Book Reviews by Sheila Dillon
This handsomely produced volume is a revised version of Cristina Murer's University of Amsterdam ... more This handsomely produced volume is a revised version of Cristina Murer's University of Amsterdam 2013 dissertation, written under the direction of Emily Hemelrijk as part of a larger research project entitled 'Hidden Lives -Public Personae: Women in the Urban Texture of the Roman Empire'. The study explores the questions of when, where and why female citizens were given honoric statues in the cities of Italy and North Africa. Display locationthat is, the question of whereis the primary concern and was therefore the guiding principle by which the statues M. focuses on were chosen. While display context has sometimes been considered in previous scholarship on honoric portrait statuary, this is the rst study to take location within the urban landscape as the main axis of analysis. With its focus on the archaeological evidence, M.'s book nicely complements and can be read as a companion volume to Hemelrijk's recent 2015 monograph, Hidden Lives, Public Personae: Women and Civic Life in the Roman West.
Art Bulletin 94.1 (March 2012) 131-33.
Art Bulletin 89 (2007) 160-62.
Journal of Roman Archaeology 20 (2007) 428-31.
Classical World 93 (1999) 115-16.
Publications by Sheila Dillon
The Portrait Face, 2021
This chapter analyses the patterns of patronage in portrait statues on Delos and in Athens in the... more This chapter analyses the patterns of patronage in portrait statues on Delos and in Athens in the late Hellenistic period. The aim is to reassess the notion, first suggested by Andrew Stewart in 1979 and now widely accepted, that in this period Delos and Athens represented wholly separate spheres of portrait production, with the portraits from one-Delos-more cutting-edge in their style, and those from the other-Athens-still being made in the by then old-fashioned neo-Classical style. I first examine the abundant epigraphic evidence from both places, focusing on the portraits set up by Athenian patrons of Athenian subjects, and I then consider the sculptural remains. I conclude that the epigraphic evidence shows a much closer connection between Delos and Athens in this period and, while it does indeed appear sculptors mostly worked in one center or the other, the patrons and subjects of these statues were active in both. Finally, I argue that the realism one observes in these late Hellenistic portraits is better understood within the long history of portraiture in Athens, rather than being explained as the result of Roman influence. 1
Public Statues Across Time and Cultures, 2021
Journal of Roman Archaeology, 1996
Journal of Roman Archaeology, 2000
Representations of War in Ancient Rome, 2006
Samothracian Connections
Festschrift for James McCredie
Early Hellenistic Portraiture: Image, Style, Context , 2007
A Companion to Women in the Ancient World, 2012
case studies of four female portrait statues where the subject of the statue, the context of its ... more case studies of four female portrait statues where the subject of the statue, the context of its display, and the approximate date of the dedication are known. My focus is on the portraits of non-royal women. Not only is there little evidence for the portraits of royal women outside of Ptolemaic Egypt, but also the portraits of the local elite do not appear to be dependent on or derive from royal models. Because of the difficulty in dating much of this material with precision, the importance of the earlier fourth century BCE in the history of the genre, and the continuation of the Hellenistic style of female portraiture well into the Roman period in the Greek East, this essay will necessarily stray somewhat beyond the confines of the Hellenistic period at both ends of its chronological boundaries.
Women and the Roman City in the Latin West, 2013
American Journal of Archaeology, 2013
The statue landscape of Hellenistic cities and sanctuaries was constantly changing, but the proce... more The statue landscape of Hellenistic cities and sanctuaries was constantly changing, but the process of the gradual accrual of statues is customarily elided on site plans, which tend to show-if they represent statue bases at all-the final phase of this long and complex process. Investigating the way statue landscapes developed over time can provide a better understanding of the political, social, and spatial dynamics at play in portrait dedication. This article takes as a case study for such an approach the portrait statue monuments set up along the dromos of the Sanctuary of Apollo on Delos. Our aim is to unpack the processual dimension of this statuary display by representing this process visually through phase plans and a three-dimensional model of the dromos made in Trimble SketchUp. Parsing into phases the gradual accumulation of statues along the dromos reveals the historical dimension of statue dedication and exposes the tensions between individual and group identity that could be negotiated visually through the location, material, and size of a portrait monument. Finally, we argue that imaginative reconstruction can help us think through the implications of display context for sculptural style: the ever-increasing number of portrait statues in the Late Hellenistic period may have been a driving force behind the stylistic changes that occurred in Late Hellenistic portraiture.*
The Diversity of Classical Archaeology, 2017
achim lichtenberger, Westfälische Wilhelms-Universität Münster rubina raja, Aarhus Universitet Ad... more achim lichtenberger, Westfälische Wilhelms-Universität Münster rubina raja, Aarhus Universitet Advisory Board Susan e. alcock Marianne Bergmann robin osborne r. r. r. Smith voluMe 1
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Book Reviews by Sheila Dillon
Publications by Sheila Dillon