Sur la statue antique de Vénus Victrix : découverte dans l'île de Milo en 1820, transportée à Paris et donée au roi par M. le Marquis de Rivière ... ; et, Sur la statue antique connue sous le nom de l'Orateur du Germanicus, et d'un personnage romain en mercure /

Includes bibliographical footnotes.

Die Skulpturen mit Ausnahme der Altarreliefs.

Mode of access: Internet.

Die athenastatue des Phidias im Parthneon [!] und die neuesten auf sie bezüglichen entdeckungen : ein beitrag zur feier des funfzigjährigen doctorjubiläums Eduard Gerhards /

Mode of access: Internet.

Répertoire de la statuaire grecque et romaine /

Includes indexes.

Den Gräske kunst fra Perserkrigene til Romertiden : en populaer fremstilling /

Mode of access: Internet.

The sculptures of the Parthenon /

Mode of access: Internet.

Répertoire de la statuaire grecque et romaine /

Includes indexes.

Catalogue of the celebrated collection of Greek, Roman & Egyptian sculpture and ancient Greek vases : being a portion of the Hope heirlooms removed from Deepdene, Dorking, the property of Lord Francis Pelham Clinton Hope, which will be sold by auction by Christie, Manson & Woods... London, on Monday, July 23, 1917...

Mode of access: Internet.

Outlines from the antients, exhibiting their principles of composition in figures and bassorilievos [sic], taken chiefly from inedited monuments of Greek and Roman sculpture.

Mode of access: Internet.

Revolutionary self portrait

'Revolutionary Self Portrait' (2009) is a sculptural self-portrait. The work comprises a bust engulfed in hair and a scalloped pedestal stand. Historically, divine energy has frequently been depicted using fluid forms - drapery, clouds and occasionally hair. These forms and associations act as a departure point for this sculpture in which the figure is depicted in a state of inundation by billowing tufts hair. The work was also inspired by the tendency of great 19th century utopian thinkers - for example Marx, Bakunin and Kropotkin - to wear large beards. Within both traditions, the language of heroic subjectivity is amplified by a sculptural extension of the body. In 'Revolutionary Self Portrait' however, this extension threatens to suffocate the subject - a gesture made all the more ironic due to the fact that the artist himself is incapable of growing a beard. The work was selected for the National Artists' Self Portrait Prize, University of Queensland Art Museum, 2009.

The use of cues for attention in ancient Greek art: aspects that influence concentration in the work of art and its elements

The goal of this study is to identify cues for the cognitive process of attention in ancient Greek art, aiming to find confirmation of its possible use by ancient Greek audiences and artists. Evidence of cues that trigger attention’s psychological dispositions was searched through content analysis of image reproductions of ancient Greek sculpture and fine vase painting from the archaic to the Hellenistic period - ca. 7th -1st cent. BC. Through this analysis, it was possible to observe the presence of cues that trigger orientation to the work of art (i.e. amplification, contrast, emotional salience, simplification, symmetry), of a cue that triggers a disseminate attention to the parts of the work (i.e. distribution of elements) and of cues that activate selective attention to specific elements in the work of art (i.e. contrast of elements, salient color, central positioning of elements, composition regarding the flow of elements and significant objects). Results support the universality of those dispositions, probably connected with basic competencies that are hard-wired in the nervous system and in the cognitive processes.

Portrait Head of a Ruler, left front view

Sculpture, Iraq, Akkadian; H: 13-1/2 in.; copper

Portrait Head of a Ruler, right side

Sculpture, Iraq, Akkadian; H: 13-1/2 in.; copper

Portrait of the Emperor Caracalla, left side

Sculpture, Roman, Late Imperial; H: 1 ft. 1 1/2 in.; copper alloy

A companion to Greek studies;

Tozer, H.F. Geography.--Tristram, H.B. Fauna.--Tristram, H.B. Flora.--History: 1. Hicks,R.D. Chronology. 2. Chronological Tables.--Jebb, Sir R. Literature.--Philosophy: 1. Jackson, H. Schools to Aristotle. 2. Hicks, R.D. Later Schools.--Gow, J. Science.--Art: 1. Penrose, F.C. Architecture. 2. Waldstein, C. Prehistoric art. 3. Waldstein, C. Sculpture. 4. Earp, F.R. Painting. 5. Smith, A.H. Vase Painting. 6. Smith, A.H. Terracottas. 7. Ridgeway, W. Engraved gems. 8. Hind, R.D. Archer--Music.--Gardner, E.A. Mythology and religion.--Public antiquities: 1. Whibley, L. Constitutions. 2. Wyse, W. Law. 3. Wyse, W. Finance. 4. Mayor, R.J.G. Population. 5. Mayor, R.J.G. Slaves and slavery. 6. Edwards, H.J. Colonies. 7. Edwards, H.J. Commerce and industry. 8. Ridgeway, W. Measures and weights. 9. Ridgeway, W. Money. 10. Oman, C.W.C. War. 11. Cook, A.B. Ships. 12. Gow, J. The calendar.--Private antiquities: 1. Gow, J. A table of the relationships of a man. 2. Harrison, Miss J. Ritual of birth, marriage, and death. 3. Wilkins, A.S. Education. 4. James, M.R. Books and writing. 5. Cornish, F.W. The position of women. 6. Evans, Lady Dress. 7. Gardner, E.A. Daily life, its surroundings, employments and amusements. 8. Gardner, E.A. House and furniture. 9. Allbutt, T.C. Medicine.--Criticism and Interpretation: 1. Neil, R.A. Dialects. 2. Roberts, E.S. Epigraphy. 3. Harris, J.R. Palaeography. 4. Jebb, Sir R. Textual criticism. 5. Verrall, A.W. Metre. 6. Sandys, J.E. History of scholarship.--Indices.