By Tyler Jo Smith and Dimitris Plantzos
A finished, authoritative account of the advance Greek artwork during the 1st millennium BC.
An precious source for students facing the artwork, fabric tradition and historical past of the post-classical world
Includes voices from such assorted fields as paintings historical past, classical experiences, and archaeology and provides a variety of perspectives to the topic
Features an leading edge crew of chapters facing the reception of Greek paintings from the center a while to the present
Includes chapters on Chronology and Topography, in addition to Workshops and Technology
Includes 4 significant sections: varieties, occasions and locations Contacts and Colonies photos and Meanings Greek artwork: historic to old
Read Online or Download A Companion to Greek Art PDF
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Extra resources for A Companion to Greek Art
The stylistic chronologies can be tied to absolute dating using fixed points within the chronological sequence (cf. 2). As noted above, these can be historical dates providing a terminus ante quem or terminus post quem for the archaeological material. Examples of this sort of dating include the destruction of Olynthos and the battle mound for the Athenian dead at the Battle of Marathon already noted. However, death and destruction are not the only examples; the structuring of cultural events can also mark a fixed point for material evidence, such as the start of the Panathenaic Games in 566 BC as the terminus post quem for Panathenaic amphorae, or the foundation of a colony.
Archaic sculpture was ‘straight and hard’, while the acme was achieved in the Early Classical phase, associated with the works of Pheidias, being ‘grand and square’. Late Classical sculpture, being the works of Lysippos and Praxiteles, was not quite so wonderful but was still ‘beautiful and flowing’. Later works were merely ‘imitative and decadent’ (Potts 1994: 67–112; Shanks 1996: 56–58; Whitley 2001: 20). Winckelmann was not the first to propose a chronology for ancient Greek art. Pliny (AD 23/4–79), in his Natural History, provides a chronological development which was influential on later writers of Greek art history, especially with regards to the privileging of works which could be tied to ‘master’ artists.
But as the current volume makes perfectly clear, Greek art cannot and should not be tackled in a uniform manner, and there remains ample room for a number of approaches, both old and new. There is legitimate space for multiple views. Indeed, a Companion such as this one combines the state of our knowledge with the state of our interests. 2 9 Greek Art after the Greeks What then is ‘Greek’ about Greek art? And how much of it is ‘art’? For the Greeks, ‘art’ (techne) was craft and artists (demiourgoi) were by and large thought of as artisans: good with their hands and not much else (though famous ones, like Pheidias, came to be respected for their political power and the money that it made them).
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