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Greek Art and Archaeology

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The clarity of thinking and expression that runs throughout the presentation of objects and ideas is precisely what we would expect from an author with such a rich and impressive record of scholarship. organisational skills enabling them to structure their own learning, manage their workload and work to a timetable. 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. Introduction • Chronological Overview • Crete and the Cyclades to the Late Bronze Age • Greece and the Mycenaean World to c. The author refers to Susan Langdon’s proposal that boots such as these may have signified the discarding of childhood attire by a bride on her wedding day.Organizing Committee: Argyro Loukaki, Dimitris Plantzos, Konstantinos Soueref, Jenny Albani, Dionysis Mourelatos, and Stavros Alifragkis. Beaumont (Contribution by); Hood Museum of Art Staff (Contribution by); Helene Foley (Contribution by); Mark Golden (Contribution by); Katherine Hart (Contribution by); Jill E. Why do the ancient Greeks occupy such a prominent place in conceptions of Western culture and identity?

and underscoring the connection between Hellenistic painting and the four styles of Roman wall painting in Chapter 5. Assigned readings illuminate important discoveries, field techniques, and theoretical and methodological debates in the disciplines of art history and archaeology. Stansbury-O’Donnell’s breadth of knowledge is evident in his inclusion of works of art that are not only not part of the canon but not discussed, to my knowledge, in any previous survey text. It provides the ways to understand classical sculpture in Greek terms, and analyzes the relationship between political and stylistic histories. It features remarkable Greek, Roman, and Etruscan objects from the Tampa Museum of Art, as well as other international and significant collections.In this way, the reader would have had a clear picture at the outset of the ways in which the works of art to be discussed exemplify the time when they were produced.

The book contains nearly five hundred illustrations (with over four hundred in colour), including specially commissioned photographs, maps, floorplans and reconstructions. Professor Pollitt reminds us that the visual arts in Greece, as elsewhere, were primarily vehicles of expression. In addition, each chapter includes three or four explanatory “boxes” that deal with a variety of issues, such as techniques of production, issues of marketing and consumption, and special cases of iconography or historical context. We don’t share your credit card details with third-party sellers, and we don’t sell your information to others.This full-color book presents the astonishing discoveries from this city beneath the city -- bringing the capital of the classical world to life once again. She argues that often the goal of Classical portraiture was to link the individual to divine or heroic models. Under the modern city, untouched for thousands of years, lay a wealth of artifacts and the remains of homes, market-places, and temples from ancient Athens.

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