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The Art Bulletin, 1928
THE Art Institute of Chicago acquired in 1889 a marble portrait head (Fig. i), which is believed to have come from Rome. It is rather more than two-thirds life-size.' While it has suffered a fair amount of damage, the brow, nose, and chin being somewhat injured, the surface has fortunately not been overcleaned, nor has any restoration been attempted ...
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THE Art Institute of Chicago acquired in 1889 a marble portrait head (Fig. i), which is believed to have come from Rome. It is rather more than two-thirds life-size.' While it has suffered a fair amount of damage, the brow, nose, and chin being somewhat injured, the surface has fortunately not been overcleaned, nor has any restoration been attempted ...
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Greek Statuary, Roman Portraits
Diogenes, 1998The originals of great classical Greek statuary—cult idols (agalmata) raised in the cella of a temple, or ex-voto ( anathemata , offerings) dedicated in a sanctuary, or even, more rarely, political dedications erected in public places, were not destined
Jean Charles Balty, Mara Bertelsen
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Journal of Roman Studies, 1953
The Greek and Roman Department of the British Museum has acquired a Roman portrait head in alabaster of unknown provenience, 16·5 cm. in height (pll. XVII, XVIII, 1). The eyebrows and chin are chipped and the nose is missing. The colour varies from ivory to light brown, and the softness of the alabaster has permitted very delicate surface modelling ...
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The Greek and Roman Department of the British Museum has acquired a Roman portrait head in alabaster of unknown provenience, 16·5 cm. in height (pll. XVII, XVIII, 1). The eyebrows and chin are chipped and the nose is missing. The colour varies from ivory to light brown, and the softness of the alabaster has permitted very delicate surface modelling ...
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The Origin of Verism in Roman Portraits
Journal of Roman Studies, 1955Was the verism of Roman Republican portraits due to Italic, Etruscan, Roman, Egyptian, or Greek influence? This question has been much discussed, especially of late. Of particular interest is the recent theory that late Egyptian portraits played a decisive part.
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The Roman Adoption of the Nude Portrait
2005Abstract This chapter seeks to reconstruct the historical circumstances in which leading Romans of the late Republic took over for themselves the Greek convention of the portrait in ‘heroic costume’. We begin with a brief review of the earliest known cases in which Romans (or Italians) are so portrayed.
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Mummy Portraits and Roman Portraiture
2020The portrait as a record of an individual’s personal appearance in his or her lifetime has long been regarded as one of the most successful and enduring genres of Roman art. Some Roman portraits were set up in public areas, like modern commemorative statues of distinguished individuals.
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