Marble Sculptures from the Great Eastern Baths of Gerasa (Jordan): The Sources of the Marbles

2020 ◽  
Vol 384 ◽  
pp. 21-43
Author(s):  
Khaled Al-Bashaireh ◽  
Thomas M. Weber-Karyotakis ◽  
Nizar Abu-Jaber ◽  
Thomas Lepaon
Keyword(s):  
Marble Sculptures

scholarly journals New discoveries of marble sculptures in the Sirmium imperial palace

Starinar ◽  
2014 ◽  
pp. 77-86
Author(s):  
Ivana Popovic
Keyword(s):  
Late Antique ◽  
Female Head ◽  
Imperial Palace ◽  
Marble Sculptures ◽  
Archaeological Excavations

In the course of archaeological excavations carried out in 2012 and 2013, in the northwestern section of the palatial complex in Sirmium (locality 85), many fragments of porphyry and marble sculptures were discovered. Worth mentioning among the marble sculptures is a female head with a lunular diadem that had, most probably, been made during the Antonine period. The head was used as spolia incorporated in the medieval wall. It was a fragment of a statue of some goddess, possibly Juno, Minerva or the deified empress Faustina the Younger, and erected in the area of the palatial complex during the Late Antique period.

Greek Marble Sculptures

1958 ◽  
Vol 16 (6) ◽  
pp. 187
Author(s):  
Dietrich von Bothmer
Keyword(s):  
Marble Sculptures

A Few Examples of Electron Microanalysis of Art Objects at the Boston Museum of Fine Arts

2001 ◽  
Vol 7 (2) ◽  
pp. 193-199
Author(s):  
Robert E. Ogilvie
Keyword(s):  
Electron Microprobe ◽  
Fine Arts ◽  
Metal Artifacts ◽  
Art Object ◽  
Art Objects ◽  
Marble Sculptures ◽  
Museum Of Fine Arts ◽  
Electron Microanalysis

Abstract Examples of a few objects are presented, where the electron microprobe has proved that it can provide the conservator and the curator with information that will help in evaluating the authenticity of a particular art object. They will also obtain a better understanding of how an object was fabricated and what materials it was made from. The results of the analysis of paint samples, samples from metal artifacts, as well as specimens from marble sculptures, are described.

The Architectural Decoration in Terracotta from Early Latin Temples in the Museo di Villa Giulia

1914 ◽  
Vol 4 ◽  
pp. 157-182
Author(s):  
S. Arthur Strong
Keyword(s):  
Homogeneous Group ◽  
Chronological Order ◽  
Roman Art ◽  
Marble Sculptures ◽  
The Subject ◽  
The Republic ◽  
The Way

The republican art of Rome and Latium has been much neglected. Even the admirable article in the Encyclopaedia Britannica which is signed by one of our foremost scholars, the same writer's Companion to Roman Studies, and the article on Roman art in the Cambridge Companion to Latin Studies begin the subject of Roman art with Augustus, or give only the briefest of indications for what precedes; yet more can be done in the way of reconstructing a picture of the earlier period than most archaeologists suppose, and it is my purpose in the present paper to show how the fictile decorations from the early Latin temples can be used to this end. My examples are taken mainly from the collection of terracotta recently arranged in the new wing of the Museo di Villa Giulia. These form a homogeneous group from sites in the immediate vicinity of Rome, and they are exhibited as far as possible in chronological order, so that the development of this branch of art can be studied from its earliest manifestations to its decay in the last century of the republic, when terracotta decoration had to give way to the marble sculptures introduced in the wake of Hellenistic art.

MARBLE SCULPTURES FROM PHTHIOTIS IN THE LAMIA ARCHAEOLOGICAL MUSEUM

2013 ◽  
Vol 108 ◽  
pp. 275-321
Author(s):  
Iphigeneia Leventi
Keyword(s):  
Formal Language ◽  
Eastern Mediterranean ◽  
Asia Minor ◽  
Small Scale ◽  
Hellenistic Period ◽  
Central Greece ◽  
Aegean Islands ◽  
Marble Sculptures ◽  
Eros And Psyche ◽  
Greek East

Marble statuettes, now in the Lamia Archaeological Museum, that date to the Classical and above all the Hellenistic periods, and a Hellenistic votive relief depicting Herakles are presented here. This study investigates the relations between the local workshop in central Greece which produced them and the major Classical and Hellenistic sculptural centres of Athens and of the Aegean islands, Asia Minor and the kingdoms of the Greek East generally. A marble statuette of a goddess which may represent Artemis from Melitaia, and a marble statuette of a seated girl of unknown provenance are dated to the Classical period. The subjects portrayed in the Late Hellenistic material show a typical repertory, marble statuettes of Aphrodite or Aphrodite-like figures, and a statuary group of Eros and Psyche in marble, unusual for this period. The ways in which the local sculptors of the Late Hellenistic period in the area of modern Phthiotis adopted the typological and stylistic trends current in the great cosmopolitan centres are a major concern here. In the Hellenistic period, the production of marble statuettes for making offerings at public and domestic sanctuaries and for decorating opulent villas was in vogue, and a common formal language was created especially for small-scale sculpture in the eastern Mediterranean and the new art markets of Italy. The vehicles by which these artistic influences were transmitted to the sculptural production of central Greece will also be investigated.

Greek sculpture, Archaic, Classical & Hellenistic: new finds & developments 2005–2015

2015 ◽  
Vol 61 ◽  
pp. 104-114
Author(s):  
Olga Palagia
Keyword(s):  
3D Scanning ◽  
Prospective Students ◽  
Research Directions ◽  
Historical Perspectives ◽  
Marble Sculptures ◽  
New Material ◽  
Greek Sculpture

Prospective students of Greek sculpture are daunted by the fact that they have to tackle a bibliography in several languages that stretches back to the 19th century and must often employ methods that are deemed old-fashioned. The development of style is, nevertheless, giving way now to the study of materials and techniques, as well as the historical perspectives underlying the production of sculpture at any given period. An additional difficulty is the fact that new material that comes to light is not always easily available for study, and even old material can remain out of bounds due to bureaucratic barriers. Current research tends to concentrate on the detection of polychromy on marble sculptures, a process which is best undertaken in the conservation departments of museums. 3D scanning is another expensive method which is currently being developed in various research directions.

Pontormo and the Art of Devotion in Renaissance Italy

2021 ◽  
Author(s):  
Jessica A. Maratsos
Keyword(s):  
Sixteenth Century ◽  
Wide Spectrum ◽  
Unique Contribution ◽  
Complex Relationship ◽  
Devotional Art ◽  
Direct Address ◽  
Stylistic Change ◽  
Cultural Anxiety ◽  
Marble Sculptures ◽  
Renaissance Italy

Both lauded and criticized for his pictorial eclecticism, the Florentine artist Jacopo Carrucci, known as Pontormo, created some of the most visually striking religious images of the Renaissance.  These paintings, which challenged prevailing illusionistic conventions, mark a unique contribution into the complex relationship between artistic innovation and Christian traditions in the first half of the sixteenth century. Pontormo's sacred works are generally interpreted as objects that reflect either pure aesthetic experimentation, or personal and cultural anxiety. Jessica Maratsos, however, argues that Pontormo employed stylistic change deliberately for novel devotional purposes. As a painter, he was interested in the various modes of expression and communication - direct address, tactile evocation, affective incitement - as deployed in a wide spectrum of devotional culture, from sacri monti, to Michelangelo's marble sculptures, to evangelical lectures delivered at the Accademia Fiorentina. Maratsos shows how Pontormo translated these modes in ways that prompt a critical rethinking of Renaissance devotional art.

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