Slavazzi Fabrizio (40 results)

Condition: New.

Condition: New. Idioma/Language: Español. La finalidad de este libro es presentar los resultados del proyecto Imitaciones de piedras en vidrio en época romana y su reinterpretación en época moderna (PID2020-117299GB-I00), financiado por el Ministerio de Ciencia, Innovación y Universidades, Agencia Estatal de Investigación, cuyo objetivo fue profundizar en un fenómeno transversal en la Historia, que se ha desarrollado en todos los periodos y también en la actualidad, como es el de la imitación de piedras preciosas y ornamentales en vidrio. Fenómeno vinculado con la ostentación y el lujo y también relacionado con el de las falsificaciones y una amplia gama de productos conceptualmente intermedios. Las piedras duras y preciosas en todos los periodos fueron accesibles solo a las elites, e imitadas, copiadas o falsificadas con otros productos más económicos, entre ellos destaca el vidrio, popularizando su consumo, lo que no significa su universalización. Pero, también, el vidrio decoró objetos fabricados en metal, cerámica, madera, hueso, etc. incrementando exponencialmente su valor artístico y reivindicando un espacio indiscutible en el ámbito del lujo. Las contribuciones presentadas en el libro analizan aspectos filológicos, arqueológicos, histórico-artísticos y arqueométricos en las diferentes épocas. Los autores, investigadores especialistas procedentes de España, Italia y Reino Unido, abordan estados generales del tema en las diferentes épocas históricas y también estudian objetos fabricados en piedras duras y preciosas y otros que los imitaron en vidrio, cuyos diseños encontramos en adornos personales, elementos decorativos y ajuar doméstico de las élites que se extendieron al resto de la sociedad, mediante imitaciones de diferente calidad en función del poder adquisitivo del cliente y de la habilidad del artesano; algunas de estas imitaciones llegaron a la categoría de objetos únicos, pudiendo incluso alcanzar tanto valor como el imitado. Asimismo, también hubo producciones en piedra de época antigua que fueron reutilizadas posteriormente con un uso litúrgico o acabaron en las colecciones de los grandes mecenas. Esta transmisión denota un interés por la antigüedad y por establecer un vínculo con ella, pero también el deseo de hacer ostentación de buen gusto y del poder del propietario. Además, esos ejemplares antiguos sirvieron de modelo para otros que se fabricaron con posterioridad, en ocasiones en la misma materia prima, realzando con ello el mensaje ideológico de la copia, e igualmente sirvieron de modelo para otros fabricados, de distinta naturaleza, más asequibles, repitiendo un esquema de imitación ya conocido desde la antigüedad, produciéndose una reelaboración del valor simbólico, en algunos casos, para adaptarlo a los nuevos tiempos, siendo la conexión la connotación de prestigio económico y social que conllevaba ese reempleo dentro de una valoración del mundo antiguo. *** Nota: Los envíos a España peninsular, Baleares y Canarias se realizan a través de mensajería urgente. No aceptamos pedidos con destino a Ceuta y Melilla.…

Condition: NEW.

Condition: UsatoMoltoBuono. Bross., cm 22x14, pp 31, ill. a col.

Buch. Condition: Neu. Neuware -Considerations about size and scale have always played a central role within Greek and Roman visual culture, deeply affecting sculptural production. Both Greeks and Romans, in particular, had a clear notion of 'colossality' and were able to fully exploit its implications with sculpture in many different areas of social, cultural and religious life. Instead, despite their ubiquitous presence, an equal and contrary categorization for small size statues does not seem to have existed in Greek and Roman culture, leading one to wonder what were the ancient ways of conceptualizing sculptural representations in a format markedly smaller than 'life-size.' Even in the context of modern scholarship on Classical Art, few notions appear to be as elusive as that of 'small sculpture', often treated with a certain degree of diffidence well summarized in the formula Klein, aber Kunst In fact, a large and heterogeneous variety of objects corresponds to this definition: all kinds of small sculpture, from statuettes to miniatures, in a variety of materials including stone, bronze, and terracotta, associated with a great array of functions and contexts, and with extremely different levels of manufacture and patronage. It would be a major misunderstanding to think of these small sculptures in general as nothing more than a cheap and simplified alternative to larger scale statues. Compared with those, their peculiar format allowed for a wider range of choices, in terms, for example, of use of either cheap or extremely valuable materials (not only marble and bronze, but also gold and silver, ivory, hard stones, among others), methods of production (combining seriality and variation), modes of fruition (such as involving a degree of intimacy with the beholder, rather than staging an illusion of 'presence'). Furthermore, their pervasive presence in both private and public spaces at many levels of Greek and Roman society presents us with a privileged point of view on the visual literacy of a large and varied public. Although very different in many respects, small-sized sculptures entertained often a rather ambivalent relationship with their larger counterparts, drawing from them at the same time schemes, forms and iconographies. By offering a fresh, new analysis of archaeological evidence and literary sources, through a variety of disciplinary approaches, this volume helps to illuminate this rather complex dynamic and aims to contribute to a better understanding of the status of Greek and Roman small size sculpture within the general development of ancient art. 294 pp. Englisch.…

