Greek Art and Archaeology

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Greek Art and Archaeology

Greek Art and Archaeology

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Both authors have endeavored to strike a balance between presenting Greek and Roman art within an historical context and, at the same time, introducing the reader to the issues and problems being addressed by today’s scholars. Numerous text boxes, chapter summaries and timelines, complemented by a detailed glossary, support student learning. For example, Chapter 12, “The Fourth Century to 330 BCE” begins with an historical snapshot of the period and a discussion of the differences between Greek culture in the fifth and fourth centuries BCE.

By carefully examining the context in which sculptures and paintings were produced, author Robin Osborne shows how artists responded to the challenges they faced in the formidable and ambitious world of the Greek city-state, producing the rich diversity of forms apparent in Greek art. Spanning Athenian life from the Mycenaean to the Byzantine eras, the 500 objects featured range from statues, pottery, and jewelry to tools, toys, a dog collar, and a large stone slab listing the dead from three battles of the Peloponnesian War, mentioned by Thucydides. The ancient Olympic Games began in 776 BC and ran for over 1000 years, waning during the Roman Empire and the advent of Christianity. In just the past few years, however, three new options have appeared, authored by Judith Barringer, Richard Neer, and Mark Stansbury-O’Donnell. To compound the problem, when the author refers to monuments discussed in previous chapters and to works to be covered in future chapters (particularly evident in the thematic chapters), one can only wonder whether or not the reader will, in fact, follow the author’s direction to flip back and forth through the text.

Stansbury-O’Donnell’s breadth of knowledge is evident in his inclusion of works of art that are not only not part of the canon but not discussed, to my knowledge, in any previous survey text. They all relate to the theme of sport, most have a religious rather than secular significance and they all stand as rare examples of their kind. In point of fact, Tuck has, for the most part, restricted his survey of Roman art to public monuments that served to promote imperial ideology. The badly damaged west pedimental figures did, however, suffer at the hands of the Venetians, not from the bombardment but from attempts to remove them afterward.

An account of the development of Greek art in the Classical period (about 480-320 BC) which places particular emphasis on the meaning and content of Greek sculpture, architecture and painting. This is the text that sets a new standard in its field with striking visuals, fascinating reconstructions, accessible prose, and coverage of the wider Greek world. While this seems to hold for grave-markers, amphorae were often used for male cremation burials, especially in EG. Therefore, many criteria for organization suggest themselves, but each, whether chronology, function, style, subject matter, region, or some other factor, is at once problematic and constricting.

Consequently, there is an appropriate treatment of synthetic themes without interrupting the chronological flow, enabling a student new to the subject to comprehend clearly where each monument fits in the greater scheme of things. Many pieces of Greek sculpture are very familiar to us - the Discobolus, the Venus de Milo and the Parthenon frieze, for instance - but our appreciation of them as "works of art," enshrined in museums, is far removed from the ways in which the ancient Greeks saw and perceived them. Suitable for students with no prior knowledge of ancient art, this textbook reviews the main objects and monuments of the ancient Greek world, emphasizing the context and function of these artefacts in their particular place and time. This course is an illustrated survey of the art and archaeology of the ancient Greek world from the Bronze Age to Hellenistic times. which describes an anonymous bronze statue of a youth (puer) killing a lizard, it is here proposed that the sculpture known as the Apollo Sauroktonos is not Apollo and not attributable to the sculptor Praxiteles, as Pliny states (NH 34.

It is this reviewer’s hope that their efforts to meld the standard comprehensive/chronological approach with cultural material can serve to stimulate a meaningful conversation about pedagogy and, possibly, serve as a catalyst for rethinking the traditional approach to offering traditional survey courses in ancient art. Professor Barringer is the author of Art, Myth, and Ritual in Classical Greece (Cambridge University Press, 2008); The Hunt in Ancient Greece (2001); and Divine Escorts: Nereids in Archaic and Classical Greek Art (1995) and co-editor (with Jeffrey M. Neer and Stansbury-O’Donnell each divides his work into fourteen chapters (corresponding to the weeks in a standard college semester).

Includes plans of unfinished marble older Parthenon and Older Propylon, both of which are generally considered post- Marathon. Richard Neer offers new insights into the role of visual culture in the Greek world, and its intersection with politics, religion and ancient everyday life. Ogden Distinguished Service Professor of Art History, Cinema and Media Studies and the College at the University of Chicago. Explora la mayor tienda de eBooks del mundo y empieza a leer hoy mismo en la Web, en tu tablet, en tu teléfono o en tu dispositivo electrónico de lectura.

These entry requirements are for the 2024/25 academic year and requirements for future academic years may differ. In lieu of requiring a single comprehensive textbook, readings could be assigned from a wide variety of secondary sources, thereby introducing students to a diversity of scholarly writing styles and methodologies.Additionally, readers are continually re-oriented by the title page for each chapter, which presents both a listing of all subsections and an informative timeline of objects and events. Summary: This survey combines a chronological narrative with an up-to-date account of Greek art and archaeology. A century separates us from the “rupture of history” and the historical ambiguities that the early heroic modernism introduced in the urban space, and eighty years from the destruction of the European monumental deposit from the bombings of WWII, a defining moment for the introduction of new kinds of monumentality alongside the old ones.



  • Fruugo ID: 258392218-563234582
  • EAN: 764486781913
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