Julia Habetzeder
Swedish Institute at Athens, Editorial Committee, Department Member
- Swedish Institute in Rome, Editorial Committee, Department Memberadd
- Archaeology, Art History, Classical Reception Studies, Roman Sculpture, Classics, Copy criticism, and 29 moreKopienkritik, Neo-Attic reliefs, Roman ideal sculpture, Emulation, Eclecticism, Decorum, Meisterforschung, Intertextuality, Marsyas In the Forum, The Invitation to the Dance, Ancient Campania, Aesthetics, Classical Archaeology, Museum Studies, Antikens Kultur Och Samhällsliv, Greek Archaeology, Ancient Greek and Roman Art, Reception of Antiquity, Visual Semiotics, Anamorphic Art, Greek and Roman Sculpture, Greek and Roman Sculpture and Architecture, Greek and Roman Fountain Sculpture, Hellenistic Sculpture, Formalism, Graeco-Roman Sculpture, Roman Art, Roman visual culture, and Roman Archaeologyedit
- Julia Habetzeder is the editor at the Editorial Committee of the Swedish Institutes at Athens and Rome (ECSI). ECSI p... moreJulia Habetzeder is the editor at the Editorial Committee of the Swedish Institutes at Athens and Rome (ECSI). ECSI publishes three monograph series and the periodical Opuscula devoted mainly to classical archaeology, ancient history, art, architecture and philology. All publications are peer-reviewed.
Julia Habetzeder's own research focuses mainly on Graeco-Roman sculpture and the reception of classical antiquity.edit
For a long time, Roman ideal sculptures have primarily been studied within the tradition of Kopienkritik. Owing to some of the theoretical assumptions tied to this practice, several important aspects of Roman visual culture have been... more
For a long time, Roman ideal sculptures have primarily been studied within the tradition of Kopienkritik. Owing to some of the theoretical assumptions tied to this practice, several important aspects of Roman visual culture have been neglected as the overall aim of such research has been to gain new knowledge regarding assumed Classical and Hellenistic models. This thesis is a collection of three studies on Roman ideal sculpture. The articles share three general aims: 1. To show that the practice of Kopienkritik has, so far, not produced convincing interpretations of the sculpture types and motifs discussed. 2. To show that aspects of the methodology tied to the practice of Kopienkritik (thorough examination and comparison of physical forms in sculptures) can, and should, be used to gain insights other than those concerning hypothetical Classical and Hellenistic model images. 3. To present new interpretations of the sculpture types and motifs studied, interpretations which emphasize their role and importance within Roman visual culture.
The first article shows that reputed, post-Antique restorations may have an unexpected—and unwanted—impact on the study of ancient sculptures. This is examined by tracing the impact that a restored motif ("Satyrs with cymbals") has had on the study of an ancient sculpture type: the satyr ascribed to the two-figure group "The invitation to the dance". The second article presents and interprets a sculpture type which had previously gone unnoticed—The satyrs of "The Palazzo Massimo-type". The type is interpreted as a variant of "The Marsyas in the forum", a motif that was well known within the Roman cultural context. The third article examines how, and why, two motifs known from Classical models were changed in an eclectic fashion once they had been incorporated into Roman visual culture. The motifs concerned are kalathiskos dancers, which were transformed into Victoriae, and pyrrhic dancers, which were also reinterpreted as mythological figures—the curetes.
The first article shows that reputed, post-Antique restorations may have an unexpected—and unwanted—impact on the study of ancient sculptures. This is examined by tracing the impact that a restored motif ("Satyrs with cymbals") has had on the study of an ancient sculpture type: the satyr ascribed to the two-figure group "The invitation to the dance". The second article presents and interprets a sculpture type which had previously gone unnoticed—The satyrs of "The Palazzo Massimo-type". The type is interpreted as a variant of "The Marsyas in the forum", a motif that was well known within the Roman cultural context. The third article examines how, and why, two motifs known from Classical models were changed in an eclectic fashion once they had been incorporated into Roman visual culture. The motifs concerned are kalathiskos dancers, which were transformed into Victoriae, and pyrrhic dancers, which were also reinterpreted as mythological figures—the curetes.
