References of "Vanesse, Sylvain"
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See detailBetween Street Vendors, Singing Slaves, and Envy
Vanesse, Sylvain ULiege

in Chronika (2016), 6

When the well-known “House of the Ephebe” was excavated in Pompeii, a statuary group composed of four bronze figurines was found. Those small statues are now known as “Placentarii”, namely “pastry cooks.” ... [more ▼]

When the well-known “House of the Ephebe” was excavated in Pompeii, a statuary group composed of four bronze figurines was found. Those small statues are now known as “Placentarii”, namely “pastry cooks.” They were given this name because they were thought selling their products placed on a plate, shouting to attract the clients. This interpretation explains the particular hand gesture of those men, touching their throat. This theory seems very conceivable and is generally accepted by a large scientific majority. However, some iconographic elements don’t fit with this hypothesis. Indeed, how do we explain the nakedness of those four men, their thinness, their weird facial features and their disproportionate phalluses? Other figurines – terracotta, bronzes, amulets, mosaics – depicted with the same specific features were found among the archaeological material from the Mediterranean basin. There is –nearly– no question that those objects are representations of the Envy personified, also known as Phthonos, or of an envious person (phthoneros). Would it be possible to see in those four bronzes not –only– pastry cooks, but an embodiment of Envy, filled with apotropaic value? A fresh perspective –literary and archaeological– will help and issue a clarification about this new theory. [less ▲]

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See detailEssai sur la transmission et l'évolution d'un motif iconographique antique : La Centauresse
Vanesse, Sylvain ULiege

in Art&Fact (2015)

Il est des motifs iconographiques dont nous ne pouvons concevoir l’ancienneté tant ils sont ancrés dans nos cultures et présents autour de nous au quotidien. Peu de gens seraient en mesure de se ... [more ▼]

Il est des motifs iconographiques dont nous ne pouvons concevoir l’ancienneté tant ils sont ancrés dans nos cultures et présents autour de nous au quotidien. Peu de gens seraient en mesure de se représenter mentalement une sirène, une licorne, un phénix ou tout être mythique peuplant les contes enfantins si on le leur demandait. Il est donc intéressant de se pencher sur ces motifs et de tenter de voir d’où ils proviennent, de quelle époque ils sont issus, quelles étaient leurs significations originelles et quelle a été leur évolution jusqu’à notre époque. Ceci sera l’objet de cet article : tenter d’appréhender les voies de transmission d’un motif iconographique antique jusqu’à nos jours, en se focalisant sur la figure de la Centauresse. [less ▲]

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See detailEkphrasis in the Work of Lucian of Samosata – The Case of “The Centaurs Family”
Vanesse, Sylvain ULiege

Conference (2013, December)

The literary and rhetoric process of Ekphrasis was used on numerous occasions in Ancient literature, especially by the author Lucian of Samosata. Because these descriptions of Works of Art combine ... [more ▼]

The literary and rhetoric process of Ekphrasis was used on numerous occasions in Ancient literature, especially by the author Lucian of Samosata. Because these descriptions of Works of Art combine literature and Art history, they allow scientists to choose either a philological or an iconographical study approach. Philologists obviously have studied these Ekphraseis so as to define their styles, shapes, and influences from the author, whereas Art historians have considered them as one of the rare source of information about the Ancient painting but have not always replaced them in their context of writing or taken a critical look at them. « The Centaur’s Family » picture, for example, which would have been painted by Zeuxis of Heraclea, will on the one hand allow us to highlight the problem of these two different analyses, and on the other hand to show how they can be combined to bring a new perspective, not only on this picture, but perhaps also on the other paintings described by Lucian of Samosata. [less ▲]

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See detail« La Famille de Centaures » de Zeuxis. À propos d’un chef-d’oeuvre antique décrit par Lucien de Samosate
Vanesse, Sylvain ULiege

Master's dissertation (2012)

Le but de ce travail était de s'interroger sur l'authenticité du tableau attribué à Zeuxis d'Héraclée, peintre du 5e-4e siècles av. J.-C., décrit par le rhéteur syrien Lucien de Samosate. Il s'agissait d ... [more ▼]

Le but de ce travail était de s'interroger sur l'authenticité du tableau attribué à Zeuxis d'Héraclée, peintre du 5e-4e siècles av. J.-C., décrit par le rhéteur syrien Lucien de Samosate. Il s'agissait d'étudier le texte du rhéteur de manière philologique et d'étudier de manière iconographique les différents thèmes présents dans le tableau. [less ▲]

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See detailProsopographie sénatoriale. Étude sur les sénateurs, dont la tribu est conservée, membres des consilia de rédaction des sénatus-consultes d’époque républicaine.
Vanesse, Sylvain ULiege

Master's dissertation (2010)

Il s'agit d'étudier les sénateurs, dont le nom de la tribu est connu, mentionnés dans les sénatus-consultes d'époque républicaine conservés en langue grecque.

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