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Greek Art and Aesthetics in the Fourth Century B.C. analyzes the broad character of art produced during this period, providing in-depth analysis of and commentary on many of its most notable examples of sculpture and painting. Taking into consideration developments in style and subject matter, and elucidating political, religious, and intellectual context, William A. P. Childs argues that Greek art in this era was a natural outgrowth of the high classical period and focused on developing the rudiments of individual expression that became the hallmark of the classical in the fifth century. As Childs shows, in many respects the art of this period corresponds with the philosophical inquiry by Plato and his contemporaries into the nature of art and speaks to the contemporaneous sense of insecurity and renewed religious devotion. Delving into formal and iconographic developments in sculpture and painting, Childs examines how the sensitive, expressive quality of these works seamlessly links the classical and Hellenistic periods, with no appreciable rupture in the continuous exploration of the human condition. Another overarching theme concerns the nature of “style as a concept of expression,” an issue that becomes more important given the increasingly multiple styles and functions of fourth-century Greek art. Childs also shows how the color and form of works suggested the unseen and revealed the profound character of individuals and the physical world.
“This book exhorts the reader to embrace the materiality of archaeology by recognizing how every step in the discipline’s scientific processes involves interaction with myriad physical artifacts, ranging from the camel-hair brush to profile drawings to virtual reality imaging. At the same time, the reader is taken on a phenomenological journey into various pasts, immersed in the lives of peoples from other times, compelled to engage their senses with the sights, smells, and noises of the publics and places whose remains they study. This is a refreshingly original and provocative look at the meaning of the material culture that lies at the foundation of the archaeological discipline.”—Michael Brian Schiffer, author of The Material Life of Human Beings “This volume is a radical call to fundamentally rethink the ontology, profession, and practice of archaeology. The authors present a closely reasoned, epistemologically sound argument for why archaeology should be considered the discipline of things, rather than its more commonplace definition as the study of the human past through material traces. All scholars and students of archaeology will need to read and contemplate this thought-provoking book.”—Wendy Ashmore, Professor of Anthropology, UC Riverside "A broad, illuminating, and well-researched overview of theoretical problems pertaining to archaeology. The authors make a calm defense of the role of objects against tedious claims of 'fetishism.'"—Graham Harman, author of The Quadruple Object
Whether antiquities should be returned to the countries where they were found is one of the most urgent and controversial issues in the art world today, and it has pitted museums, private collectors, and dealers against source countries, archaeologists, and academics. Maintaining that the acquisition of undocumented antiquities by museums encourages the looting of archaeological sites, countries such as Italy, Greece, Egypt, Turkey, and China have claimed ancient artifacts as state property, called for their return from museums around the world, and passed laws against their future export. But in Who Owns Antiquity?, one of the world's leading museum directors vigorously challenges this nationalistic position, arguing that it is damaging and often disingenuous. "Antiquities," James Cuno argues, "are the cultural property of all humankind," "evidence of the world's ancient past and not that of a particular modern nation. They comprise antiquity, and antiquity knows no borders." Cuno argues that nationalistic retention and reclamation policies impede common access to this common heritage and encourage a dubious and dangerous politicization of antiquities--and of culture itself. Antiquities need to be protected from looting but also from nationalistic identity politics. To do this, Cuno calls for measures to broaden rather than restrict international access to antiquities. He advocates restoration of the system under which source countries would share newly discovered artifacts in exchange for archaeological help, and he argues that museums should again be allowed reasonable ways to acquire undocumented antiquities. Cuno explains how partage broadened access to our ancient heritage and helped create national museums in Cairo, Baghdad, and Kabul. The first extended defense of the side of museums in the struggle over antiquities, Who Owns Antiquity? is sure to be as important as it is controversial. Some images inside the book are unavailable due to digital copyright restrictions.
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In Ancient Marbles to American Shores, Stephen L. Dyson uncovers the history of classical archaeology in the United States by exploring the people and programs that gave birth to archaeology as a discipline in this country. He puts aside the common formula of chronicling great digs, great discoveries, and great men in favor of a cultural, ideological, and institutional history of the subject. The book explores the ways American contact with the monuments of Greece and Rome affected the national consciousness. It discusses how the spread of classical style laid the groundwork for the development of the discipline after the Civil War and examines the period before World War I, when most of the institutions that led to the establishment of the discipline, as well as the first generation of American classical archaeologists, were created. It looks at the role classical archaeology played in the development of the American art museum since the later nineteenth century and considers changes in American classical archaeology from World War II to the mid-1970s. Filling the void of information on the history of classical archaeology in the United States, this lively book is a valuable contribution to literature on a subject which is enjoying ever-increasing interest and attention.
This book examines the effects of the Peloponnesian War on the arts of Athens and the historical and artistic contexts in which this art was produced. During this period, battle scenes dominated much of the monumental art, while large numbers of memorials to the war dead were erected. The temple of Athena Nike, built to celebrate Athenian victories in the first part of the war, carries a rich sculptural program illustrating military victories. For the first time, the arts in Athens expressed an interest in the afterlife, with many sculptured dedications to Demeter and Kore, who promised initiates special privileges in the underworld. Not surprisingly, there were also dedications to healer gods. After the Sicilian disaster, a retrospective tendency can be noted in both art and politics, which provided reassurance in a time of crisis. Bringing together essays by an international team of art historians and historians, this is the first book to focus on the new themes and new kinds of art introduced in Athens as a result of the thirty-year war.