På sporet af farven

2018
C. Brøns, S. Hedegaard & M.-L. Sargent (2016) Painted Faces. Investigations of Polychromy of Etruscan Antefixes in the Ny Carlsberg Glyptotek, Etruscan Studies vol. 19.1, 2016.

C. Brøns, K. Lund Rasmussen, M. Melchiorre di Crescenzo, R. Stacey, A. Lluveras-Tenorio (2018) Painting the Palace of Apries I: Ancient binding media and coatings of the reliefs from the Palace of Apries, Lower Egypt, Heritage Science 6:6
https://heritagesciencejournal.springeropen.com/articles/10.1186/s40494-018-0170-9

J.S. Østergaard (2018) Polychromy, sculptural, Greek and Roman. In: Oxford Classical Dictionary. Link:

2017
J.S. Østergaard (2017), Farven vender tilbage: Et ’sandere billede’ af antik skulptur, Periskop 18 (forthcoming, September 2017).

J.S. Østergaard (2017), Colour shifts. On methodologies in research on the polychromy of Greek and Roman sculpture, Proceedings of the Danish Institute in Athens 8, 149-176.

C. Brøns & A. Skovmøller (2017) Colour-coding the Roman toga. The materiality of textiles represented in ancient sculpture, Antike Kunst.

J.S. Østergaard (2017) Om form og farve i græsk skulptur. Sfinx 40, pp. 16-23.

J.S. Østergaard (2017) Farven vender tilbage: Et ’sandere billede’ af antik skulptur. Periskop 18, pp. 118-137.

J.S. Østergaard, Kira Kofoed, Kristine Bøggild Johannsen, Mogens Bech (2017) Det usynlige og det synlige. Om at se det umiddelbart usynlige med teknikkens hjælp – og om ikke at se nok, på det, man allerede kan se. Magasin fra Det Kongelige Bibliotek 30, 4, 2017, pp. 3-17.

2016
A. Skovmøller, C. Brøns & M.L. Sargent (2016) Egyptian blue: modern myths, ancient realities, Journal of Roman Archaeology vol. 29, 371-387.

A. Skovmøller & R. H. Therkildsen (2016) The polychromy of Roman polished marble portraits, in P. Pensabene and E. Gasparini (eds.), ASMOSIA X. Proceedings of the Tenth International Conference. Interdisciplinary Studies on Stone vol. II. Rome, L’Erma di Bretschneider, 891-900.

2015
J.S. Østergaard (2015), Identical Roman Copies? Diversification through Colour, in: S. Settis (ed.), Serial Classic / Portable Classic (Milano: Fondazione Prada) 113 – 117.

2014
A. Skovmøller (2014) Where Marble Meets Colour: surface texturing of hair, skin and dress on Roman marble portraits as support for painted polychromy, in M. Harlow and M.-L. Nosch (eds.), Interdisciplinary Studies in Textiles and Dress. An Interdisciplinary Anthology. Oxford, Oxbow Books, 279-297.

J.S. Østergaard & M.L. Sargent (2014), The Polychromy of a Female Late 2nd century CE Palmyrene Funerary Portrait, in Álvarez, J. M.; Nogales, T.; Rodà, I. (Eds.), XVIII CIAC: Centro y periferia en el mundo clásico / Centre and periphery in the ancient world (Mérida) 1231-1235.

2013
J.S. Østergaard, (2013), Reflections on the Typology and Context of the Richmond Caligula, in: B. Frischer (ed.), Digital Sculpture project: Caligula (Richmond, Virginia). http://www.digitalsculpture.org/papers/ostergaard/ostergaard_paper.html

2011
J.S. Østergaard, M. L. Sargent & R. H. Therkildsen (2014), The polychromy of Roman ‘ideal’ marble sculpture of the 2nd century CE, in: P. Liverani – U. Santamaria (eds.), Diversamente bianco. La policromia della scultura romana (Roma: Quasar) 51 – 69.

R.H. Therkildsen (2011), The Copenhagen Polychromy Network: introducing the survey protocol in documenting and investigating ancient sculptural polychromy. Medelhavsmuseet. Focus on the Mediterranean 6, 31-40.

