By Mark D. Stansbury-O'Donnell
Supplying a special mixture of thematic and chronological research, this hugely illustrated, attractive textual content explores the wealthy old, cultural, and social contexts of 3,000 years of Greek artwork, from the Bronze Age during the Hellenistic interval.
• Uniquely intersperses chapters dedicated to significant sessions of Greek artwork from the Bronze Age during the Hellenistic interval, with chapters containing discussions of significant contextual topics throughout the entire periods
• Contextual chapters illustrate how a variety of elements, corresponding to the city setting, gender, markets, and cross-cultural touch, motivated the improvement of art
• Chronological chapters survey the looks and improvement of key creative genres and discover how artifacts and structure of the time mirror those styles
• bargains various enticing and informative pedagogical beneficial properties to aid scholars navigate the topic, resembling timelines, theme-based textboxes, key words outlined in margins, and additional readings.
• details is gifted sincerely and contextualized in order that it really is available to scholars despite their previous point of knowledge
• A e-book significant other web site is obtainable at www.wiley.gom/go/greekart with the next assets: PowerPoint slides, word list, and timeline
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Extra info for A History of Greek Art
By at least the fifth century BCE Greek artists were producing works that were deliberately older in style, imitating the works of earlier centuries in what would be called today a “retro” style. The lifelike representation of the human figure was not an artistic end in itself and we need to consider the function and context of a work to think about how its appearance might have served a purpose for the artist or the patron. In addition to architecture, painting, and sculpture, this means we shall be looking at jewelry, metalwork, painted and plain pottery, and terracottas throughout this book.
Photo: National Archaeological Museum, Athens (Kostas Xenikakis) © Hellenic Ministry of Education and Religious Affairs, Culture and Sports/Archaeological Receipts Fund. Our ignorance of the original context, even when knowing the findspot, is of some importance in that the point of view for this work is critical for understanding how one might approach it. This is the vantage point found in most reproductions, as it provides the clearest possible view of the body and its naturalistic rendering of anatomy and movement, and creates a striking composition for a photograph.
These portraits are also true, but they would hardly be described as beautiful like the Parthenon figure or the Doryphoros of Polykleitos. Indeed, the construct that Cicero presents of Greek art going from less lifelike (stiff) to very lifelike (real) in its representation of the human form, of the human figure being the most important subject of art in both Greece and Rome, and of Greek art of the fifth and fourth centuries BCE achieving a standard of beauty by which Roman or other art was measured, are themes that have dominated the modern histories of Greek art since the eighteenth century, when Johann Winkelmann published what is considered the first modern history of Greek art in 1764.