(R.) Hampe and E. Simon The birth of Greek art from the Mycenaean to the archaic period. London: Thames and Hudson. 1981. Pp. 316, [506] illus. (60 col.) (incl. plates, text figs, maps, plans). £35.00. - (P.) Amiet and others. Art in the ancient world: a handbook of styles and forms. [Ed. J. Hirschen.] Trans. V. Bynner. London and Boston: Faber and Faber. 1981. Pp. 567, numerous illus. (incl. text figs, maps, plans). £20.00. - (S.) Woodford The art of Greece and Rome. (Cambridge introduction to the history of art, 1.) Cambridge, etc.: University Press. 1982. Pp. [iv]+ 122, [118] illus. (some col., incl. plates, text figs, plans). £7.25 (bound), £3.95 (paper).

1984 ◽  
Vol 104 ◽  
pp. 264-266
Author(s):  
Lyvia Morgan
Keyword(s):  
Archaic Period ◽  
Ancient World ◽  
History Of Art ◽  
History Of ◽  
Greek Art ◽  
Of Greece

Conditions of Visibility

2019 ◽  
Keyword(s):  
Art History ◽  
Visual Art ◽  
Fundamental Question ◽  
Ancient World ◽  
Work Of Art ◽  
History Of Art ◽  
Shared Objects ◽  
History Of ◽  
Modern Prejudice ◽  
Historical Past

We often assume that works of visual art are meant to be seen. Yet that assumption may be a modern prejudice. The ancient world - from China to Greece, Rome to Mexico - provides many examples of statues, paintings, and other images that were not intended to be visible. Instead of being displayed, they were hidden, buried, or otherwise obscured. In this third volume in the Visual Conversations in Art & Archaeology series, leading scholars working at the intersection of archaeology and the history of art address the fundamental question of art's visibility. What conditions must be met, what has to be in place, for a work of art to be seen at all? The answer is both historical and methodological; it concerns ancient societies and modern disciplines, and encompasses material circumstances, perceptual capacities, technologies of visualization, protocols of classification, and a great deal more. The emerging field of archaeological art history is uniquely suited to address such questions. Intrinsically comparative, this approach cuts across traditional ethnic, religious, and chronological categories to confront the academic present with the historical past. The goal is to produce a new art history that is at once cosmopolitan in method and global in scope, and in doing so establish new ways of seeing - new conditions of visibility - for shared objects of study.

Britannia on Roman coins of the second century A.D.

1924 ◽  
Vol 14 (1-2) ◽  
pp. 142-157
Author(s):  
Jocelyn Toynbee
Keyword(s):  
Second Century ◽  
Ancient World ◽  
The Other ◽  
Accurate Representation ◽  
Roman Coins ◽  
Greek Revival ◽  
History Of Art ◽  
Greek Tradition ◽  
History Of ◽  
The One

The history of art in the Roman period is the history of the interplay of two opposite tendencies. On the one hand there is the Roman taste for realism and accurate representation, combining with the Italian love of naturalism; on the other, the fostering of the Greek tradition of idealism in art both by the Greek artists who worked at Rome and by the Greek enthusiasts among their Roman employers. After the culmination of Roman historical art under the Flavians and Trajan, the second century, as is well known, was marked by a great reaction in favour of things Hellenic, and it is with one small part of the Greek revival under Hadrian and the Antonines, when Greek art blossomed afresh for the last time during the history of the ancient world, that I propose to deal in this paper.

Heracles and the Apples of the Hesperides: A New Type

1905 ◽  
Vol 25 ◽  
pp. 157-162
Author(s):  
K. A. McDowall
Keyword(s):  
Fourth Century ◽  
Archaic Period ◽  
Fifth Century ◽  
Ancient World ◽  
New Type ◽  
The Subject ◽  
Greek Art

Of all types of Heracles in Greek art, that with the apples of the Hesperides is perhaps the most familiar. Yet in the archaic period it scarcely occurs, and even in the fifth century, though the scene is often represented among the Labours, when accessory figures are consequently present, there are few examples of the hero holding the apples in free sculpture. With the fourth century, however, the subject becomes common, for it is to Lysippus and his followers that we owe the type of the Wearied Heracles holding the apples, which has given rise to the popular conception. That this became the stock representation to the ancient world as to the modern we learn from Suidas καὶ γράφουσι δορὰν λέοντος φοροῦντα, καὶ ῥόπαλον φέροντα, καί γε μῆλα κρατοῦντα. The earliest representation of the type, best known from the Heracles Farnese, appears to be on a tetradrachm of Alexander, and there can be little doubt that its origin is due to Lysippus. The replica in the Pitti bears the inscription ΛΥΣΙΠΠΟΥ ΕΡΓΟΝ.

