Is there anything more mysterious than a piece of fabric covering something? Since the author of this book started noticing classical images with its young figures holding a veil while working in Pompeii, the study of this iconography has become his passion. This volume will focus only on Ancient Greece, but it explores a fascinating topic with strong connexions in current societies. The book will delve into the iconography of the veil gesture, but will also explore other topics closely related to it from an anthropological perspective. SPANISH DESCRIPTION: La Historia del Arte se ha entendido en muchas ocasiones como el estudio de los temas que se representan con cierta pericia en distintos formatos y que, por consenso, consideramos "arte". Este libro nace, en parte, con la intencion de dar una vuelta de tuerca a esta concepcion de los estudios historico-artisticos y comenzar a plantearlos como un estudio de abajo a arriba, de los motivos, no de los temas. De este modo, partiremos de un pequeno gesto, aquel que realizan las mujeres griegas para cubrirse o descubrirse con el velo, y lo analizaremos en profundidad como indicador arqueologico de una cultura del pasado. El gesto del velo lleva implicito un juego de ambivalencias que le hace moverse entre el pudor o "aidos" y el erotismo o "peitho", es este tira y afloja en el que nos moveremos a lo largo de todo el libro el que nos ayudara a entender mejor la historia del arte griego pero tambien la sociedad griega y, en especial, la figura de la mujer en esa sociedad. Este recorrido de cerca de mil anos entre el siglo XII y el II a.C. nos permitira abordar tambien otros temas como la relacion entre arte y realidad, la importancia del velo en la sociedad contemporanea o la validez de las teorias del analisis iconografico tradicionales. Espero que este libro, mas alla de ayudar al lector a entender el uso del velo y su representacion en el arte griego, permita tambien clarificar la relacion entre historia del arte, arqueologia e historia, y la necesidad de que estas disciplinas se entiendan para hacernos comprender mejor nuestro pasado.

One of the most obvious stylistic features of Athenian black-figure vase painting is the use of color to differentiate women from men. By comparing ancient art in Egypt and Greece, "Tan Men/Pale Women "uncovers the complex history behind the use of color to distinguish between genders, without focusing on race. Author Mary Ann Eaverly considers the significance of this overlooked aspect of ancient art as an indicator of underlying societal ideals about the role and status of women. Such a commonplace method of gender differentiation proved to be a complex and multivalent method for expressing ideas about the relationship between men and women, a method flexible enough to encompass differing worldviews of Pharaonic Egypt and Archaic Greece. Does the standard indoor/outdoor explanation--women are light because they stay indoors--hold true everywhere, or even, in fact, in Greece? How "natural" is color-based gender differentiation, and, more critically, what relationship does color-based gender differentiation have to views about women and the construction of gender identity in the ancient societies that use it?

The depiction of dark men and light women can, as in Egypt, symbolize reconcilable opposites and, as in Greece, seemingly irreconcilable opposites where women are regarded as a distinct species from men. Eaverly challenges traditional ideas about color and gender in ancient Greek painting, reveals an important strategy used by Egyptian artists to support pharaonic ideology and the role of women as complementary opposites to men, and demonstrates that rather than representing an actual difference, skin color marks a society's ideological view of the varied roles of male and female.

This volume of Acta Hyperborea includes chapters on mummy portraits and early icons, Late Antique Architecture, Constantine's use of spolia, the Iconography and Style of the Rothschild Cameo, Christian Lamps and Phocaean red slip ware.

Modernism in the visual arts has been defined as a liberation from the classical inheritance. The excitement of modern art is often seen to lie in its radical break with the past. But according to one standard narrative, the modern discipline of art history began only with a study of ancient art and sculpture. Johann Joachim Winckelmann's History of the Art of Antiquity, first published in 1764, set the precedent for the historical study of the visual arts, and is still the dominant method in art history today. The modern study of art and the making of modern art thus appear to be founded on incompatible principles: the one on the centrality of ancient art; the other on its utter repudiation. Elizabeth Prettejohn's important and revisionist new book starts from an opposite premise: that the modern study of ancient art and the making of modern art are inextricably intertwined. Subjecting Winckelmann's ideas to astute yet sympathetic critique, the author uses exciting theories of reception to construct a new theory of the relationship between ancient and modern art. Relating seminal ancient artifacts (such as Laocoon, the Parthenon Marbles and Venus de Milo) to modern interpretations by the likes of Alma-Tadema, Leighton, Rodin and Picasso, The Modernity of Ancient Sculpture will have strong appeal to students of art history and classics alike.