Buch. Condition: Neu. Neuware -Considerations about size and scale have always played a central role within Greek and Roman visual culture, deeply affecting sculptural production. Both Greeks and Romans, in particular, had a clear notion of 'colossality' and were able to fully exploit its implications with sculpture in many different areas of social, cultural and religious life. Instead, despite their ubiquitous presence, an equal and contrary categorization for small size statues does not seem to have existed in Greek and Roman culture, leading one to wonder what were the ancient ways of conceptualizing sculptural representations in a format markedly smaller than 'life-size.' Even in the context of modern scholarship on Classical Art, few notions appear to be as elusive as that of 'small sculpture', often treated with a certain degree of diffidence well summarized in the formula Klein, aber Kunst In fact, a large and heterogeneous variety of objects corresponds to this definition: all kinds of small sculpture, from statuettes to miniatures, in a variety of materials including stone, bronze, and terracotta, associated with a great array of functions and contexts, and with extremely different levels of manufacture and patronage. It would be a major misunderstanding to think of these small sculptures in general as nothing more than a cheap and simplified alternative to larger scale statues. Compared with those, their peculiar format allowed for a wider range of choices, in terms, for example, of use of either cheap or extremely valuable materials (not only marble and bronze, but also gold and silver, ivory, hard stones, among others), methods of production (combining seriality and variation), modes of fruition (such as involving a degree of intimacy with the beholder, rather than staging an illusion of 'presence'). Furthermore, their pervasive presence in both private and public spaces at many levels of Greek and Roman society presents us with a privileged point of view on the visual literacy of a large and varied public. Although very different in many respects, small-sized sculptures entertained often a rather ambivalent relationship with their larger counterparts, drawing from them at the same time schemes, forms and iconographies. By offering a fresh, new analysis of archaeological evidence and literary sources, through a variety of disciplinary approaches, this volume helps to illuminate this rather complex dynamic and aims to contribute to a better understanding of the status of Greek and Roman small size sculpture within the general development of ancient art. 294 pp. Englisch.…

Condition: New.

Condition: As New. Unread book in perfect condition.

Hardback. Condition: New. Considerations about size and scale have always played a central role within Greek and Roman visual culture, deeply affecting sculptural production. Both Greeks and Romans, in particular, had a clear notion of "colossality" and were able to fully exploit its implications with sculpture in many different areas of social, cultural and religious life. Instead, despite their ubiquitous presence, an equal and contrary categorization for small size statues does not seem to have existed in Greek and Roman culture, leading one to wonder what were the ancient ways of conceptualizing sculptural representations in a format markedly smaller than "life-size." Even in the context of modern scholarship on Classical Art, few notions appear to be as elusive as that of "small sculpture", often treated with a certain degree of diffidence well summarized in the formula Klein, aber Kunst? In fact, a large and heterogeneous variety of objects corresponds to this definition: all kinds of small sculpture, from statuettes to miniatures, in a variety of materials including stone, bronze, and terracotta, associated with a great array of functions and contexts, and with extremely different levels of manufacture and patronage. It would be a major misunderstanding to think of these small sculptures in general as nothing more than a cheap and simplified alternative to larger scale statues. Compared with those, their peculiar format allowed for a wider range of choices, in terms, for example, of use of either cheap or extremely valuable materials (not only marble and bronze, but also gold and silver, ivory, hard stones, among others), methods of production (combining seriality and variation), modes of fruition (such as involving a degree of intimacy with the beholder, rather than staging an illusion of "presence"). Furthermore, their pervasive presence in both private and public spaces at many levels of Greek and Roman society presents us with a privileged point of view on the visual literacy of a large and varied public. Although very different in many respects, small-sized sculptures entertained often a rather ambivalent relationship with their larger counterparts, drawing from them at the same time schemes, forms and iconographies. By offering a fresh, new analysis of archaeological evidence and literary sources, through a variety of disciplinary approaches, this volume helps to illuminate this rather complex dynamic and aims to contribute to a better understanding of the status of Greek and Roman small size sculpture within the general development of ancient art.…

