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Jutta Meischner
Jutta Frieda Luise Meischner (born 1935, Danzig, Germany) is a German archeologist with specialities in philology, classical archaeology, ancient history with a doctorate on Classical Archaeology. In 1964, she entered the service of German Archaeological Institute, Berlin.
==Biography==
The daughter of the civil engineer Herbert Meischner and his wife Lilly, she was born in 1935 in what was then the Free City of Danzig. After fleeing Danzig in January 1945 in the wake of World-War II, she attended the Droste-Hülshoff High School in Berlin-Zehlendorf, where she passed her A-levels in 1954. At the Free University of Berlin, she studied classical philology, classical archeology, ancient history and completed studies of Greek and Latin. She spent the academic year 1958/59 at the University of Athens and Greece. The next year was dedicated to the study of Greek and Roman ancient collections of the major museums in order to prepare her dissertation on "The Female Portrait in the Severan Period". Her academic advisor, Friedrich Wilhelm Goethert, was instrumental in getting her a post as an assistant with Friedrich Matz, the Younger, in Sarkophag-Corpus, Marburg, as well as in assisting with her first publication "A second type of portrait of the Empress Crispina". After completing her doctorate in 1964, she joined the civil service at the German Archaeological Institute, Berlin, from which she retired after 35 years of service in 2000. During this time she also continued her studies of late antique portraiture, which culminated in a brief monograph entitled "Portraits of Late Antiquity" (bnb-Verlag Bremen, 2001). A revised and expanded edition in German and English is currently being prepared.
In 1988 she was invited by the Archaeological Institute in Warsaw for a lecture and a visit to Danzig. In 1998, she lectured in Mérida on the great Missorium of Theodosius I where she credited it to Theodosius II. Several times she toured the great museums in the U.S. Tunisian mosaics inspired her to study the Greek and Roman sports. The origin of the palm award, for example, can be seen in the wand of the paidotribe in the palaestra. The wands were switches and palm fronds. The latter then served as an unofficial trophy. The black-figure and red-figure vases evidence this practice. In the great Panhellenic Games of the prize remained the wreath. The palm trophy in the imperial period was abstracted to the shape of a golden palm trunk, the so-called 'Preiszylinder' for successful racehorses. With the New Testament Pauline epistles the symbol of the victor's palm keeps its validity even today.
Jutta Meischner was given responsibility for the publication of the wall paintings of the Late Roman Hypogeum in Constanta, Romania. In Copenhagen, she was able to assign the, up to then, much earlier dated statues of Sette Sale to the Valentinian epoch, based on the design of the eyes. In 1999 she received permission to study and publicize Greek and Roman sculptures from the Hatay Archaeology Museum in Antakya, Turkey. Through the Attic garland sarcophagi was shown the Attic origin of Berlin's early imperial Caffarelli-sarcophagus from Rome. Together with Ergün Laflı from Izmir she again showed her commitment to southern Turkey with the presentation of antique sculptures in Cilicia. Related materials found on a trip to Israel in the Rockefeller Museum, Jerusalem, were added to the above publication.
During 2005-2008, she conducted extensive research on Late archaic sculpture, that resulted in pinning down subtle but highly important and meaningful distinctive features in the transitional period of late Archaic and early Classical sculpture. A detailed study of a black marble head (whose typological affinity on the basis of two relatively well preserved surviving coins (one in the Biblothèque Nationale, Paris, and the other in the Berlin Münz-Cabinet) points to the Apollo Philesios by Canachus in Didyma, dating from the early 5th Century BC. This study will be of major import for identifying the above major features in rendering the physiognomic, facial and portrayal details. These appear to have been largely overlooked in previous field research and studies on the art of Greek sculpture and the sudden stylistic change from the late Archaic and Severe periods to early the Classical.
She is now on the advisory board of Adem's Clay, a design firm in Berlin.
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