Rosemary Barrow was Reader in Classical Art and Reception at the University of Roehampton, at the time of her death in 2016. She had previously held academic positions at King's College London and the University of Bristol. She was the author of Lawrence Alma-Tadema (2003), The Use of Classical Art and Literature by Victorian Painters, 1860-1912: Creating Continuity with the Traditions of High Art (2007), and The Classical Tradition: Art, Literature, Thought (2014), co-authored with Michael Silk and Ingo Gildenhard.
Inhaltsangabe
Introduction: approaching gender 1. The male body: doryphoros 2. The female body: Aphrodite of Cnidos 3. The veiled body: Tanagra statuette 4. The ageing body: drunken old woman 5. The indefinite body: sleeping Hermaphrodite 6. The political body: Prima Porta Augustus 7. The incongruous body: portrait of 'Marcia Furnilla' as Venus 8. The beloved body: Antinous 9. The other body: marble relief with female gladiators 10. The non-human body: Pan and a she-goat Epilogue: Bernini's 'Neptune and Triton'.
Introduction: approaching gender 1. The male body: doryphoros 2. The female body: Aphrodite of Cnidos 3. The veiled body: Tanagra statuette 4. The ageing body: drunken old woman 5. The indefinite body: sleeping Hermaphrodite 6. The political body: Prima Porta Augustus 7. The incongruous body: portrait of 'Marcia Furnilla' as Venus 8. The beloved body: Antinous 9. The other body: marble relief with female gladiators 10. The non-human body: Pan and a she-goat Epilogue: Bernini's 'Neptune and Triton'.
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