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With its original manifestation generally dated to c. 150 BC, the Invitation to the Dance is a textbook example of Hellenistic sculpture. But despite much scholarly attention there is still no consensus as to what motif the sculpture... more
With its original manifestation generally dated to c. 150 BC, the Invitation to the Dance is a textbook example of Hellenistic sculpture. But despite much scholarly attention there is still no consensus as to what motif the sculpture group depicts. Inspired by intertextual theory, this study catalogues and re-examines 35 sculptures of the female figure and 34 sculptures of the satyr. The article focuses on preserved sculptures, rather than a reconstructed model image. Variations of the repeated forms are highlighted as significant for the interpretation of the types. The reading of the Invitation to the Dance thus put forward suggests that the group composition displays the moment after the satyr has pulled the female’s garment down from her upper body. It is furthermore emphasized that both satyr and female figure were at times—perhaps even predominately—displayed as solitary figures. The satyr’s foot-clapper is suggested to have been included primarily in instances where the satyr was displayed on his own. Sculptures of the female figure fending off —though not touching—an intrusive companion could have been paired with other Dionysian figures as well, a practice that might be reflected in sculptures that show this female type in other group compositions.
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Full text pdf available through DiVA: http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-356679
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In a well-known passage of his De architectura (written during the last decades BC) Vitruvius describes the Roman domus (house) as a self-evident part of the public image of its owner. To Vitruvius, the house is not a private sphere, at... more
In a well-known passage of his De architectura (written during the last decades BC) Vitruvius describes the Roman domus (house) as a self-evident part of the public image of its owner. To Vitruvius, the house is not a private sphere, at least not in the sense we like to think of our homes today. Instead, Vitruvius emphasizes that the domus serves as the backdrop for at least a part of its owner’s public life, and as such its layout and appearance has a bearing on the owner’s public persona (Vitr. De arch. 6.5.1-3; Granger 1934:36–39). But it was not just the appearance of the house itself that was important in this regard: there was a similar relationship between the home-owner and the possessions that he chose to put on display in his house.
During the Late Republican era (133–31 BC), many members of the Roman elite set out to acquire art collections to be displayed in their homes. This paper shows that the decorative luxury possessions acquired had a power and a capacity of their own. The owner’s taste and personality were established through the acquisition and display of these collections.
To illustrate this point, two motifs are discussed: kalathiskos dancers and pyrrhic dancers. Within the Roman cultural context, these motifs are primarily represented on decorative luxury items. The paper aims to explore the occurrence of the motifs and to explain why pyrrhic dancers were depicted less often than kalthiskos dancers, and to relate this circumstance to the agency of decorative luxury possessions within the Roman cultural context.
During the Late Republican era (133–31 BC), many members of the Roman elite set out to acquire art collections to be displayed in their homes. This paper shows that the decorative luxury possessions acquired had a power and a capacity of their own. The owner’s taste and personality were established through the acquisition and display of these collections.
To illustrate this point, two motifs are discussed: kalathiskos dancers and pyrrhic dancers. Within the Roman cultural context, these motifs are primarily represented on decorative luxury items. The paper aims to explore the occurrence of the motifs and to explain why pyrrhic dancers were depicted less often than kalthiskos dancers, and to relate this circumstance to the agency of decorative luxury possessions within the Roman cultural context.
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This article aims to show that reputed restorations may have an unexpected impact on the study of ancient sculpture. During the 17th-19th centuries a number of restored antiques where held in exceptionally high regard. One of the... more
This article aims to show that reputed restorations may have an unexpected impact on the study of ancient sculpture. During the 17th-19th centuries a number of restored antiques where held in exceptionally high regard. One of the consequences of their renowned was the production of copies and adaptations in different scales and media. Such reproductions did not distinguish between the ancient and the restored parts of the model image.
Today these reproductions are centuries old, and in many cases their provenance has long since been forgotten. Therefore, such post-antique sculptures are easily misinterpreted as ancient. Subsequently, they are at times used as evidence of ancient sculptural production. Needless to say, this may cause flawed notions of Classical sculpture.
The complexity of this relationship, between the ancient and the restored, is here exemplified by tracing the impact that a restored motif – “satyrs with cymbals” – has had on the study of an ancient sculpture type – the satyr attributed to “The invitation to the dance”.
