Nordic Journal of Aesthetics 29 (59):6-35 (2020)

Abstract
The taste for classical art that induced museums in the West to acquire masterpieces from ancient Greece and Rome for their collections was stimulated largely by the writings of Johann Joachim Winckelmann. In the past decade, a number of articles have claimed that Winckelmann’s glorification of marble statues representing the white, male body promotes notions of white supremacy. The present article challenges this view by examining theories prevalent in the eighteenth century that affected Winckelmann’s views on race. Through an examination of different types of classicism, the article also seeks to demonstrate that Winckelmann’s aesthetics were opposed to the eclectic use of ancient models typical of the fascist regimes of the twentieth century.
Keywords Ape  Climate  Decolonisation  Facial Angle  Greek Profile  Nietzsche  Physiognomy  Race  Satyr  Sculpture  Winckelmann
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DOI 10.7146/nja.v29i59.120469
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References found in this work BETA

The Nazi Myth.Philippe Lacoue-Labarthe & Jean-Luc Nancy - 1990 - Critical Inquiry 16 (2): 291–312..
Winckelmann and Nietzsche on the Apollonian and the Dionysian.Luca Renzi - 2000 - New Nietzsche Studies 4 (1-2):123-140.

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Descrição de Apolo em Belvedere, de Johann Joachim Winckelmann.Priscila Rossinetti Rufinoni - 2013 - Revista de Filosofia Moderna E Contemporânea 1 (2):321-350.
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