Hellenistic Art
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Princeton/Stanford Working Papers in Classics
Princeton/Stanford Working Papers in Classics The eighth-century revolution Version 1.0 December 2005 Ian Morris Stanford University Abstract: Through most of the 20th century classicists saw the 8th century BC as a period of major changes, which they characterized as “revolutionary,” but in the 1990s critics proposed more gradualist interpretations. In this paper I argue that while 30 years of fieldwork and new analyses inevitably require us to modify the framework established by Snodgrass in the 1970s (a profound social and economic depression in the Aegean c. 1100-800 BC; major population growth in the 8th century; social and cultural transformations that established the parameters of classical society), it nevertheless remains the most convincing interpretation of the evidence, and that the idea of an 8th-century revolution remains useful © Ian Morris. [email protected] 1 THE EIGHTH-CENTURY REVOLUTION Ian Morris Introduction In the eighth century BC the communities of central Aegean Greece (see figure 1) and their colonies overseas laid the foundations of the economic, social, and cultural framework that constrained and enabled Greek achievements for the next five hundred years. Rapid population growth promoted warfare, trade, and political centralization all around the Mediterranean. In most regions, the outcome was a concentration of power in the hands of kings, but Aegean Greeks created a new form of identity, the equal male citizen, living freely within a small polis. This vision of the good society was intensely contested throughout the late eighth century, but by the end of the archaic period it had defeated all rival models in the central Aegean, and was spreading through other Greek communities. -
Issues of Gender Representation in Modern Greek Art the Case of Thaleia Flora-Caravia’S Photographic Images and Self-Portraits
p Issues of Gender Representation in Modern Greek Art The Case of Thaleia Flora-Caravia’s Photographic Images and Self-Portraits Despoina Tsourgianni ABSTRACT There is a recent trend, mainly in the fi eld of historiography but also in art history, toward the exploration of female autobiographical discourse, whether it concerns writ- ten (autobiographies, correspondence), painted (self-portraits), or photographic data. On the basis of the highly fruitful gender perspective, this article seeks to present and interpret the numerous photographs of the well-known Greek painter Thaleia Flora- Caravia. These photographic recordings, taken almost exclusively from the painter’s unpublished personal archive, are inextricably linked to the artist’s self-portraits. This kind of cross-examination allows the reader to become familiar with the mosaic of roles and identities that constitutes the subjectivity of female artists in Greece in the late nineteenth and early twentieth centuries. KEYWORDS: autobiography, female artist, modern Greek art, photography, self-portrait p Introduction No opening words could be more appropriate to introduce a study on twentieth- century artist representation than the verses of Rainer Maria Rilke on the painter Paula Modersohn-Becker: So free of curiosity your gaze had become, so unpossessive, of such true poverty, it no longer desired even you yourself; it wanted nothing: holy.1 aspasia Volume 13, 2019: 31–64 doi:10.3167/asp.2019.130105 32 DESPOINA TSOURGIANNI It is of key importance to note the way in which this emblematic poet of modernity perceives the ideal depiction of oneself: as one being stripped of any vanity that leads to the beautifi cation of physical characteristics. -
Gods and Heroes: the Influence of the Classical World on Art in the 17Th & 18Th Centuries
12/09/2017 Cycladic Figure c 2500 BC Minoan Bull Leaper c 1500 BC Gods and Heroes: the Influence of the Classical World on Art in the 17th & 18th centuries Sophia Schliemann wearing “Helen’s Jewellery” Dr William Sterling Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk Heracles from the Parthenon Paris and Helen krater c 700 BC Roman copy of Hellenistic bust of Homer Small bronze statue of Alexander the Great c 100 BC Dr William Sterling Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk Judgement of Paris from Etruria c 550 BC Tiberius sword hilt showing Augustus as Jupiter Arrival of Aeneas in Italy Blacas Cameo showing Augustus with aegis breastplate Augustus of Prima Porta c 25 AD Dr William Sterling (discovered 1863) Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk 1 12/09/2017 Romulus and Remus on the Franks Casket c 700 AD Siege of Jerusalem from the Franks Casket Mantegna Triumph of Caesar Mantua c 1490 Très Riches Heures du Duc de Berry c 1410 – tapestry of Trojan War Dr William Sterling Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk The Colosseum Rome The Parthenon Athens The Pantheon Rome Artist’s Impression of the Mausoleum of Halicarnassus showing surviving sculpture Dr William Sterling Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk Hera and Zeus on the Parthenon Frieze in the British Museum Hermes, Dionysus, Demeter and Ares on the Parthenon Frieze Dr William Sterling Dr William Sterling www.williamsterling.co.uk -
