Sicily. Island of myths and monsters, meeting place of cultures, hub of naval trade routes, sourc... more Sicily. Island of myths and monsters, meeting place of cultures, hub of naval trade routes, source of artistic inspiration and of great material wealth, and much-coveted strategic location in the Mediterranean. Phoenician and Greek colonists were the first outsiders to settle on Sicily and enjoy the riches that the sea and the fertile soil brought them. They were followed by a bewildering variety of invaders over the ages: from Romans to Byzantines through Arabs and various European dynasties up to the Allies during the Second World War. All these cultures - sometimes living in peace, sometimes at war, always influencing each other - left their traces on the Island itself and in the sea surrounding it. Inspired by Sicily's archaeological and cultural treasures, this book offers an overview - or perhaps rather an anthology, since a complete survey, if at all possible, would soon become stifling - of the island's history and culture, paying attention not only to ancient and me...
Publication accompanying the exhibition 'Sicily and the Sea', which is held at, i... more Publication accompanying the exhibition 'Sicily and the Sea', which is held at, i.a., the Allard Pierson Museum in Amsterdam (in 2015), and the Ashmolean Museum in Oxford (in 2016),
Towards a dynamic presentation
As long as the museum has existed (eighty years in 2014), staff h... more Towards a dynamic presentation
As long as the museum has existed (eighty years in 2014), staff have tried to make Mediterranean Antiquity accessible to scholars and lay persons alike. The purpose of the objects was, and is, to provide insight into Western civilisation in past and present. The new display of the Roman collection brings out—perhaps more than the old one did—the connection between the objects on display and related research.
As the arts and sciences are never finished, so a museum’s collection is never complete. Fortunately the Allard Pierson Museum collections are still growing. Sometimes the objects in the collection reflect the director’s or curators’ predilections and interests. We see this in the collection of Roman glass, for instance, to which several remarkable pieces have been added following an exhibition on the subject in 2001. In the Roman department as in the entire museum, the collection owes its existence to private initiative. Donations have always left their mark on the collection.
An archaeological museum collection is the result of a long and continuing selection process which is the main factor in the collection’s significance. Our view on the objects is changed by new archaeological research, new techniques for visualisation and presentation, and increased insight into the ‘biography’ of the collections. Static, semipermanent or permanent displays of archaeology collections have little room to reveal those dynamics; for this reason, the Allard Pierson Museum has decided on a new concept geared toward dynamic presentation. A flexible modular showcase system will offer more possibilities to change the objects on display and to integrate new insights and technologies. Apart from that, the biggest challenge is in museum practice, in which curators are now spending more time and attention on continuous implementation of the renewal. That’s the key to success for a dynamic presentation of the Roman collection at the Allard Pierson Museum.
Keys to Rome, ed. by W. Hupperetz et.al. (Amsterdam): 141, Sep 2014
This marble head shows similarities to other portraits from the imperial family and is dated betw... more This marble head shows similarities to other portraits from the imperial family and is dated between c. AD 20 and 40, based on style characteristics. This makes the idea attractive that it portrays Tiberius Gemellus (19-37/38 AD), who together with his cousin Caligula was appointed heir by the Emperor Tiberius on Capri in 31 AD.
Keys to Rome, ed. by W. Hupperetz et.al. (Amsterdam): 161, Sep 2014
This terracotta relief shows four statues of sportsmen on pedestals in niches. In the centre, on ... more This terracotta relief shows four statues of sportsmen on pedestals in niches. In the centre, on a higher pedestal, is a statue of Hercules, recognisable by his club and lion's skin. His stance resembles that of Greek statues from the fourth century BC. The sportsmen flanking him are likewise modelled on Hellenistic sculpture.
Sicily. Island of myths and monsters, meeting place of cultures, hub of naval trade routes, sourc... more Sicily. Island of myths and monsters, meeting place of cultures, hub of naval trade routes, source of artistic inspiration and of great material wealth, and much-coveted strategic location in the Mediterranean. Phoenician and Greek colonists were the first outsiders to settle on Sicily and enjoy the riches that the sea and the fertile soil brought them. They were followed by a bewildering variety of invaders over the ages: from Romans to Byzantines through Arabs and various European dynasties up to the Allies during the Second World War. All these cultures - sometimes living in peace, sometimes at war, always influencing each other - left their traces on the Island itself and in the sea surrounding it. Inspired by Sicily's archaeological and cultural treasures, this book offers an overview - or perhaps rather an anthology, since a complete survey, if at all possible, would soon become stifling - of the island's history and culture, paying attention not only to ancient and mediëval shipwrecks, battles, economy and art, but also to typically Sicilian traditions (from folk-tales and tuna fishing to mafia fighters), modern politics, and the poets, novelists and film makers who lived on Sicily or were inspired by its unique character.
