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GIEDION-WELCKER (Carola).
Reliefs.
Münster, Westfälisches Landesmuseum, 1980, in-4, br., 286 pp., 206 ill. en noir et en couleurs. (GA25A)
Reference : 1336248
Catalogue de l'exposition Reliefs, à Münster, 1980.Formproblem zwischen Malerei und Skulptur im 20. Jahrhundert. Carola Giedion-Welcker zum Gedachtnis.Texte en allemand.
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5 book(s) with the same title
Beschrijving van Barabudur. I: Archeologische Beschrijving. Reliefs- en Buddha-Beelden. II: Bouwkundige Beschrijving. Archaeologisch onderzoek in Nederlandsch-Indië: III.
Krom, N.J. and Theodor van Erp: Beschrijving van Barabudur. I: Archeologische Beschrijving. Reliefs- en Buddha-Beelden. II: Bouwkundige Beschrijving. Martinus Nijhoff, 1920-31. Series: Archaeologisch onderzoek in Nederlandsch-Indië: III. Two text volumes in folio, pp.viii, 791, 2 plates; xv, 486, 82, text figures and plans; three large folio plate volumes with 642 photographic plates, 41 engraved plates (1 double page), and 9 folding plans. Limitation: The first text volume and accompanying plate volumes numbered No.74 of 200; the second text volume and accompanying plate volume numbered No.85 of 200. Only 165 copies were for sale. A monumental archaeological and architectural study of Borobudur with 642 photographic illustrations of the reliefs, including those illustrating the life of the Buddha and scenes from the Jataka, the Ganawyuha, Maitreya, Bodhisattwa and Samantabhadra, and statues of Buddha, together with line drawings showing architectural details of the complex.During the great restoration of Barabudur, 1907-11, under the direction of the military engineer Theodor van Erp, a complete series of more than 2000 photographs of the monument were taken by Jean Jacques de Vink, 1883-1945 and a series of drawings were made by the Javanese artist, Mas Kartodisastro.These form the basis of this comprehensive monograph on the monument produced in two parts with publication spanned a period of twelve years. The first volume, Archaeological Description, by the Director of the Archaeological Survey of Indonesia, Nicolaas Johannes Krom, 1883-1945, consists of two volumes of text and two large portfolios of 440 plates depicting the complete series of reliefs and Buddha images.The second volume, Architectural Description (Bouwkundige Beschrijving) by Theodor van Erp has one volume of text (in Dutch, never translated)) and a large portfolio with 48 detailed ground plans, sections of terraces and elevations of galleries, and 202 photographic plates showing the monument before and after restoration, objects believed to have come from Barabudur, and free standing sculptures.The remarkable remains of Borobudur were re-discovered in 1814, by H.C. Cornelius, a Dutch engineer, who had been sent to investigate by Thomas Stamford Raffles, British Governor of Java. Cornelius with his 200 men cut down trees, burned down vegetation and dug away earth to reveal the long-hidden monument. He was unable to unearth all galleries for danger of collapse.The first attempt to record the splendour of the monument was in 1848 when F.C. Wilsen began four years work drawing copies of 988 reliefs. These were published by Leemans in 1873 in two large portfolios, but were considered to be neither artistic nor suitable for scientific study. A second attempt was begun in 1863 when von Kinsbergen was commissioned to photograph Borobudur, but he was unable to complete the task, partly due to the difficulty of setting up his camera sufficiently far from the reliefs in the confined space of the galleries.This third attempt was undertaken during the extensive restoration of the monument between 1907 and 1911, under the supervision of Theodor van Erp, who dismantled and rebuilt the upper three circular platforms and stupas.Borobudur was listed as a World Heritage Site in 1991, 'to represent a masterpiece of human creative genius'.
