Excerpt from Praxiteles Elftes Kapitel. Amxs Zwölftes Kapitel. Nwnn Dreizehntes Kapitel mxöpm und Dmrnmpnonm. Vierzehntes Kapitel. Emma Fünfzehntes Kapitel. N man. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Excerpt from The Hermes of Praxiteles and the Venus Genetrix: Experiments in Restoring the Color of Greek Sculpture The value of the testimony of these little terra - cotta figures in regard to the coloring of marble sculpture has often been disputed. It is argued that the archaeologist of the future might just as safely draw inferences from Dres den or Sevres figures as to the color of the sculpture of the present. This is perfectly true if the question at issue be whether the larger forms of sculpture were colored at all. But granted that this fact has been proved admitting not only that we have indisputable evidence that the mar ble statues were colored, but that scraps of color have been found upon them which correspond in character with those seen on the same parts of terra-cottas of the same period, then, it seems to me, we are warranted in assuming that the other portions of the marble statues, as to which direct evidence is lacking, were treated in the same taste, as te gards the quality and combination of colors. And if, in what color remains upon them, the marble statues agree in one important particular not only with the terra - cottas but with the figures in wall-paintings, we certainly have good reason to believe that the Greeks had a common scheme for the coloring of their figures, whether large or small, sculptured or painted; and in default of evidence to the contrary we are justified in applying what we learn from one of these forms of art to either of the others, for any points on which their own evidence is lost. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Praxiteles is one of the most famous sculptors from ancient Greece. This study looks at both his personal background and the activities of his workshop. Chapters are devoted to placing Praxiteles in the artistic context of the period, alongside his rivals, before Corso examines his birth, family, early life and education. Subsequent chapters look at the work of Praxiteles in the workshop of Cephisodotus the Elder in the late 4th century and the art he created then, before turning to Praxiteles' own workshop and the now famous collection of works that he produced: The kidnapping of Persephone, Persephone descending to the Underworld, The Caryatids, the Maenads, and the bronze statues of Dionysus and Eros, to name just a few.
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Excerpt from Praxiteles Elftes Kapitel. Amxs Zwölftes Kapitel. Nwnn Dreizehntes Kapitel mxöpm und Dmrnmpnonm. Vierzehntes Kapitel. Emma Fünfzehntes Kapitel. N man. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Excerpt from Six Greek Sculptors It is impossible to acknowledge my obligation to all my predecessors, but I would more especially mention M. Collignon's H istoire de la Sculpture Grecque, to which I have made constant reference, and the various works of Professor Furtwangler, above all his Master pieces of Greek Sculpture. To Mrs. Strong I am in debted for her help in the choice of illustrations, and for the loan of many photographs; also to both authors and publisher for permission to reproduce some details from the magnificent plates of hamdy-bey and Th. Reinach, Une Necropole Royale (3 Sidon. Other publications from which I have borrowed are mentioned in the list of illustrations; I would especially quote among these the Fouilles de Delphes. I must also acknowledge the permission to photograph and repro duce the statue of Heracles in the Lansdowne collection. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Excerpt from A History of Greek Sculpture IN this work I have been materially assisted by the editor, Professor Herbert Weir Smyth, to whose judgement I have Often referred. Professor George H. Chase and Professor Harold N. Fowler have read all the proof sheets, and given me many valuable suggestions. Professor Arthur Sherburne Hardy has placed me under lasting Obligation. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Excerpt from A History of Sculpture Much that might properly occur in the preface of this book will be found in its opening chapter. I there set out. The ground to be covered, and define the point of view from which I have treated my facts. These few remarks will, accordingly, be addressed to any who may think that a work bearing the title A History of Sculpture requires a word of introduction. My justification for the title and, indeed, for the work as a whole, is that I have not attempted to write a new text-book. In my view, all great art is essentially national art. It can therefore only be understood in the light of national and international history. For this reason, I have given much more attention to the artistic interpreta tion of historical events and social circumstances than most historians of the arts have deemed necessary. Throughout I have written from the standpoint of one who believes that the great schools of sculpture were created, not by individuals of genius, but by the peoples to whom they appealed. A work written on these lines can fairly claim to be A History of Sculpture. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
