Marvin, M. 2002. “The Ludovisi Barbarians: The Grand Manner.” in the ancient art of emulation. Studies in artistic originality and tradition from the present to classical antiquity. MAAR Suppl. 1.
E. Gazda (ed.)
While a more bit technical to read than some articles this was still a truly interesting read, and while the actual topic is a bit difficult to ascertain, if one reads with care, it can be found. This paper centers around a pair of sculptures called “The Dying Gaul and The Gaul Killing Himself and his Wife” long attributed to a Greek sculptor. The main argument is about the actual historical originality of these figures, but there is also a much deeper current of inquiry into how much of Roman sculpture is original. Marvin hypothesizes that much of the sculpture from Rome can actually be linked to artists who were not Greek but Roman through context as well as workmanship clues. This theory, she puts forward is supported by many facts; most of which can be traced through historical sources and the archaeological record. In the case of the “Ludovisi …show more content…
Why argue that they are Roman and not Greek ? Marvin suggests that all one has to do is look at the actual work to find the answer. For starters, there are only one of each of the figures in the archaeological record. Most Greek statues copied by the Romans appear multiple times in the record and not just in one location. One could also argue that at one point, according to Flippo Corelli that all three figures were originally one single unit. However, this idea cannot be substantiated because of “… extensive editorial improvements…” as Marvin calls it. This, sadly is a result of a personal alteration based on the restorers own perceptions and expectations. Much like the Elgin marbles which were stripped of all traces of paint because the restorers thought they should be pure
E. Gazda (ed.)
While a more bit technical to read than some articles this was still a truly interesting read, and while the actual topic is a bit difficult to ascertain, if one reads with care, it can be found. This paper centers around a pair of sculptures called “The Dying Gaul and The Gaul Killing Himself and his Wife” long attributed to a Greek sculptor. The main argument is about the actual historical originality of these figures, but there is also a much deeper current of inquiry into how much of Roman sculpture is original. Marvin hypothesizes that much of the sculpture from Rome can actually be linked to artists who were not Greek but Roman through context as well as workmanship clues. This theory, she puts forward is supported by many facts; most of which can be traced through historical sources and the archaeological record. In the case of the “Ludovisi …show more content…
Why argue that they are Roman and not Greek ? Marvin suggests that all one has to do is look at the actual work to find the answer. For starters, there are only one of each of the figures in the archaeological record. Most Greek statues copied by the Romans appear multiple times in the record and not just in one location. One could also argue that at one point, according to Flippo Corelli that all three figures were originally one single unit. However, this idea cannot be substantiated because of “… extensive editorial improvements…” as Marvin calls it. This, sadly is a result of a personal alteration based on the restorers own perceptions and expectations. Much like the Elgin marbles which were stripped of all traces of paint because the restorers thought they should be pure