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"Why did Roman portrait statues, famed for their individuality, repeatedly employ the same body forms? The complex issue of the Roman copying of Greek 'originals' has so far been studied primarily from a formal and aesthetic viewpoint. Jennifer Trimble takes a broader perspective, considering archaeological, social historical and economic factors, and examines how these statues were made, bought and seen. To understand how Roman visual replication worked, Trimble focuses on the 'Large Herculaneum Woman' statue type, a draped female body particularly common in the second century CE and surviving in about two hundred examples, to assess how sameness helped to communicate a woman's social identity. She demonstrates how visual replication in the Roman Empire thus emerged as a means of constructing social power and articulating dynamic tensions between empire and individual localities"--

Portrait sculpture, Greco-Roman --- Women in art. --- Identity (Philosophical concept) in art --- Social status in art. --- Art and society --- Sculpture de portraits gréco-romaine --- Femmes dans l'art --- Identité dans l'art --- Statut social dans l'art --- Art et société --- Sculpture de portraits gréco-romaine --- Identité dans l'art --- Art et société --- Identity (Philosophical concept) in art. --- Portrait sculpture, Greco-Roman.

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Other (Philosophy) in art --- Identity (Philosophical concept) in art --- Altérité dans l'art --- Identité dans l'art --- Exhibitions --- Expositions --- Biennale d'art contemporain (Lyon, France) --- commissariat général Harald Szeemann --- kunst --- twintigste eeuw --- installaties --- schilderkunst --- beeldhouwkunst --- Biennale van Lyon --- alteriteit --- Messerschmidt Franz Xaver --- Cheval Ferdinand --- Facteur Cheval --- outsider art --- von Kupffer Elisar --- Elisarion --- Kafka Franz --- Kunz Emma --- Blagdon Emery --- Bacon Francis --- von Bruenchenhein Eugene --- Bourgeois Louise --- Etienne-Martin --- Marker Chris --- Beuys Joseph --- Hucleux Jean-Olivier --- Muehl Otto --- Hains Raymond --- Rainer Arnulf --- Hutchinson Peter --- Gertsch Franz --- Lüscher Ingeborg --- Nitsch Hermann --- Jackson Richard --- Serra Richard --- Export Valie --- Schwarzkogler Rudolf --- Schröder Ute --- Coleman James --- Darboven Hanne --- Ughetto Henry --- Nauman Bruce --- Reckenfelderbäumer Lene --- Kopystiansky Igor --- Kopystiansky Svetlana --- Ruppersberg Allen --- Pzeold Friederike --- Pezoldo --- McCarthy Paul --- Burden ChrisTevet Nahum --- Waters John --- West Franz --- Aballea Martine --- Laib Wolfgang --- Hill Gary --- Spitzer Serge --- Danuser Hans --- Ray Charles --- Munoz Juan --- Apfelbaum Polly --- Koons Jeff --- Zhen Chen --- Peili Zhang --- Fritsch Katharina --- Tuymans Luc --- Corpet Vincent --- Yanagi Yukinori --- Hérubel Nicolas --- Stockholder Jessica --- Jie Pu --- Trenkwalder Elmar --- Guilleminot Marie-Ange --- Pei-Ming Yan --- Sorin Pierrick --- Douglas Stan --- Hybert Fabrice --- Kuitca Guillermo --- Orozco Gabriel --- Rist Pipilotti --- Hong An --- Pernice Manfred --- Yihui X --- Lee Bul --- Joseph Pierre --- Parreno Philippe --- Rhoades Jason --- Barbier Gilles --- Hoeck Richard --- Gordon Douglas --- Comte Serge --- Mengbo Feng --- Monteith John D. --- Barney Matthew --- Mori Mariko --- Lane Abigail --- Xingwei Wang --- Cooper Kyle --- Jankowski Christian --- Bournigault Rebecca --- 7.038 --- hedendaagse kunst --- Contemporary [style of art] --- Art --- Altérité dans l'art --- Identité dans l'art --- Exhibitions. --- Monteith John D