About this product

Product Identifiers

PublisherOxford University Press, Incorporated

ISBN-100892368063

ISBN-139780892368068

eBay Product ID (ePID)60298311

Product Key Features

Book TitleLanguage of the Muses : the Dialogue between Greek and Roman Sculpture

Number of Pages344 Pages

LanguageEnglish

Publication Year2008

TopicSculpture & Installation, History / Ancient & Classical, History / General

IllustratorYes

GenreArt

AuthorMiranda Marvin

FormatHardcover

Dimensions

Item Height0.9 in

Item Weight41.3 Oz

Item Length7.8 in

Item Width10.5 in

Additional Product Features

Intended AudienceTrade

LCCN2007-026596

ReviewsFinalist/Honorable Mention in the Art & Art History category in the 2008 American Publishers Awards for Professional and Scholarly Excellence (PROSE), awarded by the Professional and Scholarly Publishing division of the Association of American Publishers, "Its excellence for the scholar is only tempered by a genuine and unavoidable envy at the Getty's quite superb level of production."-- Bryn Mawr Classical Review, "The combination of meticulous endnotes with so many full-colour illustrations means that the book will appeal not only to scholars, but also to students."-- Journal of Roman Studies

Dewey Edition22

TitleLeadingThe

Dewey Decimal733

SynopsisIn a new take on long-held beliefs, Miranda Marvin argues that, contrary to the accepted wisdom of the last three hundred years, Roman sculpture had very much its own style and ideals. This synthesis of the history of the study of Roman sculpture does away with the idea that the genre of ideal works consists of mechanical copies and argues that they are, rather, creative adaptations., Since the Renaissance, it has been a generally accepted thesis that almost all Roman sculptures depicting ideal figures, such as gods, personifications, and figures from myth, were copies of Greek originals. This book traces the origin of that thesis to the academic belief in the mythical perfection of now-lost Greek art, which contrasted with the reality of the "imperfection" of Roman works. In a new take on long-held beliefs, Johann Joachim Winckelmann's role is found to be less important than those of Giorgio Vasari and Ennio Quirino Visconti. The author argues that, contrary to the accepted wisdom of the last three hundred years, Roman sculpture had very much its own style and ideals. This synthesis of the history of the study of Roman sculpture does away with the idea that the genre of ideal works consists of mechanical copies and argues that they are, rather, creative adaptations.

LC Classification NumberNB115