Today these reproductions are centuries old, and in many cases their provenance has long since been forgotten. Therefore, such post-antique sculptures are easily misinterpreted as ancient. Subsequently, they are at times used as evidence of ancient sculptural production. Needless to say, this may cause flawed notions of Classical sculpture.
The complexity of this relationship, between the ancient and the restored, is here exemplified by tracing the impact that a restored motif – “satyrs with cymbals” – has had on the study of an ancient sculpture type – the satyr attributed to “The invitation to the dance”.
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"Okonstlad konst? Om äkthet och autenticitet i estetisk teori och praktik (Symposion). Ny antologi med tretton artiklar skrivna av doktorander från Forskarskolan i estetiska vetenskaper. Att säga om någonting att det är äkta, genuint... more
"Okonstlad konst? Om äkthet och autenticitet i estetisk teori och praktik (Symposion). Ny antologi med tretton artiklar skrivna av doktorander från Forskarskolan i estetiska vetenskaper.
Att säga om någonting att det är äkta, genuint eller autentiskt innebär för de allra flesta en positiv värdering. Detta gäller inte minst på estetikens område: konstverk och kulturyttringar som tillskrivs dessa egenskaper står på ett eller annat sätt högt i kurs. Sådana omdömen signalerar att det som diskuteras inte är falskt, förvanskat eller manipulativt – kort sagt, att det är konst som inte är konstgjord eller konstlad. Men vad, mer exakt, kan autenticitet betyda i estetiska sammanhang? Är det möjligt att uppnå någonting alltigenom genuint, och vad skulle detta i så fall innebära?
Texterna i denna bok, vars författare kommer från en mängd olika estetiska discipliner, spänner över hela den västerländska kulturhistorien: från antiken och renässansen via romantiken till modernismen och samtiden. De estetiska objekt och praktiker som diskuteras inkluderar inte bara litteratur, bildkonst och musik, utan även foto, modekollektioner, plastikkirurgi, rättegångar, fiktiva bloggar och konserverade djurkroppar. Tillsammans ger de tretton bidragen en rik och mångfacetterad bild av vad autenticitet kan vara – och om det kan vara – i en estetisk kontext."
Att säga om någonting att det är äkta, genuint eller autentiskt innebär för de allra flesta en positiv värdering. Detta gäller inte minst på estetikens område: konstverk och kulturyttringar som tillskrivs dessa egenskaper står på ett eller annat sätt högt i kurs. Sådana omdömen signalerar att det som diskuteras inte är falskt, förvanskat eller manipulativt – kort sagt, att det är konst som inte är konstgjord eller konstlad. Men vad, mer exakt, kan autenticitet betyda i estetiska sammanhang? Är det möjligt att uppnå någonting alltigenom genuint, och vad skulle detta i så fall innebära?
Texterna i denna bok, vars författare kommer från en mängd olika estetiska discipliner, spänner över hela den västerländska kulturhistorien: från antiken och renässansen via romantiken till modernismen och samtiden. De estetiska objekt och praktiker som diskuteras inkluderar inte bara litteratur, bildkonst och musik, utan även foto, modekollektioner, plastikkirurgi, rättegångar, fiktiva bloggar och konserverade djurkroppar. Tillsammans ger de tretton bidragen en rik och mångfacetterad bild av vad autenticitet kan vara – och om det kan vara – i en estetisk kontext."
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While studying a small-scale sculpture in the collections of the Nationalmuseum in Stockholm, I noticed that it belongs to a previously unrecognized sculpture type. The type depicts a paunchy, bearded satyr who stands with one arm raised.... more
While studying a small-scale sculpture in the collections of the Nationalmuseum in Stockholm, I noticed that it belongs to a previously unrecognized sculpture type. The type depicts a paunchy, bearded satyr who stands with one arm raised. To my knowledge, four replicas exist. By means of stylistic comparison, they can be dated to the late second to early third centuries AD. Due to their scale and rendering they are likely to have been freestanding decorative elements in Roman villas or gardens. The iconography of the satyrs of the type discussed is closely related to that of a group of fountain figures. These fountain figures are believed to refer to a motif well known in Roman times: the Marsyas in the forum. In this article I argue that the satyrs of the type discussed refer as well to this once famous depiction of Marsyas.