The Ara Pacis Augustae, or Altar of Augustan Peace, was built to commemorate the return to Rome of the emperor Augustus and his general Agrippa, who had been away for many years on military campaigns. Dedicated in 9 B.C., the monument consists of an altar and surrounding wall, both decorated with a series of processional friezes. Art historians and archaeologists have made the Ara Pacis one of the best-known, most-studied monuments of Augustan Rome, but Diane Conlin's reassessment of the artistic traditions in which its sculptors worked makes a groundbreaking contribution to this scholarship. Illustrated with over 250 photographs, Conlin's innovative analysis demonstrates that the carvers of the monument's large processional friezes were not Greek masters, as previously assumed, but Italian-trained sculptors influenced by both native and Hellenic stonecarving practices. Her systematic examination of the physical evidence left by the sculptors themselves--the traces of tool marks, the carving of specific details, the compositional formulas of the friezes--also incorporates an informed understanding of the historical context in which these artists worked.
Originally published in 1997.
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A reissue of Adolf Furtwangler's 1903 study of the Tropaion Traiani near Adamclisi, Romania.

A detailed study of mosaics from the Roman city of Italica now just north of Santiponce in the province of Seville. Romero surveys the history of their excavation, before treating the mosaics themtically, looking at first figurative, then geometric decoration, before considering manufacture and issues of conservation and restoration. Contains a full catalogue of the mosiacs. Spanish text.

Denna skildring av romarrikets historia har blivit en klassiker. Det beror framfor allt pa forfattarens stora kunskaper och det lattillgangliga satt pa vilket det enorma amnesomradet presenteras.Forfattaren definierar sjalv bokens malgrupp: "Foreliggande arbete vander sig framst till den ganska stora allmanhet som har intresse av att lara kanna den historiska utvecklingen hos ett folk, vars lagar och institutioner fortlevat under arhundraden efter att dess politiska storhetstid upphort, och vars byggnader och minnesmarken av olika slag fortfarande kan beundras i hela Medelhavsomradet."Lasaren stalls saledes infor det enastaende historiska panorama som utspelas runt Medelhavet vars stater, stader, kulturer, vetenskaper och utgor sjalva fundamentet for vart eget samhalle.Forfattaren Hilding Thylander (1907-93) var docent 1953-74 i klassisk fornkunskap samt antikens historia vid Stockholms universitet, tillforordnad professor under olika perioder. Thylander tillhorde det fatal som var licentiat i saval latin som klassisk fornkunskap. Sekreterare 1957-1991 i Svenska Humanistiska Forbundet, styrelseledamot 1960-1979 i Svenska Arkeologiska Sallskapet. Produktiv som forfattare i sina specialamnen.

The art of the human body is arguably the most important and wide-ranging legacy bequeathed to us by Classical antiquity. Not only has it directed the course of western image-making, it has shaped our collective cultural imaginary - as ideal, antitype, and point of departure. This book is the first concerted attempt to grapple with that legacy: it explores the complex relationship between Graeco-Roman images of the body and subsequent western engagements with them, from the Byzantine icon to Venice Beach (and back again). Instead of approaching his material chronologically, Michael Squire faces up to its inherent modernity. Writing in a lively and accessible style, and supplementing his text with a rich array of pictures, he shows how Graeco-Roman images inhabit our world as if they were our own. The Art of the Body offers a series of comparative and thematic accounts, demonstrating the range of cultural ideas and anxieties that were explored through the figure of the body both in antiquity and in the various cultural landscapes that came afterwards. If we only strip down our aesthetic investment in the corpus of Graeco-Roman imagery, Squire argues, this material can shed light on both ancient and modern thinking. The result is a stimulating process of mutual illumination - and an exhilarating new approach to Classical art history.

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 beautifully illustrated book offers an overview of the greatest archaeological sites and discoveries from ancient Greece. The contributors include those who have excavated at the sites in question and scholars who have spent a lifetime studying the monuments. Presented here are the legendary sites of ancient Greece, including the Athenian Acropolis, Olympia, Delphi, Schliemann's Mycenae, and the Athenian Agora; the most iconic sculptures in the Greek world, such as the Aphrodite of Melos and the Nike of Samothrace; and several fascinating chapters on underwater archaeology that discuss the Kyrenia and Uluburun shipwrecks and the astonishing bronze masterpieces raised from the sea. This is the first book to bring together the archaeological legacy of ancient Greece in a concise and accessible way while still preserving the excitement of discovery. An introductory text by Vasileios Petrakos, member of the Academy of Athens, sets the historical context and describes the course of Greek archaeology from the foundation of the modern Greek state to the present day. 650 colour illustrations.