A monumental archaeological and architectural study of Borobudur with 642 photographic illustrations of the reliefs, including those illustrating the life of the Buddha and scenes from the Jataka, the Ganawyuha, Maitreya, Bodhisattwa and Samantabhadra, and statues of Buddha, together with line drawings showing architectural details of the complex.During the great restoration of Barabudur, 1907-11, under the direction of the military engineer Theodor van Erp, a complete series of more than 2000 photographs of the monument were taken by Jean Jacques de Vink, 1883-1945 and a series of drawings were made by the Javanese artist, Mas Kartodisastro.These form the basis of this comprehensive monograph on the monument produced in two parts with publication spanned a period of twelve years. The first volume, Archaeological Description, by the Director of the Archaeological Survey of Indonesia, Nicolaas Johannes Krom, 1883-1945, consists of two volumes of text and two large portfolios of 440 plates depicting the complete series of reliefs and Buddha images.The second volume, Architectural Description (Bouwkundige Beschrijving) by Theodor van Erp has one volume of text (in Dutch, never translated)) and a large portfolio with 48 detailed ground plans, sections of terraces and elevations of galleries, and 202 photographic plates showing the monument before and after restoration, objects believed to have come from Barabudur, and free standing sculptures.The remarkable remains of Borobudur were re-discovered in 1814, by H.C. Cornelius, a Dutch engineer, who had been sent to investigate by Thomas Stamford Raffles, British Governor of Java. Cornelius with his 200 men cut down trees, burned down vegetation and dug away earth to reveal the long-hidden monument. He was unable to unearth all galleries for danger of collapse.The first attempt to record the splendour of the monument was in 1848 when F.C. Wilsen began four years work drawing copies of 988 reliefs. These were published by Leemans in 1873 in two large portfolios, but were considered to be neither artistic nor suitable for scientific study. A second attempt was begun in 1863 when von Kinsbergen was commissioned to photograph Borobudur, but he was unable to complete the task, partly due to the difficulty of setting up his camera sufficiently far from the reliefs in the confined space of the galleries.This third attempt was undertaken during the extensive restoration of the monument between 1907 and 1911, under the supervision of Theodor van Erp, who dismantled and rebuilt the upper three circular platforms and stupas.Borobudur was listed as a World Heritage Site in 1991, 'to represent a masterpiece of human creative genius'.
Carvers and Customers in Roman Palmyra. The Production Economy of Limestone Loculus Reliefs
, Brepols, 2022 Paperback, xiv + 294 pages, Size:216 x 280 mm, Illustrations:49 b/w, 39 col., 23 tables b/w., 1 maps color, Language: English. ISBN 9782503597850.
Summary Palmyra, located in the Syrian desert, is famous for the portraiture of its citizens, produced when the ancient city was at the height of its powers in the Roman era. At this time, several hundred funerary monuments were built and the Palmyrenes decorated their tombs with numerous portraits. The most common of these are the loculus reliefs that depicted Palmyra's men, women, and children, and were used to close off the niches in tombs behind which the dead were buried. Between AD 50 and AD 273, these stone slabs were produced in sufficient numbers to make Palmyra home to the largest corpus of funerary portraits outside Rome itself. This volume offers a fresh and nuanced analysis of Palmyrene funerary reliefs and their production in order to shed light not just on the people they depicted, but on the individuals responsible for their creation. Across a range of different case studies, the author explores the making of single portraits from the local limestone, examining how Palmyrene carvers worked, the techniques they used, the tools they employed, the ways in which style and technique changed over time, and the mode of production that was in place. Furthermore, the workshops' organization, the interaction between carvers and customers, and their influence on the portraits are explored. In doing so, the volume offers not just a detailed study of limestone carving and the techniques that underpinned Palmyra's famous portraits, but also offers a significant contribution to wider research on funerary portraiture of the city and in Roman Syria. TABLE OF CONTENTS Table of Contents List of Figures Acknowledgements Chapter 1: Introduction Chapter 2: The Palmyrene Graves and the Placement of the Reliefs Chapter 3: The Toolset of the Palmyrene Carvers Chapter 4: The Chronological Development of the Toolset Chapter 5: Palmyra's Economy: Producing Loculus Reliefs Chapter 6: Palmyrene Customers: Ordering and Buying a Loculus Relief Chapter 7: The Palmyrene Workshops and Craftspeople Chapter 8: Regional and Transregional Comparisons Chapter 9: Conclusion Bibliography Catalogue of Studied Loculus Reliefs Appendix I. Size of Loculus Reliefs Appendix II. Tool Traces Appendix III. Additional Elements Index
Voyage dans la Basse et Haute Egypte : Bas-reliefs historiques du temple de Qarnâq à Thèbes. (Planche 133).<br />
Didot, Paris 1803, 40x54cm, une feuille.
