A Companion to Greek Art by Tyler Jo Smith and Dimitris Plantzos

By Tyler Jo Smith and Dimitris Plantzos

A complete, authoritative account of the advance Greek artwork in the course of the 1st millennium BC.
An necessary source for students facing the paintings, fabric tradition and historical past of the post-classical world
Includes voices from such diversified fields as artwork historical past, classical experiences, and archaeology and provides a range of perspectives to the topic
Features an cutting edge staff of chapters facing the reception of Greek paintings from the center a while to the present
Includes chapters on Chronology and Topography, in addition to Workshops and Technology
Includes 4 significant sections: types, instances and areas Contacts and Colonies pictures and Meanings Greek paintings: historical to vintage

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64) and the Laokoon (Smith 1991: fig. 143), were not Greek sculptures at all but rather Roman copies or independent creations. While scholars of ancient Greek art and archaeology may no longer support all of Winckelmann’s assertions or all aspects of his model, the terms ‘Archaic’ and ‘Classical’ are still in use as chronological descriptions. These traditional periods have been provided with absolute dates based on historical events. Thus the Archaic period begins with the founding of the Olympic Games in 776 BC and ends with the Persian Wars in 480/79 BC.

2005). ) should not accept the chronologies as set in stone. Stylistic chronologies are such a strong tool for classical archaeology that their terminology is often used to provide alternative titles for periods and so can cause some confusion for the uninitiated or unwary. ) or the Early Iron Age (reflecting the use of iron and following the patterns of the preceding Stone and Bronze Ages). Alternatively, within this period, c. 900–700 BC may be called Geometric, based on the style of pottery, and the 7th c.

Scholars of Greek art deal with these variations in different manners; some, such as Robertson (1975), combine stylistic terminology with absolute dating, while others, such as Richter (1959), avoid any confusion by discussing art by the media with reference only to absolute dating. Many introductory accounts provide a chronological table to assist with the overlapping terminologies; these can focus on historical events (Pedley 2007: 388) or a combination of historical, cultural, and artistic events (Boardman 1996: 296–297; Beard and Henderson 2001: 260; Whitley 2001: 62, fig.

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