Reuse of Ancient Sculptures Research Papers (original) (raw)

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- by Eric Delaval
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- Humanities, Bronze
- by Elena Ghisellini
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- Ancient Greek and Roman Art, Greek and Roman Sculpture
- by Elena Ghisellini
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- Ancient Greek and Roman Art, Greek and Roman Sculpture
- by Cecile CARRIER
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- Humanities, Art, Sculpture, Portrait
- by Alberto Vigoni
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- by Vassiliki Gaggadis-Robin
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- Humanities, Art, Roman Iconography, Roman Antiquity
- by Vassiliki Gaggadis-Robin
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- Humanities, Art, Architecture, Sculpture
- by Vassiliki Gaggadis-Robin
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- Humanities, Art, Sculpture, Portrait

The paper deals with the theme of “renascences” with reference to the Early Medieval Italian sculpture. This was indeed the object of various types of revival throughout the Middle Ages: 1) it provided a repertoire of decorative motifs that were often cited, sometimes imitated, and frequently reworked, especially in the Romanesque period; 2) it was the object of a veritable reuse, and Early Medieval materials were sometimes displayed in later masonry as a sign of antiquity, thus having a legitimising value for the new building, or else they became pure construction material; 3) the decorated pieces remained in place, maintaining their original function for many centuries.
Archaeology offers an important contribution to the reconstruction of the Early Medieval sculpture transmission paths, helping to specify times and ways that mark its destiny.

- by David Cornillon
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- Late Antiquity, Antiquité tardive, Roman Mausoleum
- by William Van Andringa
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- by Marc Aucouturier
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- Humanities, Art, Sculpture, Portrait
- by Sophie Montel
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- Humanities, Art, Sculpture, Portrait
- by Stephan Hoppe
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- Art, Painting
- by Luigi Todisco
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- by Martin Szewczyk
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- Art, Techne, Techné
- by Vassiliki Gaggadis-Robin
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- Errance
- by Vassiliki Gaggadis-Robin
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- Art, Sculpture
- by Vassiliki Gaggadis-Robin
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- Art
- by Vassiliki Gaggadis-Robin
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- Art, History of Collections, Roman Portraiture
- by Vassiliki Gaggadis-Robin
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- Art, Sculpture, Marseille, Calcaire

Au cœur de la culture des cours italiennes de la Renaissance, la danse constitue un défi pour la peinture et la sculpture. Comment représenter le corps en mouvement et tout particulièrement le corps dansant ? Comment restituer la tridimensionnalité et la succession des mouvements constituant une chorégraphie ? Si la question se pose pour tous les arts figuratifs – dans leur dialogue entre eux et avec l’art chorégraphique, cherchant à saisir les vibrations du corps en mouvement - elle se pose avec une acuité particulière pour la sculpture. Si elle restitue d’emblée la tridimensionnalité du corps, elle est soumise au défi particulier de représenter la danse en cours d’exécution, de synthétiser une séquence de pas et d’offrir au spectateur l’illusion du rythme dans l’exécution de la danse.

- by Ludmila Acone
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- Sculpture, Italian Renaissance Art, Italian Renaissance, Louvre

- by Ludmila Acone
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- Sculpture, Italian Renaissance Art, Dance, Louvre

The evolution of collecting ancient marbles before, and after, the era of the Grand Tour through two emblematic samples. From the lithoteca of Monsignor Leone Strozzi (1652-1722), inserted in two leather-bound volumes containing a selection of marbles and semi-precious stones, a reflection of his outstanding lithological studies, to the cabinet of Giuseppe Maria Sebregondi (1792-1861), composed along the lines of the "systematic" classification of the treatise Delle pietre antiche of Faustino Corsi (1833).

- by Caterina Napoleone
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- Viaggiatori italiani

Rezension zu: Luigi Sperti (a cura di), Scultura di Iulia Concordia e Aquileia, Atti della Giornata di Studio, Udine, 12 aprile 2013, Suppl. Rivista di Archeologia 31. Roma: Giorgio Bretschneider Editore 2017, X + 163 p.

