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Greek Art and Archaeology

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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.

Additionally, readers are continually re-oriented by the title page for each chapter, which presents both a listing of all subsections and an informative timeline of objects and events. 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. Images Donate icon An illustration of a heart shape Donate Ellipses icon An illustration of text ellipses.

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).

What they found can be seen in an extraordinary exhibition at the Museum of Cycladic Art in Athens -- and in this glorious book.Presents a chronological overview of the plastic and glyptic art forms in the ancient Greek world from the emergence of life-sized marble statuary at the end of the seventh century BC to the appropriation of Greek sculptural traditions by Rome in the first two centuries AD. If “the past is a foreign country”, then Greece’s classical past could be described – and it has been – as an ideal, as well as idyllic land, colonized by the West. Much that has structured the previous treatment—for example, the sequencing of styles in art or the polis-based environment in which works were created and received—give way in the Hellenistic era to far more heterogeneous phenomena.

The organization of the material is essentially the same: each chapter begins with a general historical overview of the period; provides a summary of important artistic trends; discusses the portraiture of empresses and emperors; and finally concludes with the public architecture of the period, including historical reliefs.Many pieces of Greek sculpture are very familiar to us - the Discobolus, the Venus de Milo and the Parthenon frieze, for instance - but our appreciation of them as "works of art," enshrined in museums, is far removed from the ways in which the ancient Greeks saw and perceived them. Textboxes focus on specific works of art and various cultural issues, with topics ranging from the symposion to the problems associated with using Roman copies to reconstruct lost Greek works. Nonetheless, there are potential pitfalls in execution with such an arrangement, since the thematic chapters can interrupt a flow that is primarily diachronic, making it difficult to assign specific chapters to specific weeks and causing monuments to be discussed in more than one place, prompting more flipping of pages than is necessary.

Topics such as gender and sexuality, ethnicity, reception studies, and cultural patrimony, have expanded our view of ancient art and, consequently, influenced ideas about the best approach to teaching a survey course. Art is a social and historical phenomenon, and thus can be a prism through which we learnAt the beginning of each chapter there is a timeline and at the conclusion a textbox in which various scholarly issues are discussed. The first problem confronting an instructor involves defining a clear plan for a course intended to offer a comprehensive view of a culture’s artistic production.

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