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2021, Journal of Greek Archaeology 6
In the last half-dozen years, the early fifth-century BC ‘Classical Revolution’ in Greek sculpture and painting has become ‘hot’ again. Did it develop gradually, incrementally, and logically out of the Archaic, or emerge quite suddenly (if so, when?), or involve some combination of both? This article critically re-examines the archaeological and textual evidence for its emergence. Offprints in PDF form for personal use only may be obtained from [email protected].
2022
For the history of Greece, one of the main 'anchor' dates is 480 BCE. In that year, the Persian armies led by king Xerxes occupied large parts of Greece. For the history of Greece, both before and after the Persian wars, the watershed of 480 has developed as one of the main anchors on which the interconnected fabric of relative dates seems to depend. The solidity of this framework is the topic of this conference. The conference brings together specialists in subdisciplines of Greek history and archaeology to share, debate, and test shifting views on the significance of 480 on the chronology of Greek history of the Archaic and Classical periods.
2016
Cross-cultural interactions are thought to be a relatively new phenomenon, but surely the emergence of free-standing sculpture in Archaic Greece demonstrates that various peoples of the Mediterranean have been exchanging knowledge and goods for over two millennia. It is crucial to investigate the blending of cultural and artistic practices at the time to understand how it leads to the ‘height’ of Greek art in the Classical Period. Though Greeks borrowed techniques from their Egyptian and Near East neighbours, the influence was reciprocal. These interactions further solidify, rather than undermine the worldview of Ancient Greek society.
1978
modify. So 1 submit that, when they unexpectedly arrived (perhaps as a special gift?), the architect had to redesign his facade to incorporate them. The columns had to be thickened and moved off their original axes; while the walls and antae, which could not be so easily altered, were perhaps moved outwards slightly. The positions of the metopes stayed as far as possible the same. But the unique five guttae to the redesigned regula ensured, as C.'s drawing well shows, the neatest possible accommodation to the architrave-joint, now off the centre of the triglyph. Finally, the architect added a touch of that poetry, without which the neatest design seems incomplete. Along the abaci of his unfa-capitals he placed a fringe of beads, or pearls. An ancient Ruskin, he had seen the autumn-dew fringing the 'rock-cornices' of Parnassus. HUGH PLOMMER Cambridge RIDGWAY (B.S.) The archaic style in Greek sculpture. Princeton: University Press. 1977 (1978). Pp. xix + 336, 69 illus. £29.80. What we have here is not a systematic history so much as a commentary by topics, and readers are assumed to have already a fair knowledge of Archaic Greek sculpture. Four general principles are the rejection of G.M.A. Richter's anatomical rule of development, a distrust of the accepted chronology (both absolute and relative), an insistence on the independent traits of local schools and a reliance-where convenient-on statistics of finds. Chapter 1 is a short and explanatory introduction. Chapter 2, on origins, maintains that about 700 B.C. the Greeks adopted the Daedalic style, which came from Syria or Phoenicia, for their statues-mostly female-of wood and around 650 B.C. of limestone too, gaining some knowledge of male anatomical details during this period from contemporary armour; further, around 650 B.C., acquaintance with Egypt brought the technical knowledge of carving marble, the grid for planning statues and an acceptable type for male figures and so the Archaic style was created, especially in Naxosand Samos. Chapter 3 ponders on the kouros, at first a votive or funerary image of Apollo and the determinative type of the new style-its distribution, meaning, chronology, variation by regions (among which Samos is distinguished from the East Greek) and affinity to other male types. In Chapter 4 the kore has similar treatment-characteristics, type and date, distribution, costume, regional variation, meaning and relatives (Nikai); it is derived from Oriental sources and its elaboration attributed to East Greece and Samos. Chapter 5 is on seated and, very briefly, reclining and equestrian statues, which began respectively in Asia Minor, Samos and mainland Greece. Chapter 6 summarises the use of human statues as grave monuments and proceeds to lions, sphinxes and other animals and monsters in the round, with an excursus on stelai. Pediments and acroteria come in Chapter 7, metopes in 8 and friezes in 9. Chapter 10 turns to the identification of sculptors, for which signatures are considered the only valid method. Lastly, Chapter 11 surveys succinctly Archaic survivals, revivals and reminiscences. Throughout R. proffers much good observation and many unconventional or novel ideas, so that some readers will find her stimulating and perhaps inspiring. Others may think that there is too little compensation for the frequent lack of supporting argu
2018
“ΧΡΩΣΤΗΡΕΣ / PAINTBRUSHES. Wall-painting and vase-painting of the second millennium BC in dialogue” was an interdisciplinary symposium addressed to archaeologists, conservators of antiquities and artists specialized in the study of Aegean iconography. All were invited to Akrotiri, Thera, from 24 to 26 May 2013, to participate in open discussions on the dialectical relationship that developed between the arts of vase-painting and wall-painting in the Aegean during the second millennium BC.
