A Passion for Antiquities: Ancient Art from the Collection of Barbara and Lawrence Fleischman

A Passion for Antiquities: Ancient Art from the Collection of Barbara and Lawrence Fleischman

Language: English

Pages: 358

ISBN: 0892362235

Format: PDF / Kindle (mobi) / ePub


The collection of Barbara and Lawrence Fleischman of New York is one of the most important private collections of ancient Greek and Roman art in the United States and among the most important in the world. Its more than three hundred obects span the Bronze Age to the Late Antique. They include bronze statuettes, marble sculpture, vases, jewelry, lamps and candelabra, keys, weights, and silver bowls and utensils. A Passion for Antiquities provides historical and descriptive information about the objects by a group of eighteen distinguished contributors.

A Brief History of Curating

Cult Magazines, A to Z: A Compendium of Culturally Obsessive & Curiously Expressive Publications

The Studio Reader: On the Space of Artists

Taxidermy Art: A Rogue's Guide to the Work, the Culture, and How to Do It Yourself

On Kawara (Contemporary Artists)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

insoluble puzzles; to anyone who had seen the play it would have been an amusing reminder of the particular plot that makes sense of this bizarre combination of images. All this is even more applicable to another bell krater (cat. no. 57; dating from circa 3/os). This same painter, the Rainone Painter, was responsible for another conspicuously enigmatic comic scene, which may be connected with a burlesque of the Antigone story.12 The two old men on this krater are typical, as is the stage, and

variety of art that had been created during the United States' two brief centuries of existence. Deciding to focus their attention on works of art created during the life of their own country, Larry and Barbara spent the next decade building a major collection of American painting and sculpture. Not satisfied to simply own the works of art, the Fleischmans wanted to know everything they could about the artists and the intellectual achievements of the various periods. As a corollary to their own

monuments, see H. Lohmann, Grabmaler auf unteritalischen Vasen, Archàologische Forschungen 7 (Berlin, 1979). For the heads on handle volutes, see, L. Giuliani, "Vierfàltige Lockenkópfe," Kanon: Festschrift Berger (= AntikeKunst, Beiheft 15 [1988]), pp. 159-164. —A. D. T. 63 Situla Attributed to the Workshop of the Konnakis Painter [A. D. Trendall] Apulian (Gnathia ware), circa 360-350 B.C. Terracotta; H (WITHOUT HANDLE ATTACHMENTS): 21.9 cm; (WITH ATTACHMENTS): 25.5 cm; DIAM (OF MOUTH): 21 cm

light green patina. 73 100 ETRURIA The foot, which is cast solid, consists of a feline paw surmounted by an attachment plate in openwork relief. From the paw, which has strongly developed fleshy pads under the claws, rises an elongated, flat Ionic capital with an incised triangle and a beaded abacus. On this, but extending beyond it on either side, rests a row of symmetrically opposed cut-out waves. Over their crests skims a nude winged youth with his knees bent in a position known as

an Etruscan Workshop," Muse (Annual of the Museum of Art and Archaeology, University of Missouri) 5 (1971), pp. 35-42. 88-89 87 Pithos with Geometric Decoration A-B Pair of Plates C-D Pair of Plates Etruscan, 650-625 B.C. Terracotta; H : 70 cm Condition: Reconstructed from fragments. Attributed to various Caeretan workshops [J. Szilagy] Etruscan, Plate A: 660-640 B.C.; Plate B: 680-660 B.C.; Plates C and D: 680-670 B.C. Terracotta; DIAM (A): 37 cm; (B): 35 cm; (c): 29 cm; (D): 28 cm

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