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Review of Kunst von unten? Stil und Gesellschaft in der antiken Welt von der >arte plebea< bis heute. Internationales Kolloquium anlässlich des 70. Geburtstages von Paul Zanker (Palilia, 27), eds. Francesco de Angelis, Jens-Arne Dickmann,... more
Review of Kunst von unten? Stil und Gesellschaft in der antiken Welt von der >arte plebea< bis heute. Internationales Kolloquium anlässlich des 70. Geburtstages von Paul Zanker (Palilia, 27), eds. Francesco de Angelis, Jens-Arne Dickmann, Felix Pirson and Ralf von den Hoff, Deutsches Archäologisches Institut Rom. Wiesbaden 2012. 184 pp. ISBN 978-3-89500-915-0.
Published in Opuscula 7, 2014, 246-248
Published in Opuscula 7, 2014, 246-248
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Review of Emin Tengström, Broar till antiken. Antikens inflytande på svenskt samhälls- och kulturliv 1780-1850, Göteborg: Kungl. Vetenskaps- och Vitterhetssamhället, 2014, 252 s.
Published in Medusa 35:4, 2014, 39-42.
Published in Medusa 35:4, 2014, 39-42.
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Medusa. Svensk tidsskrift för antiken, ISSN 0349-456X, Vol. 37, no 3, p. 24-33.
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En skriftlig sammanfattning av min presentation "Pompejanska influenser i 1920-talets färgglada klassicism" på Konstakademien, se https://www.academia.edu/9977585/Pompejanska_influenser_i_1920-talets_f%C3%A4rgglada_klassicism
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Det sticker nästan till i ögonen när man ser den berömde bågskytten från Athena Aphaia-templet på Aegina iförd färgglatt spräckliga trikåer. Man är så van vid att se antika marmorskulpturer som vita, stilrena kroppar att en kraftigt... more
Det sticker nästan till i ögonen när man ser den berömde bågskytten från Athena Aphaia-templet på Aegina iförd färgglatt spräckliga trikåer. Man är så van vid att se antika marmorskulpturer som vita, stilrena kroppar att en kraftigt bemålad gipsrekonstruktion gör ett förvånansvärt starkt intryck. Det känns nästan kitschigt med de vågade kombinationerna av klara färger.
Man har länge känt till att antik skulptur generellt var bemålad. Men det är i takt med att ny teknik möjliggjort mer vetenskapligt grundade rekonstruktioner som man försökt hitta nya sätt att visa upp den antika skulpturen i all dess färgprakt. I Rom har man t.ex. kunnat se kejsar Augustus berömda fredsaltare färglagt med hjälp av strålkastare med färgat ljus. Ett annat sätt har varit att helt enkelt färglägga gipsavgjutningar av antika skulpturer.
Professor Vinzenz Brinkmann, Stiftung Archäologie, har i första hand använt den sistnämnda metoden applicerad på grekisk och romersk skulptur från arkaisk tid till romersk kejsartid. Det är dessa färgglada rekonstruktioner som nu visas upp på Medelhavsmuseet. Utställningen ”Vita lögner” pågår från den 9 oktober 2010 till den 30 januari 2011. Denna vandringsutställning har tidigare visats på Pergamonmuseet i Berlin och i J. Paul Getty Museum i Los Angeles. Och snart kan man alltså besöka Medelhavsmuseet för att få ta till sig en välförtjänt färggrann upplevelse när den mörka, färglösa vintern obönhörligen kryper allt närmare.
Man har länge känt till att antik skulptur generellt var bemålad. Men det är i takt med att ny teknik möjliggjort mer vetenskapligt grundade rekonstruktioner som man försökt hitta nya sätt att visa upp den antika skulpturen i all dess färgprakt. I Rom har man t.ex. kunnat se kejsar Augustus berömda fredsaltare färglagt med hjälp av strålkastare med färgat ljus. Ett annat sätt har varit att helt enkelt färglägga gipsavgjutningar av antika skulpturer.
Professor Vinzenz Brinkmann, Stiftung Archäologie, har i första hand använt den sistnämnda metoden applicerad på grekisk och romersk skulptur från arkaisk tid till romersk kejsartid. Det är dessa färgglada rekonstruktioner som nu visas upp på Medelhavsmuseet. Utställningen ”Vita lögner” pågår från den 9 oktober 2010 till den 30 januari 2011. Denna vandringsutställning har tidigare visats på Pergamonmuseet i Berlin och i J. Paul Getty Museum i Los Angeles. Och snart kan man alltså besöka Medelhavsmuseet för att få ta till sig en välförtjänt färggrann upplevelse när den mörka, färglösa vintern obönhörligen kryper allt närmare.
