https://www.peren-revues.fr/eugesta/278 Entrées d’index fr 0 https://www.peren-revues.fr/eugesta/1506 Female portrait statuary forms a large and important category of evidence for understanding the historical phenomenon of the visual representation and commemoration of women in the public spaces of the Greek city. With its rich body of both epigraphical and sculptural remains, the city of Athens is a particularly fruitful site to undertake such a study. While portraits of women begin to be set up in Athens in the early fourth century B.C., the chronological focus here is the Roman Imperial period, when inscribed bases for statues of women and marble sculpture representing female portrait subjects are the most abundant. I consider epigraphical evidence in the form of inscribed statue bases. The main sculptural evidence comes from the American excavations in the Athenian Agora. While a great deal of important research has focused on the epigraphic evidence, particularly from the Acropolis, this article analyzes and puts into conversation both strands of this extensive corpus of material. jeu., 04 janv. 2024 11:38:45 +0100 jeu., 18 janv. 2024 10:07:51 +0100 https://www.peren-revues.fr/eugesta/1506 https://www.peren-revues.fr/eugesta/257 The article focuses on a Roman portrait of a young woman in the Metropolitan Museum of Art from the early second century C.E. The marble head, though striking for its beauty and high quality of craftsmanship, cannot be identified. It is also a fragment from a statue without an archaeological context or findspot. How do we approach a sculpture about which so much cannot be known? A visual analysis of related portraits, along with a discussion of the tradition of epitaphs, literary accounts, and artefacts of girls’ lives, such as dolls, suggest how maidens were commemorated and valued in Rome. mar., 14 juin 2022 08:36:16 +0200 jeu., 23 mars 2023 15:34:07 +0100 https://www.peren-revues.fr/eugesta/257