Skip to main content Accessibility help
×
Hostname: page-component-76fb5796d-wq484 Total loading time: 0 Render date: 2024-04-26T20:01:01.453Z Has data issue: false hasContentIssue false

Chapter Three - Epigraphy of Appropriation: Retrospective Signatures of Greek Sculptors in the Roman World

Published online by Cambridge University Press:  17 September 2018

Diana Y. Ng
Affiliation:
University of Michigan, Dearborn
Molly Swetnam-Burland
Affiliation:
College of William and Mary, Virginia
Get access
Type
Chapter
Information
Reuse and Renovation in Roman Material Culture
Functions, Aesthetics, Interpretations
, pp. 84 - 111
Publisher: Cambridge University Press
Print publication year: 2018

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Adams, J. N. 2003. Bilingualism and the Latin Language. Cambridge: Cambridge University Press.Google Scholar
Ajootian, A. 1996. “Praxiteles.” In Personal Styles in Greek Sculpture, edited by Palagia, O. and Pollitt, J. J., 91129. YCS 30. Cambridge: Cambridge University Press.Google Scholar
Ajootian, A. 2007. “Praxiteles and Fourth-Century Athenian Portraiture.” In Early Hellenistic Portraiture: Image, Style, Context, edited by Schultz, P. and von den Hoff, R., 1333. Cambridge: Cambridge University Press.Google Scholar
Aleshire, S. B. 1999. “The Identification of Archaizing Inscriptions from Roman Attica.” In Atti, XI Congresso Internazionale di epigrafia greca e latina, vol. 2, 153–61. Rome: Edizioni Quasar.Google Scholar
Andreae, B. 1988. Laokoon und die Gründung Roms. Kulturgeschichte der Antiken Welt 39. Mainz: Philipp von Zabern.Google Scholar
Andreae, B. 1994. Praetorium Speluncae, Tiberius und Ovid in Sperlonga. Abhandlungen der Geistes- und Sozialwissenschaftlichen Klasse, Akademie der Wissenschaften und der Literatur Mainz 12. Stuttgart: Franz Steiner.Google Scholar
Anguissola, A. 2005. “Roman Copies of Myron’s Discobolus.JRA 18:317–35.Google Scholar
Anguissola, A. 2014. “Remembering with Greek Masterpieces. Observations on Memory and Roman Copies.” In Memoria Romana: Memory in Rome and Rome in Memory, edited by Galinsky, K., 117–34. MAAR suppl. vol. 10. Ann Arbor: University of Michigan Press.Google Scholar
Arnold, D. 1969. Die Polykletnachfolge, Untersuchungen zur Kunst von Argos und Sikyon zwischen Polyklet und Lysipp. JdI, Ergänzungsheft 25. Berlin: De Gruyter.Google Scholar
Austin, C. and Bastianini, G. 2002. Posidippi Pellaei quae supersunt omnia. Milan: LED.Google Scholar
Bakker, E. J. 2010. “Pragmatics: Speech and Text.” In Companion to the Ancient Greek Language, edited by Bakker, E. J., 151–67. Hoboken, NJ: Wiley-Blackwell.Google Scholar
Blanck, H. 1969. Wiederverwendung alter Statuen als Ehrendenkmäler bei Griechen und Römern. Rome: Bretschneider.Google Scholar
Bol, P. C. 1972. Die Skulpturen des Schiffsfundes von Antikythera. AM-BH 2. Berlin: Gebr. Mann.Google Scholar
Borbein, A. H. 2014. “Connoisseurship.” In The Oxford Handbook of Greek and Roman Art and Architecture, edited by Marconi, C., 519–40. Oxford: Oxford University Press.Google Scholar
Bravi, A. 2012. Ornamenta urbis: opere d’arte greche negli spazi romani. Bari: Edipuglia.Google Scholar
Bruno, M., Attanasio, D., and Prochaska, W. 2015. “The Docimium Marble Sculptures of the Grotto of Tiberius at Sperlonga.” AJA 119:375–94.Google Scholar
Buonopane, A. 2007. “Prassitele, non Pasitele. Ancora sulla ‘firma’ del scultore greco del Museo Archeologico al Teatro Romano di Verona.” Analecta Brixiana 2:7984.Google Scholar
Carey, S. 2003. Pliny’s Catalogue of Culture, Art and Empire in the Natural History. Oxford: Oxford University Press.Google Scholar
Chamoux, F. 1991. “La génisse d’Herculanum. Un aspect de la sculpture animalière chez les Grecs.MonPiot 72:9–32.Google Scholar