- by Alessandra Avagliano
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- Humanities, Art

Cette statue de shinge decouverte a Orange en 1999 a ete restauree pour etre presentee a l'exposition qui a accompagne le 10e colloque sur l'art provincial. Son corps a ete reconstitue avec une tete feminine, du meme marbre et... more

- by Vassiliki Gaggadis-Robin
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- Art, Roman Iconography, Roman Funerary Art, Orange
- by Erin Giffin
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- Art
- by Patrick De Michèle
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La lettura del Kletorologion di Filoteo - un’opera letteraria del nono secolo d.C. appartenente al genere minore dei cd. Taktiká, che regolavano lo svolgimento dei cerimoniali di corte in occasione di importanti eventi pubblici, come trionfi e banchetti - offre spunto di riflessione sull’ordinamento amministrativo bizantino: la cd. “lista delle precedenze” rispecchiava infatti (indicando l’ordine di ingresso e di posizione in tali circostanze) la rigida gerarchia delle funzioni assegnate a ciascun dignitario dall’imperatore.
Titolo, grado, dignità corrispondevano, talora intersecandosi, ad una precisa collocazione in una ideale scala verticale, che segnava anche le tappe della carriera burocratica imperiale, di cui si svelano così dettagli e ombre.

- by Yannos Kourayos
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- Greek Archaeology, Ancient Greek Religion, Greek sanctuaries
- by Luigi Sperti
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- History of Venice, Reuse of Ancient Sculptures
- by Luigi Sperti
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- Roman Architecture, Reuse of Ancient Sculptures, San Marco Venice

This paper aims to investigate the “unfinished” in Roman sculpture, and the link between the lack of refinement of a statue and its location. A careful review of the statues placed in a number of public buildings dating to the Imperial Age (Velleia, Olympia, Lupiae, Miletus) is a useful way to explore the “unfinished”, due to the fact that on one hand these statues clearly received the probatio of the redemptor, but on the other hand they were also usually left unfinished at the back, i.e. where nobody could see them, as can be argued from their location. In this sense these statues were really exactae. In fact, the sculptors had carefully
planned the invisibility of the “unfinished” parts, interrupting their work on the back and on the sides of the statues along precise lines. The same conclusion can be deduced from the examination of togate and
cuirassed statues. This phenomenon was mainly due to the evident savings in time (and money), and to the consciousness that the reverse section was normally excluded from any form of storytelling about a statue. Therefore, the act of not refining a statue must be interpreted as a sign of the desire to speed up and rationalize the production time rather than a mark of negligence or an “artistic” choice.

- by Matteo Cadario
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- Roman Sculpture, Roman statues, Greek and Roman Sculpture, Roman Portraiture

Chapitre 2 de thèse, les ponts.

A Roma si conserva una statua che fu inizialmente abbozzata da Michelangelo Buonarroti e poi rielaborata e terminata da Nicolas Cordier, detto il Franciosino, all'inizio del Seicento. La statua è collocata all'interno dell'Oratorio di Santa Barbara a Roma, in posizione tale da raffigurare il benedicente pontefice nell'atto di contemplare il triclinium, la mensa alla quale era solito accogliere dodici poveri, tra i quali una volta apparve un angelo. Secondo i documenti giunti sino a noi, una statua "sbozzata e non finita", raffigurante "San Pietro in abito di papa" si trovava nella casa di Michelangelo in Macel de' Corvi, "in una stanza del piano terra, coperta a tetto".

- by claudia viggiani
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- Michelangelo Buonarroti, Roma, Arte, Historia del Arte
- by Stefania Pafumi
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- Social History of Art, Mediterranean archaeology, Greek Sculpture
- by Priscilla Ralli and +1
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- by Loïc Gaëtan
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- Sculpture, Archéologie funéraire, époque Romaine

Portraits of a group of thirty kosmētai, public philosophy teachers in Athens, were found among the fill in the Valerian Wall by the Roman Agora in Athens in 1861. From the Hellenistic period onwards, the kosmētai had taught the philosophy of Aristotle, though with time, the teaching became more varied. In the first century AD the number of students had a peak of three hundred a year. In the third century, when the portraits were buried in the Valerian Wall, the number of students had decreased, much as it had in other pedagogic institutions. The activity of the kosmētai ended about AD 280, when the Valerian Wall was built. The dating of the Valerian Wall is based on coins with the portrait of emperor Probus (AD 276-282), which have been found among the building debris. What we know about the kosmētai from the written sources leads to several questions, such as why the kosmētai portraits were used as building material at a time when the identity of the sitters could still be remembered. Why were some of the portraits recut into those of other individuals shortly before they were put into the wall? Some of the kosmētai portraits were produced, recut and discarded during the span of a few decades. This paper discusses the portraits of the kosmētai and their significance in Roman Athens, and explores questions related to the disposal of them, as well as to context, style, workshop and patronage.