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Book
207 pages : illustrations (some color) ; 24 cm.
Art & Architecture Library (Bowes)
Book
xiii, 161 pages : illustrations, maps ; 24 cm.
  • List of Figures Preface Acknowledgments Abbreviations Chapter 1: Introduction Chapter 2: Grappling with Definitions Chapter 3: Repairing Fractured Perspectives Chapter 4: The Greek Trophy: Written Sources Chapter 5: Visual Evidence and the History of the Greek Trophy Chapter 6: The Roman Adoption and Adaptation of the Greek Trophy Chapter 7: Development and Dissemination of the Trophy Tableau Chapter 8: The Landscape Trophy Chapter 9: Conclusion Bibliography Index.
  • (source: Nielsen Book Data)9780415788380 20180508
In The Greek and Roman Trophy: From Battlefield Marker to Icon of Power, Kinnee presents the first monographic treatment of ancient trophies in sixty years. The study spans Archaic Greece through the Augustan Principate. Kinnee aims to create a holistic view of this complex monument-type by breaking down boundaries between the study of art history, philology, the history of warfare, and the anthropology of religion and magic. Ultimately, the kaleidoscopic picture that emerges is of an ad hoc anthropomorphic Greek talisman that gradually developed into a sophisticated, Augustan sculptural or architectural statement of power. The former, a product of the hoplite phalanx, disappeared from battlefields as the Macedonian cavalry grew in importance, shifting instead onto coins and into rhetoric, where it became a statement of military might. For their part, the Romans seem to have encountered the trophy as an icon on Syracusan coinage. Recognizing its value as a statement of territorial ownership, the Romans spent two centuries honing the trophy-concept into an empire-building tool, planted at key locations around the Mediterranean to assert Roman presence and dominance. This volume covers a ubiquitous but poorly understood phenomenon and will therefore be instructive to upper-level undergraduates, graduate students, and scholars in all fields of Classical Studies.
(source: Nielsen Book Data)9780415788380 20180508
Art & Architecture Library (Bowes)
Book
xxxiii, 363 pages : illustrations (some color) ; 28 cm
Greek Art and Aesthetics in the Fourth Century B.C. analyzes the broad character of art produced during this period, providing in-depth analysis of and commentary on many of its most notable examples of sculpture and painting. Taking into consideration developments in style and subject matter, and elucidating political, religious, and intellectual context, William A. P. Childs argues that Greek art in this era was a natural outgrowth of the high classical period and focused on developing the rudiments of individual expression that became the hallmark of the classical in the fifth century. As Childs shows, in many respects the art of this period corresponds with the philosophical inquiry by Plato and his contemporaries into the nature of art and speaks to the contemporaneous sense of insecurity and renewed religious devotion. Delving into formal and iconographic developments in sculpture and painting, Childs examines how the sensitive, expressive quality of these works seamlessly links the classical and Hellenistic periods, with no appreciable rupture in the continuous exploration of the human condition. Another overarching theme concerns the nature of "style as a concept of expression, " an issue that becomes more important given the increasingly multiple styles and functions of fourth-century Greek art. Childs also shows how the color and form of works suggested the unseen and revealed the profound character of individuals and the physical world.
(source: Nielsen Book Data)9780691176468 20180530
Art & Architecture Library (Bowes)
Book
xvii, 270 pages : illustrations, maps ; 24 cm
  • Preface to second edition Acknowledgments List of illustrations Maps 1. Introduction 2. What was a sanctuary? 3. From mud hut to marble temple: Doric and Ionic orders 4. Architectural sculpture 5. Delphi 6. Olympia 7. The Athenian Acropolis: historical background 8. The Parthenon 9. The Propylaia 10. The sanctuary of Athene Nike 11. The Erechtheion 12. The Hephaisteion 13. Views and their meanings: the Acropolis and its surroundings 14. The sanctuary of Apollo Epikourios at Bassae 15. The age of Greek expansion to the west: Paestum 16. The temple of Olympian Zeus at Acragas, Sicily 17. Looking at art in sanctuaries Bibliography Glossary Index.