Coarelli, F. 1996. “Sperlonga e Tiberio.” In Revixit Ars: arte e ideologia a Roma. Dai modelli ellenistici alla tradizione repubblicana, 470500. Rome: Edizioni Quasar.Google Scholar
Coates-Stephens, R. 2007. “The Reuse of Ancient Statuary in Late Antique Rome and the End of the Statue Habit.” In Statuen in der Spätantike, edited by Bauer, F. A. and Witschel, C., 171–87. Wiesbaden: Reichert.Google Scholar
Corso, A. 1986. “Silloge delle fonti epigrafiche relative allo scultore Prassitele.AttiVen 144:127–48.Google Scholar
Corso, A. 1988–91. Prassitele, fonti epigrafiche e letterarie, vita e opera. 3 vols. Xenia Quaderni 10. Rome: De Luca Edizioni d’Arte/Leonardo–De Luca Editori.Google Scholar
Corso, A. 2007. The Art of Praxiteles. Vol. 2: The Mature Years. Rome: Bretschneider.Google Scholar
Curran, J. 1994. “Moving Statues in Late Antique Rome: Problems of Perspective.Art History 17:4658.Google Scholar
Delorme, J. 1960. Gymnasion. Étude sur les monuments consacrés à l’éducation en Grèce, des origins à l’Empire romain. Paris: de Boccard.Google Scholar
De Grummond, N. T. and Ridgway, B. S., eds. 2000. From Pergamon to Sperlonga, Sculpture and Context. Berkeley/Los Angeles: University of California Press.Google Scholar
DeRossi, G. B. 1874. “La base d’una statua di Prassitele testé scoperta e la serie di simili basi alla quale essa appartiene.BullCom 11:174–81.Google Scholar
Dillon, S. 2000. “Subject Selection and Viewer Reception of Greek Portraits from Herculaneum and Tivoli.JRA 13:2140.Google Scholar
Donderer, M. 1996. “Bildhauersignaturen auf griechischer Rundplastik.ÖJh 65:87104.Google Scholar
Donderer, M. 2004. “Antike Bildhauersignaturen – Wo man sie nicht erwarten würde.ÖJh 73:8196.Google Scholar
Donderer, M. 2011. “Nicht immer wörtlich zu verstehen. Wie Bildhauer mit griechischen Inschriften Werbung betrieben.BABesch 86:185207.Google Scholar
Fuchs, M. 1999. In hoc etiam genere Graeciae nihil cedamus: Studien zur Romanisierung der späthellenistischen Kunst im 1. Jh. v. Chr. Frankfurt: von Zabern.Google Scholar
Furtwängler, A. 1895. Masterpieces of Greek Sculpture. Translated by E. Sellers. London: Heinemann.Google Scholar
Gazda, E. K., ed. 2002. The Ancient Art of Emulation. Studies in Artistic Originality and Tradition from the Present to Classical Antiquity. MAAR suppl. vol. 1. Ann Arbor: University of Michigan Press.Google Scholar
Geppert, S. 1996. “Die monumentalen Dioskurengruppen in Rome.AntP 25:133–47.Google Scholar
Goodlett, V. C. 1991. “Rhodian Sculptural Workshops.AJA 95:669–81.Google Scholar
Gutzwiller, K. 1998. Poetic Garlands: Hellenistic Epigrams in Context. Berkeley/Los Angeles: University of California Press.Google Scholar
Gutzwiller, K. 2004. “Gender and Inscribed Epigram.TAPA 134:384418.Google Scholar
Gutzwiller, K. ed. 2005. The New Posidippus: A Hellenistic Poetry Book. Oxford: Oxford University Press.Google Scholar
Hallett, C. H. 2015. “Looking Back: Archaic and Classical Bronzes of the Hellenistic and Roman Periods.” In Power and Pathos: Bronze Sculpture of the Hellenistic World [exh. cat.], edited by Daehner, J. M. and Lapatin, K., 126–49. Los Angeles: The J. Paul Getty Museum.Google Scholar
Haskell, F. and Penny, N. 1981. Taste and the Antique: The Lure of Classical Sculpture, 1500–1900. New Haven/London: Yale University Press.Google Scholar
Hellenkemper Salies, G., von Prittwitz und Gaffron, Hans-Hoyer, and Bauchhenß, Gerhard, eds. 1994. Das Wrack: der antike Schiffsfund vom Mahdia. 2 vols. Bonn: Rheinisches Landesmuseum.Google Scholar
Hemelrijk, E. A. 2005. “Octavian and the Introduction of Public Statues for Women in Rome.Athenaeum 93:309–17.Google Scholar