2018
S.B. Hedegaard (2018) Antikkens pigmenter ifølge Plinius, in Gaius Plinius Secundus (translated by Jacob Isager), En Antik Kunsthistorie af Plinius d. Ældre, Forlæns, Copenhagen, 325-351

C. Brøns & M. Papadopoulou (2018), True Colours: Polychromy in Ancient Greek Art and its Dissemination in Museum Collections, in M. Godýn, B. Groborz & A. Kwiatkowska-Lubańska, Colour Culture Science, Kraków, 63-68

S.B. Hedegaard (2018), Reconstructing Etruscan Architectural Polychromy: Antefixes from the Ny Carlsberg Glyptotek, in S. Bracci, G. Giachi, P. Liverani, P. Pallecchi & F. Paolucci (eds.) Polychromy in Ancient Sculpture and Architecture. Proceedings of the 7th Round Table, Florence, 4-7 November 2015, Sillabe, Florence, 36-42.

A. Skovmøller, C. Brøns & M.L. Sargent (2018), The Polychromy of the Sculpted Garments on the Statue of Gaius Fundilius Doctus in the Ny Carlsberg Glyptotek, in S. Bracci, G. Giachi, P. Liverani, P. Pallecchi & F. Paolucci (eds.) Polychromy in Ancient Sculpture and Architecture. Proceedings of the 7th Round Table, Florence, 4-7 November 2015, Sillabe, Florence, 92-99.

C. Brøns (1), S. B. Hedegaard & K. L. Rasmussen (2018), The real thing? Studies of polychromy and Authenticity of Etruscan Pinakes at the Ny Carlsberg Glyptotek. Studi Etruschi LXXIX – MMXIV, 195-223.

C. Brøns (1) & K. Dross-Krüpe (2018), The Colour Purple? Reconsidering the Greek term halourgos (ἁλουργός) and its relation to ancient textiles. Textile History 48.2.

C. Brøns (2018) En broget fortid: antik polykromi på Ny Carlsberg Glyptotek. Carlsbergfondets Årsskrift 2018, 48-53.

C. Brøns (2018), Sensing the ancient world, CHS research bulletin 2018, issue 1.

C. Brøns (2018), Antikkens Farver, Sfinx særnummer om polykromi.

C. Brøns (2018), I farver. En verden til forskel, Sfinx særnummer om polykromi.

S.B. Hedegaard (2018), Etruriens farvestrålende terrakotter, Sfinx særnummer om polykromi.

M.L. Sargent (2018), Ægyptisk blåt – et gådefuldt pigment, Sfinx særnummer om polykromi.

A. Skovmøller (2018), At se lyset i antik, polykrom skulptur, Sfinx særnummer om polykromi.

L.Ø. Brandt (2018), Jagten på antikkens bindemidler, Sfinx særnummer om polykromi.

A. Rodler (2018), På sporet af antikkens farver, Sfinx særnummer om polykromi

J.S. Østergaard (2018) Polychromy, sculptural, Greek and Roman. In: Oxford Classical Dictionary. “Link:”:“http://classics.oxfordre.com/view/10.1093/acrefore/9780199381135.001.0001/acrefore-9780199381135-e-8118”:

2017
C. Brøns & A. Skovmøller (2017) Colour-coding the Roman toga: The materiality of textiles represented in sculpture. Antike Kunst 60, 55-79.

C. Brøns (2017), Sacred Colours. Purple in Greek sanctuaries in the second half of the 1st millennium BC, in F. Meo & H. Landenius Enegren (eds.), Treasures from the Sea. Oxbow Books

A. Rodler, G. Artioli, S. Klein, P. Fink-Jensen & C. Brøns (2017), Provenancing Ancient Pigments: Lead Isotope Analyses of The Copper Compound of Egyptian Blue Pigments from Ancient Mediterranean Artefacts, Journal of Archaeological Science: Reports 16, 1-18.

J.S. Østergaard (2017) Om form og farve i græsk skulptur. Sfinx 40, 16-23.

J.S. Østergaard (2017) Farven vender tilbage: Et ’sandere billede’ af antik skulptur. Periskop 18, 118-137.

