Résumés
The contribution offers an overview of the history of reconstructions and their use, with a representative selection of formats and their contexts, from the beginnings in the early 19th century to the present. The polychromy of ancient architecture is dealt with only to a limited degree.
The point of departure is a perceived need of establishing an informed and critical discussion of the whys and wherefores of reconstructions. On the background of the investigative technologies which have been developed with unprecedented rapidity, a methodological protocol allowing cross-checks of data is recommended.
Cet article présente un bref historique des restitutions et de leur utilisation, avec un choix représentatif des méthodes et de leurs contextes, depuis les prémices au début du xixe siècle jusqu’à aujourd’hui. Il examine dans une certaine mesure la polychromie des architectures antiques. Le point de départ était la nécessité d’instaurer un débat sérieux et critique sur les fins et les moyens de la restitution. À une époque où les techniques d’investigation se développent avec une rapidité sans précédent, il est recommandé d’adopter un protocole prévoyant un recoupement des données.
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Extrait du texte
Ce document sera publié en ligne en texte intégral en juillet 2021.
Plan
Reconstructions: recent appearances and reactions
The two-dimensional format: Le Jupiter olympien, 1814
Reconstruction on plaster casts: The Greek Court in The Crystal Palace, 1854
Scale model reconstructions: Georg Treu and Adolf Furtwängler
Advances in 2D reconstruction and the first 1:1 physical reconstructions
1986 onwards: A new era of 3D reconstructions
The materials of 3D reconstructions: from plaster to synthetic marble and marble
Reconstructing the polychromy of bronze sculpture
Developments in 2D analogue and digital reconstructions
Conclusions
Aperçu du texte
Reconstructions: recent appearances and reactions
Since the late 20th century, considerable resources have been spent on producing reconstructions of ancient sculptural polychromy. This reflects two basic facts: on the one hand, increased research activity and thus a greater amount of available data. On the other hand, the wish to explore the two overarching aspects of reconstructions, namely their usefulness as research tools and as a means of communication to a wider public.
Reconstructions of polychromy on physical, 1:1 copies of the original sculptures have been given a particularly prominent position, both in the public eye and in a scholarly context. Since 2003, such reconstructions have been shown in exhibitions on ancient sculptural polychromy and reproduced in the accompanying catalogues. One such was “Transformations. Colour in classical sculpture” shown at the Ny Carlsberg Glyptotek in 2014 (fig. 1), but the most important has been the exhibition “Bunte Götter. Die Farbigke...
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Pour citer cet article
Référence papier
Jan Stubbe Østergaard, « “Reconstruction” of the polychromy of ancient sculpture: a necessary evil? », Technè, 48 | 2019, 110-119.
Référence électronique
Jan Stubbe Østergaard, « “Reconstruction” of the polychromy of ancient sculpture: a necessary evil? », Technè [En ligne], 48 | 2019, mis en ligne le 01 juillet 2021, consulté le 02 mars 2021. URL : http://journals.openedition.org/techne/2656 ; DOI : https://doi.org/10.4000/techne.2656
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