Higbie, C. 1999. “Craterus and the Use of Inscriptions in Ancient Scholarship.” TAPA 129:4383.Google Scholar
Himmelmann, N. 1990. “Antisthenes.” In Phyromachos-Probleme, mit einem Anhang zur Datierung des Grossen Altares von Pergamon, edited by Andreae, B. et al., 1323. Mainz: von Zabern.Google Scholar
Himmelmann, N. 1994. “Mahdia und Antikythera.” In Das Wrack: der antike Schiffsfund vom Mahdia, 2 vols., edited by Salies, G. Hellenkemper, von Prittwitz und Gaffron, Hans-Hoyer, and Bauchhenß, Gerhard, 849–55. Bonn: Rheinisches Landesmuseum.Google Scholar
Hoffman, P. 1960. “I ‘colossi del Quirinale’.” Capitolium 35.11:717.Google Scholar
Hölscher, T. 2004. The Language of Images in Roman Art. Translated by A. Snodgrass and A. Künzl-Snodgrass. Cambridge: Cambridge University Press.Google Scholar
Hurwit, J. M. 2015. Artists and Signatures in Ancient Greece. Cambridge/New York: Cambridge University Press.Google Scholar
Isager, J. 1991. Pliny on Art and Society. The Elder Pliny’s Chapters on the History of Art. London/New York: Routledge.Google Scholar
Jockey, P. 1998. “Neither School nor Koiné: The Local Workshops of Delos and their Unfinished Sculpture.” In Regional Schools of Hellenistic Sculpture, edited by Palagia, O. and Coulson, W. D. E., 177–84. Oxford: Oxbow.Google Scholar
Kajava, M. 1989. “Cornelia Africani f. Gracchorum.Arctos 23:119–31.Google Scholar
Kavvadias, P. 1890–2. Glypta tou Ethnikou Mouseiou. Athens: National Museum.Google Scholar
Keesling, C. M. 2007. “Early Hellenistic Portrait Statues in Athens: Survival, Reuse, Transformation.” In Early Hellenistic Portraiture: Image, Style, Context, edited by Schultz, P. and von den Hoff, R., 141–60. Cambridge: Cambridge University Press.Google Scholar
Keesling, C. M. 2010. “The Hellenistic and Roman Afterlives of Dedications on the Athenian Akropolis.” In Die Akropolis von Athen im Hellenismus und in der römischen Kaiserzeit, edited by Krumeich, R. and Witschel, C., 303–27. Wiesbaden: Reichert.Google Scholar
Keesling, C. M. and Sens, A. 2004. “Posidippus on Rhodian Statue-making (68.6 Austin–Bastianini = P.Mil.Vogl. VIII 309 XI 11).ZPE 146:75–6.Google Scholar
Koortbojian, M. 2002. “Forms of Attention: Four Notes on Replication and Variation.” In The Ancient Art of Emulation. Studies in Artistic Originality and Tradition from the Present to Classical Antiquity. MAAR suppl. vol. 1, edited by Gazda, E. K., 173204. Ann Arbor: University of Michigan Press.Google Scholar
Kousser, R. M. 2005. “Creating the Past: The Vénus de Milo and the Hellenistic Reception of Classical Greece.AJA 109:227–50.Google Scholar
Kreeb, M. 1988. Untersuchungen zur figürlichen Ausstattung Delischer Privathäuser. Chicago: Ares.Google Scholar
Kron, U. 1977. “Eine Pandion-Statue in Rom, mit einem Exkurs zu Inschriften auf Plinthen.JdI 92:139–68.Google Scholar
Krumeich, R. 2010. “Vom klassischem Hintergrund: Zum Phänomen der Wiederverwendung älterer Statuen auf der Athener Akropolis als Ehrenstatuen für Römer.” In Die Akropolis von Athen im Hellenismus und in der römischen Kaiserzeit, edited by Krumeich, R. and Witschel, C., 329–98. Wiesbaden: Reichert.CrossRefGoogle Scholar
La Rocca, E. 2001. “La nuova imagine dei fori imperiali: appunti in margine agli scavi.RM 108:171213.Google Scholar
Lorenz, T. 1979. “Monte Cavallo. Ein Nymphäum auf dem Quirinal.Meded 41:4357.Google Scholar
Machado, C. 2009. “Religion as Antiquarianism: Pagan Dedications in Late Antique Rome.” In Dediche sacre nel mondo Greco-romano. Diffusione, funzioni, tipologie [Religious Dedications in the Greco-Roman World. Distribution, Typology, Use], Institutum Romanum Finlandiae, American Academy in Rome, 19–20 aprile, 2006, edited by Bodel, J. and Kajava, M., 331–54. ActInstRomFin 35. Rome: Institutum Romanum Finlandiae.Google Scholar
