Classicism in the English library: Reading classical culture in the late eighteenth and early nineteenth centuries

Coltman, Viccy

doi:10.1093/jhc/11.1.35

Cited by 8 publications

(3 citation statements)

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“…I biblioteket samsades antika författare, böcker, konst-och tryckalster med tredimensionella skulpturer, vaser och modeller. 67 Det var framför allt skulpturer (ofta i gips) och arkitekturmodeller som åskådliggjorde antikens formlära. Flera av Soanes miniatyrmodeller var utförda i gips, som Poseidontemplet i Paestum.…”

Section: Om Bokens Kapitelunclassified

Kulturarvets mediehistoria: dokumentation och representation 1750–1950

Snickars¹

2020

Mediehistoriskt Arkiv

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Section: Om Bokens Kapitelunclassified

Kulturarvets mediehistoria: dokumentation och representation 1750–1950

Snickars¹

2020

Mediehistoriskt Arkiv

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“…However, the vast libraries and collections of his wealthy acquaintances, many of whom had a particular interest in Classical antiquities, provided a wealth of additional material for him to draw on; e.g., he refers to the collection of Charles Townley (1737-1805: a wealthy antiquary whose GraecoRoman antiquities were donated to the British Museum) in a discussion of pottery from Woodchester (Lysons 1797: 10: footnote 28; see also the reference to Sir William Hamilton's collection at the British Museum (Lysons 1797: 15: footnote 36); on library collections see Coltman 1999Coltman , 2006). …”

Section: Explaining the Past: Lysons And Contemporary Scholarshipmentioning

confidence: 99%

Samuel Lysons and His Circle: Art, Science and the Remains of Roman Britain

Scott

2013

Bulletin of the History of Archaeology

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This paper critically evaluates the social and intellectual influences which shaped Samuel Lysons’ (1763–1819) interests in the archaeological remains of Roman Britain, and assesses the extent to which his work was innovative. While Romano-British archaeologists have long admired his achievements, there has been no detailed examination of the factors influencing the development of his interests and approach. This paper will outline how Lysons’ social networks, his genuine concern for preserving and recording Romano-British remains, his broad scholarly interests, and the support of an intellectual elite involved with the expansion of national institutions during a period characterized by intense international rivalry, resulted in his exemplary approach to the excavation and publication of the remains of Roman Britain. Scrutiny of newspaper reports, diaries, correspondence, and the previously unpublished contents of his personal library, and an examination of his publications in relation to contemporary Classical and scientific scholarship, shows how and why his work was at the forefront of archaeological scholarship in this period. The results of this study support his reputation as a founding father of Romano-British archaeology and show that both he and his associates deserve far wider recognition of their contributions to the development of archaeology as a whole

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“…7, 8), as was the habit of the neoclassicist estate in the age of the Enlightenment, all the way up to the collection's nationalisation and removal from the premises. 44 Neoclassicist tastes were also fully represented by the copies of classical sculptures and portraits, which had been turned into a collection of busts.…”

mentioning

confidence: 99%

Collecting Art in the Turmoil of War: Lithuania in 1939–1944

Jankevičiūtė

Daugelis²

2020

Art History &Amp; Criticism

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SummaryThe article deals with the growth of the art collections of the Lithuanian national and municipal museums during WWII, a period traditionally seen as particularly unfavourable for cultural activities. During this period, the dynamics of Lithuanian museum art collections were maintained by two main sources. The first was caused by nationalist politics, or, more precisely, one of its priorities to support Lithuanian art by acquiring artworks from contemporaries. The exception to this strategy is the attention given to the multicultural art scene of Vilnius, partly Jewish, but especially Polish art, which led to the purchase of Polish artists’ works for the Vilnius Municipal Museum and the Vytautas the Great Museum of Culture in Kaunas, which had the status of a national art collection. The second important source was the nationalisation of private property during the Soviet occupation of 1940–1941. This process enabled the Lithuanian museums to enrich their collections with valuable objets d’art first of all, but also with paintings, sculptures and graphic prints. Due to the nationalisation of manor property, the collections of provincial museums, primarily Šiauliai Aušra and Samogitian Museum Alka in Telšiai, significantly increased. The wave of emigration of Lithuanian citizens to the West at the end of the Second World War was also a favourable factor in expanding museum collections, as both artists and owners of their works left a number of valuables to museums as depositors. On the other hand, some museum valuables were transported from Vilnius to Poland in 1945–1948 by the wave of the so-called repatriation of former Vilnius residents who had Polish citizenship in 1930s. The article systematises previously published data and provides new information in order to reconstruct the dynamics of the growth of Lithuanian museum art collections caused by radical political changes, which took place in the mid 20th century.

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Classicism in the English library: Reading classical culture in the late eighteenth and early nineteenth centuries

Cited by 8 publications

References 0 publications

Kulturarvets mediehistoria: dokumentation och representation 1750–1950

Kulturarvets mediehistoria: dokumentation och representation 1750–1950

Samuel Lysons and His Circle: Art, Science and the Remains of Roman Britain

Collecting Art in the Turmoil of War: Lithuania in 1939–1944

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