Gravure originale in folio non rognée, extraite du Voyage dans la Basse et la Haute Egypte de Vivant Denon. Planche ornée d'une gravure subdivisée en 4 figures, ainsi décrites par l'auteur :Fragment de bas-reliefs historiques représentant diverses circonstances de l'expédition glorieuse d'un même héros ; dans le fragment n° 1, il saisit par le bras son adversaire, déja blessé et terrassé ; il est prêt à le percer d'un coup de lance ; un calumet, signe de victoire ou de paix, est à côté de lui: ces bas-reliefs, sculptés sur les murs à l'extérieur du temple de Karnak, sont moins détruits par le temps que par des démolitions ; c'en est une qui nous prive de la tête du héros, dont il eût été curieux de voir l'expression. Si ces bas-reliefs sont les plus anciens de ceux qui sont arrivés jusqu'à nous, à coup sûr il y avoit long-temps qu'on en faisoit lorsque ceux-ci ont été sculptés. Il y a une noble simplicité dans l'agencement des figures, du style, et de l'expression, dans la pose des deux personnages ; on pourroit plus soigner les détails, mais on ne pourroit pas mieux composer un groupe.N° 2. Le héros, remonté sur son char, poursuit l'ennemi, déja en pleine déroute, fuyant dans les bois et dans les marais pêle-mêle avec les habitants du pays, et les animaux de la campagne ; plusieurs, réfugiés dans une forteresse, sont presque aussi effrayés que les autres, et paroissent même atteints des traits du vainqueur. Ce bas-relief-ci, plus barbare que l'autre, peche absolument par la composition, et plus encore par la perspective : mais la pose de chaque figure à part est vraie et expressive ; elles sont toutes en fuite, blessées, effrayées, ou bien mortes ; les animaux en sont beaux et pleins de style ; les chevaux pleins de feu, de simplicité, et de noblesse : les Grecs n'ont pas fait autre chose pour ceux qu'ils ont mis sur leurs médailles. La forteresse n'a l'air que d'un enclos palissade ; l'inscription qui est dessus, si nous savions la lire, nous en apprendroit peut-être le nom ; la forêt est représentée par quelques branches, et le marais par quelques fleurs de lotus.N° 3. Le vainqueur sur son char, conduisant ses chevaux, dont les têtes sont panachées en signe de triomphe ; il est entouré de toutes ses armes, de sa lance, de son javelot, de sa hache, de son carquois, de ses fleches, et de ses masses d'armes ; deux génies protecteurs l'accompagnent et le couvrent de leurs ailes ; il ramene des captifs attachés ensemble par les bras et dans différentes attitudes ; ces captifs portent une barbe entiere, un habit long, une plume sur leur casque, et ont tout une autre physionomie que les Égyptiens : l'une des inscriptions est peut être le nom du héros , et l'autre celui des peuples vaincus ; un calumet marque la paix ou la victoire.N° 4. Le même héros présentant ses captifs aux dieux : l'inscription est peut-être le nom des divinités ; le génie protecteur est encore là. Dans d'autres bas-reliefs du même genre le héros reçoit les armes des mains de la divinité, ou du prêtre qui la représente ; ces rois, ces héros étoient très pieux, et jamais les prêtres n'étoient étrangers à leur fonction ; ils recevoient les armes d'eux; c'étoit dans leurs mains qu'ils les remettoient; ils ordonnoicnt de la paix et de la guerre : c'étoit du temple que partoit le roi pour une expédition ; c'étoit dans le temple qu'il en rapportoit les trophées. Quelques rousseurs principalement marginales, sinon bel état de conservation. Publié pour la première fois en deux volumes, dont un atlas de gravures, chez Didot, en 1802, le 'Voyage dans la Basse et la Haute Égypte' connut un tel succès qu'il fut traduit dès 1803 en Anglais et en Allemand, puis quelques années plus tard en Hollandais et en Italien, notamment. Presque toutes les planches sont dessinées par Denon, qui en a aussi gravé lui-même un petit nombre, notamment des portraits d'habitants d'Egypte, qui ont encore gardée toute la fraîcheur d'esquisses prises sur le vif (nos 104-111). Une bonne vingtaine de graveurs ont également collaboré à la création des eaux-fortes dont Baltard, Galien, Réville et d'autres. Dominique Vivant, baron Denon, dit Vivant Denon, né à Givry le 4 janvier 1747 et mort à Paris le 27 avril 1825, est un graveur, écrivain, diplomate et administrateur français. A l'invitation de Bonaparte, il se joint à l'expédition d'Egypte en embarquant dès le 14 mai 1798 sur la frégate " La Junon ". Protégé par les troupes françaises, il a l'opportunité de parcourir le pays dans tous les sens, afin de rassembler le matériau qui servit de base à son travail artistique et littéraire le plus important. Il accompagne en particulier le général Desaix en Haute Egypte, dont il rapporte de très nombreux croquis, lavis à l'encre et autres dessins à la plume, à la pierre noire, ou à la sanguine. Il dessine sans relâche, le plus souvent sur son genou, debout ou même à cheval, et parfois jusque sous le feu de l'ennemi. A l'issue d'un voyage de 13 mois durant lesquels il dessine plusieurs milliers de croquis, Vivant Denon rentre en France avec Bonaparte, et devient le premier artiste à publier le récit de cette expédition. Les 141 planches qui accompagnent son Journal retracent l'ensemble de son voyage, depuis les côtes de la Corse jusqu'aux monuments pharaoniques de la Haute Egypte. Bonaparte le nomme ensuite directeur général du musée central de la République, qui devient le musée Napoléon, puis le musée royal du Louvre et administrateur des arts. En 1805, Vivant Denon relance le projet de la colonne Vendôme, qui avait été suspendu en 1803. Il organise ensuite des expéditions dans toute l'Europe impériale pour amasser les objets d'art, qui sont pillés pour être emportés au Louvre. En 1814, Louis XVIII le confirme à la tête du Louvre, dont une aile porte encore son nom aujourd'hui. Il est considéré comme un grand précurseur de la muséologie, de l'histoire de l'art et de l'égyptologie. - Photos sur www.Edition-originale.com -
The Painted Tetrarchic Reliefs of Nicomedia. Uncovering the Colourful Life of Diocletian's Forgotten Capital
, Brepols, 2021 Paperback, xx + 200 pages, Size:216 x 280 mm, Illustrations:7 b/w, 255 col., 1 tables b/w., Language(s):English, Turkish. ISBN 9782503594781.
