Archeologia klasyczna w poszukiwaniu swej tożsamości. Między przeszłością, teraźniejszą a historią sztuki

The article defines classical archaeology as one of the first and oldest branches of archaeology practised in Europe by stressing that interests in the relics of ancient civilisations have been deeply embedded in the cultural self-identification of various peoples of Europe. The author aims to recognize how the modern world values contribute to interpretation and conservation of the classical past, especially Greek art and architecture, alongside other ancient objects, and how the Western elites treated them in the past centuries. The issue of common roots of classical archaeology and history of art as well as their long-lasting relationships are also thoroughly discussed. Discrepancies between major research procedures of classical archaeology and art history are scrutinized, especially in terms of an arguable irrelevance of modern concept of art in relation to archaeological evidence. The role of museums in relation to art and antiquities trade is also raised. Furthermore, the author discusses classical archaeology within broader issues of contemporary archaeology. It is recognized that classical archaeology has certainly changed by resigning from the previously dominant connoisseur knowledge approach to artefacts, concentrated solely on the works of art often seen as autonomous entities devoid of the context of their production, meaning and perception. Finally, the author defines contemporary classical archaeology as a rapidly changing discipline, reformulating its research agenda and opening up to cooperation with numerous other disciplines. Nevertheless, this should not mean a wholesale rejection of its great legacy of being a history of ancient art. On the contrary, this traditions ought to be redefined and incorporated into contemporary research agenda of the discipline.The article defines classical archaeology as one of the first and oldest branches of archaeology practised in Europe by stressing that interests in the relics of ancient civilisations have been deeply embedded in the cultural self-identification of various peoples of Europe. The author aims to recognize how the modern world values contribute to interpretation and conservation of the classical past, especially Greek art and architecture, alongside other ancient objects, and how the Western elites treated them in the past centuries. The issue of common roots of classical archaeology and history of art as well as their long-lasting relationships are also thoroughly discussed. Discrepancies between major research procedures of classical archaeology and art history are scrutinized, especially in terms of an arguable irrelevance of modern concept of art in relation to archaeological evidence. The role of museums in relation to art and antiquities trade is also raised. Furthermore, the author discusses classical archaeology within broader issues of contemporary archaeology. It is recognized that classical archaeology has certainly changed by resigning from the previously dominant connoisseur knowledge approach to artefacts, concentrated solely on the works of art often seen as autonomous entities devoid of the context of their production, meaning and perception. Finally, the author defines contemporary classical archaeology as a rapidly changing discipline, reformulating its research agenda and opening up to cooperation with numerous other disciplines. Nevertheless, this should not mean a wholesale rejection of its great legacy of being a history of ancient art. On the contrary, this traditions ought to be redefined and incorporated into contemporary research agenda of the discipline

Ancient mythological images and their interpretation: an introduction to iconology, semiotics and image studies in classical art history

When we try to make sense of pictures, what do we gain when we use a particular method - and what might we be missing or even losing? Empirical experimentation on three types of mythological imagery - a Classical Greek pot, a frieze from Hellenistic Pergamon and a second-century CE Roman sarcophagus - enables Katharina Lorenz to demonstrate how theoretical approaches to images (specifically, iconology, semiotics, and image studies) impact the meanings we elicit from Greek and Roman art. A guide to Classical images of myth, and also a critical history of Classical archaeology's attempts to give meaning to pictures, this book establishes a dialogue with the wider field of art history and proposes a new framework for the study of ancient visual culture. It will be essential reading not just for students of classical art history and archaeology, but for anyone interested in the possibilities - and the history - of studying visual culture. This book: - Proposes a new framework for the study of (ancient) visual culture based on engagement with Greek and Roman mythological imagery, appealing to those seeking to better their understanding of Greek and Roman cultural history. - Relates historiography and method development in Classical archaeology and ancient art history to the art history of more modern periods, and will therefore be of interest to readers interested in the Classical world and those concerned with more recent historical periods. - Tracks intellectual developments in different contexts and carves out their similarities and differences, speaking to readers from different intellectual backgrounds and familiarising them with broader developments in western European art history

H88-0204. Winter, John G. (1881-1956). Papers, 1901-1971 (bulk, 1909-1944). 0.50 linear ft.