Art 258: Ancient and Medieval Art Spring 2016 Sched#20203
Art 258: Ancient and Medieval Art Spring 2016 Sched#20203 Dr. Woods: Office: Art 559; e-mail: [email protected] Office Hours: Monday and Friday 8:00-8:50 am Course Time and Location: MWF 10:00 – 10:50 HH221 Course Overview Art 258 is an introduction to western art from the earliest cave paintings through the age of Gothic Cathedrals. Sculpture, painting, architecture and crafts will be analyzed from an interdisciplinary perspective, for what they reveal about the religion, mythology, history, politics and social context of the periods in which they were created. Student Learning Outcomes Students will learn to recognize and identify all monuments on the syllabus, and to contextualize and interpret art as the product of specific historical, political, social and economic circumstances. Students will understand the general characteristics of each historical or stylistic period, and the differences and similarities between cultures and periods. The paper assignment will develop students’ skills in visual analysis, critical thinking and written communication. This is an Explorations course in the Humanities and Fine Arts. Completing this course will help you to do the following in greater depth: 1) analyze written, visual, or performed texts in the humanities and fine arts with sensitivity to their diverse cultural contexts and historical moments; 2) describe various aesthetic and other value systems and the ways they are communicated across time and cultures; 3) identify issues in the humanities that have personal and global relevance; 4) demonstrate the ability to approach complex problems and ask complex questions drawing upon knowledge of the humanities. Course Materials Text: F. -
The Nature of Hellenistic Domestic Sculpture in Its Cultural and Spatial Contexts
THE NATURE OF HELLENISTIC DOMESTIC SCULPTURE IN ITS CULTURAL AND SPATIAL CONTEXTS DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Craig I. Hardiman, B.Comm., B.A., M.A. ***** The Ohio State University 2005 Dissertation Committee: Approved by Dr. Mark D. Fullerton, Advisor Dr. Timothy J. McNiven _______________________________ Advisor Dr. Stephen V. Tracy Graduate Program in the History of Art Copyright by Craig I. Hardiman 2005 ABSTRACT This dissertation marks the first synthetic and contextual analysis of domestic sculpture for the whole of the Hellenistic period (323 BCE – 31 BCE). Prior to this study, Hellenistic domestic sculpture had been examined from a broadly literary perspective or had been the focus of smaller regional or site-specific studies. Rather than taking any one approach, this dissertation examines both the literary testimonia and the material record in order to develop as full a picture as possible for the location, function and meaning(s) of these pieces. The study begins with a reconsideration of the literary evidence. The testimonia deal chiefly with the residences of the Hellenistic kings and their conspicuous displays of wealth in the most public rooms in the home, namely courtyards and dining rooms. Following this, the material evidence from the Greek mainland and Asia Minor is considered. The general evidence supports the literary testimonia’s location for these sculptures. In addition, several individual examples offer insights into the sophistication of domestic decorative programs among the Greeks, something usually associated with the Romans. -
Eclectic Antiquity Catalog
Eclectic Antiquity the Classical Collection of the Snite Museum of Art Compiled and edited by Robin F. Rhodes Eclectic Antiquity the Classical Collection of the Snite Museum of Art Compiled and edited by Robin F. Rhodes © University of Notre Dame, 2010. All Rights Reserved ISBN 978-0-9753984-2-5 Table of Contents Introduction..................................................................................................................................... 1 Geometric Horse Figurine ............................................................................................................. 5 Horse Bit with Sphinx Cheek Plates.............................................................................................. 11 Cup-skyphos with Women Harvesting Fruit.................................................................................. 17 Terracotta Lekythos....................................................................................................................... 23 Marble Lekythos Gravemarker Depicting “Leave Taking” ......................................................... 29 South Daunian Funnel Krater....................................................................................................... 35 Female Figurines.......................................................................................................................... 41 Hooded Male Portrait................................................................................................................... 47 Small Female Head...................................................................................................................... -
