Siri Sande
Datos Biográficos
| ID | 6414880 |
|---|---|
| NOMBRE | Siri Sande |
| NOMBRES | Siri |
| APELLIDO | Sande |
| FIRMA | SANDE S |
| AFILIACIONES | University of Oslo |
| VERIFICADO | No |
| TOTAL DE OBRAS | 14 |
| TOTAL DE CITAS | 0 |
| TOTAL COMO AUTOR | 14 |
| TOTAL COMO EDITOR | 0 |
| PRIMER AÑO DE PUBLICACIÓN | 1970 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2023 |
| ÍNDICE H | 0 |
Re-carving is easy - when you are not detected
It has long been recognised that the majority of the portraits made in Rome and the western part of the Empire during the fourth through sixth centuries AD are recarved from older portraits. This conclusion derives primarily from studies of male portraits, whose facial features have been altered to a greater or lesser degree by the late-antique sculptors. In contrast, recarved female portraits have so far often gone undetected, because their face…
“The Horrible Lady” in Istanbul
In 1963 the Archaeological Museum of Istanbul purchased a female portrait of unknown provenance. It is clearly recut from an older head. In its final version, the head is late antique, but the recutting and the scarcity of comparable non-Imperial female portraits from this period have made a more secure dating difficult. Here the first half of the sixth-century ad is proposed. This article poses two main questions: 1) Is a non-Imperial female por…
The "Barbarian Princes" in the Ara Pacis Procession and the origin and development of the so-called "Camillus Coiffure"
The procession on the Ara Pacis includes two young boys whose identity has been disputed. Their long curly hair and short tunics set them apart from the other participants. Various explanations for their presence have been given, the most popular hypotheses being that they are either barbarian princes living as hostages at the Augustan court, wearing their national costume or that they are Augustus' grandsons Gaius and Lucius Caesar, dressed as p…
Note on a torso in Vicolo dei Catenari in Rome
This note concerns a fragmentary torso in a courtyard of Vicolo dei Catenari, in an area between Via Arenula and Campo de’ Fiori in Rome. It is here suggested that it belonged to a statue representing a tragic actor, which may have decorated the Theatre of Pompey or the building of the Actors’ Guild, which was situated in the neighborhood
The Female Portrait Gallery in Pompey’s Theatre Complex in Rome
Pompey’s large complex in the Campus Martius (55 BC) comprised in addition to the theatre a colonnade portico containing various works of art, among them a gallery of statues representing famous Greek Women. The statues, which were presumably in bronze, have disappeared, but the names of the women are preserved in written sources. Using these sources as well as our knowledge of Greek female portrait statues in general, this article discusses the …
The Art of Memory and Roman Art
This article takes as its point of departure sculptures in late Antique Constantinople and Rome and their use as possible “memory markers”, which the viewers would associate with specific areas in the cities. The lack of written street names made such “memory markers” an invaluable aid for the citizens to find their way around. The fact that sense impressions, notable visual ones, trigger off memories, was used by the Romans to form an artificial…
Imperial Mausolea and Everyman’s Grave? The fourth-century funerary Basilicas in the Roman suburbia
When Constantine had conquered Rome from Maxentius, he constructed a series of U-shaped funerary basilicas outside Rome. All lie beside one of the main roads leading into the city, near a catacomb where one or more saints already seem to have been venerated. With one possible exception (the basilica of the Via Ardeatina, which has not been completely excavated), a mausoleum for one or more members of the Imperial family was constructed or at leas…
The Female Hunter and other Examples of Change of Sex and Gender on Roman Sarcophaugs Reliefs
This article deals with a small group of Roman sarcophagi with representations of the deceased, where the head is of a different sex than the body. Some of the sarcophagi seem to have been made for the purpose, while others were reused. In the case of the latter, a preference seems to have been shown for sarcophagi where the face of the deceased was merely blocked out and was rendered in paint. The heads in such cases would have furnished enough …
Egyptian and Other Elements in the Fifth- Century Mosaics of S. Maria Maggiore
The point of departure for this article is the mosaic with Nilotic motifs that runs along the bottom of the apse of S. Maria Maggiore in Rome. The mosaic is a work of Iacopo Torriti dating to 1296. There has been a great deal of discussion, however, whether he invented the motifs or whether he copied them from the fifth-century apse (or even included parts of the original). It is here suggested that Torriti used motifs which were originally prese…
