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Urban Planning in the Greek Colonies in Sicily and Magna Graecia
Urban Planning in the Greek Colonies in Sicily and Magna Graecia (8th – 6th centuries BCE) An honors thesis for the Department of Classics Olivia E. Hayden Tufts University, 2013 Abstract: Although ancient Greeks were traversing the western Mediterranean as early as the Mycenaean Period, the end of the “Dark Age” saw a surge of Greek colonial activity throughout the Mediterranean. Contemporary cities of the Greek homeland were in the process of growing from small, irregularly planned settlements into organized urban spaces. By contrast, the colonies founded overseas in the 8th and 6th centuries BCE lacked any pre-existing structures or spatial organization, allowing the inhabitants to closely approximate their conceptual ideals. For this reason the Greek colonies in Sicily and Magna Graecia, known for their extensive use of gridded urban planning, exemplified the overarching trajectory of urban planning in this period. Over the course of the 8th to 6th centuries BCE the Greek cities in Sicily and Magna Graecia developed many common features, including the zoning of domestic, religious, and political space and the implementation of a gridded street plan in the domestic sector. Each city, however, had its own peculiarities and experimental design elements. I will argue that the interplay between standardization and idiosyncrasy in each city developed as a result of vying for recognition within this tight-knit network of affluent Sicilian and South Italian cities. This competition both stimulated the widespread adoption of popular ideas and encouraged the continuous initiation of new trends. ii Table of Contents: Abstract. …………………….………………………………………………………………….... ii Table of Contents …………………………………….………………………………….…….... iii 1. Introduction …………………………………………………………………………..……….. 1 2. -
Art of Byzantium from Greek Collections October 6, 2013 - March 2, 2014
Updated Tuesday, December 31, 2013 | 1:38:43 PM Last updated Tuesday, December 31, 2013 Updated Tuesday, December 31, 2013 | 1:38:43 PM National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 Heaven and Earth: Art of Byzantium from Greek Collections October 6, 2013 - March 2, 2014 To order publicity images: Publicity images are available only for those objects accompanied by a thumbnail image below. Please email [email protected] or fax (202) 789-3044 and designate your desired images, using the “File Name” on this list. Please include your name and contact information, press affiliation, deadline for receiving images, the date of publication, and a brief description of the kind of press coverage planned. Links to download the digital image files will be sent via e-mail. Usage: Images are provided exclusively to the press, and only for purposes of publicity for the duration of the exhibition at the National Gallery of Art. All published images must be accompanied by the credit line provided and with copyright information, as noted. Important: The images displayed on this page are for reference only and are not to be reproduced in any media. Cat. No. 1A / File Name: 3514-117.jpg Statuette of Europa, 1st or early 2nd century marble height: 34.5 cm (13 9/16 in.) Archaeological Museum of Ancient Corinth Cat. No. 1B / File Name: 3514-118.jpg Head of Pan, 2nd century (?) marble height: 14.4 cm (5 11/16 in.) Archaeological Museum of Ancient Corinth Cat. -
Ancient History Sourcebook: 11Th Brittanica: Sparta SPARTA an Ancient City in Greece, the Capital of Laconia and the Most Powerful State of the Peloponnese
Ancient History Sourcebook: 11th Brittanica: Sparta SPARTA AN ancient city in Greece, the capital of Laconia and the most powerful state of the Peloponnese. The city lay at the northern end of the central Laconian plain, on the right bank of the river Eurotas, a little south of the point where it is joined by its largest tributary, the Oenus (mount Kelefina). The site is admirably fitted by nature to guard the only routes by which an army can penetrate Laconia from the land side, the Oenus and Eurotas valleys leading from Arcadia, its northern neighbour, and the Langada Pass over Mt Taygetus connecting Laconia and Messenia. At the same time its distance from the sea-Sparta is 27 m. from its seaport, Gythium, made it invulnerable to a maritime attack. I.