A companion to Greek art

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Title Page Copyright Page Contents List of Illustrations List of Color Plates List of Maps Notes on Contributors Preface Part I Introduction Chapter 1 The Greeks and their Art 1.1 Greek Art and Classical Archaeology 1.2 Greek Art after the Greeks 1.3 A Companion to Greek Art Part II Forms, Times, and Places Chapter 2 Chronology and Topography 2.1 Chronology 2.2 Topography 2.3 Conclusion Further Reading Chapter 3 Greek Decorated Pottery I: Athenian Vase-painting 3.1 Introduction 3.2 Late Bronze Age and Sub-Mycenaean 3.3 Protogeometric 3.4 Geometric 3.5 Protoattic 3.6 Painters and Techniques 3.7 Black-figure 3.8 Red-figure 3.9 Trade and Distribution 3.10 Pictures 3.11 Shapes 3.12 Chronology Further Reading Chapter 4 Greek Decorated Pottery II: Regions and Workshops 4.1 Introduction 4.2 Corinthian 4.3 Boeotian 4.4 Euboean 4.5 Lakonian 4.6 Elean 4.7 Cycladic 4.8 Cretan 4.9 East Greek 4.10 Northern Greek 4.11 Conclusion Acknowledgments Further Reading Chapter 5 Free-standing and Relief Sculpture 5.1 Introduction 5.2 The Geometric Period 5.3 The Archaic Period 5.4 The Classical Period 5.5 The Hellenistic Period Further Reading Chapter 6 Architecture in City and Sanctuary 6.1 Early Development in Greek Architecture 6.2 Forms and Conventions 6.3 The Temples 6.4 Other Buildings in Sanctuaries 6.5 City Planning 6.6 Public Structures in Greek Cities 6.7 Residential Structures 6.8 Tombs Further Reading Chapter 7 Architectural Sculpture 7.1 Introduction 7.2 Polychromy 7.3 Pediments 7.4 Friezes 7.5 Metopes 7.6 Acroteria 7.7 Sculptured Column Drums 7.8 Sculptured Ceiling Coffers 7.9 Caryatids and Telamons 7.10 Parapets 7.11 Medallion Busts 7.12 Testimonia Further Reading Chapter 8 Wall- and Panel-painting 8.1 Introduction 8.2 Techniques and Pigments 8.3 Tetrachromy, Polychromy, Skiagraphia 8.4 From Mimesis to Visual Trickery 8.5 The Evidence from Macedonian Tombs 8.6 Painting at the Time of Alexander and Later 8.7 Skenographia and the Invention of the Landscape 8.8 Art Criticism Further Reading Chapter 9 Mosaics 9.1 Pebble Mosaics: Origins, Function, and Design 9.2 Style and Chronology of Pebble Mosaics 9.3 Alternative Techniques, and the Development of Tessellated Mosaic 9.4 Tessellated Mosaics: Function and Meaning Further Reading Chapter 10 Luxury Arts 10.1 Introduction 10.2 Jewelry 10.3 Metal Vessels 10.4 Engraved Gems 10.5 Finger Rings Further Reading Chapter 11 Terracottas 11.1 Introduction 11.2 Technology 11.3 Types and Functions of Terracotta Figures 11.4 Terracottas, Bronzes, and Other Sculpture Further Reading Chapter 12 Coinages 12.1 Availability 12.2 Iconography 12.3 Opportunities 12.4 Weaknesses 12.5 The Die-engravers 12.6 Conclusion Further Reading Chapter 13 Workshops and Technology 13.1 Craft Workshops and the Community in the Greek World 13.2 The Potter’s Workshop 13.3 The Smith’s Workshop 13.4 The Sculptor’s Workshop 13.5 Workshops 13.6 Borrowings and Breakthroughs 13.7 Social Standing and Appreciation Further Reading Chapter 14 Ancient Writers on Art 14.1 Introduction 14.2 Inscriptions 14.3 Artists’ Treatises 14.4 Pliny and Pausanias 14.5 Homer and the Poets 14.6 Orators, Rhetoricians, and Essayists 14.7 Philosophers 14.8 Historians and Others 14.9 Conclusion Further Reading Part III Contacts and Colonies Chapter 15 Egypt and North Africa 15.1 Greeks in Egypt: Pre-Archaic Contacts (before 7th century BCE) 15.2 Greeks in Egypt: Archaic Contact 15.3 Naukratis 15.4 Other Sites 15.5 Decorated Pottery and Transport Amphorae 15.6 The Persian Conquest to the Ptolemies 15.7 Greek Colonies in North Africa 15.8 Conclusion Further Reading Chapter 16 Cyprus and the Near East 16.1 Introduction 16.2 The Greeks in Cyprus 16.3 The Greeks in Syria and the Levant 16.4 The Greeks in Persia 16.5 Conclusion Further Reading Chapter 17 Asia Minor 17.1 Introduction 17.2 Ionian Migration 17.3 Temples: An Exemplary Form of Greek Art and Architecture 17.4 Ionian, Phrygian, and Lydian Sculpture and Art 17.5 The Classical Period 17.6 The Hellenization of Dynastic Lycia 17.7 Alexander the Great and the Hellenistic Kingdoms 17.8 Sagalassos: From Rural Settlement to Hellenized Greek City Further Reading Chapter 18 The Black Sea 18.1 Introduction 18.2 First Traces of Greek Contacts 18.3 Foundation of Colonies and Greek Pottery Finds 18.4 Constitutions, Public Life, and Coinage 18.5 Agriculture, Handicrafts, and Fishing 18.6 Art and Warfare 18.7 Religion 18.8 Architecture 18.9 Sculpture, Painting, and Minor Arts 18.10 Graves and Burials 18.11 Greeks and Scythians 18.12 Greeks and Thracians 18.13 Eastern and Southern Black Sea Further Reading Chapter 19 Sicily and South Italy 19.1 Introduction 19.2 Late Geometric and Orientalizing 19.3 Archaic 19.4 Early Classical 19.5 High Classical 19.6 Late Classical 19.7 Hellenistic 19.8 Conclusion Further Reading Part IV Contacts and Colonies Chapter 20 Olympian Gods at Home and Abroad 20.1 Introduction 20.2 The Gods on the Parthenon Frieze 20.3 Gods on Earth: The Wedding of Peleus and Thetis 20.4 Warfare and the Gods 20.5 A Hero Among the Gods 20.6 Epilogue: Gods and Mortals on the Parthenon Further Reading Chapter 21 Politics and Society 21.1 Introduction 21.2 Burial and Cultic Evidence, Iconography, and Iron Age Society 21.3 Tyrants, Aristocrats, and their Impact on Art in the Archaic Period 21.4 Images and Dedications of Famous and Anonymous People 21.5 The Impact of the Persian Wars on Early Classical Art (c. 490–450 bc) 21.6 Interaction of Civic Life and Visual Arts during the Classical Period 21.7 Epilogue: Hellenistic Art, Rulers, and Society Further Reading Chapter 22 Personification: Not Just a Symbolic Mode 22.1 Introduction 22.2 Personification in Greek Art 22.3 Personification and Agency Further Reading Chapter 23 The Non-Greek in Greek Art 23.1 Introduction 23.2 Encountering the Uncivilized 23.3 Pre-Classical Amazons 23.4 Legendary Trojans 23.5 Encountering Non-Greeks 23.6 Greeks versus Persians: Non-Greek Others in Monumental Art of the Classical Period 23.7 Conclusion Further Reading Chapter 24 Birth, Marriage, and Death 24.1 Introduction 24.2 Birth 24.3 Marriage 24.4 Death Further Reading Chapter 25 Age, Gender, and Social Identity 24.1 Introduction 24.2 Birth 24.3 Marriage 24.4 Death Further Reading Chapter 25 Age, Gender, and Social Identity 25.1 Introduction 25.2 Geometric to Archaic 25.3 Classical 25.4 Hellenistic Further Reading Chapter 26 Sex, Gender, and Sexuality 26.1 Introduction 26.2 The Seeming Transparency of Greek Art 26.3 Sex 26.4 Gender 26.5 Sexuality 26.6 Heterosexuality 26.7 Homosexuality 26.8 Conclusion Further Reading Chapter 27 Drinking and Dining 27.1 Introduction 27.2 The Changing Role of Dining from the Bronze Age to the Classical Period 27.3 The Symposion: A Definition 27.4 The Development