From decoration to documentation. The Helbig-Jacobsen facsimiles and their afterlife
The Danish industrialist and brewer Carl Jacobsen (1842-1914) became interested in Etruscan culture through his long collaboration with the German archaeologist Wolfgang Helbig (1839-1915), and he made it his project to introduce the Etruscans to the Danish public in what he named The Helbig Museum....
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| izdano v: | URI:https://journals.openedition.org/mefra, |
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| Format: | Article ou chapitre numérique |
| Jezik: | Anglais |
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Mélanges de l’École française de Rome - Antiquité
2020
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| Online dostop: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Izvleček: | The Danish industrialist and brewer Carl Jacobsen (1842-1914) became interested in Etruscan culture through his long collaboration with the German archaeologist Wolfgang Helbig (1839-1915), and he made it his project to introduce the Etruscans to the Danish public in what he named The Helbig Museum. As the unique Etruscan tomb paintings were quickly deteriorating, Jacobsen decided to sponsor a complete series of facsimiles of all Etruscan paintings. In this he followed the example of King Ludwig I of Bavaria, from whom he also took the name Glyptotek for his museum, the Ny Carlsberg Glyptotek. Helbig collected a group of painters and managed the work in Etruria while Jacobsen paid the expenses in Copenhagen. The project lasted from 1895 to 1913 and comprised sketches, tracings and facsimiles of all the then known painted tombs in Tarquinia, Chiusi, Veji, and Orvieto. |
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