-HISTORY Prehistoric Period.-Tradition relates that Sparta was founded by Lacedaemon, son of Zeus and Taygete, who called the city after the name of his wife, the daughter of Eurotas. But Amyclae and Therapne (Therapnae) seem to have been in early times of greater importance than Sparta, the former a Minyan foundation a few miles to the south of Sparta, the latter probably the Achaean capital of Laconia and the seat of Menelaus, Agamemnon's younger brother. Eighty years after the Trojan War, according to the traditional chronology, the Dorian migration took place. A band of Dorians united with a body of Aetolians to cross the Corinthian Gulf and invade the Peloponnese from the northwest. The Aetolians settled in Elis, the Dorians pushed up to the headwaters of the Alpheus, where they divided into two forces, one of which under Cresphontes invaded and later subdued Messenia, while the other, led by Aristodemus or, according to another version, by his twin sons Eurysthenes and Procles, made its way down the Eurotas were new settlements were formed and gained Sparta, which became the Dorian capital of Laconia. -
Separating Fact from Fiction in the Aiolian Migration
hesperia yy (2008) SEPARATING FACT Pages399-430 FROM FICTION IN THE AIOLIAN MIGRATION ABSTRACT Iron Age settlementsin the northeastAegean are usuallyattributed to Aioliancolonists who journeyed across the Aegean from mainland Greece. This articlereviews the literary accounts of the migration and presentsthe relevantarchaeological evidence, with a focuson newmaterial from Troy. No onearea played a dominantrole in colonizing Aiolis, nor is sucha widespread colonizationsupported by the archaeologicalrecord. But the aggressive promotionof migrationaccounts after the PersianWars provedmutually beneficialto bothsides of theAegean and justified the composition of the Delian League. Scholarlyassessments of habitation in thenortheast Aegean during the EarlyIron Age are remarkably consistent: most settlements are attributed toAiolian colonists who had journeyed across the Aegean from Thessaly, Boiotia,Akhaia, or a combinationof all three.1There is no uniformityin theancient sources that deal with the migration, although Orestes and his descendantsare named as theleaders in mostaccounts, and are credited withfounding colonies over a broadgeographic area, including Lesbos, Tenedos,the western and southerncoasts of theTroad, and theregion betweenthe bays of Adramyttion and Smyrna(Fig. 1). In otherwords, mainlandGreece has repeatedly been viewed as theagent responsible for 1. TroyIV, pp. 147-148,248-249; appendixgradually developed into a Mountjoy,Holt Parker,Gabe Pizzorno, Berard1959; Cook 1962,pp. 25-29; magisterialstudy that is includedhere Allison Sterrett,John Wallrodt, Mal- 1973,pp. 360-363;Vanschoonwinkel as a companionarticle (Parker 2008). colm Wiener, and the anonymous 1991,pp. 405-421; Tenger 1999, It is our hope that readersinterested in reviewersfor Hesperia. Most of trie pp. 121-126;Boardman 1999, pp. 23- the Aiolian migrationwill read both articlewas writtenin the Burnham 33; Fisher2000, pp. -
This Is the Social and Religious Background Against Which The
BOOK REVIEWS 183 This is the social and religious background against which the accusation of ‘ac knowledging new deities’, brought against Socrates in 399 B.C., makes its appear ance. As Ρ. has shown, this accusation as such cannot be regarded as sufficient justifi cation for the trial. In spite of the general negative attitude on the part of the state, individuals did in practice ‘introduce new gods’ with some freedom, and by no means every case of such unauthorized religious innovation was prosecuted by the state. Socrates’ prosecution for kainotheism was in fact ‘only a counterpoise to that other and much more damning one of “not acknowledging the gods the city believes in.” And it was as a priestess in what we have called an “elective” cult, a “leader of lawless revel-bands of men and women”, that Phryne was attacked’ (pp. 216-17). That is to say, it was above all what was grasped by the Athenians as the antisocial character of the religious activities of Socrates and Phryne rather than the issue of ‘theological orthodoxy’ as such that brought both to trial. To be sure, the phenomenon which Ρ. calls ‘the totalitarian side of the classical city and its religion’ (p. 50) (‘communitarian’ seems to be a better term) was not a fifth-century Athenian invention. It can be discerned already in the legislative activi ties of Solon, and it was far from unfamiliar to other city-states of Archaic and Classi cal Greece. Yet, as Ρ. himself puts it, ‘The great attraction of studying the religion of classical Athens is not so much that it is either Athenian or classical a? that it can indeed be studied, in some detail’ (p. -
