Based on the comprehensive study of one of the most important collections of Maya art in the United States, Ancient Maya Art at Dumbarton Oaks is a scholarly introduction to one of the great traditions of sculpture and painting in ancient America.

This brief guide informs the reader about the collections of the National Archaeological Museum and the wealth and variety of its exhibits, which span the long history of the ancient world. Rather than giving detailed descriptions of the various items on display, it gives general information about all the collections, with an emphasis on the way they are presented in the rooms of the Museum. At the same time it illustrates works which are representative of each collection and which bear witness to the artistic quality and value of the exhibits in the largest and most important museum in Greece.

This is a superbly illustrated exploration of the finest ancient frescos found in Pompeii, Herculaneum, Oplontis, and Rome. Visitors to the residences of ancient Rome cannot help but be astonished by their grand architecture and enchanting wall paintings, still vibrant with cinnabar reds, golden yellows, and deep greens. "The Splendor of Roman Wall Painting" begins with an introduction to the Roman domestic ideal that inspired these wall decorations and a discussion of the evolution in painting styles, before moving on to take readers on a stunningly illustrated tour of 28 houses in Pompeii, Herculaneum, Oplontis, and the city of Rome. With 150 full-colour illustrations that perfectly capture the beauty and intricacy of these ancient frescoes - rich with details of illusionistic architecture, lush gardens, exotic animals and erotic adventures - this is a compelling volume for anyone with an interest in Roman art and architecture.

The complete wall decorations of 3 Theban tombs (No. 77, No. 175 and No. 249) are here published for the first time. The graves at Thebes in Egypt, belonged to a master builder of the Amon temple in the time of Thutmosis IV, a purveyor of sweets in Amenophis III's temple of the dead, and a man in the business of scented oils. To date, only individual scenes from these tombs have been published, but here the reader is presented with the decorations in their entirety, including black and white photographs and line drawings, together with transcriptions and translations of all of the related texts.

A revealing look at ancient art in the Menil Collection that addresses the problem of objects lacking archaeological context This innovative presentation of ancient objects in the Menil Collection offers a new model for understanding works from antiquity that lack archaeological context. Editors John North Hopkins, Sarah Kielt Costello, and Paul R. Davis with 11 additional authors employ a creative mixture of iconography, technical studies, and known provenance to gain insight into both the meaning of the objects themselves and what they can teach us more broadly about archaeology, art history, and collecting practices. As they take on complex issues of cultural heritage, legality, and taste, these essays bring to life works that are often consigned to either the imperial past or conceptual limbo and introduce a fresh framework through which to engage with the multilayered history that these objects represent.

This comprehensive catalogue of ancient terracotta oil lamps found in Cyprus situates the objects within larger cultural and social contexts and elucidates their varied decoration The fourth catalogue in a series that documents the renowned Cesnola Collection of Cypriot Art, this book focuses on the collection's 453 terracotta oil lamps dating from the Classical, Hellenistic, Roman, and Early Byzantine periods. The rich iconography on many of these common, everyday objects offers a rare look into daily life on Cyprus in antiquity and highlights the island's participation in Roman artistic and cultural production. Each lamp is illustrated, and the accompanying text addresses the objects' typology, decoration, and makers' marks while providing new insights into art, craft, and trade in the ancient Mediterranean. Published by The Metropolitan Museum of Art/Distributed by Yale University Press

The creation of miniature intaglios - or incised carvings - which could be impressed on clay or wax was one of the earliest crafts of civilisation. To this the Greeks added relief cameos, while comparable skills were lavished on the decoration of metal finger rings. These artefacts record subjects of significance for their period and place but are also the direct expression of an artist's skills and imagination. Engraved gems were collected first by the ancient Romans and then throughout the Renaissance were a source for knowledge of `classical' subjects and styles, when they were copied - from Michelangelo to Rubens - by the foremost artists of the day. The gemstones explored here are from a distinguished collection made in the earlier twentieth century by a notable connoisseur of ancient art. Many originate from named older European collections and were previously unknown to scholars and collectors. The authors have sought to offer a balanced selection of earlier eastern and Greek stones, alongside others from the neo-classical era. The book offers a survey of the finest products of the gems craft over millennia.

