By Tyler Jo Smith and Dimitris Plantzos
A entire, authoritative account of the improvement Greek artwork during the 1st millennium BC.
An worthwhile source for students facing the paintings, fabric tradition and background of the post-classical world
Includes voices from such different fields as artwork historical past, classical experiences, and archaeology and provides a range of perspectives to the topic
Features an leading edge crew of chapters facing the reception of Greek artwork from the center a long time to the present
Includes chapters on Chronology and Topography, in addition to Workshops and Technology
Includes 4 significant sections: kinds, occasions and locations Contacts and Colonies photos and Meanings Greek artwork: old to vintage
Read or Download A Companion to Greek Art PDF
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Extra info for A Companion to Greek Art
C. 3. © The Trustees of the British Museum). 5 BC The function and context of ancient objects and monuments are crucial elements in the story of Greek art, and they place our subject on firm archaeological footing. The Greeks made little if any ‘art for art’s sake’. Even their most profound and aesthetically pleasing examples served a utilitarian purpose. Sanctuaries have produced abundant material remains, in some instances resulting from years of excavation. It is also worth noting that at many locations around the Greek world, evidence of the ancient built environment has been (more or less) visible, above ground, since antiquity.
D. Ure early in the 20th c. 3 Lakonian lead figurine of a warrior, from Sparta. 6th–5th c. BC (New York, Metropolitan Museum of Art. B. 64). Image © The Metropolitan Museum of Art/Art Resource/Scala, Florence). and so on. 9); Morgantina in central Sicily gives us the earliest known tessellated mosaic (Bell 2011); and Berezan (ancient Borysthenes), a small island on the north coast of the Black Sea, offers an excellent case study of Greek interaction with the nearby (Scythian) population through a combination of domestic dwellings, pottery styles, and burial methods (Solovyov 1999).
6). Classical archaeology, then, has been a product of modernity’s systematic attempt to colonize ‘its’ Greco-Roman past, as well as one of this effort’s most able agents (Dyson 2006; Damaskos and Plantzos 2008). Greek art comes to us burdened by its own afterlife. Its ‘decolonization’ cannot mean a utopian return to an idealized ‘authentic’ state, sadly comprehensible only to the Greeks themselves. 5 Athens, the building of the Academy designed by Theophile Hansen, with free-standing statues of Athena and Apollo by Leonidas Drosis, 1859–1887 (photo: D.