Personal papers of John G. Winter, instructor of Latin and Greek at Hope College and the University of Michigan, and director of the Museum of Art and Archaeology in Ann Arbor. Includes articles, book reviews, valedictory speech, and a sculpture. Major subjects are classical history, archaeology, and papyrology

Archeologia klasyczna na Uniwersytecie w Poznaniu i konteksty jej powoływania

The article presents the history of Classical Archaeology as a research and study area in Poznań, from the perspective of the times in which it was created and developed. The author of the text also outlines scientific achievements of Poznań university centre in the field. The subject was established already in 1919 with the creation of the University of Poznań itself, and it grew steadily in the interwar period, mainly through the efforts of the only specialist -Mieczysława S. Ruxer, PhD. After World War II, Classical Archaeology had been taught at the University since the resumption of its activities in 1945 until 1969, when it was closed. Archaeologists, however, continued both research and teaching in the area -­­ working in the Institute of History and the Institute of History of Art. Moreover, since 1970 Adam Mickiewicz University in Poznań has had its own archaeological mission excavating the ancient legion camp and the city of Novae (present Bulgaria). After the fall of communism and the political transformation in 1989, endeavours were made to reactivate Classical Archaeology in Poznań. As a result, it was re-created in 1999, being a part of the Archaeology subject at the Institute of Prehistory, as a specialisation of Archaeology of the Mediterranean. In 2004 it was renamed and since then there has been the specialisation of Oriental and Ancient Archaeology, developing at the Institute of Prehistory at Adam Mickiewicz University

Archaeological fragments and other sources of information

Although the medium I have chosen to discuss, sculpture, is an artistic one and involves by its own nature strong elements of aesthetics and iconography, I shall deal with it also from the archaeological perspective. This distinction between these two disciplines was brought to the fore in my mind by a recent article in an Italian archaeological magazine which commemorated a man who rightly deserves to be considered the founder of ancient Classical art history, namely, Johann Joachim Winkelmann (1717-1767). Winkelmann set down and published the first history of Greco-Roman art in 1764. The authors of the article declared him to be the first archaeologist and to have introduced the archaeological method in the study of ancient art. At first I found this attribution questionable since it is nowhere recorded that he was ever involved in archaeological field work, but then I realized that this attitude is, or was, quite standard in continental academic circles, as opposed to AngloSaxon ones. I should have known better since I had my professional training in both of them, having studied in the lstituto di Archeologia e Storia dell'Arte Antica of the University of Palermo and at the Institute of Archaeology of the University of London.peer-reviewe

Still Questioning the Ideal: Possibilities for the Critical Curation of Classical Antiquities at the Montreal Museum of Fine Arts

Although Survey Museums are slowly becoming more receptive to the possibility of creating exhibitions using critical frameworks, Mediterranean archaeology collections within these institutions are overwhelmingly presented using a grand narrative of idealization of the Classical world. These exhibitions of the Classical world not only negate the diversity of realities of the Classical past, but also deny the existence of problematic discourses within the fields of art history and archaeology thereby contributing to the perception of a Western supremacy inside and outside of the museological context. This thesis examines art historical and archaeological discourses surrounding Mediterranean archaeology, and the impact of its presentation as art or artifact, historically and within the context of the Survey Museum, as a starting point for the curation of a new exhibition of Mediterranean Archaeology at the Montreal Museum of Fine Arts due to open in the fall of 2019. This examination is then countered with an overview of relevant Critical Museological theory and Institutional Critique artistic practice in order to suggest a possible critical curatorial methodology for the display of Mediterranean archaeology. Using this curatorial methodology, the proposal for the new exhibition of the Mediterranean Archaeology collection at the Montreal Museum of Fine Arts is presented, including all didactic panels, object labels and images

Sophocles and his Audience: 'Classical Heroes' for the Elite?

Johann Joachim Winckelmann not only idealized Greek Classical art, but also the whole ancient Classical Greek world in a way that went well beyond what could be envisaged as historical knowledge. His influence on the history of contemporary literature and on classical scholarship, however, is not an obvious topic to scrutinize, since he was almost exclusively preoccupied with visual artistic creation, and in particular sculpture. Winckelmann is indeed considered as a pioneer figure for art history and archaeology, but his influence on literary scholars is less well studied, although Rudolf Pfeiffer, in his 1976 book on the history of Classical scholarship, had already clearly acknowledged it: 'Winckelmann's ideas and writing were decisive for the future of classical scholarship.

A Never-Ending Quest: Shadakshari Settar (1935–2020)

Shadakshari Settar’s research covered various fields like history, archaeology, art history, Darshana Shastra, Jaina way of life, epigraphy, and classical Kannada, among others. More than 20 books and 100 research articles in these areas, besides several unfinished projects, speak volumes about his original contribution to historical studies in India