A Companion to Greek Art by Tyler Jo Smith and Dimitris Plantzos

By Tyler Jo Smith and Dimitris Plantzos

A complete, authoritative account of the improvement Greek artwork during the 1st millennium BC.
An important source for students facing the artwork, fabric tradition and heritage of the post-classical world
Includes voices from such different fields as paintings historical past, classical reports, and archaeology and provides a variety of perspectives to the topic
Features an leading edge workforce of chapters facing the reception of Greek paintings 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 areas Contacts and Colonies photographs and Meanings Greek paintings: historical to vintage

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Extra resources for A Companion to Greek Art

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In the opening chapter (2) by Waugh, the chronology of Greek art, including how it has changed and developed over time, as well as the topographical realities of the region, including its climate, are presented in an effort to set the stage for what follows. The subsequent cluster of chapters (3–12) takes, in turn, the larger categories of Greek art, from decorated pottery (Mannack, Paspalas), through sculpture (Damaskos), architecture (Yeroulanou) and its sculpture (Palagia), painting (Plantzos) and mosaics (Westgate), luxury arts (Boardman/Wagner), and terracottas (Burn), to coins (Callataÿ).

The Deer Hunt’. c. 325–300 BC (© World History Archive/Alamy). indd 10 2/28/2012 4:32:47 AM Plate 11 Bronze krater from Derveni (northern Greece). Dionysos and Ariadne.  330–320 BC (Thessaloniki Archaeological Museum B1. © DeAgostini/SuperStock). indd 11 2/28/2012 4:32:50 AM Plate 12 Sardonyx plate (‘Tazza Farnese’) engraved in the cameo technique. Isis and other Egyptian divinities in an allegory of fertility. Late 2nd–early 1st c. BC (Naples, National Archaeological Museum. Photo Scala, Florence – courtesy of the Ministero Beni e Att.

His stylistic analysis was more theoretical than empirical. For example, his analysis of the sculpture for the Archaic period was based on coin evidence, for, as Whitley notes, ‘no actual examples of Archaic sculpture had yet been found’ (Whitley 2001: 22; see also Tanner 2006: 3–7). Furthermore, the pieces he spent the most time discussing, such as the Apollo Belvedere (Boardman 1995: fig. 64) and the Laokoon (Smith 1991: fig. 143), were not Greek sculptures at all but rather Roman copies or independent creations.

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