Geometries of Silence: Three Approaches to Neoclassical Art

By Anna Ottani Cavina; Alastair McEwen | Go to book overview

INDEX
Abbot, Edwin A., 162
Abildgaard, Nicolai Abraham, 34, 84
the absolute, 189
absolute signs, 183, 187–88
abstraction, 153, 154, 185–86, 226n19, 234n74; and drawing, 195; linear, 46, 85, 170–81
Académie de France (Rome), 133–34, 150
Achilles Gallery (Palazzo Milzetti), 99, 100, 101, 102, 121–23
Adam, James, 73, 78, 86
Adam, Robert, xii, 8, 10; and comprehesive design, 122–23; vs. Giani, 88, 90, 91–92, 114, 121; office of, 86–87; style of, 77–87
Aeschylus, 130, 169–70
Albani, Cardinal Alessandro, 57, 68, 70, 72–73, 206n2, 208n14. See also Villa Albani
Alcove Room (Palazzo Milzetti), 98, 120–21
Aldobrandini, Pietro, 208n16
Alfieri, Vittorio, Conte, xiv, 167
al tratto style, 170–81
Amalienborg Castle (Copenhagen), 84, 86
Analogy' between Facial Features and Gothic Architecture (de Superville), 177, 188
Angel (Sergei), 33
Antal, Frederick, 9
Le Antichità d'Ercolano, 5, 39, 41
Antinous, 215n3
Antinous (sculpture), 64, 65, 66–67, 68, 70
Antiquités étrusques, grecques et romaines, tirées du cabinet de M. Hamilton (d'Harcanville), 45–46, 49
antiquity: and Adam style, 77, 84–85; ambiguity of, xi, 6–16, 124; and archaeology, x–xi, 1–3; and artistic despair, 8, 11: and David, 134; and elite residences, 55–127; in figure drawing, 137; and Giani, 114, 120; imitation of, 15–16; and Italy, xi, 4, 73; knowledge of, 3, 35–36, 114, 115; and Lady Hamilton, 47–53; modification of, 35–46; vs. nature, 42–44, 137; and Palazzo Milzetti, 120,

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