From Boston to Rome: Reflections on Returning Antiquities David Gill* and Christopher Chippindale**
International Journal of Cultural Property (2006) 13:311–331. Printed in the USA. Copyright © 2006 International Cultural Property Society DOI: 10.1017/S0940739106060206 From Boston to Rome: Reflections on Returning Antiquities David Gill* and Christopher Chippindale** Abstract: The return of 13 classical antiquities from Boston’s Museum of Fine Arts (MFA) to Italy provides a glimpse into a major museum’s acquisition patterns from 1971 to 1999. Evidence emerging during the trial of Marion True and Robert E. Hecht Jr. in Rome is allowing the Italian authorities to identify antiquities that have been removed from their archaeological contexts by illicit digging. Key dealers and galleries are identified, and with them other objects that have followed the same route. The fabrication of old collections to hide the recent surfacing of antiquities is also explored. In October 2006 the MFA agreed to return to Italy a series of 13 antiquities (Ap- pendix). These included Attic, Apulian, and Lucanian pottery as well as a Roman portrait of Sabina and a Roman relief fragment.1 This return is forming a pattern as other museums in North America are invited to deaccession antiquities that are claimed to have been illegally removed from Italy. The evidence that the pieces were acquired in a less than transparent way is beginning to emerge. For example, a Polaroid photograph of the portrait of Sabina (Appendix no. 1) was seized in the raid on the warehousing facility of Giacomo Medici in the Geneva Freeport.2 Polaroids of two Apulian pots, an amphora (no. 9) and a loutrophoros (no. 11), were also seized.3 As other photographic and documentary evidence emerges dur- ing the ongoing legal case against Marion True and Robert E. -
Queen Arsinoë II, the Maritime Aphrodite and Early Ptolemaic Ruler Cult
ΑΡΣΙΝΟΗ ΕΥΠΛΟΙΑ Queen Arsinoë II, the Maritime Aphrodite and Early Ptolemaic Ruler Cult Carlos Francis Robinson Bachelor of Arts (Hons. 1) A thesis submitted for the degree of Master of Philosophy at The University of Queensland in 2019 Historical and Philosophical Inquiry Abstract Queen Arsinoë II, the Maritime Aphrodite and Early Ptolemaic Ruler Cult By the early Hellenistic period a trend was emerging in which royal women were deified as Aphrodite. In a unique innovation, Queen Arsinoë II of Egypt (c. 316 – 270 BC) was deified as the maritime Aphrodite, and was associated with the cult titles Euploia, Akraia, and Galenaië. It was the important study of Robert (1966) which identified that the poets Posidippus and Callimachus were honouring Arsinoë II as the maritime Aphrodite. This thesis examines how this new third-century BC cult of ‘Arsinoë Aphrodite’ adopted aspects of Greek cults of the maritime Aphrodite, creating a new derivative cult. The main historical sources for this cult are the epigrams of Posidippus and Callimachus, including a relatively new epigram (Posidippus AB 39) published in 2001. This thesis demonstrates that the new cult of Arsinoë Aphrodite utilised existing traditions, such as: Aphrodite’s role as patron of fleets, the practice of dedications to Aphrodite by admirals, the use of invocations before sailing, and the practice of marine dedications such as shells. In this way the Ptolemies incorporated existing religious traditions into a new form of ruler cult. This study is the first attempt to trace the direct relationship between Ptolemaic ruler cult and existing traditions of the maritime Aphrodite, and deepens our understanding of the strategies of ruler cult adopted in the early Hellenistic period. -
Corpus Rubenianum Ludwig Burchard A/C Ÿ S // 4'!