J.S. Østergaard (2017) Colour shifts: on methodologies in research on the polychromy of Greek and Roman sculpture, Proceedings of the Danish Insitute in Athens 8, 139 – 166.

2016
A. Skovmøller & R. H. Therkildsen (2016) The polychromy of Roman polished marble portraits, in P. Pensabene and E. Gasparini (eds.), ASMOSIA X. Proceedings of the Tenth International Conference. Interdisciplinary Studies on Stone vol. II. Rome, L’Erma di Bretschneider, 891-900.

C. Brøns, S. Hedegaard & M.L. Sargent (2016) Painted Faces. Investigations of Polychromy of Etruscan Antefixes in the Ny Carlsberg Glyptotek, Etruscan Studies vol. 19.1, 2016.

A. Skovmøller, C. Brøns & M.L. Sargent (2016) Egyptian blue: modern myths, ancient realities, Journal of Roman Archaeology vol. 29, 371-387.

2015
J.S. Østergaard (2015), Identical Roman Copies? Diversification through Colour, in S. Settis (ed.), Serial Classic / Portable Classic. Milano: Fondazione Prada, 113 – 117.

J.S. Østergaard (2015), Antik marmorskulptur: Billedhuggeren og maleren samarbejdede, Logos 2015, 2, 65-66.

J.S. Østergaard (2015), Findes ens græske originalskulpturer?, Logos 2015, 3, 72-73.

2014
J.S. Østergaard & M.L. Sargent (2014), The Polychromy of a Female Late 2nd century CE Palmyrene Funerary Portrait, in Álvarez, J. M.; Nogales, T.; Rodà, I. (Eds.), XVIII CIAC: Centro y periferia en el mundo clásico / Centre and periphery in the ancient world. Mérida, 1231-1235.

A. Skovmøller (2014) Where Marble Meets Colour: surface texturing of hair, skin and dress on Roman marble portraits as support for painted polychromy, in M. Harlow and M.-L. Nosch (eds.), Interdisciplinary Studies in Textiles and Dress. An Interdisciplinary Anthology. Oxford, Oxbow Books, 279-297.

J.S. Østergaard, M. L. Sargent & R. H. Therkildsen (2014), The polychromy of Roman ‘ideal’ marble sculpture of the 2nd century CE, in P. Liverani – U. Santamaria (eds.), Diversamente bianco. La policromia della scultura romana. Rome: Quasar, 51 – 69.

J.S. Østerggard & A.M. Nielsen (eds.) (2014), Transformations. Classical sculpture in colour, Copenhagen. (also in Danish).

2013
J.S. Østergaard (2013), Reflections on the Typology and Context of the Richmond Caligula, in B. Frischer (ed.), Digital Sculpture project: Caligula (Richmond, Virginia). http://www.digitalsculpture.org/papers/ostergaard/ostergaard_paper.html

J.S. Østergaard (2013), Polykromien i antik skulptur: Farverige former, Carlsbergfondets årsskrift 2013, Copenhagen, 60 – 65.

2011
R.H. Therkildsen (2011), The Copenhagen Polychromy Network: introducing the survey protocol in documenting and investigating ancient sculptural polychromy, Medelhavsmuseet. Focus on the Mediterranean 6, 31-40.

J.S. Østergaard (2011), The Copenhagen Polychromy Network: Aims, Organization, Activities, Medelhavsmuseet. Focus on the Mediterranean 6, 23 – 30.

2010
J.S. Østergaard (2010), The Copenhagen Polychromy Network. A Research Project on Ancient Greek and Roman Sculptural Polychromy in the Ny Carlsberg Glyptotek, in V. Brinkmann, O. Primavesi , M. Hollein (eds.), Circumlitio. The Polychromy of Antique and Mediaeval Sculpture. Munich: Hirmer Verlag, 324 – 335.

J.S. Østergaard (2010), The Polychromy of Antique Sculpture: A Challenge to Western Ideals?, in V. Brinkmann, O. Primavesi , M. Hollein (eds.), Circumlitio. The Polychromy of Antique and Mediaeval Sculpture. Munich: Hirmer Verlag, 78-105.