Handbook of Greek Sculpture, edited by Olga Palagia, 2019
This chapter reconsiders the criteria for stylistic analysis of Hellenistic sculpture and the usefulness and limits of such an analysis for relative and absolute chronology. It maintains the traditional division into three distinctive phases (Early, High and Late) and highlights their characteristics. From the early second century οn, there are classicistic and progressive trends side by side.
With a 'visual turn' taking place in the humanities, whereby material culture has attained a status equal to textual, it is increasingly important that works of art and artifacts be properly interpreted in their historic and archaeological contexts. The new approaches on the part of archaeologists who focus on contexts (political, social, religious) provide fresh ground for interpretation as more and more humanities disciplines engage with visual culture. The aim of the collection of individual studies assembled here is to demonstrate how Classical Athenian art remains a vital field not just for art historians and archaeologists, but for ancient historians, political and social scientists, anthropologists, and those in religious studies as well. Now as new material comes to light and fresh ideas on old topics are being formulated, it is timely to re-investigate the art generated in the age of Perikles and its aftermath, the Peloponnesian War. This new research is presented here in the hope that upcoming generations of students and scholars will gain a deeper understanding of this seminal period of Greek art and architecture. The five decades (449 to 403 B.C.) covered by this volume begin with the putative "Peace of Kallias", probably an invention of the 4 th century B.C., and end with the demise of Kritias, a pro-Spartan intellectual who ended his political career as one of the notorious Thirty Tyrants. This book comprises the papers presented at the international conference "From Kallias to Kritias. Classical Culture: Athens in the Second Half of the 5 th Century B.C.", hosted in Athens by the American School of Classical Studies at Athens on June 6-8, 2019. The conference followed chronologically in the footsteps of "From Hippias to Kallias: Greek Art in Athens and Beyond 527-449 B.C.", 1 hosted by the Acropolis Museum in May 2017. That conference explored the debates concerning the last manifestations of the Archaic and the emergence of the Early Classical style. This volume, like its predecessor, raises important new issues, triggered by ongoing research on old and new excavation material, by probes into museum storerooms, and by the reshuffling of traditional premises. Bibliographical abbreviations follow the guidelines of American Journal of Archaeology. Abbreviations of ancient authors can be found in the Oxford Classical Dictionary. The editors and authors are greatly indebted to Mirko Vonderstein of de Gruyter for agreeing to publish this volume. Hans Rupprecht Goette has kindly allowed the reproduction of several photos from his archives throughout the book. Our thanks are also due to Carol Lawton, Sheila Dillon and Sheramy Bundrick for their assistance. We are grateful for the generous sponsorship of both the American School of Classical Studies at Athens and the Athens-Greece Society of the Archaeological Institute of America. This publication has been supported by a grant from the Samuel H. Kress Foundation, administered by the Archaeological Institute of America.
