Synopses & Reviews
The recent crisis in the world of antiquities collecting has prompted scholars and the general public to pay more attention than ever before to the questions of archaeological findspots and collecting history for newly found objects. When it comes to famous works that have been in major museums for many generations, such questions are rarely asked. Canonical pieces like Barberini Togatus or the Fonseca bust of a Flavian lady appear in virtually every textbook on Roman art. But we have no more certainty about these works' archaeological origins than we do about those that appear in auction catalogues today. This book argues that the question of archaeological origins should be the first asked, not only by museum acquisitions boards, but by scholars as well.
Marlowe shows how indifference to context remains ingrained in muchof Roman art history and why that is a problem. She advocates the full and consistent itemization of both findspot data and ownershiphistory of all works discussed along with the name, date, material, and present whereabouts that are already always itemized; theforegrounding of artworks about which scholars have more contextual data over objects about which they have little or none; and anincreased attention to the modern reception history of canonical but archaeologically undocumented objects. In short, she calls forgreater epistemological and methodological consciousness in the practice of writing and teaching about Roman art history.Annotation ©2014 Ringgold, Inc., Portland, OR (protoview.com)
This book argues the importance of investigating archeological findspots and historical context when examining Roman art.
About the Author
Elizabeth Marlowe is Assistant Professor of Art and Art History at Colgate University, USA.
Table of Contents
Chapter 1: Histories Ancient and Modern
Chapter 2: Indifference to Context
Chapter 3: Lessons Not Learned
Chapter 4: Connoisseurship and Class
Chapter 5: Red Herrings
Conclusion: Best Practices