scholarly journals Numismatic Commentary on Pausanias, I

1885 ◽  
Vol 6 ◽  
pp. 50-101 ◽  
Author(s):  
F. Imhoof-Blumer ◽  
Percy Gardner
Keyword(s):  
Sources Of Information ◽  
Important Material ◽  
Works Of Art ◽  
History Of ◽  
Greek Art ◽  
Of Greece

The following paper is the first of a series of two or three which will bring into contact the extant coins of Greece and the text of Pausanias, thus furnishing to many passages of the traveller's writings a running numismatic commentary.The main object we have set before us is to collect and set forth the numismatic reproductions of works of art mentioned by Pausanias; but we have not excluded any numismatic types which at all illustrate the cults and the legends mentioned by him as existing in the various cities of Peloponnesus.The importance of the work cannot be doubted when we consider that in the case of many of the statues mentioned by Pausanias the only copies known are those upon coins; we may therefore hope to reconstruct from numismatic evidence, at least the general schemes of many great works of art wholly lost, and thus furnish very important material for recovering the history of Greek art; especially the history of the succession of types of the chief deities of Greece, which is a subject of great and increasing interest to archaeologists.Generally speaking, the coins on which we can place the most reliance as sources of information as to the monuments are those of Hadrian and the Antonines. These coins are also the best in point of execution; and we may add that they are contemporary with the travels of Pausanias.

Some Escapes and Escapers in the Ancient World

1958 ◽  
Vol 5 (1) ◽  
pp. 57-61
Author(s):  
C. M. H. Millar
Keyword(s):  
Ancient World ◽  
Roman History ◽  
Rapid Changes ◽  
History Of ◽  
Of Greece ◽  
Made In

The present vogue for prisoners' escape stories gives rise quite naturally to an inquiry about the ancient world: has Greek and Roman history or literature any comparable stories to offer? One might expect their pages to be crowded with such stories; escapes are usually made in time of wars and tyrannies, of upheavals and rapid changes of fortune; and heaven knows there were enough of all these in the history of Greece and Rome.

The Origin of Verism in Roman Portraits

1955 ◽  
Vol 45 (1-2) ◽  
pp. 39-46 ◽  
Author(s):  
Gisela M. A. Richter
Keyword(s):  
Recent Theory ◽  
Roman Art ◽  
History Of Art ◽  
History Of ◽  
Physical Defects ◽  
The Creation ◽  
Greek Art ◽  
The Many

Was the verism of Roman Republican portraits due to Italic, Etruscan, Roman, Egyptian, or Greek influence? This question has been much discussed, especially of late. Of particular interest is the recent theory that late Egyptian portraits played a decisive part. In this article I want first to discuss the evidence for the various influences that have been considered potent in the creation of Roman verism, and then try from this evidence to deduce which factor, or which factors, were the most potent. I shall examine in particular the Egyptian and the Greek theories, for in these fields I may perhaps have something new to say, whereas the Italian side has been thoroughly explored.The question at issue is an important one; for, as Schweitzer has said, the birth of Republican Roman portraiture was as momentous a happening in the history of art as was the birth of individualistic representation in Greek art. The many different views that have been held regarding the origin testify to the complexity of the question. If a convincing solution could be obtained, it would clarify, I think, our whole understanding of that great phenomenon—the origin of Roman art.First I must define the word ‘verism’, which has only comparatively recently entered our archaeological vocabulary. Verism I take to mean a somewhat dry realism, a realism which shows the person portrayed as he really is, without idealizing tendencies, with wrinkles and warts and other physical defects, and also, what is more important, with an expression not of a philosopher or poet or visionary, but of what might be called a man of affairs.

scholarly journals Ben Jonson and the Classical School

PMLA ◽  
1898 ◽  
Vol 13 (2) ◽  
pp. 221-249
Author(s):  
Felix E. Schelling
Keyword(s):  
Ben Jonson ◽  
Classical Literature ◽  
Fixed Element ◽  
Art And Literature ◽  
Classical Element ◽  
History Of Art ◽  
History Of ◽  
Of Greece

“The words, classical and romantic, although, like many-other critical expressions, sometimes abused by those who have understood them vaguely or too absolutely, yet define two real tendencies in the history of art and literature. The ‘classic’ comes to us out of the cool and quiet of other times, as the measure of what a long experience has shown will at least never displease us. And in the classical literature of Greece and Rome, as in the classics of the last century, the essentially classical element is that quality of order in beauty, which they possess, indeed, to a pre-eminent degree. It is the addition of strangeness to beauty, that constitutes the romantic character in art; and the desire of beauty being a fixed element in every artistic organisation, it is the addition of curiosity to this desire of beauty that constitutes the romantic temper.”

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