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Undersökningar av arkeologiska lämningar omfattar naturligtvis utgrävningar, men i dagens läge är arkeologernas åtagande ofta mer omfattande än så. I samband med utforskningen av Poseidons helgedom på Kalaureia anordnas till exempel... more
Undersökningar av arkeologiska lämningar omfattar naturligtvis utgrävningar, men i dagens läge är arkeologernas åtagande ofta mer omfattande än så. I samband med utforskningen av Poseidons helgedom på Kalaureia anordnas till exempel utställningar, konserter och olivskördar. Läs mer om ett modernt fältprojekts många ansikten!
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På den västra udden vid Pozzuolibukten finns en märklig romersk lämning – Piscina Mirabilis. Ett enormt rum har huggits ut i den mjuka, vulkaniska berggrunden. Taket bärs upp av pelare som slutar i valvbågar, vilket ger utrymmet ett... more
På den västra udden vid Pozzuolibukten finns en märklig romersk lämning – Piscina Mirabilis. Ett enormt rum har huggits ut i den mjuka, vulkaniska berggrunden. Taket bärs upp av pelare som slutar i valvbågar, vilket ger utrymmet ett majestätiskt, katedralliknande utseende. Inget ljud tränger ner här, men solljuset strilar på sina håll ner genom hål i taket, filtrerat av den prunkande grönskan ovanför. Det är en i alla avseenden fantasieggande, storslagen plats. Men vad är det för plats? Varför högg man ut ett 70 m långt, 25 m brett och 15 m högt rum i berggrunden?
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Spelar han cymbaler, eller kanske flöjt? Förvirringen kan bli stor när man tittar närmare på antika skulpturer som restaurerats. Följ med på upptäcktsfärd bland (till synes) cymbalspelande satyrer!
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Den 28 juli-2 augusti hölls konferensen Language and the Scientific Imagination vid Helsingfors universitet. Konferensen anordnades av ISSEI: the International Society for the Study of European Ideas. ISSEI arbetar för att främja studiet... more
Den 28 juli-2 augusti hölls konferensen Language and the Scientific Imagination vid Helsingfors universitet. Konferensen anordnades av ISSEI: the International Society for the Study of European Ideas. ISSEI arbetar för att främja studiet av Europas kulturella historia och samtid. Utöver att anordna konferenser ger organisationen även ut tidskriften The European Legacy.
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En konstart som i alla tider har låtit sig inspireras av antikens formspråk är arkitekturen. För Stockholms del var klassicismens påverkan särskilt märkbar under 1920-talet, då också flera stora biografsalonger uppfördes i staden. I... more
En konstart som i alla tider har låtit sig inspireras av antikens formspråk är arkitekturen. För Stockholms del var klassicismens påverkan särskilt märkbar under 1920-talet, då också flera stora biografsalonger uppfördes i staden. I 'Metropol-Palais' beskriver Julia Habetzeder, fil. mag. vid Stockholms universitet, ett av dessa praktbyggen som fortfarande används.
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In the presentation of the workshop "Reading emotions in ancient visual culture" the following question is posed: "Why was the agonizing sculpture of Marsyas about to be flayed so popular in the early Roman empire?" This paper will... more
In the presentation of the workshop "Reading emotions in ancient visual culture" the following question is posed: "Why was the agonizing sculpture of Marsyas about to be flayed so popular in the early Roman empire?" This paper will suggest an answer to this question. I wish to emphasize that there was an alternative version of the myth of Marsyas, one where he manages to escape the cruel fate that Apollo had set out for him. Instead, Marsyas settled in Italy, where his image was later to be placed in Roman fora as a symbol of liberty. I will suggest that there was a Roman tradition of depicting Marsyas "unbound" - after having escaped from Apollo and arrived in Italy. Agonizing as the depictions of the hanging Marsyas are, in a Roman context they were perhaps not necessarily seen to represent the final hours of Marsyas' life.
