, but their unique hairstyles have been overlooked. Previous scholars described these ancient hairstyles simply as braided without defining the specific braids used or whether or not the hairstyle could be recreated. No one had identified the fishtail braid as the main braid down the back and as the style of some of the side braids wrapped around the heads of the Caryatids. The authors worked with a professional hairstylist and six Fairfield University student models to demonstrate that these ancient Greek arrangements of braids were not merely the creations of sculptors but could have been worn. Our project recreating the braids and their arrangements is a research method known as experimental ...
Proceedings of the Xvith Intrnational Congress of Classical Arachaeology Common Ground Archaeology Art Science and Humanities 2006 Isbn 1842171836 Pags 428 431, 2006
American Journal of Archaeology, 1990
American Journal of Archaeology, 1996
Parthenon East Metope XI, one of two metopes with three figures in the composition, has been one ... more Parthenon East Metope XI, one of two metopes with three figures in the composition, has been one of the most problematic in the east series. C. Praschniker, in his study of the east metopes in 1928, was the first to propose Herakles as the central figure. Subsequent scholars have challenged this identification, suggesting instead Apollo, Ares, or Hephaistos. A comparison with representations of the Gigantomachy on vases of the fifth century B.C. supports Herakles for the central figure in East XI. An examination of plaster casts of the metope in Basel and in Athens provides evidence to reconstruct the figure equipped with a large bow in his outstretched left hand and the position of his right foot. The new evidence for the pose and attributes further supports the identification of the central figure as Herakles. Correlations to another three-figure composition in the east metopes, as well as placement on the facade and alignment with the ground plan of the temple, underscore the important role given to Herakles in this representation of the battle of the gods and giants.*
Hair is timeless, eternal and universal-a human attribute common to every culture and historical ... more Hair is timeless, eternal and universal-a human attribute common to every culture and historical era. Precisely because it is so resonant of cultural identity-then as now-hair provides an exceptionally revealing link and accessible portal to the past, as this novel exhibition demonstrates. In the ancient Mediterranean world, the way that hair was styled and sported could signify wealth, social rank, and divinity. Tales about hair figure in mythology and in sacred texts. And the particular way of wearing hair in antiquity was often tied to rites of passage and religious rituals of the day. Hair in the Classical World explores these myriad channels of meaning By examining the treatment and depiction of hair in ancient Greece, Cyprus and Rome, Hair in the Classical World explores these myriad channels of meaning.
A Cultural History of Hair in the Middle Ages, 2019
Fairfield University’s Bellarmine Museum of Art presented the exhibition Hair in the Classical Wo... more Fairfield University’s Bellarmine Museum of Art presented the exhibition Hair in the Classical World, co-curated by Dr. Katherine Schwab and Dr. Marice Rose, from October 7, 2015, through December 18, 2015. From antiquity to the present day, hair has seldom been worn in its natural state. Whether cut, shorn, curled, straightened, braided, beaded, worn in an upsweep or down to the knees, adorned with pins, combs, bows, garlands, extensions, and other accoutrements, hair has the power to reflect societal norms. In ancient cultures, not only did hairstyles and their depictions signal wealth and social status, or divine and mythological iconography; they were also tied to rites of passage and religious rituals.
As the first exhibition of its kind in the United States, Hair in the Classical World l examined the role of hair in ancient Greece, Cyprus, and Rome through three thematic lenses: Arrangement and Adornment; Rituals and Rites of Passage; and Divine and Royal Iconography. Presenting 27 objects dating from the Bronze Age to late Antiquity (1500 BCE – 600 CE), as well as photographs of other artworks, the exhibition illustrated ways in which hair and hairstyles served as important signifiers in Classical Antiquity. The sculptures, coins, and hair styling tools on view in the exhibition have been lent by the Metropolitan Museum of Art, the Yale University Art Gallery, and the American Numismatic Society.