  • (source: Nielsen Book Data)9781472575289 20180312
Assuming no prior knowledge, this book introduces the reader to a selection of sites and temples, exploring them in detail and explaining all technical terms along the way. Intended for college-level students and the interested general reader, this book aims to equip the student of Greek architecture for further study, and can also serve as a handbook for visitors to the sanctuaries. The book covers many of the most popular sites, including Delphi, Olympia and the Athenian Acropolis. In this second edition there are new chapters on Western Greece, covering the site of Paestum in Magna Graecia (South Italy), and the unique temple of Olympian Zeus in Acragas, Sicily. The book also offers a concise account of the evolution of Greek architecture, explores aesthetic ideas underlying Greek architectural design, and gives consideration to specific buildings in their social and religious context. This second edition has expanded the discussion of the most important temples and lays emphasis on architectural sculpture as part of the meaning of the whole building. Along with an updated bibliography and a glossary, an abundance of plans, photos and drawings helps clarify the text.
(source: Nielsen Book Data)9781472575289 20180312
Art & Architecture Library (Bowes)
Book
240 pages : illustrations (some color) ; 29 cm
Rodin, famous for The Thinker and The Kiss, drew energy and inspiration from the art of Classical antiquity, and he absorbed and assimilated the models of ancient Greek and Roman art in his own work in innovative ways. The Parthenon sculptures in particular were a great source of inspiration. He encountered them first in books, plaster casts in the Ecole des Beaux-Arts in Paris and some originals in the Louvre, and then drew them first-hand on several visits to the British Museum. He amassed a collection of antiquities including many fragments of marble sculpture, which he regarded as complete objects in themselves. In his own work he introduced the idea of the headless, limbless torso as object of art in its own right, much influencing his contemporaries. Rodin and the art of ancient Greece brings together all these elements for the first time. It tells the story of the reception of the Parthenon sculptures in the modern era, as well as Rodin's continued engagement with them throughout his life. The works featured, encompassing a great range of Rodin's sculptures and drawings together with select sculptures from the Parthenon and Rodin's own collection, are explored thematically, shedding new light on the life and art of one of the greatest and most radical sculptors of the modern age.
(source: Nielsen Book Data)9780500480304 20180611
Art & Architecture Library (Bowes)
Book
xx, 285 pages, 16 unnumbered pages of plates : illustrations (some color) ; 27cm.
  • List of Figures viiList of Plates xiiiAbbreviations xvPreface xviiI1 The Art of Transformation 32 Athenian Pottery and Athenian Culture 26II3 Changing in the Gymnasium 534 Changing the Guard 875 Courting Change 1226 Sacrificing Change 1517 Drinking to and Reveling in Change 1688 The Changing City of Satyrs 188III9 Morality, Politics, and Aesthetics 20710 The Road Not Taken 22811 The Transformation of Art 249Bibliography 259Index 277.
  • (source: Nielsen Book Data)9780691177670 20180312
How remarkable changes in ancient Greek pottery reveal the transformation of classical Greek culture Why did soldiers stop fighting, athletes stop competing, and lovers stop having graphic sex in classical Greek art? The scenes depicted on Athenian pottery of the mid-fifth century BC are very different from those of the late sixth century. Did Greek potters have a different world to see--or did they come to see the world differently? In this lavishly illustrated and engagingly written book, Robin Osborne argues that these remarkable changes are the best evidence for the shifting nature of classical Greek culture. Osborne examines the thousands of surviving Athenian red-figure pots painted between 520 and 440 BC and describes the changing depictions of soldiers and athletes, drinking parties and religious occasions, sexual relations, and scenes of daily life. He shows that it was not changes in each activity that determined how the world was shown, but changes in values and aesthetics. By demonstrating that changes in artistic style involve choices about what aspects of the world we decide to represent as well as how to represent them, this book rewrites the history of Greek art. By showing that Greeks came to see the world differently over the span of less than a century, it reassesses the history of classical Greece and of Athenian democracy. And by questioning whether art reflects or produces social and political change, it provokes a fresh examination of the role of images in an ever-evolving world.
