By John Vanderlyn
Nonfiction: paintings historical past
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Extra resources for John Vanderlyn's Panoramic View of the Palace and Gardens of Versailles
64 He selected Acr. 674 as a case study for a protracted qualitative exposition of its characteristics in an eﬀort to convey to an audience as yet unfamiliar with the recently excavated statue and in want of adequate color photographs the extent of the individualization that he saw in the image and the distinct, lifelike personality he detected. However, even after a vivid and convincing characterization of the statue, Lechat once more concluded that, granted that individuality is the most outstanding physical characteristic visible in the korai, because neither 674 nor any of the others bears the name of a particular Athenian woman in an inscription, they cannot then be portraits.
52 This time she focuses on Acr. 53 Although Ridgway brings an impressive amount of comparanda to her argument, in my view she assumes too much in her ﬁnal assessment of the entire corpus of korai as a result of the admittedly strong case made for Acr. 681: “It is therefore time to view all Akropolis korai in this light. ”54 Some may be reluctant to take the leap of faith necessary to accept that the existence of the only iconographical indication that the Acropolis korai represent divinities must be argued by absent evidence.
1) and the colossal Acr. 681 (Antenor’s Kore, dedicated by the potter Nearchos and signed by the sculptor Antenor) (ﬁg. 2),43 have periodically been identiﬁed as goddesses; they remain the best candidates for divinity among the korai. Brunilde S. 44 Ridgway is to a degree convincing because, in the case of Acr. 679, what might be considered archaic historiography 25 costume for the time, Doric peplos, when Ionic chiton and himation were the prevailing fashion,45 and the rigid, xoanon-like stance are seen in combination with an advanced sculptural style and technique.
John Vanderlyn's Panoramic View of the Palace and Gardens of Versailles by John Vanderlyn