of the Symposion 27.5 Sympotic Equipment 27.6 Decoration on Sympotic Vases 27.7 The Export Market 27.8 Drinking, Dining, and Greek Culture Further Reading Chapter 28 Competition, Festival, and Performance 28.1 Introduction 28.2 Athlete, Sport, and Games 28.3 Dance, Drama, and Dithyramb 28.4 ‘Tenella Kallinike’ (‘Hurrah, Fair Victor!’) Further Reading Chapter 29 Figuring Religious Ritual 29.1 Introduction 29.2 Sacrifice, Procession, Consumption 29.3 Space, Gestures, Time 29.4 Dionysian Imagery Further Reading Chapter 30 Agency in Greek Art 30.1 Introduction: Agency and Pausanias 30.2 Concepts of Agency 30.3 From the François Vase to the Euphronios Krater 30.4 Myron’s Diskobolos 30.5 Conclusion Acknowledgements Further Reading Part V Greek Art: Ancient to Antique Chapter 31 Greek Art through Roman Eyes 31.1 Introduction 31.2 Greek Art as Roman Art, and Vice Versa: The Tabula Iliaca Capitolina 31.3 Greek Art as Roman Cultural Capital: ‘Cubiculum B’ in the Villa Farnesina 31.4 Greek Art and Roman Decor: The Sperlonga Grotto 31.5 Conclusion: Greek Art through Roman Eyes Further Reading Chapter 32 Greek Art in Late Antiquity and Byzantium 32.1 Introduction 32.2 Athens 32.3 Constantinople Further Reading Chapter 33 The Antique Legacy from the Middle Ages to the Enlightenment 33.1 Introduction 33.2 The Medieval Period 33.3 The Renaissance 33.4 The Age of Enlightenment 33.5 Conclusion Acknowledgement Further Reading Chapter 34 Greek Art and the Grand Tour 34.1 The Grand Tour in Outline 34.2 Greek Art in Italy 34.3 What They Saw on the Grand Tour 34.4 Emma Hamilton’s Attitudes 34.5 Rediscovering Greek Architecture on the Grand Tour to Italy and Greece 34.6 The Impact of the Grand Tour Acknowledgments Further Reading Chapter 35 Myth and the Ideal in 20th c. Exhibitions of Classical Art 35.1 The Rise of Idealism 35.2 The Beau-Ideal Tradition 35.3 Ideal in Style – Ideal in System 35.4 The Overtly Political Louvre 35.5 Epistemological Tension at the British Museum 35.6 The Educational Aspect of Beauty at the Metropolitan Museum of Art 35.7 Antiquity at the National Archaeological Museum at Athens 35.8 Conclusion Further Reading Chapter 36 The Cultural Property Debate 36.1 ‘Who Owns Ancient Art and Cultural Heritage?’ 36.2 Owning Ancient Art and Cultural Heritage 36.3 ‘The Nation is the Steward of Cultural Property 36.4 ‘Of Humankind’ 36.5 Deconstructing the National: Critique and New Developments 36.6 ‘Peopling the Nations’ and the Social Value of the Past 36.7 ‘Cultural Property Internationalism’ 36.8 Conclusion: ‘Someone Always Owns the Past’ International Documents Further Reading Chapter 37 Greek Art at University, 19th–20th c. 37.1 Introduction 37.2 Origins of Classical Archaeology 37.3 Classical Studies in Germany 37.4 Architects, Artists, and the Study of Greek Archaeology 37.5 Classical Archaeology in the United States 37.6 Classical Archaeology in France and Italy 37.7 Classical Archaeology in Great Britain 37.8 Classical Archaeology in the Interwar Period 37.9 Classical Archaeology after World War II Further Reading Chapter 38 Surveying the Scholarship 38.1 First in the Humanities 38.2 Opening the Flood Gates: Content Portals 38.3 Still in the Books Stacks 38.4 Excavation Reports and the National Schools 38.5 Travelers and Popular Writers 38.6 The Search for the Perfect Picture 38.7 The Path Not Yet Taken Web Resources Bibliography Index Supplemental Images EULA