(source: Nielsen Book Data)9780691177670 20180312
Art & Architecture Library (Bowes)
Book
xv, 309 pages, 8 unnumbered pages of plates : illustrations (some color) ; 27 cm
  • Introduction-- Part I. The Afterlives of Greek Sculptures: 1. Dangerous afterlives: the Greek use of 'voodoo dolls'-- 2. Use and abuse: toward an ontology of sculpture in ancient Greece-- Part II. Barbaric, Deviant, and Unhellenic: Damage to Sculptures and its Commemoration, 480-31 BC: 3. 'Barbaric' interactions: the Persian invasion and its commemoration in early classical Greece-- 4. Deviant interactions: the mutilation of the herms, oligarchy, and social deviance in the Peloponnesian war era-- 5. Collateral damage: injury, reuse, and restoration of funerary monuments in the early Hellenistic Kerameikos-- 6. State-sanctioned violence: altering, warehousing, and destroying leaders' portraits in the Hellenistic era-- Conclusion: the afterlives of Greek sculptures in the Roman and early Christian eras-- Bibliography.
  • (source: Nielsen Book Data)9781107040724 20170403
The Afterlives of Greek Sculpture is the first comprehensive, historical account of the afterlives of ancient Greek monumental sculptures. Whereas scholars have traditionally focused on the creation of these works, Rachel Kousser instead draws on archaeological and textual sources to analyze the later histories of these sculptures, reconstructing the processes of damage and reparation that characterized the lives of Greek images. Using an approach informed by anthropology and iconoclasm studies, Kousser describes how damage to sculptures took place within a broader cultural context. She also tracks the development of an anti-iconoclastic discourse in Hellenic society from the Persian wars to the death of Cleopatra. Her study offers a fresh perspective on the role of the image in ancient Greece. It also sheds new light on the creation of Hellenic cultural identity and the formation of collective memory in the Classical and Hellenistic eras.
(source: Nielsen Book Data)9781107040724 20170403
Art & Architecture Library (Bowes)
Book
282 pages, 24 unnumbered pages of plates : illustrations (some color), maps ; 27 cm
  • Maps Introduction Chapter 1. Culture, Contact, and Art History: Framing the Theoretical Landscape Chapter 2. Arts of Contact Chapter 3. Exceptional Greeks and Phantom Phoenicians Chapter 4. The Rise of Phoenicianism Chapter 5. Hybridity, the Middle Ground, and the "Conundrum of 'Mixing'" Conclusion Notes Works Cited Index Acknowledgments.
  • (source: Nielsen Book Data)9780812249088 20170724
The proem to Herodotus's history of the Greek-Persian wars relates the long-standing conflict between Europe and Asia from the points of view of the Greeks' chief antagonists, the Persians and Phoenicians. However humorous or fantastical these accounts may be, their stories, as voiced by a Greek, reveal a great deal about the perceived differences between Greeks and others. The conflict is framed in political, not absolute, terms correlative to historical events, not in terms of innate qualities of the participants. It is this perspective that informs the argument of The Art of Contact: Comparative Approaches to Greek and Phoenician Art. Becky Martin reconsiders works of art produced by, or thought to be produced by, Greeks and Phoenicians during the first millennium B.C., when they were in prolonged contact with one another. Although primordial narratives that emphasize an essential quality of Greek and Phoenician identities have been critiqued for decades, Martin contends that the study of ancient history has not yet effectively challenged the idea of the inevitability of the political and cultural triumph of Greece. She aims to show how the methods used to study ancient history shape perceptions of it and argues that art is especially positioned to revise conventional accountings of the history of Greek-Phoenician interaction. Examining Athenian and Tyrian coins, kouros statues and mosaics, as well as the familiar Alexander Sarcophagus and the sculpture known as the "Slipper Slapper, " Martin questions what constituted "Greek" and "Phoenician" art and, by extension, Greek and Phoenician identity. Explicating the relationship between theory, method, and interpretation, The Art of Contact destabilizes categories such as orientalism and Hellenism and offers fresh perspectives on Greek and Phoenician art history.
