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Full Description
Adolf Furtwängler (1853-1907) was a prominent German archaeologist and art historian specialising in classical art. He was appointed assistant Director of the Königliche Museen zu Berlin in 1880, a position he held until 1894 when he was appointed professor of Classical Archaeology in Munich. He is best known for developing the Kopienkritik approach to studying Roman sculpture, which he introduces in this volume first published in 1885 and translated into English by Eugenie Strong in 1895. Kopienkritik is a methodology which assumes that Roman sculptures are copies of Greek originals, and that by studying the Roman copies the original Greek sculpture can be reconstructed. This approach dominated the study of classical sculpture in the twentieth century and remains influential despite repeated criticism. Furtwängler compares the styles of known classical Greek sculptors with Roman statues to uncover the original sculptor in this defining example of the Kopienkritic approach.
Contents
Author's preface; Editor's preface; Part I. Pheidias: 1. Discovery of the Lemnian Athena; 2. Site of the Lemnia on the Akropolis; 3. Comparison between Lemnia and Parthenos; 4. Analysis of the Lemnia; 5. Drapery and pose of the Lemnia; 6. Monuments related to Lemnia and to Parthenos; 7. The Olympian Zeus; 8. Other works related to the Lemnia; 9. Pheidias and his pupils, Alkamenes and Agorakritos; 10. The Dioscuri of Monte Cavallo, and the elder Praxiteles; 11. Pheidian influences in Sicily and Magna Graecia; Part II. Kresilas and Myron: 1. Literary and epigraphical evidence for the life of Kresilas; 2. The portrait of Perikles; 3. The Diitrephes; 5. The Amazon; 6. The Diomede; 7. The Medusa Rondanini; 8. Statue of an athlete at Petworth; 9. Relation of Kresilas to Myron; 10. Statues by Myron; 11. The 'Cassel Apollo'; 12. The Perseus; 13. Myronian female head; 14. The Munich Zeus and the first Aegive School; Part III. Polykleitos: 1. Historical and epigraphical evidence; 2. The Doryphoros; 3. The Diadumenos; 4. The Amazon; 5. The basis of the statue of Kyniskos; 6. The basis of the statue of Pythokles; 7. The basis of the statue of Xenokles; 8. The basis of the statue of Aristion; Skopas. Praxiteles. Euphranor: 1. Skopas; 2. Praxiteles; 3. Euphranor; Part IV. The Venus of Milo: 1. The lost inscribed fragment; 2. Restoration of the statue; 3. Influences that affected the artist of the 'Venus': The Apollo of the Belvedere; Appendix - the Temples of Athena on the Akropolis; Index.
