In addition to the helpful chapter divisions, outlines, timelines, and boxes, there is an extensive glossary, an extraordinary number of beautiful maps, and some 400 illustrations, nearly all in color and crisply reproduced from high resolution sources. Building, art and political government were modelled after ancient Greek examples and the ancient Greeks played a pivotal role in the identity of the western world, at least up until World War II. More than a dozen leading Mycenologists have contributed chapters and sections to this seminal work in two volumes, comprised of more than 1100 pages. It provides the ways to understand classical sculpture in Greek terms, and analyzes the relationship between political and stylistic histories. This course is an illustrated survey of the art and archaeology of the ancient Greek world from the Bronze Age to Hellenistic times.

Topics such as gender and sexuality, ethnicity, reception studies, and cultural patrimony, have expanded our view of ancient art and, consequently, influenced ideas about the best approach to teaching a survey course. While the author quite rightly describes fourth-century art as more diverse in its style and mood than Classical art, he might have included a preview of how the works to be considered in the chapter exhibit these qualities. Art is a social and historical phenomenon, and thus can be a prism through which we learnThis approach, however, has always been problematic for a number of reasons, not the least of which is that it runs the risk of creating the impression in students’ minds that Greek art underwent a stylistic evolution over time from abstraction in the Early Iron Age to naturalism in the Hellenistic period and that, in the case of Roman art, the trajectory was in the opposite direction. Each chapter begins with a chronology and map, situating the reader in time and place as we follow the development of an ancient visual culture that still influences us today. Consequently, there is an appropriate treatment of synthetic themes without interrupting the chronological flow, enabling a student new to the subject to comprehend clearly where each monument fits in the greater scheme of things. which describes an anonymous bronze statue of a youth (puer) killing a lizard, it is here proposed that the sculpture known as the Apollo Sauroktonos is not Apollo and not attributable to the sculptor Praxiteles, as Pliny states (NH 34.

It will also include some personal thoughts on alternative approaches to introducing undergraduates to the cultures of ancient Greece and Rome by utilizing the visual arts as the focus. This two-volume work is a compendium of essays covering a variety of archaeological, art historical, and cultural topics, each written by a distinguished scholar.Explora la mayor tienda de eBooks del mundo y empieza a leer hoy mismo en la Web, en tu tablet, en tu teléfono o en tu dispositivo electrónico de lectura. While Tuck’s approach to his material is different from Stansbury-O’Donnell’s, it is no less problematic. Some subdivisions are straightforward, traditional categories, such as a particular medium as it occurs and develops in a particular time period. Monuments, which could cover the spectrum of elite and non-elite artistic and cultural sensibilities, could then be examined within an overarching socio-historical framework as a way of providing a coherent picture within each topic.