Master bronzes from the classical world. ([By] David Gordon Mitten, Suzannah F. Doeringer PDF Download
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![Master bronzes from the classical world. ([By] David Gordon Mitten, Suzannah F. Doeringer PDF](https://books.google.com/books/content/images/frontcover/dblNMwEACAAJ?fife=w150-h200)
Author: Fogg Art Museum
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ISBN:
Category :
Languages : en
Pages : 319
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![Master bronzes from the classical world. ([By] David Gordon Mitten, Suzannah F. Doeringer PDF](https://books.google.com/books/content/images/frontcover/dblNMwEACAAJ?fife=w80-h100)
Author: Fogg Art Museum
Publisher:
ISBN:
Category :
Languages : en
Pages : 319
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Author: Hans Jucker
Publisher:
ISBN:
Category :
Languages : de
Pages : 6
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Author: David Gordon Mitten
Publisher:
ISBN:
Category :
Languages : en
Pages : 0
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Author: David Gordon Mitten
Publisher:
ISBN:
Category : Bronzes, Ancient
Languages : en
Pages : 336
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Catalog of an exhibition to be held at the Fogg Art Museum, Dec. 4, 1967-Jan 23, 1968, City Art Museum of Saint Louis, Mar. 1-Apr. 13, 1968, and the Los Angeles County Museum of Art, May 8-June 30, 1968.
Author: David Gordon Mitten
Publisher:
ISBN:
Category :
Languages : en
Pages : 319
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Book Description
Author: David Gordon Mitten
Publisher:
ISBN:
Category :
Languages : en
Pages : 320
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Book Description
Author: David Gordon Mitten
Publisher:
ISBN:
Category :
Languages : de
Pages : 320
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Author: Rhode Island School of Design. Museum of Art
Publisher:
ISBN:
Category : Bronzes
Languages : en
Pages : 228
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Author: Suzannah F. Doeringer
Publisher: MIT Press (MA)
ISBN:
Category : Art
Languages : en
Pages : 316
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If we are to believe the ancient writers, bronze was by far the most important medium of sculpture in classical antiquity. Bronzes covered a wide range of periods and cultures, depicting the hieratic and the comic, myths and scenes from daily life. This book contains the record of a symposium held in connection with the first international exhibition of Greek, Etruscan, and Roman bronze sculpture held at the Fogg Art Museum in 1967. The project was a joint endeavor of neighboring institutions Harvard and M.I.T. to meld the "two worlds" of art historian and technologist to such an extent that each might come to understand the basic methodologies of the other. The book is organized so that the more technical chapters precede those with an art-historical bent. Summaries of symposium discussions and introductions to each section have been carefully prepared by the editors in an attempt to interrelate the papers and to raise some broader questions for future study. Art is in intimate and continual contact with technology, writes Cyril Stanley Smith; technical examination of a work of art brings the viewer into contact with the object's background and into the shaping processes used by the artist. Arthur Steinberg points out that it is equally important to view a particular technology in its cultural context, to determine ancient industrial practices and the relation of the technology to ancient societies. The chapters in Part 1 discuss and summarize some of the most compelling problems encountered in the effort of scientists, art historians, and archaeologists to comprehend the technological context in which ancient bronzes—implements, vessels, armor, and large and small statues—were produced. Specific areas of investigation are bronze joining, chemical analysis of Greek and Roman statuary bronzes, the corrosion products of bronzes (patinas), the mechanics of corrosion, and the conservation of art objects. In a more general sense, these chapters illustrate the trend of cooperation of archaeologists with chemists, geologists, physicists, metallurgists, mineralogists, and conservators to analyze and interpret their finds. Chapters in Part 2 are concerned with Oriental and Orientalizing bronzes. Contributors raise questions as to the transmission or diffusion of subjects, motifs, and techniques from one culture to another; how these elements were passed on, by whom, and why. Part 3 considers votive and decorative Roman and Etruscan bronzes, raising some complicated aesthetic and technological questions as to why these bronzes have been judged "second rate" adaptations of Greek prototypes. Chapters in this section reassess the bronzes in terms of their function, the market, and the workshop, suggesting that these pieces fulfilled certain specific requirements of the culture that produced them. The book's last section contains reflections on the decline, survival, and revival of ancient bronzes; why they are collected and how they may be authenticated.
Author: Otto Brendel
Publisher: Yale University Press
ISBN: 0300064462
Category : Art
Languages : en
Pages : 361
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This volume--the first serious book in English on Etruscan art--was hailed for its broad scope, thorough knowledge, and clear exposition when it was published almost twenty years ago. Now brought back into print with an updated bibliography and bibliographical essay by Francesca R. Serra Ridgway, it remains an essential introduction for anyone interested in ancient art, history, and civilization. Otto Brendel's exploration of the art, culture, and society of Etruria takes us through its four main periods of creativity: the Villanovan and Orientalizing era, the Archaic era, the Classical era, and the Hellenistic era, when Etruscan art became extinct. According to Brendel, the Etruscans were deeply influenced by Greek styles but used Greek forms and concepts to further their own purposes. Etruscan art is a private art, aristocratic and luxurious but centered in the life of the family and a continuing life in the tomb. Many of the art forms and objects discussed--ceramics, metalware, jewelry, sculpture, and wall painting--are known to us through the discovery of tombs. Most of these objects had a clearly defined function but were also designed, with a high degree of quality and craftsmanship, to be decorative. The beautiful art of the Etruscans, illustrated and explained in this book, sheds much light on a people about whom we know little.