CORPUS RUBENIANUM LUDWIG BURCHARD A/C ÿ S // 4'! PART XXIII COPIES AFTER THE ANTIQUE IN THREE VOLUMES I •TEXT II • CATALOGUE III • PLATES & INDEX CORPUS RUBENIANUM LUDWIG BURCHARD AN ILLUSTRATED CATALOGUE RAISONNÉ OF THE WORK OF PETER PAUL RUBENS BASED ON THE MATERIAL ASSEMBLED BY THE LATE DR LUDWIG BURCHARD IN TWENTY-SEVEN PARTS The Editors and Publishers gratefully acknowledge the support given by the Board of the Franqui-Fonds toioards the préparation of this publication SPONSORED BY THE CITY OF ANTWERP AND EDITED BY THE 'NATIONAAL CENTRUM VOOR DE PLASTISCHE KUNSTEN VAN DE XVIde EN DE XVIIde EEUW' R.-A. D'HULST, P resident ■ F. BAUDOUIN, Secretary ■ A. BALIS, Treasurer DE PAUW-DE VEEN • N. DE POORTER ■ H. DEVISSCHER ■ P. HUVENNE • H. NIEUWDORP M. VANDENVEN • C. VAN DE VELDE ■ H. VLIEGHE RUBENS COPIES AFTER THE ANTIQUE BY MARJON VAN DER MEULEN VOLUME III • PLATES & INDEX E D IT E D B Y ARNOUT BALIS HARVEY MILLER PUBLISHERS HARVEY MILLER PUBLISHERS Knightsbridge House • 197 Knightsbridge, 8th Floor • London SW7 1RB AN IMPRINT OF G + B ARTS INTERNATIONAL © 1995 Nationaal Centrum voor de Plastische Kunsten van de 16de en de 17de Eeuw British Library Cataloguing in Publication Data Meulen, Marjon Van Der Rubens' Copies After the Antique. - Vol. 3: Plates. - (Corpus Rubenianum Ludwig Burchard) I. Title II. Series 759.9493 ISBN 1-872501-66-4 All rights reserved. No part of this publication may be reproduced, stored in a retrieval System, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Harvey Miller Publishers Composition by Jan Keiler, London Printed and bound by BAS Printers Ltd • Over Wallop • StocKbridge • Hampshire Manufactured in Great Britain CONTENTS Sources of Photographs Page 7 Plates 9 Index I: Collections 233 Index II: Subjects 239 Index III: Other Works by Rubens mentioned in the Text 256 Index IV: Antique Objects 262 Index V: Names and Places 278 Index VI: References to the Documents 295 Sources of Photographs Amsterdam, RijKsmuseum: Text ill. -
Of the Grand Cameo: a Holistic Approach to Understanding the Piece, Its Origins and Its Context Constantine Prince Sidamon-Eristoff Sotheby's Institute of Art
Sotheby's Institute of Art Digital Commons @ SIA MA Theses Student Scholarship and Creative Work 2018 The "Whys" of the Grand Cameo: A Holistic Approach to Understanding the Piece, its Origins and its Context Constantine Prince Sidamon-Eristoff Sotheby's Institute of Art Follow this and additional works at: https://digitalcommons.sia.edu/stu_theses Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, Fine Arts Commons, and the Metal and Jewelry Arts Commons Recommended Citation Sidamon-Eristoff, Constantine Prince, "The "Whys" of the Grand Cameo: A Holistic Approach to Understanding the Piece, its Origins and its Context" (2018). MA Theses. 14. https://digitalcommons.sia.edu/stu_theses/14 This Thesis is brought to you for free and open access by the Student Scholarship and Creative Work at Digital Commons @ SIA. It has been accepted for inclusion in MA Theses by an authorized administrator of Digital Commons @ SIA. For more information, please contact [email protected]. The “Whys” of the Grand Cameo: A Holistic Approach to Understanding the Piece, its Origins and its Context by Constantine P. Sidamon-Eristoff A thesis submitted in conformity With the requirements for the Master’s Degree Fine and Decorative Art and Design Sotheby’s Institute of Art 2018 Word Count: 14,998 The “Whys” of the Grand Cameo: A Holistic Approach to Understanding the Piece, its Origins and its Context By: Constantine P. Sidamon-Eristoff The Grand Cameo for France is the largest cameo surviving from antiquity. Scholars have debated who is portrayed on the stone and what its scene means for centuries, often, although not always, limiting their interpretations to this narrow area and typically only discussing other causes in passing. -
"The Greeks in the History of the Black Sea" Report