Engraved Gems and Propaganda in the Roman Republic and under Augustus deals with small, but highly captivating and stimulating artwork - engraved gemstones. Although in antiquity intaglios and cameos had multiple applications (seals, jewellery or amulets), the images engraved upon them are snapshots of people's beliefs, ideologies, and everyday occupations. They cast light on the self-advertising and propaganda actions performed by Roman political leaders, especially Octavian/Augustus, their factions and other people engaged in the politics and social life of the past. Gems can show both general trends (the specific showpieces like State Cameos) as well as the individual and private acts of being involved in politics and social affairs, mainly through a subtle display of political allegiances, since they were objects of strictly personal use. They enable us to analyse and learn about Roman propaganda and various social behaviours from a completely different angle than coins, sculpture or literature. The miniaturism of ancient gems is in inverse proportion to their cultural significance. This book presents an evolutionary model of the use of engraved gems from self-presentation (3rd-2nd century BC) to personal branding and propaganda purposes in the Roman Republic and under Augustus (until 14 AD). The specific characteristics of engraved gems, their strictly private character and the whole array of devices appearing on them are examined in respect to their potential propagandistic value and usefulness in social life. The wide scope of this analysis provides a comprehensive picture covering many aspects of Roman propaganda and a critical survey of the overinterpretations of this term in regard to the glyptic art. The aim is the incorporation of this class of archaeological artefacts into the well-established studies of Roman propaganda, as well as the Roman society in general, brought about by discussion of the interconnections with ancient literary sources as well as other categories of Roman art and craftsmanship, notably coins but also sculpture and relief.

This book explores a series of powerful artifacts associated with King Solomon via legendary or extracanonical textual sources. Tracing their cultural resonance throughout history, art historian Allegra Iafrate delivers exciting insights into these objects and interrogates the ways in which magic manifests itself at a material level. Each chapter focuses on a different Solomonic object: a ring used to control demons; a mysterious set of bottles that constrain evil forces; an endless knot or seal with similar properties; the shamir, known for its supernatural ability to cut through stone; and a flying carpet that can bring the sitter anywhere he desires. Taken together, these chapters constitute a study on the reception of the figure of Solomon, but they are also cultural biographies of these magical objects and their inherent aesthetic, morphological, and technical qualities. Thought-provoking and engaging, Iafrate's study shows how ancient magic artifacts live on in our imagination, in items such as Sauron's ring of power, Aladdin's lamp, and the magic carpet. It will appeal to historians of art, religion, folklore, and literature.

This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1930.

On museum visits, we pass by beautiful, well-preserved vases from ancient Greece - but how often do we understand what the images on them depict? In "Image and Myth", Luca Giuliani tells the stories behind the pictures, exploring how artists of antiquity had to determine which motifs or historical and mythic events to use to tell an underlying story while also keeping in mind the tastes and expectations of paying clients. Covering the range of Greek style and its growth between the early Archaic and Hellenistic periods, Giuliani describes the intellectual, social, and artistic contexts in which the images were created. He reveals that developments in Greek vase painting were driven as much by the times as they were by tradition - the better-known the story, the less leeway the artists had in interpreting it. As literary culture transformed from an oral tradition, in which stories were always in flux, to the stability of written texts, the images produced by artists eventually became nothing more than illustrations of canonical works. At once a work of cultural and art history, "Image and Myth" builds a new way of understanding the visual culture of ancient Greece.

Anteros: A Forgotten Myth explores how the myth of Anteros disappears and reappears throughout the centuries, from classical Athens to the present day, and looks at how the myth challenges the work of Freud, Lacan, and Jung, among others. It examines the successive cultural experiences that formed and inform the myth and also how the myth sheds light on individual human experience and the psychoanalytic process.