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I had the great pleasure of participating in the conference "Rezeption, Zeitgeist, Fälschung - Umgang mit Antike(n)". I gave a presentation of my article on "The impact of restoration"... more
I had the great pleasure of participating in the conference "Rezeption, Zeitgeist, Fälschung - Umgang mit Antike(n)". I gave a presentation of my article on "The impact of restoration" (https://www.academia.edu/2065113/The_impact_of_restoration._The_example_of_the_dancing_satyr_in_the_Uffizi) and of my current research project on Intertextuality (https://www.academia.edu/2442883/Intertextuality_and_Roman_ideal_sculpture).
The concept neo-Attic relief generally denotes large, decorative marble items: bases, candelabra, wellheads and the like. Made during the last two centuries BC and the first century AD, these items display figurative reliefs. The... more
The concept neo-Attic relief generally denotes large, decorative marble items: bases, candelabra, wellheads and the like. Made during the last two centuries BC and the first century AD, these items display figurative reliefs. The neo-Attic reliefs were first assembled and thoroughly examined as a group by the German classical archaeologist Friedrich Hauser (1859–1917). His thesis, Die neu-attischen Reliefs, was published in 1889. The present paper centres on this monograph. It aims to situate Hauser's seminal study within its contemporary scholarly context. Hauser was highly influenced by Heinrich Brunn's Geschichte der griechischen Künstler (1857), and his thesis applies the approach that Brunn used for his study on Roman ideal sculpture (today commonly referred to as Kopienkritik) to the neo-Attic reliefs. This paper will also discuss Hauser's influence on subsequent studies of the neo-Attic reliefs, as well as his relevance for future analyses. Today, the continued dominance of Kopienkritik within the study of Roman ideal sculpture is hotly debated. Still, rather than simply dismissing what has gone before, the current scholarly debate will benefit from a reassessment of the contribution made by Hauser.
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In the Natural History (34.19.92), Pliny the eldermentions a masterpiece depicting Laconiandancers. The art work is said to have been made by the Greek 5th century sculptor Kallimachos. Fora long time, the kalathiskos dancers... more
In the Natural History (34.19.92), Pliny the eldermentions a masterpiece depicting Laconiandancers. The art work is said to have been made by the Greek 5th century sculptor Kallimachos. Fora long time, the kalathiskos dancers representedwithin Roman visual culture were primarily seen as reproductions referring to Kallimachos’masterpiece, in one way or another.In my research, I have aimed to arrive at a morevaried interpretation of how the Greekiconography of Kalathiskos dancers came to be used creatively in Roman visual culture. As anexample of my results, we will have a look at howtraits from the iconography of kalathiskos dancerswere blended with traits characteristic of Victoria.The result was an eclectic iconography of the goddess of victory.
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I Universitetshusets övre våning presenteras universitetets samling av antika gipsavgjutningar. Konstvetarna Mikael Ahlund och Anna Hamberg samtalar med antikvetaren Julia Habetzeder om klassiska skönhetsideal och om gipsernas betydelse... more
I Universitetshusets övre våning presenteras universitetets samling av antika gipsavgjutningar. Konstvetarna Mikael Ahlund och Anna Hamberg samtalar med antikvetaren Julia Habetzeder om klassiska skönhetsideal och om gipsernas betydelse för den konstnärliga utbildningen genom tiderna. Därefter ges här tillfälle till att teckna av skulpturerna under konstvetaren Åsa Thörnlunds ledning. Programpunkt inom ramen för Kulturnatten, Uppsala.
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Why was the agonizing sculpture of Marsyas about to be flayed so popular in the early Roman empire? This paper will suggest an answer to this question. I wish to emphasize that there was an alternative version of the myth of Marsyas, one... more
Why was the agonizing sculpture of Marsyas about to be flayed so popular in the early Roman empire? This paper will suggest an answer to this question. I wish to emphasize that there was an alternative version of the myth of Marsyas, one where he manages to escape the cruel fate that Apollo had set out for him. Instead, Marsyas settled in Italy, where his image was later to be placed in Roman fora as a symbol of liberty. I will suggest that there was a Roman tradition of depicting Marsyas "unbound" - after having escaped from Apollo and arrived in Italy. Agonizing as the depictions of the hanging Marsyas are, in a Roman context they were perhaps not necessarily seen to represent the final hours of Marsyas' life.