Albanian Families' History and Heritage Making at the Crossroads of New
Voicing the stories of the excluded: Albanian families’ history and heritage making at the crossroads of new and old homes Eleni Vomvyla UCL Institute of Archaeology Thesis submitted for the award of Doctor in Philosophy in Cultural Heritage 2013 Declaration of originality I, Eleni Vomvyla confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. Signature 2 To the five Albanian families for opening their homes and sharing their stories with me. 3 Abstract My research explores the dialectical relationship between identity and the conceptualisation/creation of history and heritage in migration by studying a socially excluded group in Greece, that of Albanian families. Even though the Albanian community has more than twenty years of presence in the country, its stories, often invested with otherness, remain hidden in the Greek ‘mono-cultural’ landscape. In opposition to these stigmatising discourses, my study draws on movements democratising the past and calling for engagements from below by endorsing the socially constructed nature of identity and the denationalisation of memory. A nine-month fieldwork with five Albanian families took place in their domestic and neighbourhood settings in the areas of Athens and Piraeus. Based on critical ethnography, data collection was derived from participant observation, conversational interviews and participatory techniques. From an individual and family group point of view the notion of habitus led to diverse conceptions of ethnic identity, taking transnational dimensions in families’ literal and metaphorical back- and-forth movements between Greece and Albania. -
Archaic Eretria
ARCHAIC ERETRIA This book presents for the first time a history of Eretria during the Archaic Era, the city’s most notable period of political importance. Keith Walker examines all the major elements of the city’s success. One of the key factors explored is Eretria’s role as a pioneer coloniser in both the Levant and the West— its early Aegean ‘island empire’ anticipates that of Athens by more than a century, and Eretrian shipping and trade was similarly widespread. We are shown how the strength of the navy conferred thalassocratic status on the city between 506 and 490 BC, and that the importance of its rowers (Eretria means ‘the rowing city’) probably explains the appearance of its democratic constitution. Walker dates this to the last decade of the sixth century; given the presence of Athenian political exiles there, this may well have provided a model for the later reforms of Kleisthenes in Athens. Eretria’s major, indeed dominant, role in the events of central Greece in the last half of the sixth century, and in the events of the Ionian Revolt to 490, is clearly demonstrated, and the tyranny of Diagoras (c. 538–509), perhaps the golden age of the city, is fully examined. Full documentation of literary, epigraphic and archaeological sources (most of which have previously been inaccessible to an English-speaking audience) is provided, creating a fascinating history and a valuable resource for the Greek historian. Keith Walker is a Research Associate in the Department of Classics, History and Religion at the University of New England, Armidale, Australia. -
Greek Culture
HUMANITIES INSTITUTE GREEK CULTURE Course Description Greek Culture explores the culture of ancient Greece, with an emphasis on art, economics, political science, social customs, community organization, religion, and philosophy. About the Professor This course was developed by Frederick Will, Ph.D., professor emeritus from the University of Iowa. © 2015 by Humanities Institute Course Contents Week 1 Introduction TEMPLES AND THEIR ART Week 2 The Greek Temple Week 3 Greek Sculpture Week 4 Greek Pottery THE GREEK STATE Week 5 The Polis Week 6 Participation in the Polis Week 7 Economy and Society in the Polis PRIVATE LIFE Week 8 At the Dinner Table Week 9 Sex and Marriage Week 10 Clothing CAREERS AND TRAINING Week 11 Farmers and Athletes Week 12 Paideia RELIGION Week 13 The Olympian Gods Week 14 Worship of the Gods Week 15 Religious Scepticism and Criticism OVERVIEW OF GREEK CULTURE Week 16 Overview of Greek Culture Selected collateral readings Week 1 Introduction Greek culture. There is Greek literature, which is the fine art of Greek culture in language. There is Greek history, which is the study of the development of the Greek political and social world through time. Squeezed in between them, marked by each of its neighbors, is Greek culture, an expression, and little more, to indicate ‘the way a people lived,’ their life- style. As you will see, in the following syllabus, the ‘manner of life’ can indeed include the ‘products of the finer arts’—literature, philosophy, by which a people orients itself in its larger meanings—and the ‘manner of life’ can also be understood in terms of the chronological history of a people; but on the whole, and for our purposes here, ‘manner of life’ will tend to mean the way a people builds a society, arranges its eating and drinking habits, builds its places of worship, dispenses its value and ownership codes in terms of an economy, and arranges the ceremonies of marriage burial and social initiation. -
