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Greek Art and Archaeology

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The ancient Olympic Games began in 776 BC and ran for over 1000 years, waning during the Roman Empire and the advent of Christianity. In the chapter on the Flavians (7), for example, there are discussions of the Jewish Revolt of 66 CE; Pliny’s account of the eruption of Mount Vesuvius; the Roman classes and patron-client system; and the Cretan cycle of myths (related to the section on the murals in Pompeii’s House of the Vettii).

Drawing on literary, historical and archaeological evidence, Nigel Spivey explains the techniques of the manufacture of Greek sculpture and traces its production from the eighth century BC to the Hellenistic period. However, while Stansbury-O’Donnell and Tuck have expended considerable effort in offering new perspectives on the traditional, linear approach that is so often the organizing principle in Greek and Roman survey texts, this reviewer does not believe that either author has succeeded as well as one would have hoped: in one work, there is too much; in the other, too little. Since the Greeks were not themselves always the intermediaries and the results were largely determined by the needs of the recipients, this becomes a study of foreign images accepted or copied usually without regard to their original function. This full-color book presents the astonishing discoveries from this city beneath the city -- bringing the capital of the classical world to life once again. Explora la mayor tienda de eBooks del mundo y empieza a leer hoy mismo en la Web, en tu tablet, en tu teléfono o en tu dispositivo electrónico de lectura.The Ancient Greeks have occupied a central role in modern imaginations of the history of the western world. Spanning Athenian life from the Mycenaean to the Byzantine eras, the 500 objects featured range from statues, pottery, and jewelry to tools, toys, a dog collar, and a large stone slab listing the dead from three battles of the Peloponnesian War, mentioned by Thucydides. We learn about how art was made and used, and how it can offer a window into the changing social and cultural world of ancient Greece. In view of the numerous publications in recent years on the funerary art and social history of non-elites in the early Empire, it is disappointing that Tuck chose to limit his discussion of non-imperial funerary art to only two works (the reliefs of the bakery scenes on the Tomb of Eurysaces and the funeral procession on the Amiternum Relief). Professor Pollitt reminds us that the visual arts in Greece, as elsewhere, were primarily vehicles of expression.

In the “Epilogue” (15) the author underscores the continuous communication among ancient cultures by highlighting the adaptation by Greek artists of forms from the artistic vocabulary of other cultures, particularly Persian. The eroticized pose, the eccentric hair-do, and the genre subject matter are fitting neither for the god nor for the mid-fourth-century date. Barringer examines a variety of media, including marble and bronze sculpture, public and domestic architecture, painted vases, coins, mosaics, terracotta figurines, reliefs, jewellery and wall paintings. This course aims at familiarising students with the most important archaeological sites, artefacts and artistic expressions from the ancient Greek world between the Bronze Age and Late Classical periods.Plantzos takes an archaeological approach to his survey of Greek art, but in so doing gives discussion of the monuments’ stylistic features relatively short shrift. In lieu of requiring a single comprehensive textbook, readings could be assigned from a wide variety of secondary sources, thereby introducing students to a diversity of scholarly writing styles and methodologies. An instructor might even consider offering a more focused type of ancient art course, organizing the material around one or two themes, such as “Life in the Ancient Greek City” or “The Art and Identity of Non-Elite Romans.

Neer, is the only comprehensive survey that reflects current scholarly approaches and new ways of looking at both art history and archaeology. Introduction • Chronological Overview • Crete and the Cyclades to the Late Bronze Age • Greece and the Mycenaean World to c. In addition, each chapter includes three or four explanatory “boxes” that deal with a variety of issues, such as techniques of production, issues of marketing and consumption, and special cases of iconography or historical context.Through concise, systematic covering of the main categories of classical monuments, the reader is taken to a tour of ancient Greece along the most spectacular period in its history, the 1st millennium BC. Direct casting is discussed, but not indirect casting, which was regularly used for Classical bronzes, a fact that is of great significance for the study of such sculptures. In each chapter there are textboxes introducing additional historical, cultural, and artistic material. Each chapter begins with a map and chronology – a visual guide to the places, periods and events it will cover – and ends with a summary. Regardless of your nationality or country of residence, you must demonstrate a level of English language competency at a level that will enable you to succeed in your studies.

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