Buch. Condition: Neu. Neuware - Considerations about size and scale have always played a central role within Greek and Roman visual culture, deeply affecting sculptural production. Both Greeks and Romans, in particular, had a clear notion of 'colossality' and were able to fully exploit its implications with sculpture in many different areas of social, cultural and religious life. Instead, despite their ubiquitous presence, an equal and contrary categorization for small size statues does not seem to have existed in Greek and Roman culture, leading one to wonder what were the ancient ways of conceptualizing sculptural representations in a format markedly smaller than 'life-size.' Even in the context of modern scholarship on Classical Art, few notions appear to be as elusive as that of 'small sculpture', often treated with a certain degree of diffidence well summarized in the formula Klein, aber Kunst In fact, a large and heterogeneous variety of objects corresponds to this definition: all kinds of small sculpture, from statuettes to miniatures, in a variety of materials including stone, bronze, and terracotta, associated with a great array of functions and contexts, and with extremely different levels of manufacture and patronage. It would be a major misunderstanding to think of these small sculptures in general as nothing more than a cheap and simplified alternative to larger scale statues. Compared with those, their peculiar format allowed for a wider range of choices, in terms, for example, of use of either cheap or extremely valuable materials (not only marble and bronze, but also gold and silver, ivory, hard stones, among others), methods of production (combining seriality and variation), modes of fruition (such as involving a degree of intimacy with the beholder, rather than staging an illusion of 'presence'). Furthermore, their pervasive presence in both private and public spaces at many levels of Greek and Roman society presents us with a privileged point of view on the visual literacy of a large and varied public. Although very different in many respects, small-sized sculptures entertained often a rather ambivalent relationship with their larger counterparts, drawing from them at the same time schemes, forms and iconographies. By offering a fresh, new analysis of archaeological evidence and literary sources, through a variety of disciplinary approaches, this volume helps to illuminate this rather complex dynamic and aims to contribute to a better understanding of the status of Greek and Roman small size sculpture within the general development of ancient art.…

Condition: New.

Hardcover. Condition: New. Fabrizio Slavazzi and Giovanni Colzani, University of Milan, Italy Clemente Marconi, Univ. of Milan, Italy and New York Univ., USA.Considerations about size and scale have always played a central role .

Buch. Condition: Neu. Greek and Roman Small Size Sculpture | Giovanni Colzani (u. a.) | Buch | VI | Englisch | 2023 | De Gruyter | EAN 9783110740790 | Verantwortliche Person für die EU: Walter de Gruyter GmbH, De Gruyter GmbH, Genthiner Str. 13, 10785 Berlin, productsafety[at]degruyterbrill[dot]com | Anbieter: preigu.…

Condition: As New. Unread book in perfect condition.

Hardback. Condition: New. Considerations about size and scale have always played a central role within Greek and Roman visual culture, deeply affecting sculptural production. Both Greeks and Romans, in particular, had a clear notion of "colossality" and were able to fully exploit its implications with sculpture in many different areas of social, cultural and religious life. Instead, despite their ubiquitous presence, an equal and contrary categorization for small size statues does not seem to have existed in Greek and Roman culture, leading one to wonder what were the ancient ways of conceptualizing sculptural representations in a format markedly smaller than "life-size." Even in the context of modern scholarship on Classical Art, few notions appear to be as elusive as that of "small sculpture", often treated with a certain degree of diffidence well summarized in the formula Klein, aber Kunst? In fact, a large and heterogeneous variety of objects corresponds to this definition: all kinds of small sculpture, from statuettes to miniatures, in a variety of materials including stone, bronze, and terracotta, associated with a great array of functions and contexts, and with extremely different levels of manufacture and patronage. It would be a major misunderstanding to think of these small sculptures in general as nothing more than a cheap and simplified alternative to larger scale statues. Compared with those, their peculiar format allowed for a wider range of choices, in terms, for example, of use of either cheap or extremely valuable materials (not only marble and bronze, but also gold and silver, ivory, hard stones, among others), methods of production (combining seriality and variation), modes of fruition (such as involving a degree of intimacy with the beholder, rather than staging an illusion of "presence"). Furthermore, their pervasive presence in both private and public spaces at many levels of Greek and Roman society presents us with a privileged point of view on the visual literacy of a large and varied public. Although very different in many respects, small-sized sculptures entertained often a rather ambivalent relationship with their larger counterparts, drawing from them at the same time schemes, forms and iconographies. By offering a fresh, new analysis of archaeological evidence and literary sources, through a variety of disciplinary approaches, this volume helps to illuminate this rather complex dynamic and aims to contribute to a better understanding of the status of Greek and Roman small size sculpture within the general development of ancient art.…

Condition: gut. 2023. Greek and Roman Small Size Sculpture In deutscher Sprache. pages.