The Getty Kouros and other anomalies
The kouros purchased by the Getty Museum in 1985 is considered to be a forgery by many scholars, since it shows several stylistic discrepancies. In this article it is suggested that it is an ancient work, but Roman, not Greek. Such a statue could have been set up in an old sanctuary to compete with genuine Archaic statues, or it could have been made for a Roman sanctuary playing host to an older cult, where it would have lent an air of venerabili…
Pagan Pinakes and Christian Icons. Continuity or Parallelism
This is an answer to the article by T.F. Mathews, “The Emperor and the Icon”, published in ActaAArtHist (N.S. 1) 15 (2001), 163-177. Mathews presents a number of pinakes painted on wood, with pagan motifs, which he defines as forerunners of the Christian icons. There are undoubtedly many points of resemblance between the two categories with regard to technique and style. The pagan “icons” were used in religious contexts, being especially well doc…
Old and New in Old and New Rome
It has often been remarked that the central parts of Rome, notably the Forum Romanum, retain their pagan character long after the Empire has become Christianised. Various explanations have been offered: hostility from a largely pagan Senate, or fear that the pagan buildings might be inhabited by demons. However, the late antique fora built in Constantinople by Christian emperors, show the same pattern. This article suggests that rather than polit…
A Terracotta Plaque in the Dumbarton Oaks Collection. Judgement scene or Congiarium
The subject of this article is a terracotta plaque in the Dumbarton Oaks Collection formerly in the Barberini Collection, Rome. It shows Christ and six apostles seated on a dais with a small-scale group of men, women, and children below. This highly unusual scene has been interpreted by some scholars as the Last Judgement, by others as congiarium scene. In my opinion, it is definitely not a judgment, but rather a contamination of the traditional …
The Ludovisi "throne", the Boston "throne" and the Warren Cup
The Ludovisi and Boston "thrones" are among the most discussed monuments in the history of art. It is here argued that certain details on the "thrones" find their closest parallel artifacts of the Augustan period such as decorative reliefs and candelabra, Arretine ware and silver work: notably the so-called Warren cup in the British Museum. The "thrones" cannot, therefore, be dated to the early Classical period. But does that mean that they are R…
Sin obras prominentes en esta página.
The Ludovisi "throne", the Boston "throne" and the Warren Cup
The Ludovisi and Boston "thrones" are among the most discussed monuments in the history of art. It is here argued that certain details on the "thrones" find their closest parallel artifacts of the Augustan period such as decorative reliefs and candelabra, Arretine ware and silver work: notably the so-called Warren cup in the British Museum. The "thrones" cannot, therefore, be dated to the early Classical period. But does that mean that they are R…
A Terracotta Plaque in the Dumbarton Oaks Collection. Judgement scene or Congiarium
The subject of this article is a terracotta plaque in the Dumbarton Oaks Collection formerly in the Barberini Collection, Rome. It shows Christ and six apostles seated on a dais with a small-scale group of men, women, and children below. This highly unusual scene has been interpreted by some scholars as the Last Judgement, by others as congiarium scene. In my opinion, it is definitely not a judgment, but rather a contamination of the traditional …
Old and New in Old and New Rome
It has often been remarked that the central parts of Rome, notably the Forum Romanum, retain their pagan character long after the Empire has become Christianised. Various explanations have been offered: hostility from a largely pagan Senate, or fear that the pagan buildings might be inhabited by demons. However, the late antique fora built in Constantinople by Christian emperors, show the same pattern. This article suggests that rather than polit…
Pagan Pinakes and Christian Icons. Continuity or Parallelism
This is an answer to the article by T.F. Mathews, “The Emperor and the Icon”, published in ActaAArtHist (N.S. 1) 15 (2001), 163-177. Mathews presents a number of pinakes painted on wood, with pagan motifs, which he defines as forerunners of the Christian icons. There are undoubtedly many points of resemblance between the two categories with regard to technique and style. The pagan “icons” were used in religious contexts, being especially well doc…
The Getty Kouros and other anomalies
The kouros purchased by the Getty Museum in 1985 is considered to be a forgery by many scholars, since it shows several stylistic discrepancies. In this article it is suggested that it is an ancient work, but Roman, not Greek. Such a statue could have been set up in an old sanctuary to compete with genuine Archaic statues, or it could have been made for a Roman sanctuary playing host to an older cult, where it would have lent an air of venerabili…
