By Tyler Jo Smith and Dimitris Plantzos
A entire, authoritative account of the improvement Greek artwork throughout the 1st millennium BC.
An valuable source for students facing the paintings, fabric tradition and heritage of the post-classical world
Includes voices from such diversified fields as paintings heritage, classical reports, and archaeology and gives a variety of perspectives to the topic
Features an cutting edge crew of chapters facing the reception of Greek artwork from the center a long time to the present
Includes chapters on Chronology and Topography, in addition to Workshops and Technology
Includes 4 significant sections: kinds, instances and locations Contacts and Colonies photos and Meanings Greek paintings: old to vintage
Read or Download A Companion to Greek Art PDF
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Additional resources for A Companion to Greek Art
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.
Other objects, such as coins, have not always been considered ‘art’ per se, in spite of their stylistic and iconographic similarities with other artifacts, and their sometimes critical role in the dating of archaeological contexts. Alas, it is a hierarchy that we have all come to live with for better or worse. It encourages questions of quality, taste, and value, and these days even plays a role in debates over cultural property and the repatriation of antiquities. Did all objects of ancient Greek art have ‘equal’ value?
Published 2012 by Blackwell Publishing Ltd. indd 17 2/28/2012 7:31:53 PM 18 Forms, Times, and Places the veracity of his list was questioned as early as the 2nd c. 4). Timaios of Tauromenion (c. 356–260 BC) synchronized the Olympic victors with lists of Athenian archons, Spartan kings and ephors, and Argive priestesses. In the Hellenistic period, Eratosthenes standardized dating by Olympiad and provided a synchronized chronology for ancient events. The Parian Marble, an inscription of a chronological list dating historical events from the year of writing (299/8 BC), provides a record that is independent of the Olympiads (Austin 1981: 8 ).
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