Publication accompanying the exhibition 'Sicily and the Sea', which is held at, i.a., the Allard ... more Publication accompanying the exhibition 'Sicily and the Sea', which is held at, i.a., the Allard Pierson Museum in Amsterdam (in 2015), and the Ashmolean Museum in Oxford (in 2016),
Sicily. Island of myths and monsters, meeting place of cultures, hub of naval trade routes, sourc... more Sicily. Island of myths and monsters, meeting place of cultures, hub of naval trade routes, source of artistic inspiration and of great material wealth, and much-coveted strategic location in the Mediterranean. Phoenician and Greek colonists were the first outsiders to settle on Sicily and enjoy the riches that the sea and the fertile soil brought them. They were followed by a bewildering variety of invaders over the ages: from Romans to Byzantines through Arabs and various European dynasties up to the Allies during the Second World War. All these cultures - sometimes living in peace, sometimes at war, always influencing each other - left their traces on the Island itself and in the sea surrounding it. Inspired by Sicily's archaeological and cultural treasures, this book offers an overview - or perhaps rather an anthology, since a complete survey, if at all possible, would soon become stifling - of the island's history and culture, paying attention not only to ancient and me...
Publication accompanying the exhibition 'Sicily and the Sea', which is held at, i... more Publication accompanying the exhibition 'Sicily and the Sea', which is held at, i.a., the Allard Pierson Museum in Amsterdam (in 2015), and the Ashmolean Museum in Oxford (in 2016),
Towards a dynamic presentation
As long as the museum has existed (eighty years in 2014), staff h... more Towards a dynamic presentation
As long as the museum has existed (eighty years in 2014), staff have tried to make Mediterranean Antiquity accessible to scholars and lay persons alike. The purpose of the objects was, and is, to provide insight into Western civilisation in past and present. The new display of the Roman collection brings out—perhaps more than the old one did—the connection between the objects on display and related research.
As the arts and sciences are never finished, so a museum’s collection is never complete. Fortunately the Allard Pierson Museum collections are still growing. Sometimes the objects in the collection reflect the director’s or curators’ predilections and interests. We see this in the collection of Roman glass, for instance, to which several remarkable pieces have been added following an exhibition on the subject in 2001. In the Roman department as in the entire museum, the collection owes its existence to private initiative. Donations have always left their mark on the collection.
An archaeological museum collection is the result of a long and continuing selection process which is the main factor in the collection’s significance. Our view on the objects is changed by new archaeological research, new techniques for visualisation and presentation, and increased insight into the ‘biography’ of the collections. Static, semipermanent or permanent displays of archaeology collections have little room to reveal those dynamics; for this reason, the Allard Pierson Museum has decided on a new concept geared toward dynamic presentation. A flexible modular showcase system will offer more possibilities to change the objects on display and to integrate new insights and technologies. Apart from that, the biggest challenge is in museum practice, in which curators are now spending more time and attention on continuous implementation of the renewal. That’s the key to success for a dynamic presentation of the Roman collection at the Allard Pierson Museum.
Keys to Rome, ed. by W. Hupperetz et.al. (Amsterdam): 141, Sep 2014
This marble head shows similarities to other portraits from the imperial family and is dated betw... more This marble head shows similarities to other portraits from the imperial family and is dated between c. AD 20 and 40, based on style characteristics. This makes the idea attractive that it portrays Tiberius Gemellus (19-37/38 AD), who together with his cousin Caligula was appointed heir by the Emperor Tiberius on Capri in 31 AD.
Keys to Rome, ed. by W. Hupperetz et.al. (Amsterdam): 161, Sep 2014
This terracotta relief shows four statues of sportsmen on pedestals in niches. In the centre, on ... more This terracotta relief shows four statues of sportsmen on pedestals in niches. In the centre, on a higher pedestal, is a statue of Hercules, recognisable by his club and lion's skin. His stance resembles that of Greek statues from the fourth century BC. The sportsmen flanking him are likewise modelled on Hellenistic sculpture.