Männlein-Robert, I. 2007. “Epigrams on Art: Voice and Voicelessness.” In Brill’s Companion to Hellenistic Epigram, edited by Bing, P. and Bruss, J. S., 251–71. Leiden/Boston, MA: Brill.Google Scholar
Marcadé, J. 1969. Au Musée de Délos. Étude sur la sculpture hellénistique en ronde bosse découverte dans l’île. BÉFAR 215. Paris: de Boccard.Google Scholar
Martinez, J.-L. 2004. “Du Palais-Cardinal au château en Poitou: les collections Richelieu au Louvre.” In Les antiques du Louvre. Une histoire du goût d’Henri IV à Napoléon Ier, edited by Martinez, J.-L. et al., 2141. Paris: Musée du Louvre/Fayard.Google Scholar
Marvin, M. 2008. The Language of the Muses: The Dialogue between Roman and Greek Sculpture. Los Angeles: The J. Paul Getty Museum.Google Scholar
Miles, M. M. 2008. Art as Plunder: The Ancient Origins of Debate about Cultural Property. Cambridge/New York: Cambridge University Press.Google Scholar
Muller-Dufeu, M. 2011. Créer du vivant.” Sculpteurs et artistes dans l’antiquité grecque. Villeneuve d’Ascq: Septentrion Presses Universitaires.Google Scholar
Murphy, T. 2004. Pliny the Elder’s Natural History: The Empire in the Encyclopedia. Oxford: Oxford University Press.Google Scholar
Osborne, R. 2010. “The Art of Signing in Ancient Greece.Arethusa 43:231–51.Google Scholar
Palagia, O. 1997. “Reflections on the Piraeus Bronzes.” In Greek Offerings: Essays on Greek Art in Honour of John Boardman, edited by Palagia, O., 177–95. Oxbow Monograph 89. Oxford: Oxbow.Google Scholar
Palagia, O. 2010. “Pheidias epoiesen: Attribution as Value Judgment.BICS suppl. 104:97107.Google Scholar
Palagia, O. and Pollitt, J. J., eds. 1996. Personal Styles in Greek Sculpture. YCS 30, Cambridge: Cambridge University Press.Google Scholar
Pasquier, A. 2007. “Praxitèle aujourd’hui? La question des originaux.” In Praxitèle [exh. cat.], edited by Pasquier, A. and Martinez, J.-L., 82127. Paris: Musée du Louvre.Google Scholar
Pasquier, A. and Martinez, J.-L., eds., 2007. Praxitèle [exh. cat.]. Paris: Musée du Louvre.Google Scholar
Pekáry, T. 2007. Phidias in Rom. Beiträge zum spätantiken Kunstverständnis. Wiesbaden: Harrassowitz.Google Scholar
Perrin-Saminadayar, É. 2004. “Aere perennius. Remarques sur les commandes publiques de portraits en l’honneur des grands hommes à l’époque hellénistique: modalities, statut, reception.” In Iconographie imperial, iconographie royale, iconographie des élites dans le monde gréco-romain, edited by Perrin, Y. and Petit, T., 109–37. St.-Étienne: Publications de l’Université.Google Scholar
Perry, E. 2005. The Aesthetics of Emulation in the Visual Arts of Ancient Rome. Cambridge/New York: Cambridge University Press.Google Scholar
Pollitt, J. J. 1978. “The Impact of Greek Art on Rome.TAPA 108:155–74.Google Scholar
Pollitt, J. J. 2000. “The Phantom of a Rhodian School of Sculpture.” In From Pergamon to Sperlonga, Sculpture and Context, edited by De Grummond, N. T. and Ridgway, B. S., 92110. Berkeley/Los Angeles: University of California Press.Google Scholar
Prioux, É. 2007. Regards alexandrins: histoire et théorie des arts dans l’épigramme hellénistique. Louvain/Paris: Peeters.Google Scholar
Raubitschek, A. E. 1943. “Greek Inscriptions.Hesperia 12:1288.Google Scholar
Rice, E. E. 1986. “Prosopographika Rhodiaka.BSA 81:209–50.Google Scholar
Richter, G. M. A. 1951. Three Critical Periods in Greek Sculpture. Oxford: Clarendon.Google Scholar
Ridgway, B. S. 1984. Roman Copies of Greek Sculpture: The Problem of the Originals. Jerome Lectures, Fifteenth Series. Ann Arbor: University of Michigan Press.Google Scholar