(source: Nielsen Book Data)9780812249088 20170724
Art & Architecture Library (Bowes)
Book
xvii, 430 pages : chiefly color illustrations ; 29 cm
Art & Architecture Library (Bowes)
Book
228 pages : illustrations (chiefly color) ; 29 cm
  • Essais -- L'archaïque dans la sculpture européenne moderne -- Bourdelle et les archaïsmes -- Vers la sculpture de demain -- Le langage de l'antique -- De l'intuition au palimpseste -- La Grèce fantasmée de Bourdelle -- Sculpter l'archaïque -- Mises en scènes d'une auto-analyse, ou comment "Il aime au bord'elles" -- Antoine et Cléopâtre -- Le retour des dieux -- Analyses des oeuvres -- Dessiner, copier, s'approprier -- L'antique -- La formation et l'inspiration du sculpteur -- Torse de Pallas (1903-1905) -- "Pallas Athéné, un torse de femme qui est bien un torse de déesse" -- Tête d'apollon (1898-1909) -- "Apollon au combat" -- Héraklès archer (1906-1909) -- "Furieusement archaïque", "moderne et barbare" -- Tête de Cléopâtre (1908) -- "L'impersonnalité rigoureuse d'une construction géométrique" -- Le fruit (1902-1911) -- "De la chair d'art pur" -- Pénélope (1905-1912) -- Colonne charnelle de l'attente -- Théâtre des Champs-Elysées (1910-1913) -- Centaures, faunes, bacchantes et chèvre-pieds - "la fureur mesurée" -- Le centaure mourant (1914) -- Un dieu qui meurt ?
Art & Architecture Library (Bowes)
Book
vi, 242 pages : illustrations (chiefly color) ; 25 cm
Art & Architecture Library (Bowes)
Book
272 pages : color illustrations, color plans ; 28 cm
"A history of the design and construction of the Niarchos Foundation Cultural Center in Athens set against the background of the economic and political crisis in Greece"-- Provided by publisher.
Art & Architecture Library (Bowes)
Book
xv, 276 pages, 8 unnumbered pages of plates : illustrations (some color) ; 22 cm
  • FRONTMATTER-- ENDMATTER.
  • (source: Nielsen Book Data)9780198759300 20170612
Collectors, Scholars, and Forgers in the Ancient World focuses on the fascination which works of art, texts, and antiquarian objects inspired in Greeks and Romans in antiquity and draws parallels with other cultures and eras to offer contexts for understanding that fascination. Statues, bronze weapons, books, and bones might have been prized for various reasons: because they had religious value, were the work of highly regarded artists and writers, had been possessed by famous mythological figures, or were relics of a long disappeared past. However, attitudes towards these objects also changed over time: sculpture which was originally created for a religious purpose became valuable as art and could be removed from its original setting, while historians discovered value in inscriptions and other texts for supporting historical arguments and literary scholars sought early manuscripts to establish what authors really wrote. As early as the Hellenistic era, some Greeks and Romans began to collect objects and might even display them in palaces, villas, or gardens; as these objects acquired value, a demand was created for more of them, and so copyists and forgers created additional pieces - while copyists imitated existing pieces of art, sometimes adapting to their new settings, forgers created new pieces to complete a collection, fill a gap in historical knowledge, make some money, or to indulge in literary play with knowledgeable readers. The study of forged relics is able to reveal not only what artefacts the Greeks and Romans placed value on, but also what they believed they understood about their past and how they interpreted the evidence for it. Drawing on the latest scholarship on forgery and fakes, as well as a range of examples, this book combines stories about frauds with an analysis of their significance, and illuminates and explores the link between collectors, scholars, and forgers in order to offer us a way to better understand the power that objects held over the ancient Greeks and Romans.