DGIV/EDU/HIST (2000) 01 Activities for the Development and Consolidation of Democratic Stability (ADACS) Meeting of Experts on "The Greeks in the History of the Black Sea" Thessaloniki, Greece, 2-4December 1999 Report Strasbourg Meeting of Experts on "The Greeks in the History of the Black Sea" Thessaloniki, Greece, 2-4December 1999 Report The opinions expressed in this work are those of the authors and do not necessarily reflect the official policy of the Council of Europe. CONTENTS INTRODUCTION..................................................................................................... 5 Introductory remarks by James WIMBERLEY, Head of the Technical Cooperation and Assistance Section, Directorate of Education and Higher Education.................................................................................................................... 6 PRESENTATIONS -Dr Zofia Halina ARCHIBALD........................................................................11 -Dr Emmanuele CURTI ....................................................................................14 CONCLUSIONS AND RECOMMENDATIONS Dr Constantinos CHATZOPOULOS..........................................................................17 APPENDIX I LIST OF PARTICIPANTS.........................................................................................21 APPENDIX II PROGRAMME OF THE SEMINAR.........................................................................26 APPENDIX III INTRODUCTORY PRESENTATION BY PROFESSOR ARTEMIS XANTHOPOULOU-KYRIAKOU.............................................................................30 -
Vasemania: Neoclassical Form and Ornament
VOLUME: 4 WINTER, 2004 Vasemania: Neoclassical Form and Ornament: Selections from The Metropolitan Museum of Art at the Bard Graduate Center for Studies in the Decorative Arts, Design, and Culture Review by Nancy H. Ramage 1) is a copy of a vase that belonged to Ithaca College Hamilton, painted in Wedgwood’s “encaustic” technique that imitated red-figure with red, An unusual and worthwhile exhibit on the orange, and white painted on top of the “black passion for vases in the 18th century has been basalt” body, as he called it. But here, assembled at the Bard Graduate Center in Wedgwood’s artist has taken all the figures New York City. The show, entitled that encircle the entire vessel on the original, Vasemania: Neoclassical Form and and put them on the front of the pot, just as Ornament: Selections from The Metropolitan they appear in a plate in Hamilton’s first vol- Museum of Art, was curated by a group of ume in the publication of his first collection, graduate students, together with Stefanie sold to the British Museum in 1772. On the Walker at Bard and William Rieder at the Met. original Greek pot, the last two figures on the It aims to set out the different kinds of taste — left and right goût grec, goût étrusque, goût empire — that sides were Fig. 1 Wedgwood Hydria, developed over a period of decades across painted on the Etruria Works, Staffordshire, Britain, France, Italy, Spain, and Germany. back of the ves- ca. 1780. Black basalt with “encaustic” painting. The at the Bard Graduate Center. -
Middle East a Few Remarks on Geography, History And
Open Access Journal of Science Mini Review Open Access Middle East. A Few Remarks on Geography, History and Art Abstract Volume 2 Issue 3 - 2018 This article results basically from personal impressions gathered during my visits to João Vicente Ganzarolli de Oliveira the Middle East in 1994, 1998, 2002, 2011 and 2017, as well as from some suggested Professor and Researcher of the Tércio Pacitti Institute of the readings. Special emphasis is laid on geographical factors, as well as on historical Federal University of Rio de Janeiro, Brazil circumstances connected with architecture and sculpture in the ancient Middle East. Important to stress is that the tale of the Mesopotamian hero Gilgamesh is much more Correspondence: João Vicente Ganzarolli de Oliveira, than the first epic ever written in the world; Gilgamesh’s wish for immortality is the Professor and Researcher of the Tércio Pacitti Institute drama of every single man, no matter if he lived in ancient Mesopotamia during the 3rd of the Federal University of Rio de Janeiro, Brazil, Rio de Janeiro millennium BC, or if he lives in the 21th century’s Manhattan. (RJ, 21941-901, Tel +5521-3938-9600, Email [email protected] Keywords: old empires, culture, Greek miracle, Mesopotamia, Egypt Received: May 26, 2018 | Published: June 29, 2018 Introduction the fourth millennia BC, high advanced cultures started to develop and to thrive in Mesopotamia and Egypt. The presence of big and Surrounded by seas and deserts, larger than the Holy Roman generous rivers in terms or fertilization of the soil–namely the Tigris, Empire at its height but smaller than China, the Middle East is neither the Euphrates and the Nile respectively–in this crescent-shaped region a continent nor a country.