L. Rebaudo, Le firme dei copisti, «Rivista di Archeologia» 44, 2020, pp. 169-196 (original) (raw)

2020, «Rivista di Archeologia» 44

[Please note that the uploaded pdf file requires a password. To get it, write me at: ludovico.rebaudo@uniud.it] Starting from a skeptical point of view on classical philological approach to ancient copies and Meisterforschung, the paper deals with copyists’ signatures in Hellenistic and Roman time. A list of about thirty signed copies proves that copyists used the standard formula ὁ δεῖνα ἐποίει/ἐποίεσε, such an one has made it , like any sculptor from Archaic to Roman Imperial time. This suggests that copies were probably perceived as standard sculptural artifacts, in which the craftsman could take pride (kleos). Some relevant cases are discussed in full: the bronze Doryphoros herm by Apoll nios of Athens from Herculaneum; the galma of Athena Kranaia by the ‘sons of Polykles’ in Elateia; the Herakles, Hermes and Teseus by Apollonios and Dem trios of Alexandria from Rooms II and III in the Gymnasion of Messene.

ARTISTS' SIGNATURES ON ARCHAIC GREEK VASES

The quest to define individual, artistic personalities in ancient Greek art is not new; a large number of books and articles on the subject exist. This chapter, however, focuses on a particular type of evidence related to the " individual " in ancient Greek art: the craftsman's signature. While discussions of signatures in mosaic, on statue bases, or in other media have borne interesting fruit, in this study we will focus on signatures found on Athenian pottery. 1 As a body of evidence Attic pottery is preserved in substantial quantities, is well-recorded, and represents a discrete data set. By setting these parameters, we hope to be better able to answer the questions of why Attic vases in particular were signed and what these signatures may suggest about the role of the individual craftsman in Greek art and history. While the incomplete nature of the archaeological record must render tentative any conclusions drawn on the basis of the number of signatures preserved, we do believe that enough evidence exists to allow us to suggest trends and to off er some conclusions, however speculative, about signed Athenian pottery. Thus, our aims in the present chapter are twofold. First, we will present a current consideration of artists' signatures, those of both painters and potters , which appear on Athenian pottery from the early sixth century to the mid-fourth century b.c.e. Second, we will explore why signatures appeared on vases at all, and why it was appropriate (and possible) for an individual to express his identity in this manner in the fi rst place. 2

Textes & entries in E. Stefani & A. Koukouvou (eds), Copying (in) the past: Imitation and inspiration stories, pp.13, 58, 63-64, 68-76, 114-117, 156-157, 160-161. Exhibition Catalogue, Archaeological Museum of Thessaloniki

E. Stefani & A. Koukouvou (eds), Copying (in) the past: Imitation and inspiration stories, Exhibition Catalogue, Archaeological Museum of Thessaloniki, Νovember 2018 - Νovember 2019, Translation from Greek by Th. Papakostas, Thessaloniki 2018, 2018

Casts and copies: ancient and classical reproductions

Most of the objects in this exhibition were specifically acquired by the Classics and Middle Eastern Studies departments of the University of Melbourne in the 1920s, 1930s, and 1950s, to enhance teaching and research. Many of the certified casts were obtained from the prestigious international institutions which housed the originals, including the Louvre, the British Museum, the Victoria and Albert Museum, and the National Archaeological Museum in Athens. Remarkable in their own right, key works include the Black Obelisk of Shalmaneser III, the Mesha Stele, and the Acropolis kore. The exhibition includes significant plaster casts of Near Eastern, Egyptian, Greek, and Roman originals that date from the 4th millennium BCE to the 2nd century CE.

The Originality of copies. An Introduction, in: Tatjana Bartsch, Marcus Becker, Horst Bredekamp, Charlotte Schreiter (Hrsg.): Das Originale der Kopie. Kopien als Produkte und Medien der Transformation von Antike, Transformationen der Antike Bd. 17 (Berlin 2010)

Tatjana Bartsch, Marcus Becker, Horst Bredekamp, Charlotte Schreiter (Eds.): Das Originale der Kopie. Kopien als Produkte und Medien der Transformation von Antike, Transformationen der Antike Vol. 17 (Berlin 2010), pp. 27-42.

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E. Stefani, A. Koukouvou (eds.), Copying (in) the Past : imitation and inspiration stories, Exhibition Catalogue November 2018 –November 2019, Archaeological Museum of Thessaloniki, publication No 42, Thessaloniki 2018, Cat. Nos 53-54, 61, 67 (K. Chatzinikolaou)

E. Stefani, A. Koukouvou (eds.), Copying (in) the Past : imitation and inspiration stories, Exhibition Catalogue November 2018 –November 2019, Archaeological Museum of Thessaloniki, publication No 42, Thessaloniki 2018, 2018

Replication and Restoration: ancient bronze techniques and the construction of the figure in cinquecento painting,

From the Parts to the Whole, the Acta of the 13th International Bronze Congress, in the Journal of Roman Archaeology, supplementary series no. 39, ed. by C. Mattusch, Amy Brauer, and Sandra Knudsen, Vol.2, pp.273-285, Portsmouth, Rhode Island, 2002.