Egyptian and Other Elements in the Fifth- Century Mosaics of S. Maria Maggiore
The point of departure for this article is the mosaic with Nilotic motifs that runs along the bottom of the apse of S. Maria Maggiore in Rome. The mosaic is a work of Iacopo Torriti dating to 1296. There has been a great deal of discussion, however, whether he invented the motifs or whether he copied them from the fifth-century apse (or even included parts of the original). It is here suggested that Torriti used motifs which were originally prese…
The Female Hunter and other Examples of Change of Sex and Gender on Roman Sarcophaugs Reliefs
This article deals with a small group of Roman sarcophagi with representations of the deceased, where the head is of a different sex than the body. Some of the sarcophagi seem to have been made for the purpose, while others were reused. In the case of the latter, a preference seems to have been shown for sarcophagi where the face of the deceased was merely blocked out and was rendered in paint. The heads in such cases would have furnished enough …
Imperial Mausolea and Everyman’s Grave? The fourth-century funerary Basilicas in the Roman suburbia
When Constantine had conquered Rome from Maxentius, he constructed a series of U-shaped funerary basilicas outside Rome. All lie beside one of the main roads leading into the city, near a catacomb where one or more saints already seem to have been venerated. With one possible exception (the basilica of the Via Ardeatina, which has not been completely excavated), a mausoleum for one or more members of the Imperial family was constructed or at leas…
The Art of Memory and Roman Art
This article takes as its point of departure sculptures in late Antique Constantinople and Rome and their use as possible “memory markers”, which the viewers would associate with specific areas in the cities. The lack of written street names made such “memory markers” an invaluable aid for the citizens to find their way around. The fact that sense impressions, notable visual ones, trigger off memories, was used by the Romans to form an artificial…
Note on a torso in Vicolo dei Catenari in Rome
This note concerns a fragmentary torso in a courtyard of Vicolo dei Catenari, in an area between Via Arenula and Campo de’ Fiori in Rome. It is here suggested that it belonged to a statue representing a tragic actor, which may have decorated the Theatre of Pompey or the building of the Actors’ Guild, which was situated in the neighborhood
The Female Portrait Gallery in Pompey’s Theatre Complex in Rome
Pompey’s large complex in the Campus Martius (55 BC) comprised in addition to the theatre a colonnade portico containing various works of art, among them a gallery of statues representing famous Greek Women. The statues, which were presumably in bronze, have disappeared, but the names of the women are preserved in written sources. Using these sources as well as our knowledge of Greek female portrait statues in general, this article discusses the …
The "Barbarian Princes" in the Ara Pacis Procession and the origin and development of the so-called "Camillus Coiffure"
The procession on the Ara Pacis includes two young boys whose identity has been disputed. Their long curly hair and short tunics set them apart from the other participants. Various explanations for their presence have been given, the most popular hypotheses being that they are either barbarian princes living as hostages at the Augustan court, wearing their national costume or that they are Augustus' grandsons Gaius and Lucius Caesar, dressed as p…
“The Horrible Lady” in Istanbul
In 1963 the Archaeological Museum of Istanbul purchased a female portrait of unknown provenance. It is clearly recut from an older head. In its final version, the head is late antique, but the recutting and the scarcity of comparable non-Imperial female portraits from this period have made a more secure dating difficult. Here the first half of the sixth-century ad is proposed. This article poses two main questions: 1) Is a non-Imperial female por…
Re-carving is easy - when you are not detected
It has long been recognised that the majority of the portraits made in Rome and the western part of the Empire during the fourth through sixth centuries AD are recarved from older portraits. This conclusion derives primarily from studies of male portraits, whose facial features have been altered to a greater or lesser degree by the late-antique sculptors. In contrast, recarved female portraits have so far often gone undetected, because their face…
Art (12 obras) · Classical Antiquity Studies (12 obras) · Ancient Mediterranean Archaeology and History (11 obras) · History (9 obras) · Art history (8 obras) · Historical and Religious Studies of Rome (7 obras) · Ancient history (6 obras) · Philosophy (6 obras) · Visual arts (6 obras) · Antique (4 obras)