Pictores per Provincias II – Status Quaestionis. XIII Conference of AIPMA 12-16 September 2016 in Lausanne, Switzerland. Basel: Antiqua d’Archéologie Suisse., 2017
This synthesis approaches mural painting in Roman Greece chronologically, from the later 2nd century BCE through the late 4th century CE. The temporal perimeters remain fluid, acknowledging that cultural exchange, artistic influence, and the absorption of technical, visual, and iconographic traits – was uneven during these centuries and that even the mechanisms for exchange, influence, and absorption of artistic traits in the Roman Provinces remain poorly understood. The dearth of well-excavated and published buildings and sites preserving Roman-period mural paintings presents a challenge for studying paintings from Roman Greece. This synthesis, therefore, concentrates on a small number of well-dated examples, offering first a survey of extant paintings organized by region followed by a brief summary of specific visual, iconographic, and technical connections among the groups of paintings. Owing to the extensive fragmentation of most ensembles, drawing clear iconographic and technical associations remains tenuous. The most direct correlations in terms of technique and iconography can be drawn between early through later first-century paintings, which come from early Roman building projects in cities with direct social, commercial, and political links with Rome, and perhaps Campania (Kos, Corinth, Athens, Nikopolis, and likely Patras). Other areas, such as Dion, Sparta, seem to have more locally developed stylistic and technical painting traditions. The aim is to provide a structure with which to continue study of paintings from a regional perspective and to fully contextualize paintings with other decorative media (sculptural assemblages, mosaics and stuccowork) and within their specific architectural spaces. With this groundwork laid, it would be possible to truly address questions of artisanship, practice, patronage, and the social significance of decorative media in the Roman world.
Abstracts of the papers presented at the international workshop "Reframing Antique Sculpture in Roman Greece" (20-21 Oct. 2022, Athens). The abstracts are organized by sessions
Smith/A Companion to Greek Art, 2012
When Percy Gardner was appointed the first Lincoln and Merton Professor of Classical Archaeology at Oxford in 1887, the discipline was still largely in its infancy. His book entitled The Principles of Greek Art, written almost 100 years ago, demonstrates that classical archaeology of the day was as much about beautiful objects and matters of style as it was about excavation and data recording. Now, as then, the terms 'Greek art', 'classical art', and indeed 'classical archaeology' are somewhat interchangeable (Walter 2006: 4-7). To many ears the term 'classical' simply equals Greek-especially the visual and material cultures of 5 th and 4 th c. bc Athens. Yet it should go without saying, in this day and age, that Greek art is no longer as rigidly categorized or as superficially understood as it was in the 18 th , 19 th , and much of the 20 th c. By Gardner's own day, the picture was already starting to change. Classical archaeology, with Greek art at the helm, was coming into its own. The reverence with which all things 'classical' were once heldbe they art or architecture, poetry or philosophy-would eventually cease to exist with the same intensity in the modern 21 st c. imagination. At the same CHAPTER 1
The Diversity of Classical Archaeology, 2017
achim lichtenberger, Westfälische Wilhelms-Universität Münster rubina raja, Aarhus Universitet Advisory Board Susan e. alcock Marianne Bergmann robin osborne r. r. r. Smith voluMe 1
Advances in Social Science and Culture, 2021
The Greek Revolution of 1821 was one of the most important issues in Europe of the early 19 th century on a political and military level. The outbreak of the Greek Revolution was not supported by the Great Powers of the time, since as a liberation struggle it violated the terms of the Holy Alliance (1815), however it managed to prevail thanks to the support of the people of Europe as they regarded this an effort of a small nation to claim its freedom and oppose to slavery and authoritarianism. After all, we are in the time of Romanticism and this kind of struggle enjoyed the support of intellectuals, collectives, and different groups of citizens. Philhellenism was on the rise, and painters like Delacroix made a huge impact with works that made a strong impression on Europe. After the success of the Revolution, many foreign artists came to Greece, some on their own initiative as travelers and others carrying out their King's orders. Some of them were painters (both amateur and professional) that painted live portraits of the leading figures of the Revolution, leaving behind a remarkable oeuvre when seen from a historical, factual, and artistic point of view. And since at that point in Greece there could be no room for domestic artistic creation, the work of these artists is considered particularly important in terms of portraiture, history, facts, and artistic value. The most important out of the painters that were in Greece at that critical time are the Bavarians Karl Krazeisen and Peter von Hess, who painted portraits of Greek fighters and these portraits have since become the blueprints that other artists, painters, and sculptors based their work on resulting in the perpetuation of the historical memory. It is worth mentioning that in the 200 years of independence these works remain of enduring value when paying tribute and respect to the first martyrs of the Greek Struggle.
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