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En skriftlig sammanfattning av föredraget, med titeln "Pompejanska fantasier i nöjets tjänst", har publicerats i Romhorisont. Se https://www.academia.edu/12093979/Pompejanska_fantasier_i_n%C3%B6jets_tj%C3%A4nst
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Information regarding my various presentations of the project "Intertextuality and Roman visual culture. A new approach to Roman ideal sculpture."
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”Greece , the captive, made her savage victor captive, and brought the arts into rustic Latium.” Horace, Epistles, 2.1.156 This quote is often used to illustrate how enthusiastically the Romans embraced the visual culture which they... more
”Greece , the captive, made her savage victor captive, and brought the arts into rustic Latium.” Horace, Epistles, 2.1.156
This quote is often used to illustrate how enthusiastically the Romans embraced the visual culture which they encountered in Greece and the Hellenistic East. After their successful military exploits in the East, many Roman generals returned home with
plundered works of art. Subsequently, within the Roman cultural context, Greek visual culture swiftly became a token of refined taste. After the encounter with the Hellenistic visual cultures, Roman elites set about to lavishly decorate both public and domestic areas with spectacular Greek-style works of art. Current research on these matters does, however, seldom note that not all aspects of Greek art were embraced as willingly by the
Romans. This matter will be of central importance in the following paper, which explores the relationship between such artworks and their owners.
Roman visual culture was to a large extent governed by propriety: a decorative depiction should always be appropriate, i.e. it should follow decorum. A wealthy Roman nobleman would refrain from displaying artworks which could be deemed inappropriate by social consensus. Hence, there was a connection between the artworks possessed, and the owner who chose to put the items on display.
This relationship can be exemplified in the Roman depictions of a certain motif: Pyrrhic dancers. Depictions of such dancers are known on seven marble items found in Italy. These depictions do, most likely, refer back to one particular Greek original: a large
marble base which was set up on the Athenian Acropolis. Considering that there was a Classical original placed in such a prominent setting, one would expect the motif to be easily appropriated into Roman visual culture. But compared to other motifs appropriated in a similar manner, the number of Roman depictions of Pyrrhic dancers is very low. This, I would suggest, is because male dancing was considered an effeminate practice in the Roman cultural context. Therefore it would be inappropriate for a Roman nobleman to purchase and display depictions of male dancers: the owner of such a work of art could be seen to indulge in the unmanly practice of dancing for pleasure.
This quote is often used to illustrate how enthusiastically the Romans embraced the visual culture which they encountered in Greece and the Hellenistic East. After their successful military exploits in the East, many Roman generals returned home with
plundered works of art. Subsequently, within the Roman cultural context, Greek visual culture swiftly became a token of refined taste. After the encounter with the Hellenistic visual cultures, Roman elites set about to lavishly decorate both public and domestic areas with spectacular Greek-style works of art. Current research on these matters does, however, seldom note that not all aspects of Greek art were embraced as willingly by the
Romans. This matter will be of central importance in the following paper, which explores the relationship between such artworks and their owners.
Roman visual culture was to a large extent governed by propriety: a decorative depiction should always be appropriate, i.e. it should follow decorum. A wealthy Roman nobleman would refrain from displaying artworks which could be deemed inappropriate by social consensus. Hence, there was a connection between the artworks possessed, and the owner who chose to put the items on display.
This relationship can be exemplified in the Roman depictions of a certain motif: Pyrrhic dancers. Depictions of such dancers are known on seven marble items found in Italy. These depictions do, most likely, refer back to one particular Greek original: a large
marble base which was set up on the Athenian Acropolis. Considering that there was a Classical original placed in such a prominent setting, one would expect the motif to be easily appropriated into Roman visual culture. But compared to other motifs appropriated in a similar manner, the number of Roman depictions of Pyrrhic dancers is very low. This, I would suggest, is because male dancing was considered an effeminate practice in the Roman cultural context. Therefore it would be inappropriate for a Roman nobleman to purchase and display depictions of male dancers: the owner of such a work of art could be seen to indulge in the unmanly practice of dancing for pleasure.
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"På denna hemsida vill vi lyfta fram Neapelbuktens fantastiska historia. Vi fokuserar i första hand på de antika, arkeologiska lämningar som fallit i skuggan av de stora upptäckterna i Pompeji, Herculaneum, Stabiae och Oplontis. Detta... more
"På denna hemsida vill vi lyfta fram Neapelbuktens fantastiska historia.