Hardcover. Condition: New. 6.8 X 1 X 9.4 inches; 300 pages.

Brossura. Condition: nuovo. 301pp, illus. Anno di stampa: 2008. Insegna del Giglio. ISBN: 9788878143746 - Sommario Stefano Maggi, Fabrizio Slavazzi, Presentazione Gemma Sena Chiesa, Arte romana nell?Italia settentrionale: riflessioni su quarant?anni di ricerche Mario Torelli, Contributo ad una storia della storiografia artistica della Cisalpina Stefano Maggi, Cesare Saletti e lo studio della scultura romana della Cisalpina Monika Verzár-Bass, Il cosiddetto ?celtismo? nella scultura della Cisalpina Margherita Tirelli, La decorazione scultorea dei recinti funerari altinati: studi di ricontestualizzazione Paola Ventura, Recenti acquisizioni e riletture del territorio nord-orientale di Aquileia Jacopo Ortalli, Piccoli marmi per grandi divinità: echi del tardo Ellenismo mediterraneo a Bologna Sandro De Maria, Immagini e spazi della celebrazione nelle città dell?Emilia romana Henner von Hesberg, Agli inizi della scultura romana sul Reno Mario Denti, Scultori neoattici in Cisalpina nel II e I secolo a.C. Statue di culto e committenza senatoria Fabrizio Slavazzi, Ritratti imperiali in Italia settentrionale: premesse per una ricerca Rosanina Invernizzi, La scultura romana nelle terre dell?attuale Lombardia Fulvia Ciliberto, I sarcofagi dell?Italia settentrionale Giuseppina Legrottaglie,Il ciclo statuario del teatro romano di Vicenza: qualche considerazione alla luce delle analisi dei marmi Margherita Bolla, Il recupero delle sculture del teatro romano di Verona Marina Volonté, I frammenti di scultura fittile da via Plasio a Cremona: nuove considerazioni Filli Rossi, Una statua ritratto in nudità eroica da Cividate Camuno (BS) Maria Elena Gorrini, L?Afrodite-Ninfa di Mantova Laura Giordani, Massimo Oddone, Studio archeometrico del marmo usato per la statua dell?Afrodite velata conservata al Palazzo Ducale di Mantova Ermanno A. Aslan, Il ritratto miniaturizzato di Arsinoe III, Regina Tolemaica, al Museo di Biassono (Monza) Bianca Maria Giannattasio, La scultura romana in Liguria ed il problema delle officine tra III e IV secolo d.C. Giuseppina Spadea, Presenze scultoree nell?odierna Liguria Elena Calandra, Nuove testimonianze scultoree a Dertona Anna Maria Pastorino, Una statua di Luni al Museo Civico di Tortona Francesca Bulgarelli, Una scultura funeraria di militare a Cairo Montenotte (SV) Alberto Bacchetta, Un ritratto inedito al Museo Archeologico di Acqui Terme Matteo Cadario, Ipotesi sulla circolazione dell?immagine loricata in età imperiale. I torsi giulio-claudi di Susa Laurent Chrzanovski, Statuaria e altre importazioni italiche della prima età imperiale nella Colonia Iulia Equestris (Nyon, Svizzera) Maria Pia Rossignani, Come conclusione una proposta di rilettura tematica.…

Condition: New.

HRD. Condition: New. New Book. Shipped from UK. Established seller since 2000.

