The Oxford Handbook of Roman Sculpture

Hardcover | February 17, 2015

EditorElise A. Friedland, Melanie Grunow Sobocinski, Elaine K. Gazda

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The study of Roman sculpture has been an essential part of the disciplines of Art History and Classics since the eighteenth century. Famous works like the Laocoon, the Arch of Titus, and the colossal portrait of Constantine are familiar to millions. Again and again, scholars have returned tosculpture to answer questions about Roman art, society, and history. Indeed, the field of Roman sculptural studies encompasses not only the full chronological range of the Roman world but also its expansive geography, and a variety of artistic media, formats, sizes, and functions. Exciting newtheories, methods, and approaches have transformed the specialized literature on the subject in recent decades. Rather than creating another chronological catalogue of representative examples from various periods, genres, and settings, The Oxford Handbook of Roman Sculpture synthesizes current best practices for studying this central medium of Roman art, situating it within the larger fields of Art History,Classical Archaeology, and Roman Studies. This comprehensive volume fills the gap between introductory textbooks and highly focused professional literature. The Oxford Handbook of Roman Sculpture conveniently presents new technical, scientific, literary, and theoretical approaches to the study ofRoman sculpture in one reference volume while simultaneously complementing textbooks and other publications that present well-known works in the corpus. The contributors to this volume address metropolitan and provincial material from the early republican period through late antiquity in an engaging and fresh style. Authoritative, innovative, and up-to-date, The Oxford Handbook of Roman Sculpture will remain an invaluable resource for years tocome.

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The study of Roman sculpture has been an essential part of the disciplines of Art History and Classics since the eighteenth century. Famous works like the Laocoon, the Arch of Titus, and the colossal portrait of Constantine are familiar to millions. Again and again, scholars have returned tosculpture to answer questions about Roman art...

Elise A. Friedland is Associate Professor of Classics and Art History at George Washington University. Melanie Grunow Sobocinski is an independent scholar. Elaine Gazda is Professor of Classical Art and Archaeology and Curator of Hellenistic and Roman Antiquities for the Kelsey Museum of Archaeology at the University of Michigan.

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The Oxford Handbook of Roman Sculpture
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Format:HardcoverDimensions:728 pages, 9.88 × 7.09 × 1.5 inPublished:February 17, 2015Publisher:Oxford University PressLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:0199921822

ISBN - 13:9780199921829

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Table of Contents

Elise A. Friedland and Melanie Grunow Sobocinski: Introduction1. Collecting, Conservation, and DisplayElizabeth Bartman: 1.1 Collecting in pre-modern EuropeJerry Podany: 1.2 Conservation and restorationHima Mallampati: 1.3 Collecting in early AmericaJessica Powers: 1.4 Current trends in museum displayBernard Frischer: 1.5 Three-dimensional scanning and modeling2. Production and DistributionPatrizio Pensabene and Eleonora Gasparini: 2.1 Marble quarries: ancient imperial administration and modern scientific analysesAmanda Claridge: 2.2 Marble carving techniques, workshops, and artisansEric Varner: 2.3 Reuse and recarving: technical evidenceCarol Mattusch: 2.4 BronzesAdi Erlich: 2.5 TerracottasMark Abbe: 2.6 PolychromyBenjamin Russell: 2.7 Transport and distribution3. Styles and GenresMark Fullerton: 3.1 Style: applications and limitationsNancy de Grummond: 3.2 Etruscan connectionsAnna Anguissola: 3.3 "Idealplastik" and the Relationship between Greek and Roman sculptureSusan Wood: 3.4 PortraitureMelanie Grunow Sobocinski and Elizabeth Wolfram Thill: 3.5 Monumental reliefsLori-Ann Touchette: 3.6 Archaism and eclecticismMolly Swetnam-Burland: 3.7 Egyptian-style monumentsChristian Witschel: 3.8 Late antique sculpture4. Spatial and Social ContextsBrenda Longfellow: 4.1 Architectural settingsMatthew McCarty: 4.2 Religious dedicationsElaine Gazda: 4.3 Domestic displaysBjoern Ewald: 4.4 Funerary monumentsSteven L. Tuck: 4.5 Epigraphy and patronageBarbara Kellum: 4.6 Imperial messagesLauren Petersen: 4.7 Non-elite patronageEve D'Ambra and Francesca Tronchin: 4.8 Gender5. Regions and ProvincesKimberly Cassibry: 5.1 Northern Gaul, Germany, and BritainAlicia Jimenez and Isabel RodEL: 5.2 Hispaniae and NarbonensisFrancois Baratte and Nathalie de Chaisemartin: 5.3 North AfricaMary Sturgeon: 5.4 GreeceDiana Ng: 5.5 Asia MinorChristina Riggs: 5.6 EgyptThomas Weber: 5.7 Near East6. Viewing and ReceptionMichael Squire: 6.1 Aesthetics and Latin Literary ReceptionJennifer Trimble: 6.2 Reception theoryJosephine Shaya: 6.3 Ancient analogs of museumsEric Moormann: 6.4 Images of statues in other mediaEllen Perry: 6.5 Human interactions with statuesTroels Myrup Kristensen: 6.6 IconoclasmArt CreditsIndex