By Elaine K. Gazda (editor)
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Additional info for The Ancient Art of Emulation: Studies in Artistic Originality and Tradition from the Present to Classical Antiquity (Memoirs of the American Academy in Rome. Supplementary Volumes, Vol. 1, 2002)
How far versionsor BEYOND COPYING 21 variations, such as the Riace bronzes, can be regarded as one of a kind "originals," a problem that so preoccupies modern scholars, may well not have been an issue for the Greeks. " Far more productive and, in my opinion, valid is Hollinshead's approach to these supporting members as enabling devices, providing the Roman-era sculptor with a wide variety of options for contriving poses and for translating into marble-and even rivalingdesigns that had been worked out in two dimensions.
2930. "Hoc illud est praecipue in cognitione rerum salubre ac frugiferum, omnis te exempli documenta in inlustri posita monumento intueri; inde tibi tuaeque rei publicae quod imitere capias, inde foedum inceptu, foedum exitu, quod vites.... nulla umquam res publica nec maior 38 nec sanctior nec bonis exemplis 39 ditior fuit . 42 But what of Romanauthorswho seem to reinforceWinckelmann'shierarchywith claims of Greek superiorityin the arts? Two passagesfromVirgiland Horace are amongthose most often cited in support of the notion of Romansubservienceto the Greeksin the realmof art.
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The Ancient Art of Emulation: Studies in Artistic Originality and Tradition from the Present to Classical Antiquity (Memoirs of the American Academy in Rome. Supplementary Volumes, Vol. 1, 2002) by Elaine K. Gazda (editor)