(source: Nielsen Book Data)9780198759300 20170612
Art & Architecture Library (Bowes)
Book
xvi, 508 pages : illustrations (some color), maps ; 29 cm
  • Contents List of contributors Abbreviations List of figures List of tables Preface 1 Colin Renfrew Early Cycladic sculpture: issues of provenance, terminology and classification 2 Marisa Marthari Early Cycladic sculptures as archaeological objects Origins: The Neolithic settlements 3 Colin Renfrew The sculptures of Neolithic Saliagos 4 Adamantios Sampson & Vagia Mastrogiannopoulou Figurines from the late Neolithic settlement of Ftelia, Mykonos 5 Christina Televantou Figurines from Strofilas, Andros The early phase 6 Christos Doumas Figurines from Akrotiri, Naxos and Plastiras, Paros 7 Joerg Rambach Schematic marble figurines from secure Early Cycladic I grave contexts on the islands of Ano Kouphonisi, Antiparos, Dhespotiko, Naxos, Paros and Siphnos 8 Dora Papangelopoulou A schematic figurine of shell from Mersinia on Kythnos The Early Cycladic II and III settlements 9 David Wilson The Cycladic marble figurines from EB II Ayia Irini, Kea: evidence for ritual deposition in domestic contexts 10 Peggy Pantou A Fragment of an Early Cycladic figurine from the prehistoric settlement at Plakalona on Seriphos 11 Zozi D. Papadopoulou Sculptures from Akrotiraki, Siphnos and its cemetery 12 Marisa Marthari Cycladic figurines in settlements: the case of the major EC II settlement at Skarkos on Ios Yiannis Maniatis Appendix: non-invasive examination of marble figurines from Skarkos on Ios 13 Colin Renfrew The figurines from the settlement at Dhaskalio 14 Olga Philaniotou Figurines from Potamia on Epano Kouphonisi (Pandelis Tsavaris plot) The Early Cycladic II cemeteries 15 Christos Doumas & Vassilis Lambrinoudakis The cemetery at Aplomata on Naxos Olga Philaniotou Appendix: pottery from the cemetery of Aplomata, Naxos 16 Irini Legaki Sculptures from Phionda, Naxos 17 Christos Doumas Sculptures from Aghioi Anargyroi and Avdeli, Naxos 18 Olga Philaniotou Sculptures from the cemetery of Tsikniades, Naxos 19 Giorgos Gavalas Marble figurines from sites on Epano and Kato Kouphonisi 20 Marisa Marthari Figurines in context at the Chalandriani cemetery on Syros Yiannis Maniatis Appendix: non-invasive examination of marble objects from Chalandriani, Syros 21 Lena Papazoglou-Manioudaki The Early Cycladic figurines from the excavations of Clon Stephanos on Syros and a note on his work on Naxos: towards context Dimitris Tambakopoulos & Yiannis Maniatis Appendix: optical examination of 14 Cycladic figurines from Syros The sanctuary (the special deposits) at Kavos, Keros 22 Photeini Zapheiropoulou The complete canonical sculpture of Spedos variety from Dhaskalio Kavos on Keros 23 Peggy Sotirakopoulou, Colin Renfrew & Michael J. Boyd Selected sculptural fragments from the Special Deposit North at Kavos on Keros 24 Colin Renfrew The figurine fragments recovered from the Special Deposit North at Kavos in 1987 25 Giorgos Gavalas The stone vessels found at Dhaskalio Kavos in 1987 26 Colin Renfrew & Michael Boyd Selected sculptural fragments from the Special Deposit South at Kavos on Keros 27 Judit Haas-Lebegyev Marble and other spools from the excavations at Dhaskalio and the Special Deposit South at Kavos, Keros (2006-2008), and related Cycladic finds Sites with Early Cycladic sculptures in later deposits 28 Stella Katsarou & Demetrius U. Schilardi Recontextualized Neolithic and Early Cycladic figurines at the acropolis of Koukounaries, Paros 29 Carol R. Hershenson & John C. Overbeck Early Cycladic figurines in later contexts at Ayia Irini, Kea 30 Colin Renfrew & Michael Boyd The marble sculptures from Phylakopi on Melos 31 Christos Doumas Early Cycladic sculptures from the settlement at Akrotiri, Thera 32 Robin Barber Terracotta figurines from Mikre Vigla, Naxos Material, technique and manufacture 33 Dimitris Tambakopoulos & Yannis Maniatis The marble of the Cyclades and its use in the early Î ronze Î ge 34 Yiannis Papadatos & Epaminondas Venieris An experimental approach to the manufacture of Cycladic-type figurines with folded arms: preliminary observations 35 Kiki Birtacha Examining the paint on Cycladic figurines.