This historic 1933 publication documents the important collection of Egyptian, Greek and Italian pottery assembled in the early years of what is now the Kelsey Museum of Archaeology. This collection, brought together in part for teaching purposes, contains a wide range of classic pottery types and is illustrative of the development of pottery over time in these Mediterranean cultures.

A detailed study of Neolithic rock paintings in southern France, the majority of which lie to the east of the Rhone. Hameau discusses the theoretical and methodological aspects of studying schematic figures and motifs before presenting a large inventory of sites where each is described in terms of its location and situation, and in terms of the art found there. His final analysis of the art, the association between figures, animals and motifs, and the use of space, convince him that there was a set of precise rules followed by those who created the art. French text, short English summary.

"Clarke teaches us to think about how this art was understood and felt by those who lived with it in their daily lives and he speculates that it might even reflect what the Romans actually did. This is the first genuinely contextual and theoretically informed study we have of a vast panoply of classical art about sex. It will be an illuminating book for classicists, historians, and anybody else who finds lovemaking interesting."--Thomas Laqueur, author of "Making Sex

"There are few scholars as able to take on this material, as well versed in theories of sexuality, and as comfortable dealing with both heterosexual and homoerotic content as Clarke. The topic is timely and the execution is professional."--Natalie Kampen, Barnard College

"This book should attract not only classicists, but also scholars of sexuality in any field. Clarke succeeds both in introducing little-known material and in defamiliarizing the familiar examples of erotic art."--Anthony Corbeill, University of Kansas

""Looking at Lovemaking proves that the ancients were very different from you and me--that they saw sex not primarily as procreation and never as sin but rather as sport, art, and pleasure, an activity full of humor, tenderness and above all variety. John R. Clarke, by looking at Roman artifacts from several centuries destined to be used by different social classes, reveals that the erotic "visual record is far more varied, open-minded and playful than are "written moral strictures, which were narrowly formulated by the elite and for the elite. This book is at once discreet and bold--discreetly respectful of nuance and context, boldly clear in drawing the widest possible conclusions about themalleability of human behavior. Clarke has, with meticulous scholarship and a fresh approach, vindicated Foucault's revolutionary claims for the social construction of sexuality."--Edmund White, author of "The Beautiful Room is Empty

This text aims to overturn the frequent dismissal of Roman art as 'mosaics and uninspiring copies of Greek sculpture'. In place of the usual historical outline approach, this book looks at the subject by genre and considers the attitudes of Romans themselves to art. Drawing on literary sources as well as illustrations from many parts of the Roman world, this survey of Roman art to the time of Constantine considers what Romans hoped to achieve and how far they were successful.

It is too often forgotten that every Assyrian “historical” inscription functioned in a very specific context. This context influenced its content and the way in which it was perceived by ancient viewers and readers. Russell’s goal is to address the reconstruction of the context of these inscriptions in order to elucidate their original impact. In the past, the palace inscriptions, including Assyrian palace inscriptions, have been published in composite editions with little or no reference to the provenience of the individual exemplars; in addition, the original excavation reports often were more interested in the content of the inscriptions than in their locations. To achieve the objective of placing these inscriptions in their original contexts and thereby provide a base for further study of them, and stimulated by two seasons of renewed excavations at Nineveh during which he studied many inscriptions in situ, Russell returned to the British Museum and Layard’s original, handwritten notes from the 19th century excavations at Nineveh—the goal being to catalogue fully and as completely as possible the individual inscriptions and their locations. The results of Russell’s labors are here published, including the first publication of several shorter inscriptions. The book is lavishly illustrated, both with museum photos and with photos by the author of many of the inscriptions in situ. The book will no doubt be the basis of all further study of the relationship between inscription and context in the palaces of the Assyrian kings.

Plato and Aristotle both believed that the arts were mimetic creations of the human mind that had the power to influence society. In this they were representative of a widespread consensus in ancient culture. Cultural and political impulses informed the fine arts, and these in turn shaped--and were often intended to shape--the living world. The contributors to this volume, all of whom have been encouraged and inspired by the work of Peter Green, document the interaction between life and the arts that has made art more lively and life more artful in sixteen essays with subjects ranging from antiquity to modern times.
With topics ranging from "Antigone" to D. H. Lawrence and Norman Douglas, and from Bactrian coins to Livy's characterization of women, the scope, the zest, and the scholarship of these essays will illuminate new avenues in our understanding of the relationship between classics and culture, and in our appreciation of both the artistic products that have come down to us and the varieties of life from which they spring.

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.