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Power and Pathos: Bronze Sculpture of the Hellenistic World
Edited by Jens M. Daehner and Kenneth Lapatin
Advances in underwater archeology have led to the discovery of many ancient art objects in wrecked ships. Among these objects have been many bronze sculptures being transported from Greece and its colonies to Rome after the Roman conquest. Many of these were looted from private homes, city agoras or even temples. However many were created in subsequent years for the Roman market, as well as the continued demand for statues of city rulers, winning athletes and decorative objects for homes.
This book is the catalog of an exhibit put on by the J. Paul Getty Museum in Los Angeles. As a specialized publication it may be difficult to locate. However, it is worth the search if you are interested in the bronzes of this era. Used copies may be expensive, but interlibrary loan is a possibility for those who would like to read the essays and examine the excellent photos. Because the metal could be melted down for other purposes, bronze sculptures are less common than marble or other stone. In addition to a description of each piece in the exhibit, grouped by various themes, the book contains essays on the techniques, history, uses and materials. I had not realized that such sculptures usually had inlaid eyes and insets of copper, silver or different bronze alloys to give color to lips, wounds or bruised, or nipples. The authors also explore the idea that Greek artists created deliberate forgeries of classic and archaic works for the Roman market.
Edited by Jens M. Daehner and Kenneth Lapatin
Advances in underwater archeology have led to the discovery of many ancient art objects in wrecked ships. Among these objects have been many bronze sculptures being transported from Greece and its colonies to Rome after the Roman conquest. Many of these were looted from private homes, city agoras or even temples. However many were created in subsequent years for the Roman market, as well as the continued demand for statues of city rulers, winning athletes and decorative objects for homes.
This book is the catalog of an exhibit put on by the J. Paul Getty Museum in Los Angeles. As a specialized publication it may be difficult to locate. However, it is worth the search if you are interested in the bronzes of this era. Used copies may be expensive, but interlibrary loan is a possibility for those who would like to read the essays and examine the excellent photos. Because the metal could be melted down for other purposes, bronze sculptures are less common than marble or other stone. In addition to a description of each piece in the exhibit, grouped by various themes, the book contains essays on the techniques, history, uses and materials. I had not realized that such sculptures usually had inlaid eyes and insets of copper, silver or different bronze alloys to give color to lips, wounds or bruised, or nipples. The authors also explore the idea that Greek artists created deliberate forgeries of classic and archaic works for the Roman market.
