By Tyler Jo Smith and Dimitris Plantzos
A finished, authoritative account of the advance 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 diversified fields as paintings heritage, classical reports, and archaeology and gives a range of perspectives to the topic
Features an leading edge workforce of chapters facing the reception of Greek artwork from the center a while to the present
Includes chapters on Chronology and Topography, in addition to Workshops and Technology
Includes 4 significant sections: kinds, instances and areas Contacts and Colonies pictures and Meanings Greek paintings: old to old
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Additional info for A Companion to Greek Art
Culturali). indd 5 2/28/2012 4:32:31 AM Plate 5 Marble relief from the east frieze of the Parthenon (slab V). The frieze is usually thought to show the procession of the Panathenaic festival, the commemoration of the birthday of the goddess Athena. 447–432 BC (London, British Museum. 19. © The Trustees of the British Museum). indd 6 2/28/2012 4:32:35 AM Plate 6 Athenian Acropolis, the Parthenon. 447–432 BC (© SuperStock). indd 7 2/28/2012 4:32:38 AM Plate 7 Epidauros, the theater. 4th c. com). Plate 8 Wall-painting depicting Hades abducting Persephone.
Regardless of terminology, within these large chronological divisions the subject has routinely been taught, discussed, and researched according to a triumvirate much loved by the history of art: sculpture, architecture, and painting (normally including vases); and leaving much of the rest relegated to the ill-defined catch-all phrase of ‘minor arts’ (Kleinkunst): terracottas, bronze figurines, gems and jewelry, and so on. But major versus minor is not the whole story. Some areas of Greek art have proved more difficult to assemble than others.
As many of the contributors to this publication explain (chiefly in Chapters 31–35 and 37), much of what we appreciate as ‘Greek art’ today, or have done so in the past, has been elaborated, embellished, and reinvented. In short, it has been translated by the crucial intervention of Rome and the Middle Ages, not to mention the systematic efforts of Western European elites in early modernity. Not that this makes Greek art less ‘authentic’ or less ‘significant’ than it ought to be. As a cultural phenomenon, the arts of ancient Greece deserve our attention today perhaps more than ever, since we now know that an Archaic kouros or a scrap of the Parthenon marbles can carry much more than the sensibilities of their own era.
A Companion to Greek Art by Tyler Jo Smith and Dimitris Plantzos