Ridgway, B. S. 2000. Hellenistic Sculpture II, The Styles of ca. 200–100 b.c. Madison: University of Wisconsin.Google Scholar
Rieger, A.-K. 2004. Heiligtümer in Ostia. Studien zur antiken Stadt 8. Munich: Friedrich Pfeil.Google Scholar
Ruck, B. 2004. “Das Denkmal der Cornelia in Rome.” RM 111:477–94.Google Scholar
Rutledge, S. H. 2012. Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting. Oxford: Oxford University Press.Google Scholar
Shear, J. L. 2007. “Reusing Statues, Rewriting Inscriptions and Bestowing Honours in Roman Athens.” In Art and Inscriptions in the Ancient World, edited by Newby, Z. and Leader-Newby, R., 221–46. Cambridge: Cambridge University Press.Google Scholar
Smith, R. R. R. 2007. “Pindar, Athletes, and the Early Greek Statue Habit.” In Pindar’s Poetry, Patrons, and Festivals: From Archaic Greece to the Roman Empire, edited by Hornblower, S. and Morgan, C., 83139. Oxford: Oxford University Press.Google Scholar
Squire, M. 2010. “Making Myron’s Cow Moo? Ecphrastic Epigram and the Poetics of Simulation.AJP 131:589634.Google Scholar
Squire, M. 2013. “Ars in their ‘I’s: Authority and Authorship in Graeco-Roman Visual Culture.” In The Author’s Voice in Classical and Late Antiquity, edited by Marmodoro, A. and Hill, J., 357414. Oxford: Oxford University Press.Google Scholar
Stewart, A. F. 1977. “To Entertain an Emperor: Sperlonga, Laokoon, and Tiberius at the Dinner-Table.JRS 67:7690.Google Scholar
Stewart, A. F. 1979. Attika: Studies in Athenian Sculpture of the Hellenistic Age. London: Society for the Promotion of Classical Studies.Google Scholar
Stewart, A. F. 2005. “Posidippus and the Truth in Sculpture.” In The New Posidippus: A Hellenistic Poetry Book, edited by Gutzwiller, K., 183205. Oxford: Oxford University Press.Google Scholar
Stirling, L. 2014. “Collections, Canons, and Context: The Afterlife of Greek Masterpieces in Late Antiquity.” In Using Images in Late Antiquity, edited by Bink, S., Kristensen, T. M., and Poulsen, B., 96114. Oxford/Philadelphia: Oxbow.Google Scholar
Swain, S. 2002. “Bilingualism in Cicero? The Evidence of Code-Switching.” In Bilingualism in Ancient Society, edited by Adams, J. N., Janse, M., and Swain, S., 128–67. Oxford: Oxford University Press.Google Scholar
Tanner, J. 2006. The Invention of Art History in Ancient Greece: Religion, Society and Artistic Rationalisation. Cambridge: Cambridge University Press.Google Scholar
Tracy, S. V. 2008. “The Statue Bases of Praxiteles found in Athens.ZPE 167:2732.Google Scholar
Viviers, D. 2006. “Signer une oeuvre en Grèce ancienne: pourquoi? pour qui?” In Cahiers de CVA. France I: les clients de la céramique grecque, edited by de la Genière, J., 141–54. Paris: Corpus Vasorum Antiquorum.Google Scholar
Von den Hoff, R. 2004. “Ornamenta γυμνασιώδη? Delos und Pergamon als Beispielfälle der Skupturenausstattung hellenistischer Gymnasien.” In Das hellenistische Gymnasion, edited by Kah, D. and Scholz, P., 373405. Wissenkultur und gesellschaftlicher Wandel 8. Berlin: Akademie.Google Scholar
Welch, K. 2006. “Domi militiaeque: Roman Domestic Aesthetics and War Booty in the Republic.” In Representations of War in Ancient Rome, edited by Dillon, S. and Welch, K., 91–161. Cambridge: Cambridge University Press.Google Scholar
Whittaker, H. 1991. “Pausanias and his Use of Inscriptions.SymbOslo 66:171–86.Google Scholar
Wycherley, R. E. 1982. “Pausanias and Praxiteles.” In Studies in Athenian Architecture, Sculpture and Topography Presented to Homer A. Thompson, 182–91. Hesperia Suppl. 20. Princeton, NJ: American School of Classical Studies at Athens.Google Scholar
Zevi, F. 1969–70. “Tre iscrizioni con firme di artisti greci.RendPontAcc 42:96116.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×