Parthenon 1 Parthenon
Parthenon 1 Parthenon Parthenon Παρθενών (Greek) The Parthenon Location within Greece Athens central General information Type Greek Temple Architectural style Classical Location Athens, Greece Coordinates 37°58′12.9″N 23°43′20.89″E Current tenants Museum [1] [2] Construction started 447 BC [1] [2] Completed 432 BC Height 13.72 m (45.0 ft) Technical details Size 69.5 by 30.9 m (228 by 101 ft) Other dimensions Cella: 29.8 by 19.2 m (98 by 63 ft) Design and construction Owner Greek government Architect Iktinos, Kallikrates Other designers Phidias (sculptor) The Parthenon (Ancient Greek: Παρθενών) is a temple on the Athenian Acropolis, Greece, dedicated to the Greek goddess Athena, whom the people of Athens considered their patron. Its construction began in 447 BC and was completed in 438 BC, although decorations of the Parthenon continued until 432 BC. It is the most important surviving building of Classical Greece, generally considered to be the culmination of the development of the Doric order. Its decorative sculptures are considered some of the high points of Greek art. The Parthenon is regarded as an Parthenon 2 enduring symbol of Ancient Greece and of Athenian democracy and one of the world's greatest cultural monuments. The Greek Ministry of Culture is currently carrying out a program of selective restoration and reconstruction to ensure the stability of the partially ruined structure.[3] The Parthenon itself replaced an older temple of Athena, which historians call the Pre-Parthenon or Older Parthenon, that was destroyed in the Persian invasion of 480 BC. Like most Greek temples, the Parthenon was used as a treasury. -
Ancient Greek Painting and Mosaics in Macedonia
ANCIENT GREEK PAINTING AND MOSAICS IN MACEDONIA All the manuals of Greek Art state that ancient Greek paintinG has been destroyed almost completely. Philological testimony, on the other hand, how ever rich, does no more than confirm the great loss. Vase painting affirms how skilful were the artisans in their drawings although it cannot replace the lost large paintinG compositions. Later wall-paintings of Roman towns such as Pompeii or Herculaneum testifying undoubted Greek or Hellenistic influ ence, enable us to have a glimpse of what the art of paintinG had achieved in Greece. Nevertheless, such paintings are chronologically too far removed from their probable Greek models for any accurate assessment to be made about the degree of dependence or the difference in quality they may have had between them. Archaeological investigation, undaunted, persists in revealing methodi cally more and more monuments that throw light into previously dark areas of the ancient world. Macedonia has always been a glorious name in later Greek history, illumined by the amazing brilliance of Alexander the Great. Yet knowledge was scarce about life in Macedonian towns where had reigned the ancestors and the descendants of that unique king, and so was life in many other Greek towns situated on the shores of the northern Aegean Sea. It is not many years ago, since systematic investigation began in these areas and we are still at the initial stage; but results are already very important, es pecially as they give the hope that we shall soon be able to reveal unknown folds of the Greek world in a district which has always been prominent in the his torical process of Hellenism. -
Transcript of “The Greeks: Crucible of Civilization” Episode One: “The Birth of Democracy”
Transcript of “The Greeks: Crucible of Civilization” Episode One: “The Birth of Democracy” Transcript of PBS Video - The Greeks: Crucible of Civilization Part 1 – The Birth of Democracy 0:00 – Series Introduction: The Significance of the Greeks The Greeks. A people glorious and arrogant, valiant and headstrong. These were the men and women who laid the very foundations of Western Civilization. Their monuments still recall perhaps the most extraordinary two centuries in history, a time that saw the birth of science and politics, philosophy, literature and drama. [A time that] saw the creation of art and architecture we still strive to equal. And the Greeks achieved all this against a backdrop of war and conflict, for they would vanquish armies, navies, and empires many times their size, and build an empire of their own which stretched across the Mediterranean. For one brief moment, the mighty warships of the Greeks ruled the seas, their prosperity unequalled. These achievements, achievements which still shape our world, were made not by figures lost to time, but by men and women whose voices we can still hear, whose lives we can follow, men such as Themistocles, one of the world’s greatest military generals; Pericles, a politician of vision and genius; and Socrates, the most famous philosopher in history. This is the story of these astonishing individuals, of the rise and fall of a civilization that changed the world. 2:35 – Episode Introduction: The Revolution 508 BC. Five centuries before the birth of Christ. In a town called Athens, a tiny city in mainland Greece, pandemonium ruled the streets.