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Matheson provides the first comprehensive chronology for Polygnotos's own works, and then analyzes the distinctive, evolving Polygnotan style first isolated by Sir John Beazley, comparing this style to that of contemporary Athenian workshops and demonstrating its seminal influence on the later vase painting of southern Italy.
These essays on late antiquity traverse a territory in which Christian and pagan imagery and practices compete, coexist, and intermingle. The iconography of the most significant late antique ceramic, African Red Slip Ware, is an important and relatively unexploited vehicle for documenting the diversity and interpenetration of late antique cultures. Literary texts and art in other media, particularly mosaics, provide imagery that complement and enhance the messages of the ceramics. Popular entertainments, pagan cults, mythic heroes, beasts, monsters, and biblical visions are themes dealt with on the patrician and popular levels. With interpretive supplements from these diverse realms, it is possible to achieve greater insight into the life, attitudes, and thought of Late Antiquity.
This volume presents the proceedings of the second Athenian Potters and Painters conference, which was held at the American School of Classical Studies, Athens 2007. Together with the 1994 conference (Volume I, Oxbow 1997), these are the first of their kind - focusing purely on Athenian pottery and addressing key aspects of its study. The thirty-two papers contained here are the result not only of a large amount of new material but also the dynamic appearance of a younger generation of scholars dealing with the subject. Subject areas range from the study of the potters and painters themselves, to shape, subject matter, chronology, export, excavation pottery, context, and the influence of Athenian vases on pottery from other regions of the Mediterranean and vice versa. Three papers in Greek.
Over the past two hundred years, thousands of ancient Greek vases have been unearthed. Yet these artifacts remain a challenge: what did the images depicted on these vases actually mean to ancient Greek viewers? In this long-awaited book, Gloria Ferrari uses Athenian vases, literary evidence, and other works of art from the Archaic and Classical periods (520-400 B.C.) to investigate what these items can tell us about the ancient Greeks—specifically, their notions of gender. Ferrari begins by developing a theoretical perspective on visual representation, arguing that artistic images give us access to how their subjects were imagined rather than to the way they really were. For instance, Ferrari's examinations of the many representations of women working wool reveal that these images constitute powerful metaphors—metaphors, she argues, which both reflect and construct Greek conceptions of the ideal woman and her ideal behavior. From this perspective, Ferrari studies a number of icons representing blameless femininity and ideal masculinity to reevaluate the rites of passage by which girls are made ready for marriage and boys become men. Representations of the nude male body in Archaic statues known as kouroi, for example, symbolize manhood itself and shed new light on the much-discussed institution of paiderastia. And, in Ferrari's hands, imagery equating maidens with arable land and buried treasure provides a fresh view of Greek ideas of matrimony. Innovative, thought-provoking, and insightful throughout, Figures of Speech is a powerful demonstration of how the study of visual images as well as texts can reshape our understanding of ancient Greek culture.
This publication brings together prominent art historians, conservators, and scientists to discuss fresh approaches to the study of ancient Mediterranean and Near Eastern works of bronze. Featuring significant bronzes from the Harvard Art Museums' holdings as well as other museum collections, the volume's eight essays present technical and formal analyses in a format that will be useful for both general readers and students of ancient art. The text provides an overview of ancient manufacturing processes as well as modern methods of scientific examination, and it focuses on objects as diverse as large-scale statuary and more utilitarian armor, vessels, and lamps. Filling a current gap in the art historical literature, this book offers a much-needed, accessible introduction to ancient bronzes.