  • (source: Nielsen Book Data)9781785701955 20180611
The sculpture of the Early Bronze Age Cyclades has been systematically studied since the time of Christos Tsountas at the end of the 19th century. But that study has been hampered by the circumstance that so many of the subsequent finds come from unauthorised excavations, where the archaeological context was irretrievably lost. Largely for that reason there are still many problems surrounding the chronology, the function and the meaning of Early Cycladic sculpture. This lavishly illustrated and comprehensive re-assement sets out to rectify that situation by publishing finds which have been recovered in controlled excavations in recent years, as well as earlier finds for which better documentation can now be provided. Using the material from recent excavation projects, and drawing on the papers presented at a symposium held in Athens in 2014, it is possible now to undertake a fresh overview of the entire body of sculpture from the Cycladic islands which has been found in secure archaeological contexts. Beginning with early examples from Neolithic settlement sites and extending into a consideration of material found in later contexts, the 35 chapters are divided into sections which examine sculpture from settlements, cemeteries and the sanctuary at Kavos, concluding with a discussion of material, techniques and aspects of manufacture.
(source: Nielsen Book Data)9781785701955 20180611
Art & Architecture Library (Bowes)
Book
xvii, 309 pages : illustrations, plans ; 27 cm
  • Introduction: Why portraits?-- Part I. Portraits among Heroes and Gods: 1. From votive statues to honorific portraits-- 2. Arete, heroism, and divine choice in early Greek portraiture-- 3. Portraits in Greek sanctuaries-- Part II. Documenting Archaic and Classical Greek History: 4. Retrospective portraits as historical documents-- 5. Early Greek portraits under Roman rule: removal, renewal, reuse, and reinscription-- Conclusion: The limits of representation.
  • (source: Nielsen Book Data)9781107162235 20170731
In this book, Catherine M. Keesling lends new insight into the origins of civic honorific portraits that emerged at the end of the fifth century BC in ancient Greece. Surveying the subjects, motives and display contexts of Archaic and Classical portrait sculpture, she demonstrates that the phenomenon of portrait representation in Greek culture is complex and without a single, unifying history. Bringing a multi-disciplinary approach to the topic, Keesling grounds her study in contemporary texts such as Herodotus' Histories and situates portrait representation within the context of contemporary debates about the nature of arete (excellence), the value of historical commemoration and the relationship between the human individual and the gods and heroes. She argues that often the goal of Classical portraiture was to link the individual to divine or heroic models. Offering an overview of the role of portraits in Archaic and Classical Greece, her study includes local histories of the development of Greek portraiture in sanctuaries such as Olympia, Delphi and the Athenian Acropolis.
(source: Nielsen Book Data)9781107162235 20170731
Art & Architecture Library (Bowes)
Book
xi, 790 pages : illustrations (some color) ; 25 cm.
  • Einführung
  • Theorie und Geschichte
  • Die Reichen, der Reichtum und seine Quellen
  • Der lange Weg zur Elite : Athen als Eigentumsgesellschaft
  • Quellen des Reichtums
  • Drang nach Exklusivität
  • Thorstein Vehlens "Theory of the Leisure Class"
  • Veblens Welt
  • The Theory of the Leisure Class
  • Thorstein Veblens Elitetheorie : Kritik und Aktualität
  • Veblens Emulationslehre
  • Thorstein Veblen und Jacob Burckhardt
  • Leiturgien im klassischen Athen : conspicuous waste?