Topics of discussion include:

• Anteros in the Italian Renaissance, the French Enlightenment and English Modernism
• psychologizing Anteros: Freud, Lacan, Girard, and Jung
• three anterotic moments in a consulting room.

This book presents an important argument at the boundaries of the disciplines of analytical psychology, psychoanalysis, art history, and mythology. It will therefore be essential reading for all analytical psychologists and psychoanalysts as well as art historians and those with an interest in the meeting of psychoanalytic thought and mythology.

In the fifth century BCE, an artistic revolution occurred in Greece, as sculptors developed new ways of representing bodies, movement, and space. The resulting 'classical' style would prove influential for centuries to come. Modern scholars have traditionally described the emergence of this style as a steady march of progress, culminating in masterpieces like the Parthenon sculptures. But this account assumes the impossible: that the early Greeks were working tirelessly toward a style of which they had no prior knowledge. In this ambitious work, Richard Neer draws on recent work in art history, archaeology, literary criticism, and art theory to rewrite the story of Greek sculpture. He provides new ways to understand classical sculpture in Greek terms, and carefully analyzes the relationship between political and stylistic histories. A much-heralded project, "The Emergence of the Classical Style in Greek Sculpture" represents an important step in furthering our understanding of the ancient world.

In the depths of the Kara Kum desert in Turkmenistan, one of the largest deserts in the world, Victor Sarianidi has excavated the country of Margush (Margiana). Its capital was the city of Gonur, which consisted of a unique ensemble of temples and palaces dating from the end of the third to the beginning of the second millennia BC. In addition to the capital city, Sarianidi excavated the Gonur necropolis, with almost 3000 tombs. This is the largest necropolis of the period to have been excavated in the Near East. Th e funeral gifts and personal adornments from the Gonur tombs have an amazing, unique beauty and are worthy of comparison with the fi nest examples of ancient oriental art from Mesopotamia, Asia Minor and the Aegean world. Research in this area has made it possible to conclude that the first monotheistic religion in the world, Zoroastrianism, originated in Margiana. Th is statement is supported by the finds that related to the funeral rituals and procedures observed in the Gonur necropolis. The Margiana culture proved to be so highly advanced that scholars increasingly hold the view that Bronze Age Central Asia was one of the main civilizations of ancient times, alongside Mesopotamia, Egypt, India and China. Th is book contains the results of the excavations, anthropological observations based on the skeletons found, and a large number and wide variety of finds.

Text in Danish.

A survey of how the Aegean peoples expressed themselves during a period of some 5000 years after the end of the Bronze Age (circa 1100 BC), and before the rise of Greek art. Work produced in the ambience of the palaces of Crete (including the palace of Minos at Knossos) and of Mycenae on the mainland is fully described and illustrated. For purposes of clarity the arts are considered by function and material rather than by geographical region or chronological period; but the main political upheavals affecting them are kept in mind. Little wall-painting has survived, and the so-called minor arts are examined for the light they thow on it, as well as to assess artistic development in the Aegean as a whole.

This handsomely illustrated book offers a broad synthesis of Archaic Greek culture. Unlike other books dealing with the art and architecture of the Archaic period, it places these subjects in their historical, social, literary, and intellectual contexts. Origins and originality constitute a central theme, for during this period representational and narrative art, monumental sculpture and architecture, epic, lyric, and dramatic poetry, the city-state (polis), tyranny and early democracy, and natural philosophy were all born.

Alexander the Great changed the face of the ancient world. During his life and after his death, his image in works of art exerted an unprecedented influence-on marbles, bronzes, ivories, frescoes, mosaics, coins, medals, even painted pottery and reliefware. Alexander's physiognomy became the most famous in history. But can we really know what meaning lies behind these images?
Andrew Stewart demonstrates that these portraits--wildly divergent in character, quality, type, provenance, date, and purpose--actually transmit not so much a "likeness" of Alexander as a set of carefully crafted cliches that mobilize the "notion" "Alexander" for diverse ends and diverse audiences. Stewart discusses the portraits as studies in power and his original interpretation of them gives unprecedented fullness and shape to the idea and image called "Alexander."