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Sculpture antique --- Sculpture --- Sculpture, Ancient --- Middle East --- Antiquities. --- Sculpture antique. --- Middle East.

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In the mid-eighteenth century, English gentlemen filled their houses with copies and casts of classical statuary while the following generation preferred authentic antique originals. By charting this changing preference within a broader study of material culture, Joan Coutu examines the evolving articulation of the English gentleman. Then and Now consists of four case studies of mid-century collections. Three were amassed by young aristocrats - the Marquis of Rockingham, the Duke of Richmond, and the Earl of Huntingdon - who, consistent with their social standing, were touted as natural political leaders. Their collections evoke the concept of gentlemanly virtue through example, offering archetypes to encourage men toward acts of public virtue. As the aristocrats matured in the politically fractious realm of the 1760s, such virtue could become politicized. A fourth study focuses on Thomas Hollis, who used his collection to proselytize his own unique political ideology. Framed by studies of collecting practices earlier and later in the century, Coutu also explores the fluid temporal relationship with the classical past as the century progressed, firmly situating the discussion within the contemporaneous emerging field of aesthetics. Broadening the focus beyond published texts to include aesthetic conversations among the artists and the aristocracy in Italy and England, Then and Now shows how an aesthetic canon emerged - embodied in the Apollo Belvedere, the Venus de’ Medici, and the like - which shaped the Grand Manner of art.

Sculpture, Classical --- Classical sculpture --- Classical antiquities --- Collectors and collecting --- History --- Private collections --- Appreciation --- Political aspects --- Sculpture antique --- Collectionneurs et collections --- Histoire --- Collections privées --- Appréciation --- Aspect politique

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L’enquête a pris pour point de départ une figure familière aux habitants du quartier de la place Navone, la célèbre statue parlante de Pasquino. Dès sa découverte à la Renaissance et jusqu’à nos jours, ce marbre antique est devenu le lieu d’affichage d’épigrammes et d’autres formes d’expression écrite à l’encontre des autorités religieuses et politiques, les « pasquinades ». A partir de ce cas spécifique dont la renommée à l’époque moderne est singulière, l’enquête s’est vite élargie à l’ensemble des manifestations illicites dont les statues ont été le réceptacle depuis l’Antiquité, mais aussi plus largement aux divers signes et manifestations qui leur ont été attribuées, sans négliger le lien unissant la statue elle-même, dès sa conception ou son installation dans un lieu public, et le texte qui l’accompagne officiellement. L’image statuaire, par la vie et les paroles qu’on lui prête, devient alors le lieu d’une expression revendicative, voire d’une contestation violente. Pour en finir avec les forces qu’elle déploie ou qui s’affrontent dans la représentation elle-même, il n’y a qu’un pas à franchir, lorsque la conjoncture s’offre aux manifestations brutales : la destruction ou la mutilation de l’objet lui-même. Ainsi les mécanismes à l’œuvre pour « faire parler » une statue portent-ils toujours en eux le risque de les « faire taire » un jour. Les travaux réunis dans le présent volume – centrés sur le monde gréco-romain, ils s’ouvrent à d’autres contextes et d’autres périodes - appartiennent donc aux deux volets indissociables d’un même effort d’explicitation, depuis la naissance de l’Ecriture jusqu’à l’âge de la médiatisation planétaire.

Statues --- Sculpture, Ancient --- Inscriptions, Ancient --- Sculpture antique --- Inscriptions antiques --- Social aspects --- Themes, motives --- Aspect social --- Thèmes, motifs --- Thèmes, motifs --- Art --- Art and society --- Graffiti --- Sculpture --- Political aspects --- History --- Mutilation, defacement, etc. --- Sculpture, Primitive --- Stonework, Decorative --- Bas-relief --- Graffiti culture --- Folklore --- Inscriptions --- Street art --- Art and sociology --- Society and art --- Sociology and art --- Art, Occidental --- Art, Primitive --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Aesthetics --- Statuary --- Monuments --- sculpture antique --- vandalisme --- statue

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The current volume of the Forschungen in Ephesos presents the concluding results of the recent archaeological and art-hisorical investigations at the monumental tomb in the hinterland of Ephesos. The date ot the Mausoleum can be fixed accumulative between 310 and 280/70 BC and following the interpretation of references regarding the monument`s dedication and the sources for the historical events Antigonos I. Monophthalmos is recognised as the newly identified personality to whom the Mausoleum belonged.

Sarcophagi --- Tombs --- Antiquities --- Excavations (Archaeology) --- Turkey --- Mausoleums --- Sculpture, Ancient --- Sepulchral monuments --- Pottery, Ancient --- Mausolées --- Fouilles (Archéologie) --- Sculpture antique --- Monuments funéraires --- Céramique antique --- Ephesus (Extinct city) --- Ephèse (Ville ancienne) --- Archaeology --- Monumental tomb --- heroa --- archaeological investigation --- material evidence --- late Classical/early Hellenistic sculpture --- funerary and ruler cult --- Greece --- Asia Minor --- Ephesus --- monumentaler Grabbau --- Heroa --- archäologische Untersuchung --- materielle Evidenz --- spätklassisch-frühhellenistische Skulptur --- Grab- und Herrscherkult --- Greichenland --- Kleinasien --- Ephesos --- Amphore --- Keramik --- Relief

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For centuries, statuary decor was a main characteristic of any city, sanctuary, or villa in the Roman world. However, from the third century CE onward, the prevalence of statues across the Roman Empire declined dramatically. By the end of the sixth century, statues were no longer a defining characteristic of the imperial landscape. Further, changing religious practices cast pagan sculpture in a threatening light. Statuary production ceased, and extant statuary was either harvested for use in construction or abandoned in place. The Afterlife of Greek and Roman Sculpture is the first volume to approach systematically the antique destruction and reuse of statuary, investigating key responses to statuary across most regions of the Roman world. The volume opens with a discussion of the complexity of the archaeological record and a preliminary chronology of the fate of statues across both the eastern and western imperial landscape. Contributors to the volume address questions of definition, identification, and interpretation for particular treatments of statuary, including metal statuary and the systematic reuse of villa materials.

Sculpture, Classical --- Altered sculptures --- Sculpture materials --- Classical antiquities --- Sculpture antique --- Sculptures transformées --- Sculpture --- Antiquités gréco-romaines --- Appreciation --- History --- Congresses --- Recycling --- Destruction and pillage --- Appréciation --- Histoire --- Congrès --- Matériaux --- Recyclage --- Destruction et pillage --- ART / History / Ancient & Classical. --- Antike. --- HISTORY / Ancient / Rome. --- Plastik. --- Rezeption. --- Spätantike. --- Wiederverwendung. --- Griechenland --- Römisches Reich. --- Sculptures transformées --- Antiquités gréco-romaines --- Appréciation --- Congrès --- Matériaux --- Antiquities, Classical --- Antiquities, Grecian --- Antiquities, Roman --- Archaeology, Classical --- Classical archaeology --- Roman antiquities --- Antiquities --- Archaeological museums and collections --- Art, Ancient --- Classical philology --- Artists' materials --- Classical sculpture