"Probing, jargon-free and written with the pace of a detective story... [Procter] dissects western museum culture with such forensic fury that it might be difficult for the reader ever to view those institutions in the same way again. " Financial Times 'A smart, accessible and brilliantly structured work that encourages readers to go beyond the grand architecture of cultural institutions and see the problematic colonial histories behind them.' - Sumaya Kassim Should museums be made to give back their marbles? Is it even possible to 'decolonize' our galleries? Must Rhodes fall? How to deal with the colonial history of art in museums and monuments in the public realm is a thorny issue that we are only just beginning to address. Alice Procter, creator of the Uncomfortable Art Tours, provides a manual for deconstructing everything you thought you knew about art history and tells the stories that have been left out of the canon. The book is divided into four chronological sections, named after four different kinds of art space: The Palace, The Classroom, The Memorial and The Playground. Each section tackles the fascinating, enlightening and often shocking stories of a selection of art pieces, including the propaganda painting the East India Company used to justify its rule in India; the tattooed Maori skulls collected as 'art objects' by Europeans; and works by contemporary artists who are taking on colonial history in their work and activism today. The Whole Picture is a much-needed provocation to look more critically at the accepted narratives about art, and rethink and disrupt the way we interact with the museums and galleries that display it.

The myriad ways in which colour and light have been adapted and applied in the art, architecture, and material culture of past societies is the focus of this interdisciplinary volume. Light and colour's iconographic, economic, and socio-cultural implications are considered by established and emerging scholars including art historians, archaeologists, and conservators, who address the variety of human experience of these sensory phenomena. In today's world it is the norm for humans to be surrounded by strong, artificial colours, and even to see colour as perhaps an inessential or surface property of the objects around us. Similarly, electric lighting has provided the power and ability to illuminate and manipulate environments in increasingly unprecedented ways. In the context of such a saturated experience, it becomes difficult to identify what is universal, and what is culturally specific about the human experience of light and colour. Failing to do so, however, hinders the capacity to approach how they were experienced by people of centuries past. By means of case studies spanning a broad historical and geographical context and covering such diverse themes as architecture, cave art, the invention of metallurgy, and medieval manuscript illumination, the contributors to this volume provide an up-to-date discussion of these themes from a uniquely interdisciplinary perspective. The papers range in scope from the meaning of colour in European prehistoric art to the technical art of the glazed tiles of the Shah mosque in Isfahan. Their aim is to explore a multifarious range of evidence and to evaluate and illuminate what is a truly enigmatic topic in the history of art and visual culture.

The assumption that there is a significant connection between normal psychological and biological differences and the development of psychological disorders has grown in recent years and research in this area has developed rapidly. Written by psychologists with expertise in both the areas of abnormal and differential psychology, this textbook aims to integrate evidence and ideas from healthy personality and temperament on the one hand and psychological disorders on the other. This is achieved by viewing personality traits as predispositions to disorder, and by questioning how far the causes of various disorders can be seen as an extension or exaggeration of processes underlying normal personality or temperament. These main themes are discussed using a biological perspective, based on the theory that personality can be deconstructed into a number of basic dimensions (of biological origin) that also act as vulnerability factors for disorder. This is a second level textbook for undergraduate students of psychology, but it can also be used by health professionals and their trainees, psychiatrists, clinical psychologists and nurses.

This book argues that touch and movement played a significant role, long overlooked, in generating perceptions of ancient material culture in the late 18th century. At this time the reception of classical antiquity had been transformed. Interactions with material culture - ruins, sculpture, and artefacts - formed the core of this transformation. Some such interactions were proto-archaeological, such as the Dilettanti expeditions to Athens and Asa Minor; others were touristic, seen in the guidebooks consulted by travellers to Rome and the diaries they composed; and others creative, resulting in novels, poetry, and dance performances. Some involved the reproduction of experience in a gallery or museum setting. What all encounters with ancient material culture had in common, however, is their haptic sensory basis. The sense typically associated with the Enlightenment is vision, but this has obscured the equally important contribution made by touch and movement to the way in which a newly materialised Graeco-Roman world was perceived. Kinaesthesia, or the sense of self-movement, is rarely recognised in its own right, but because all encounters with sites and objects are embodied, and all embodiment takes place in motion, this sense is vital to forming more abstract or imaginative impressions. Theories of embodied cognition propose that all intellectual processes are also physical. This book shows how ideas about classical antiquity in the volatile milieu of the late 18th century developed as a result of diverse kinaesthetic relationships.

Imagery and iconography served specific functions in public, private, and ritual spheres in the Roman world. State-sanctioned imagery communicated politically charged ideas through an often-complex pictorial language, composed of emblems and attributes that signaled aspects of policy. In the private sphere, imagery communicated ethnic, social, and religious identities through specific signs, symbols, and forms, and through the emulation of state-sanctioned art. This volume focuses primarily on visual imagery in the Roman world, examined by context and period, and the evolving scholarly traditions of iconographic analysis and visual semiotics that have framed the modern study of these images. Among other subjects, essays touch on iconography and style in republican and early imperial art, public sculpture and social practice in the Roman Empire, coin iconography, funerary imagery, imagery in ritual use, and images and interpretation of Africans in Roman art. The Oxford Handbook of Roman Imagery and Iconography is an important reference work for both the communicative value of images in the Roman world and the tradition of iconographical analysis.