Condition: Wie neu. 294 S. Considerations about size and scale have always played a central role within Greek and Roman visual culture, deeply affecting sculptural production. Both Greeks and Romans, in particular, had a clear notion of colossality⤠and were able to fully exploit its implications with sculpture in many different areas of social, cultural and religious life. Instead, despite their ubiquitous presence, an equal and contrary categorization for small size statues does not seem to have existed in Greek and Roman culture, leading one to wonder what were the ancient ways of conceptualizing sculptural representations in a format markedly smaller than life-size.⤠Even in the context of modern scholarship on Classical Art, few notions appear to be as elusive as that of small sculptureâ¤, often treated with a certain degree of diffidence well summarized in the formula Klein, aber Kunst? In fact, a large and heterogeneous variety of objects corresponds to this definition: all kinds of small sculpture, from statuettes to miniatures, in a variety of materials including stone, bronze, and terracotta, associated with a great array of functions and contexts, and with extremely different levels of manufacture and patronage. It would be a major misunderstanding to think of these small sculptures in general as nothing more than a cheap and simplified alternative to larger scale statues. Compared with those, their peculiar format allowed for a wider range of choices, in terms, for example, of use of either cheap or extremely valuable materials (not only marble and bronze, but also gold and silver, ivory, hard stones, among others), methods of production (combining seriality and variation), modes of fruition (such as involving a degree of intimacy with the beholder, rather than staging an illusion of presenceâ¤). Furthermore, their pervasive presence in both private and public spaces at many levels of Greek and Roman society presents us with a privileged point of view on the visual literacy of a large and varied public. Although very different in many respects, small-sized sculptures entertained often a rather ambivalent relationship with their larger counterparts, drawing from them at the same time schemes, forms and iconographies. By offering a fresh, new analysis of archaeological evidence and literary sources, through a variety of disciplinary approaches, this volume helps to illuminate this rather complex dynamic and aims to contribute to a better understanding of the status of Greek and Roman small size sculpture within the general development of ancient art. Ge285,27 Sprache: Deutsch Gewicht in Gramm: 857.…

HRD. Condition: New. New Book. Shipped from UK. Established seller since 2000.

Condition: New.

Condition: new.

Condition: New. In German.

Hardback. Condition: New. Schon zu Lebzeiten hat der deutsche Archäologe und Kunsthistoriker Johann Joachim Winckelmann (1717-1768) europaweit Resonanz gefunden. Seine Geschichte der Kunst des Altertums (1764) wurde vor 1800 zweimal ins Italienische und gleich dreimal ins Französische übersetzt. Winckelmann war damit ein europäischer Klassiker, noch bevor er am Anfang des 19. Jahrhunderts von Weimar aus zu einem deutschen Klassiker gemacht wurde. Ziel des vorliegenden Bandes ist es, die bislang wenig erforschte Wirkungsgeschichte seines Werkes in Italien vor dem Hintergrund seiner europäischen Rezeption zu untersuchen. Am Beispiel Winckelmanns wird damit der Versuch unternommen, ein nationales Rezeptionsphänomen mit einer europäischen Perspektive zu kombinieren. Deutlich wird dabei, dass die italienische Winckelmann-Rezeption vor allem deshalb komplex ist, weil sie immer in Kenntnis von und mit Blick auf die Winckelmann-Rezeption in anderen europäischen Ländern - insbesondere in Deutschland und Frankreich - stattfindet: Rezeptionsgeschichte kann hier nur als eine Geschichte von Verflechtungen geschrieben werden. …

Condition: As New. Unread book in perfect condition.

Condition: New.

Condition: As New. Unread book in perfect condition.

Buch. Condition: Neu. Neuware - Schon zu Lebzeiten hat der deutsche Archäologe und Kunsthistoriker Johann Joachim Winckelmann (1717-1768) europaweit Resonanz gefunden. Seine Geschichte der Kunst des Altertums (1764) wurde vor 1800 zweimal ins Italienische und gleich dreimal ins Französische übersetzt. Winckelmann war damit ein europäischer Klassiker, noch bevor er am Anfang des 19. Jahrhunderts von Weimar aus zu einem deutschen Klassiker gemacht wurde. Ziel des vorliegenden Bandes ist es, die bislang wenig erforschte Wirkungsgeschichte seines Werkes in Italien vor dem Hintergrund seiner europäischen Rezeption zu untersuchen. Am Beispiel Winckelmanns wird damit der Versuch unternommen, ein nationales Rezeptionsphänomen mit einer europäischen Perspektive zu kombinieren. Deutlich wird dabei, dass die italienische Winckelmann-Rezeption vor allem deshalb komplex ist, weil sie immer in Kenntnis von und mit Blick auf die Winckelmann-Rezeption in anderen europäischen Ländern - insbesondere in Deutschland und Frankreich - stattfindet: Rezeptionsgeschichte kann hier nur als eine Geschichte von Verflechtungen geschrieben werden.…