Art and copy documental online dating
How did the markets for “antiques,” copies, and “archaizing/classicizing modern creations” coexist?
Several introductions to the issue of copying in the Hellenistic and Roman world exist, both in the form of short articles and encyclopedic entries and as larger monographs.
But the co-creators of the Netflix series — Jill Bauer and Ronna Gradus — said that wasn’t their intention: Rather, they’re trying to tell the guy’s side of the story. “He's trapped in this thing that he's created for himself.
But he doesn't want to be.”Rhine told Buzz Feed News this week that filming the documentary last year genuinely changed his life (or certainly his dating habits).
During the shoot, when the filmmakers press Rhine on why he starts ignoring women instead of directly telling them that he’s no longer interested, he admits, “I just don’t want to deal with their feelings.”It’s enough to raise the hackles of any woman who’s ever known a thoughtless man.
English-speaking readers wishing to gather some preliminary knowledge on the topic will probably be disappointed, as the best compact overviews are either in Italian (Cain 1998, Gasparri 1994) or in German (Geominy 1999, Zanker 1992).
Cain 1998 and Gasparri 1994 provide broad views on the topic in its various aspects (although the former pays closer attention to the historical evolution of a “taste for copies” between the Hellenistic and Roman times, while the latter’s interest focuses on the questions of production and trade), whereas Geominy 1999 and Zanker 1992 investigate the Roman rationale behind the choice of certain Greek models.
The practice of looking through the works of the Roman period in search of their models betrays a simplistic view of the relationship between Greek and Roman art.
During the late 20th century, a parallel evolution of Greek and Roman archaeology led, on the one hand, to deemphasizing the role of copies for the history of Greek art and, on the other, to their rediscovery in the sphere of Roman civilization.