  • Die Elite im Wandel : 600-400 v.Chr.
  • Eine "aristokratische" Elite in Athen vor Solon?
  • Die aufstrebende Eigentumselite und das Corpus Theognideum
  • Solons Elite
  • Die Elite und die Tyrannis : Monopolisierung aller "aristokratischen" Möglichkeiten?
  • Die Elite unter Hippias
  • Kleisthenes : die Rückkehr der Eigentumselite
  • Die Elite Athens in der Zeit der Perserkriege : 490-460 v. Chr.
  • Perikles und das Ende der alten Elite
  • Die Elite während des peloponnesischen Krieges : eine späte Renaissance?
  • Tafelteil
  • Die Bilder
  • Die andere Nacktheit, die andere Kleidung : Bilder der Arbeit
  • Händler und Handwerker
  • Landwirtschaft
  • Darstellungen des Symposions
  • Eine Einführung zur Gelagesitte in Athen
  • Frühe Gelagebilder bis ca. 530 v. Chr.
  • Gelagebilder zwischen ca. 530 und 510/500 v.Chr.
  • Gelagebilder zwischen ca. 500 und 460/450 v. Chr.
  • Gelagebilder zwischen ca. 450 und 400 v. Chr.
  • Darstellungen athletischer Wettkämpfe und Übungen
  • Aspekte der Forschung
  • Frühe Athletenbilder bis zur Mitte des 6. Jhs. v. Chr.
  • Athletenbilder zwischen ca. 560/550 und 520/10 v. Chr.
  • Athletenbilder zwischen ca. 510 und 470/460 v.Chr.
  • Athletenbilder zwischen ca. 460 und 400 v. Chr.
  • Darstellungen der Pferdehaltung
  • Pferdehaltung und Reiterei in Athen
  • Frühe Bilder der Pferdehaltung bis zur Mitte des 6. Jhs. v. Chr.
  • Bilder der der Pferdehaltung zwischen ca. 560/550 und 520/10 v.Chr.
  • Bilder der Pferdehaltung zwischen ca. 510/500 und 470/460 v.Chr.
  • Bilder der Pferdehaltung zwischen ca. 470/460 und 400 v.Chr.
  • Schluss : die Geschichte der Bilder : Versuch einer Synthese
  • Symposia
  • Athletik
  • Pferdehaltung
  • English summary
  • Symposia, Athletik und Pferdehaltung : Versuch einer statistischen Auswertung
  • Zur Datierung der Vasen
  • Zur Darstellungsweise der Ergebnisse
  • Ergebnisse der Symposionsdarstellungen
  • Ergebnisse der athletischen Darstellungen
  • Ergebnisse der Darstellungen der Pferdehaltung
  • Anhang
  • Anmerkungen
  • Abkürzungen
  • Bibliografie
  • Abbildungsverzeichnis
  • Index.