Summary This ground-breaking volume offers the first publication of a major new monument of Roman power in Asia Minor: sixty-six painted marble frieze panels from the city of Nicomedia with an excellent archaeological and architectural context from the Tetrarchic period. During the rule of Diocletian, Nicomedia was the centre of the Late Roman Empire in the east, and the reliefs of the frieze, which decorate an imperial complex built at this time, represent an astonishing combination of imperial, mythological, and agonistic scenes. The reliefs found in Nicomedia fill an important gap in our knowledge between the Severan and Constantinian periods, and provide the East Roman Empire with a defining monument that can be set beside ? and in striking counterpoint to ? the Arch of Constantine in Rome. Published here in full colour and fully documented, the Nicomedia Frieze is, in this hugely important scholarly monograph, brought to the public for the very first time. TABLE OF CONTENTS Preface Chapter 1. Introduction: Nicomedia, Archaeology, and History Chapter 2. Technique, Style, and Colour Chapter 3. Iconography and Interpretation I: Imperial Depictions: Emperors in War and Triumph Chapter 4. Iconography and Interpretation II: Mythological Depictions: Eponymous Heroes of Nicomedia Chapter 5. Iconography and Interpretation III: Agonistic Depictions: Games and Festivals of the 'New' Imperial Capital Chapter 6. Conclusion and Turkish Summary (Türkçe Özet) Chapter 7. The Reliefs: A Catalogue Appendix I: Catalogue of the Smaller Relief Fragments Appendix II: Concordance of Catalogue and Inventory Numbers Bibliography Index
Sarcophagi and Other Reliefs. 4 volumes
, Brepols - Harvey Miller, 2022 Hardback, 4 vols, 1832 pages, Size:220 x 285 mm, Illustrations:190 b/w, 1170 col., Language(s):English, Italian, Latin. ISBN 9781912554560.
Summary The 1,055 drawings catalogued in these four volumes are mainly divided between the Royal Library at Windsor Castle and the Department of Greece and Rome of the British Museum, but are also scattered in other public and private collections across the world. They correspond most closely to Cassiano's definition of the Paper Museum as his attempt to have 'skilled young draughtsmen' draw 'everything good in marbles and bronze which can provide some information about antiquity'. He focused in the first instance on the ancient figurative reliefs which are especially abundant in the city of Rome, carved on marble sarcophagi, tombstones, altars, bases and a wide range of other monuments. The drawings depict both the public reliefs of the city - such as those on the Arch of Constantine or the Column of Marcus Aurelius - and those from the major Roman private collections of the period, including the Aldobrandini, Borghese, Medici, Farnese, Barberini and Giustiniani collections. Cassiano started the project in the 1620s with the intention of publishing the drawings as a series of prints. No printed edition ever came to pass, but the drawings collection expanded with still greater energy in the 1630s, when Pietro Testa and other young artists from the circle of Pietro da Cortona were employed. After Cassiano's death in 1657 the enterprise was carried forward by his younger brother Carlo Antonio, who continued to collect drawings of sarcophagi and reliefs well into the 1680s. Sixteenth century purchases were also made for the collection, including works by Battista Franco and Pirro Ligorio. Four introductory essays explore the context in which the project evolved and discuss the collecting history of the Paper Museum as attested by the mounts and numbering found on many of the drawings. The range of different hands at work are identified, and a detailed survey is provided of the existing albums or the past configurations of others now dismembered.
