By Mark D. Stansbury-O'Donnell
Supplying a special combination of thematic and chronological research, this hugely illustrated, enticing textual content explores the wealthy historic, cultural, and social contexts of 3,000 years of Greek artwork, from the Bronze Age in the course of the Hellenistic interval.
• Uniquely intersperses chapters dedicated to significant sessions of Greek artwork from the Bronze Age in the course of the Hellenistic interval, with chapters containing discussions of vital contextual subject matters throughout the entire periods
• Contextual chapters illustrate how more than a few elements, comparable to the city atmosphere, gender, markets, and cross-cultural touch, stimulated the advance of art
• Chronological chapters survey the looks and improvement of key creative genres and discover how artifacts and structure of the time replicate those styles
• bargains quite a few enticing and informative pedagogical positive factors to aid scholars navigate the topic, similar to timelines, theme-based textboxes, keyword phrases outlined in margins, and additional readings.
• info is gifted essentially and contextualized in order that it truly is available to scholars despite their previous point of knowledge
• A publication better half web site is offered at www.wiley.gom/go/greekart with the next assets: PowerPoint slides, word list, and timeline
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Additional resources for A History of Greek Art
Hermes bringing the infant Dionysos to Papasilenos. Photo: Scala/Art Resource, NY. That Greek painting peaked later than sculpture makes the point that artistic development is not uniform and that oratory in contemporary Rome is just about perfect. These portraits are also true, but they would hardly be described as beautiful like the Parthenon figure or the Doryphoros of Polykleitos. Indeed, the construct that Cicero presents of Greek art going from less lifelike (stiff) to very lifelike (real) in its representation of the human form, of the human figure being the most important subject of art in both Greece and Rome, and of Greek art of the fifth and fourth centuries BCE achieving a standard of beauty by which Roman or other art was measured, are themes that have dominated the modern histories of Greek art since the eighteenth century, when Johann Winkelmann published what is considered the first modern history of Greek art in 1764.
Here we have all of the pottery that we would need for a symposion, or formal drinking party that we will discuss in more detail in Chapter 5, but the small size of the amphoriskos and of the skyphos as a mixing bowl might have made them more suitable for more informal and everyday drinking, perhaps using some of the other smaller and plainer drinking cups found in the same well deposit. Bottom row: red-figure pelike (P32418); red-figure kylix (P32417); black-figure oinochoe (P32415). Photo: American School of Classical Studies at Athens: Agora Excavations.
Cavalcade. Photo: © The Trustees of the British Museum. In his brief history, Cicero articulates an operating principle for Greek art, and in doing so makes his account more historical and interpretive than simply a chronicle of events and facts. Not only do statues become more lifelike in their appearance, but they also become more beautiful, making a second criterion by which one can judge art and evaluate the achievements of different artists. There are some of the three-dimensional effects of perspective and shading, but on the whole, this painting would not seem to have met the standard of illusionistic “perfection” achieved by Apelles a hundred years later.
A History of Greek Art by Mark D. Stansbury-O'Donnell