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- catalog abstract ""The Ara Pacis Augustae, or Altar of Augustan Peace, was built to commemorate the return to Rome of the emperor Augustus and his general Agrippa, who had been away for many years on military campaigns. Dedicated in 9 B.C., the monument consists of an altar and surrounding wall, both decorated with a series of processional friezes. Art historians and archaeologists have made the Ara Pacis one of the best-known, most-studied monuments of Augustan Rome; its friezes, though fragmented with age, remain one of the best existing examples of Augustan relief sculpture." "Conlin questions the long-held assumption that the friezes' sculptors were anonymous Greek masters, directly influenced by the reliefs carved on the Parthenon. Through close analysis of the sculptures, Conlin demonstrates that the carvers of the large processional friezes were actually Italian-trained sculptors influenced by both native and Hellenic stonecarving practices. Her conclusions rest on a systematic examination of the evidence left on the marble by the sculptors themselves - the traces of tool marks, the carving of specific details, and the compositional formulas of the friezes."--Jacket.".
- catalog contributor b10452259.
- catalog created "1997.".
- catalog date "1997".
- catalog date "1997.".
- catalog dateCopyrighted "1997.".
- catalog description ""The Ara Pacis Augustae, or Altar of Augustan Peace, was built to commemorate the return to Rome of the emperor Augustus and his general Agrippa, who had been away for many years on military campaigns. Dedicated in 9 B.C., the monument consists of an altar and surrounding wall, both decorated with a series of processional friezes. Art historians and archaeologists have made the Ara Pacis one of the best-known, most-studied monuments of Augustan Rome; its friezes, though fragmented with age, remain one of the best existing examples of Augustan relief sculpture." "Conlin questions the long-held assumption that the friezes' sculptors were anonymous Greek masters, directly influenced by the reliefs carved on the Parthenon. Through close analysis of the sculptures, Conlin demonstrates that the carvers of the large processional friezes were actually Italian-trained sculptors influenced by both native and Hellenic stonecarving practices. Her conclusions rest on a systematic examination of the evidence left on the marble by the sculptors themselves - the traces of tool marks, the carving of specific details, and the compositional formulas of the friezes."--Jacket.".
- catalog description "Includes bibliographical references (p. [133]-139) and index.".
- catalog extent "xviii, 145 p., [194] p. of plates:".
- catalog identifier "0807823430 (cloth : alk. paper)".
- catalog isPartOf "Studies in the history of Greece & Rome".
- catalog isPartOf "Studies in the history of Greece and Rome.".
- catalog issued "1997".
- catalog issued "1997.".
- catalog language "eng".
- catalog publisher "Chapel Hill : University of North Carolina Press,".
- catalog spatial "Italy Rome.".
- catalog subject "733/.5/09376 20".
- catalog subject "Ara Pacis (Rome, Italy)".
- catalog subject "Friezes Italy Rome.".
- catalog subject "Human figure in art.".
- catalog subject "Marble sculpture, Roman Italy Rome.".
- catalog subject "NB133 .C66 1997".
- catalog subject "Peace in art.".
- catalog subject "Relief (Sculpture), Roman Italy Rome.".
- catalog subject "Sculpture, Hellenistic Influence.".
- catalog title "The artists of the Ara Pacis : the process of Hellenization in Roman relief sculpture / Diane Atnally Conlin.".
- catalog type "text".