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Sculpture --- bronze [metal] --- Bronzes, Classical --- Sculpture, Greek. --- Sculpture, Roman. --- Bronzes classiques --- Sculpture grecque --- Sculpture romaine --- antieke beeldhouwkunst
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Bronssculptuur [Klassieke ] --- Bronze figurines [Classical ] --- Bronze sculpture [Classical ] --- Bronzen beeldjes [Klassieke ] --- Classical bronze figurines --- Sculpture de bronze classique --- Statuettes en bronze classiques --- Bronze sculpture, Classical --- Sculpture, Greek --- Sculpture, Roman --- Bronze figurines, Classical --- Sculpture en bronze antique --- Sculpture grecque --- Sculpture romaine --- Figurines de bronze antiques --- Classical bronze sculpture --- Bronze sculpture, Classical.
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Exhibitions --- Architecture, Domestic --- Art, Roman --- Roman art --- Classical antiquities --- Architecture, Rural --- Domestic architecture --- Home design --- Houses --- One-family houses --- Residences --- Rural architecture --- Villas --- Architecture --- Dwellings --- Naples, Bay of (Italy) --- Bay of Naples (Italy) --- Golfo di Napoli (Italy) --- Gulf of Naples (Italy) --- Naples, Gulf of (Italy) --- Civilization
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Freestanding bronze statuary was the primary mode of artistic expression in classical Greece, yet it was not until the nineteenth century that any original large statues of that period were unearthed. Although ancient literature has preserved information about the most famous Greek sculptors who worked in bronze, our perception of the art has been limited by the small number of extant originals from the sixth and fifth centuries B.C. there remain fewer than ten large cast bronze statues, a like number of bronze heads, an assortment of fragments, and some clay molds for casting. Carol Mattusch enriches our knowledge of this beloved but elusive art form in a comprehensive study of the style and techniques of bronze statuary during the Archaic (6th century B.C.) and Classical (5th century B.C.) periods.
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One of the world's leading authorities on ancient bronze sculpture, Carol C. Mattusch urges us to discard the terms "Greek original" and "Roman copy" and to adopt instead terms that distinguish unique works from those produced in series and those produced as variations on a theme. She discusses the dating of bronzes based on criteria of technique and style, and considers technical innovations in the art of portraiture. Most controversially, she offers evidence that Greek artists cast bronzes in series based on a single model. Mattusch points out that examples of series castings can be found among the statuettes and vessel attachments from the Geometric and Orientalizing periods. From the Classical period onward, statues also appear to have been cast in series. Certain styles and types of images that achieved widespread popularity during the Hellenistic and Roman periods were produced in large quantities and in several different places. This book will raise important new questions in the field of Classical bronze sculpture. How long might a single model remain in use and how far might casts from it be transported for production? What is the significance of an artist's signature on a work in a series and what influence was wielded by the potential buyer? And, given these issues, what should the criteria be for distinguishing Greek works from Roman ones? Classical Bronzes is generously illustrated, including an eight-page color insert.
Bronze figurines, Classical. --- Bronze sculpture, Classical.
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Sculpture, Greco-Roman --- Sculpture --- Sculpture grèco-romaine --- Copying --- Copie --- Villa of the Papyri (Herculaneum) --- Copying. --- Sculpture grèco-romaine --- Greco-Roman sculpture --- Sculpture, Greek --- Sculpture, Hellenistic --- Sculpture, Roman --- Sculpture, Greco-Roman - Italy - Herculaneum (Extinct city) --- Sculpture - Copying.
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