Vi fokuserar i första hand på de antika, arkeologiska lämningar som fallit i skuggan av de stora upptäckterna i Pompeji, Herculaneum, Stabiae och Oplontis. Detta är de så kallade Vesuviusstäderna, de städer som ödelades av Vesuvius utbrott år 79 e.Kr. Vesuviusstäderna är utan tvekan sensationella, men den intensiva uppmärksamheten kring dem har kommit att stjäla allt ljus från andra arkeologiska fynd i området – det är hög tid att Neapelbuktens spektakulära, men för de flesta helt okända, arkeologiska arv lyfts fram.
Vid Neapelbukten, och i området runt Vesuvius, kan man hitta några av den romerska världens största städer: Capua var den italiska halvöns näst största stad, överträffad bara av Rom, hamnanläggningarna runt Pozzuoli-bukten var romarrikets största och viktigaste innan Ostias hamn byggdes ut av Claudius på 50-talet e.Kr. Två av romarrikets mest kända kejsare, Augustus och Hadrianus, dog i området runt Vesuvius – Augustus i Nola år 14 e.Kr. och Hadrianus i Baia år 138 e.Kr.
Runt Neapelbukten ligger amfiteatrarna tätare än någon annanstans. Här finns tre av romarrikets fyra största amfiteatrar: i Capua, Pozzuoli och Alife. Det är bara Colosseum i Rom som överträffar dessa tre i storlek. Men här finns på flera håll också andra amfiteatrar, som är helt okända för de flesta: i Kyme, Avella och Nola.
Efter att ha tittat närmade på Neapelbuktens arkeologiska lämningar, har vi kunnat konstatera att mängden intressanta fynd är överväldigande. För den som är beredd att blicka bortom Pompejis välkända och turistfyllda gator finns här fantastiska platser att upptäcka!
Hemsidan är under uppbyggnad – information kommer att läggas till kontinuerligt. Neapelbukten.se drivs av Henrik Boman och Julia Habetzeder."
Vi fokuserar i första hand på de antika, arkeologiska lämningar som fallit i skuggan av de stora upptäckterna i Pompeji, Herculaneum, Stabiae och Oplontis. Detta är de så kallade Vesuviusstäderna, de städer som ödelades av Vesuvius utbrott år 79 e.Kr. Vesuviusstäderna är utan tvekan sensationella, men den intensiva uppmärksamheten kring dem har kommit att stjäla allt ljus från andra arkeologiska fynd i området – det är hög tid att Neapelbuktens spektakulära, men för de flesta helt okända, arkeologiska arv lyfts fram.
Vid Neapelbukten, och i området runt Vesuvius, kan man hitta några av den romerska världens största städer: Capua var den italiska halvöns näst största stad, överträffad bara av Rom, hamnanläggningarna runt Pozzuoli-bukten var romarrikets största och viktigaste innan Ostias hamn byggdes ut av Claudius på 50-talet e.Kr. Två av romarrikets mest kända kejsare, Augustus och Hadrianus, dog i området runt Vesuvius – Augustus i Nola år 14 e.Kr. och Hadrianus i Baia år 138 e.Kr.
Runt Neapelbukten ligger amfiteatrarna tätare än någon annanstans. Här finns tre av romarrikets fyra största amfiteatrar: i Capua, Pozzuoli och Alife. Det är bara Colosseum i Rom som överträffar dessa tre i storlek. Men här finns på flera håll också andra amfiteatrar, som är helt okända för de flesta: i Kyme, Avella och Nola.
Efter att ha tittat närmade på Neapelbuktens arkeologiska lämningar, har vi kunnat konstatera att mängden intressanta fynd är överväldigande. För den som är beredd att blicka bortom Pompejis välkända och turistfyllda gator finns här fantastiska platser att upptäcka!
Hemsidan är under uppbyggnad – information kommer att läggas till kontinuerligt. Neapelbukten.se drivs av Henrik Boman och Julia Habetzeder."
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The website of the Swedish popular science journal Medusa. I worked as its webmaster 2010-2014.
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This website collects links to online resources for the study of Classical Antiquity. Each link is posted with a brief review.