Sicily. Island of myths and monsters, meeting place of cultures, hub of naval trade routes, sourc... more Sicily. Island of myths and monsters, meeting place of cultures, hub of naval trade routes, source of artistic inspiration and of great material wealth, and much-coveted strategic location in the Mediterranean. Phoenician and Greek colonists were the first outsiders to settle on Sicily and enjoy the riches that the sea and the fertile soil brought them. They were followed by a bewildering variety of invaders over the ages: from Romans to Byzantines through Arabs and various European dynasties up to the Allies during the Second World War. All these cultures - sometimes living in peace, sometimes at war, always influencing each other - left their traces on the Island itself and in the sea surrounding it. Inspired by Sicily's archaeological and cultural treasures, this book offers an overview - or perhaps rather an anthology, since a complete survey, if at all possible, would soon become stifling - of the island's history and culture, paying attention not only to ancient and mediëval shipwrecks, battles, economy and art, but also to typically Sicilian traditions (from folk-tales and tuna fishing to mafia fighters), modern politics, and the poets, novelists and film makers who lived on Sicily or were inspired by its unique character.
Publication accompanying the exhibition 'Sicily and the Sea', which is held at, i.a., the Allard ... more Publication accompanying the exhibition 'Sicily and the Sea', which is held at, i.a., the Allard Pierson Museum in Amsterdam (in 2015), and the Ashmolean Museum in Oxford (in 2016),
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Papers by René van Beek
As long as the museum has existed (eighty years in 2014), staff have tried to make Mediterranean Antiquity accessible to scholars and lay persons alike. The purpose of the objects was, and is, to provide insight into Western civilisation in past and present. The new display of the Roman collection brings out—perhaps more than the old one did—the connection between the objects on display and related research.
As the arts and sciences are never finished, so a museum’s collection is never complete. Fortunately the Allard Pierson Museum collections are still growing. Sometimes the objects in the collection reflect the director’s or curators’ predilections and interests. We see this in the collection of Roman glass, for instance, to which several remarkable pieces have been added following an exhibition on the subject in 2001. In the Roman department as in the entire museum, the collection owes its existence to private initiative. Donations have always left their mark on the collection.
An archaeological museum collection is the result of a long and continuing selection process which is the main factor in the collection’s significance. Our view on the objects is changed by new archaeological research, new techniques for visualisation and presentation, and increased insight into the ‘biography’ of the collections. Static, semipermanent or permanent displays of archaeology collections have little room to reveal those dynamics; for this reason, the Allard Pierson Museum has decided on a new concept geared toward dynamic presentation. A flexible modular showcase system will offer more possibilities to change the objects on display and to integrate new insights and technologies. Apart from that, the biggest challenge is in museum practice, in which curators are now spending more time and attention on continuous implementation of the renewal. That’s the key to success for a dynamic presentation of the Roman collection at the Allard Pierson Museum.
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Books by René van Beek
As long as the museum has existed (eighty years in 2014), staff have tried to make Mediterranean Antiquity accessible to scholars and lay persons alike. The purpose of the objects was, and is, to provide insight into Western civilisation in past and present. The new display of the Roman collection brings out—perhaps more than the old one did—the connection between the objects on display and related research.
As the arts and sciences are never finished, so a museum’s collection is never complete. Fortunately the Allard Pierson Museum collections are still growing. Sometimes the objects in the collection reflect the director’s or curators’ predilections and interests. We see this in the collection of Roman glass, for instance, to which several remarkable pieces have been added following an exhibition on the subject in 2001. In the Roman department as in the entire museum, the collection owes its existence to private initiative. Donations have always left their mark on the collection.
An archaeological museum collection is the result of a long and continuing selection process which is the main factor in the collection’s significance. Our view on the objects is changed by new archaeological research, new techniques for visualisation and presentation, and increased insight into the ‘biography’ of the collections. Static, semipermanent or permanent displays of archaeology collections have little room to reveal those dynamics; for this reason, the Allard Pierson Museum has decided on a new concept geared toward dynamic presentation. A flexible modular showcase system will offer more possibilities to change the objects on display and to integrate new insights and technologies. Apart from that, the biggest challenge is in museum practice, in which curators are now spending more time and attention on continuous implementation of the renewal. That’s the key to success for a dynamic presentation of the Roman collection at the Allard Pierson Museum.