Academic Sessions: London 2003
Articulating the Antique
Convenor:
David Packwood University of Warwick, david packwood@tesco.net
Abstract:
This session considers the relationship between painting and the arrangement of sculpture in pictorial space. What does the articulation of sculptural sources in a painting reveal about the intentions of the artist, the expectations of patrons and the general cultural situation? Such themes that might be explored include the following: the array of sculpture in religious scenes such as the Baptism of Christ to communicate theological ideas; the use of relief sculpture such as sarcophagi by painters to convey abstract ideas such as sleep and death; the relationship between classical literature such as Ovid and sculptural figures in paintings; the relation between sculpture collections and figures in paintings; the creation of a tradition of articulation of the antique from the Renaissance through to Poussin, David and beyond.
Verity Platt (Christchurch, University of Oxford) Dying to See: Epiphanic Sarcophagi from Imperial Rome.
Phillippa Plock (University of Leeds) Poussin, Statius and Lucretius: Articulations of maschio e femina in Poussin’s Mars and Venus at Boston
Lindsey Schneider (Institute of Fine Arts, NYU) Antique Sources in Michelangelo’s Battle of Cascina.
David Hemsoll (University of Birmingham) Michelangelo’s Theory of Antique Imitation.
Leatrice Mendelsohn (Independent Scholar, New York) Depicting Perfection: Ancient Extremities and Renaissance Portraits.
Tina Warnes (University of Leeds) In aedibus vulgo dictis de Zasse: Early Modern Attitudes to Antiquity, in Representations of the Sassi Courtyard and its Antique Sculptures.
Paolo Sanvito (University of Freiburg) Representation of Sculpture in Patrician Courts in Rome in the First Decades of the 17th Century.