Marina Prusac
Biographic Data
| ID | 5642363 |
|---|---|
| NAME | Marina Prusac |
| GIVEN NAMES | Marina |
| FAMILY NAME | Prusac |
| SIGNATURE | PRUSAC M |
| AFFILIATIONS | University of Oslo |
| VERIFIED | No |
| TOTAL WORKS | 8 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 8 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1970 |
| LATEST PUBLICATION YEAR | 2019 |
| H-INDEX | 0 |
The Kosmētai Portraits in Third Century Athens. Recutting, Style, Context and Patronage
Portraits of a group of thirty kosmētai, public philosophy teachers in Athens, were found among the fill in the Valerian Wall by the Roman Agora in Athens in 1861. From the Hellenistic period onwards, the kosmētai had taught the philosophy or Aristotle, though, with time, the teaching became more varied. In the first century AD, the number of students had a peak of three hundred a year. In the third century, when the portraits were buried in the …
From Face to Face
Iconoclasm from Antiquity to Modernity
Contents: Introduction - whose iconoclasm?, Kristine Kolrud and Marina Prusac Disabling demonic images: regional diversity in Ancient iconoclasts' motives and targets, Eberhard W. Sauer Presence and the image controversies in the 3rd and 4th centuries AD, Marina Prusac Defacement and replacement as political strategies in Ancient and Byzantine ruler images, Bente Kiilerich Byzantine iconoclasm: ideology and quest for power?, Anne Karahan Neither …
Conclusions Oblivion and reinvention
The Arch of Constatine
The messages which can be discerned in the sculpture programme of the Arch of Constantine are here discussed, taking as a point of departure the collective memories of late-antique Rome. The direct involvement of Constantine in the erection of the Arch is sustained through a comparison with other examples of Constantinian public art, architecture, and topography in Rome. Particular focus is directed to the significance of recarved portraiture, an…
From Face to Face
Re-carving Roman Portraits
The portrait is regarded as a Roman invention. Facial features of many Romans come down to us through portraits in styles which were progressively developed from the time of Caesar (100-44 BC) to that of Justinian (AD 527-565), mostly in precious metals and marble. The workmanship of Roman portraits is, however, not always as straightforward as traditionally perceived. Since the discovery of the Cancelleria Reliefs in the 1930s, in which the port…
The Constantinian bronze Colossus
The colossal Constantinian bronze portrait in the Capitoline Museum stands out as a unique example of Roman, large-scale portraiture. It is a rare bronze portrait of colossal size, which included a lot of material of a kind which was usually remolded into exchangeable goods in Late Antiquity. It was constructed from separately cast parts, and with a close look, there are traces of retouching and alterations. The reuse was undertaken by way of hig…
No prominent works on this page.
The Constantinian bronze Colossus
The colossal Constantinian bronze portrait in the Capitoline Museum stands out as a unique example of Roman, large-scale portraiture. It is a rare bronze portrait of colossal size, which included a lot of material of a kind which was usually remolded into exchangeable goods in Late Antiquity. It was constructed from separately cast parts, and with a close look, there are traces of retouching and alterations. The reuse was undertaken by way of hig…
Re-carving Roman Portraits
The portrait is regarded as a Roman invention. Facial features of many Romans come down to us through portraits in styles which were progressively developed from the time of Caesar (100-44 BC) to that of Justinian (AD 527-565), mostly in precious metals and marble. The workmanship of Roman portraits is, however, not always as straightforward as traditionally perceived. Since the discovery of the Cancelleria Reliefs in the 1930s, in which the port…
From Face to Face
The Arch of Constatine
The messages which can be discerned in the sculpture programme of the Arch of Constantine are here discussed, taking as a point of departure the collective memories of late-antique Rome. The direct involvement of Constantine in the erection of the Arch is sustained through a comparison with other examples of Constantinian public art, architecture, and topography in Rome. Particular focus is directed to the significance of recarved portraiture, an…
From Face to Face
Iconoclasm from Antiquity to Modernity
Contents: Introduction - whose iconoclasm?, Kristine Kolrud and Marina Prusac Disabling demonic images: regional diversity in Ancient iconoclasts' motives and targets, Eberhard W. Sauer Presence and the image controversies in the 3rd and 4th centuries AD, Marina Prusac Defacement and replacement as political strategies in Ancient and Byzantine ruler images, Bente Kiilerich Byzantine iconoclasm: ideology and quest for power?, Anne Karahan Neither …
Conclusions Oblivion and reinvention
The Kosmētai Portraits in Third Century Athens. Recutting, Style, Context and Patronage
Portraits of a group of thirty kosmētai, public philosophy teachers in Athens, were found among the fill in the Valerian Wall by the Roman Agora in Athens in 1861. From the Hellenistic period onwards, the kosmētai had taught the philosophy or Aristotle, though, with time, the teaching became more varied. In the first century AD, the number of students had a peak of three hundred a year. In the third century, when the portraits were buried in the …
History (6 works) · Art (5 works) · Ancient history (4 works) · Art history (4 works) · Historical and Religious Studies of Rome (4 works) · Ancient Mediterranean Archaeology and History (3 works) · Archaeology (3 works) · Classical Antiquity Studies (3 works) · Computer Science (3 works) · Interdisciplinary Cultural and Social Studies (3 works)