Art & Architecture Library (Bowes)
Book
165 pages : illustrations ; 24 cm
Art & Architecture Library (Bowes)
Book
xxiii, 282 pages : illustrations, maps ; 25 cm
  • List of Figures Acknowledgments List of Abbreviations Notes on Contributors Introductory Notes: Contextualizing Context Diana Rodriguez Perez Part One - Location and the Find-spot * Statues as Artifacts: Towards an Archaeology of Greek Sculpture Sheila Dillon and Tim Shea * Itinerant Statues? The Portrait Landscape of the Athenian Agora Elizabeth Baltes * New Perspectives in the Study of Pottery Assemblages from Settlements and their Cemeteries in Central Macedonia during the Archaic Period. Eleni Manakidou Part Two - Experiencing Material Culture * Seeing the Parthenon Frieze: Notes from Nashville Rebecca Levitan and Bonna Wescoat * Lost in Translation? Theoretical Implications of Considering Iconography in Context Winfred van de Put * Volitional Reconsumption: Repetitive Vase Scenes in a Psychophysiological Context Katerina Volioti * Reviewing Space, Context and Meaning: The Eurymedon Vase Again Lloyd Llewellyn-Jones Part Three - Historical and Artistic Contexts * Context of Contest: Athena, Poseidon and the Martyria in the West Pediment of the Parthenon Marion Meyer * The Stoa of the Herms in Context: (Re)shaping Paradigms Matteo Zaccarini * Not quite Pheidias. Status and Labour Specialisation in Athenian Sculpture Helle Hochscheid *(Un)identifying Helen and Paris in Late Fifth Century BCA Athenian Vase Painting: How Context is Crucial Samantha Masters and Alexander Andrason * Is there a Context Behind the Context? A Group of Apulian Red-Figure Vases in the Museum fur Kunst und Gewerbe Hamburg Frank Hildebrandt Part Four - Re-contextualization * Contexts of Use of Fourth Century Attic Pottery in the Iberian Peninsula Carmen Sanchez Fernandez * The Reception of an Attic Prize Vessel. On the Import and Local Production of Amphorae of Panathenaic Shape in Southern Italy. Stine Schierup * Greek Images and Local Identities in Lycia: The Case of the Heroon from Trysa Alice Landskron * Ancient Art in a Museum Context: The Kent Collection of Greek and Cypriot Pottery in Harrogate Sally Waite List of References Index.
  • (source: Nielsen Book Data)9781472457455 20170911
This volume gathers together selected contributions which were originally presented at the conference 'Greek Art in Context' at the University of Edinburgh in 2014. Its aim is to introduce the reader to the broad and multifaceted notion of context in relation to Greek art and, more specifically, to its relevance for the study of Greek sculpture and pottery from the Archaic to the Late Classical periods. What do we mean by 'context'? In which ways and under what circumstances does context become relevant for the interpretation of Greek material culture? Which contexts should we look at - viewing context, political, social and religious discourse, artistic tradition ...? What happens when there is no context? These are some of the questions that this volume aims to answer. The chapters included cover current approaches to the study of Greek sculpture and pottery in which the notion of 'context' plays a prominent role, offering new ways of looking at familiar issues. It gathers leading scholars and early career researchers from different backgrounds and research traditions with the aim of presenting new insights into archaeological and art historical research. Their chapters contribute to showcase the vitality of the discipline and will serve to stimulate new directions for the study of Greek art.
(source: Nielsen Book Data)9781472457455 20170911
Art & Architecture Library (Bowes)
Book
256 pages, 65 pages of plates : illustrations (some color), chart, maps, plans ; 31 cm.
During the excavations of the Austrian archaeological institute between 1983 and 1994, two houses in the town of Lousoi were examined. Built on the northern foothills of mount Helmos, in ancient Northern Arkadia, they had developed as part of the living area, on two natural terraces above the plateau of Soudena. The houses, generously built with bathrooms and oikoi with decorated hearths, reflect a picture of comfortable living. Installations for wine production and numerous small finds offer insight into the living habits and home-industry of the inhabitants, who processed the products which they gained from agriculture, animal elevation and hunting. During the years, alterations brought change to the architecture, but two major building phases in each of the houses can be discerned, until a special event forced the inhabitants of the second phase to leave the houses. After this break, a thick layer of rubble fell on the floors, containing broken roof tiles, burnt pieces of wood, small finds. Pottery fragments, glass, coins offer a chronological frame in the 3rd/2nd ct. B.C. and the 1st. ct. BC/ 1st. ct. AD. There followed a third building phase at the end of the 2nd./beginning of the 3rd. century. Again, pottery and small finds offer chronological indications.
Art & Architecture Library (Bowes)
Book
191 pages : illustrations (some color) ; 33 cm
Art & Architecture Library (Bowes)