Violence and Power in Ancient Egypt examines the use of Egyptian pictures of violence prior to the New Kingdom. Starting with the assertion that making and displaying such images served as a tactic of power, related to but separate from the actual practice of violence, the book explores the development and deployment of this imagery across different contexts. By comparatively utilizing violent images from a variety of other times and cultures, the book asks that we consider not only how Egyptian imagery was related to Egyptian violence, but also why people create pictures of violence and place them where they do, and how such images communicate what to whom. By cataloging and querying Egyptian imagery of violence from different periods and different contexts-royal tombs, divine temples, the landscape, portable objects, and private tombs-Violence and Power highlights the nuances of the relationship between aspects of royal ideology, art, and its audiences in the first half of pharaonic Egyptian history.

This volume covers the major stages in the history of Greek pottery production, both figured and plain, as they are understood today. It provides an up-to-date evaluation of ways of studying Greek pottery and encourages new approaches. There is a detailed analysis of the subject matter of figured scenes covering some of the main preoccupations of ancient Greece: myth, fantasy and everyday life. Furthermore, it sets the artefacts in the context of the societies that produced them, highlighting the social, art historical, mythological and economic information that can be revealed from their study. This volume also covers a hitherto neglected area: the history of the collecting of Greek pottery through the Renaissance and up to the present day. It shows how market values have gradually increased to the high prices of today and goes on to take a closer look at the enthusiasm of the collectors.

The Red and the Black covers the major stages in the history of Greek pottery production, both figured and plain, as they are understood today. It provides an up-to-date evaluation of ways of studying Greek pottery and encourages new approaches.
There is a detailed analysis of the subject matter of figured scenes covering some of the main preoccupations of ancient Greece: myth, fantasy and everyday life. Furthermore, it sets the artefacts in the context of the societies that produced them, highlighting the social, art historical, mythological and economic information that can be revealed from their study.
This volume also covers a hitherto neglected area: the history of the collecting of Greek pottery through the Renaissance and up to the present day. It shows how market values have gradually increased to the high prices of today and goes on to take a closer look at the enthusiasm of the collectors.

eBook available with sample pages: HB:0415126606

With the help of over 100 illustrations, many of them little known, Martin Henig shows that the art produced in Britannia--particularly in the golden age of Late Antiquity--rivals that of other provinces and deserves comparison with the art of metropolitan Rome. The originality and breadth of Henig's study is shown by its systematic coverage, embracing both the major arts--stone and bronze statuary, wall-painting and mosaics--and such applied arts as jewelery-making, silversmithing, furniture design, figure pottery, figurines and appliques. The author explains how the various workshops were organized, the part played by patronage and the changes that occurred in the fourth century.

Founded in 331 BC by Alexander the Great, Alexandria's unique urban, political and religious organization evolved alongside the numerous scientific innovations and philosophical expressions that shaped the city into one of the ancient world's civilizational centres. Located at the intersection of art and history, this book revisits the former Egyptian megapolis of Alexandria with the aim of going beyond the usual depictions of the city - focusing on the Greeks, the Egyptians, the Lighthouse and the Library - to take a journey of discovery into an ancient city that is full of nuance. Several recent discoveries have enabled us to refine our knowledge of the lost city of Alexandria. By examining the city's multi-layered temporalities, this book echoes dominant accounts of Alexandria as a city through which successive civilisations and political formations of the past (Byzantine, Arab, Modern) have rehearsed visions of futures that are either no longer present or remain felt through Alexandria's remaining material culture and built environment. This book also features a series of contemporary artworks which develop a critical and poetic association with the themes it covers. Exhibition Schedule: BOZAR, Center for Fine Arts, Brussels : 29/09/2022 - 08/01/2023 MUCEM, Musee des Civilisations de l'Europe et de la Mediterranee, Marseille : 08/02/2022 - 08/05/2023

Myth into Art is a comparative study of mythological narrative in Greek poetry and the visual arts. Thirty of the major myths are surveyed, focusing on Homer, lyric poetry and Attic tragedy. On the artistic side, the emphasis is on Athenian and South Italian vases. The book offers undergraduate students an introduction both to mythology and to the use of visual sources in the study of Greek myth.

eBook available with sample pages: 0203415035

This volume gathers together selected contributions which were originally presented at the conference 'Greek Art in Context' at the University of Edinburgh in 2014. Its aim is to introduce the reader to the broad and multifaceted notion of context in relation to Greek art and, more specifically, to its relevance for the study of Greek sculpture and pottery from the Archaic to the Late Classical periods. What do we mean by 'context'? In which ways and under what circumstances does context become relevant for the interpretation of Greek material culture? Which contexts should we look at - viewing context, political, social and religious discourse, artistic tradition . . .? What happens when there is no context? These are some of the questions that this volume aims to answer. The chapters included cover current approaches to the study of Greek sculpture and pottery in which the notion of 'context' plays a prominent role, offering new ways of looking at familiar issues. It gathers leading scholars and early career researchers from different backgrounds and research traditions with the aim of presenting new insights into archaeological and art historical research. Their chapters contribute to showcase the vitality of the discipline and will serve to stimulate new directions for the study of Greek art.

Considerations about size and scale have always played a central role within Greek and Roman visual culture, deeply affecting sculptural production. Both Greeks and Romans, in particular, had a clear notion of “colossality” and were able to fully exploit its implications with sculpture in many different areas of social, cultural and religious life. Instead, despite their ubiquitous presence, an equal and contrary categorization for small size statues does not seem to have existed in Greek and Roman culture, leading one to wonder what were the ancient ways of conceptualizing sculptural representations in a format markedly smaller than “life-size.” Even in the context of modern scholarship on Classical Art, few notions appear to be as elusive as that of “small sculpture”, often treated with a certain degree of diffidence well summarized in the formula Klein, aber Kunst? In fact, a large and heterogeneous variety of objects corresponds to this definition: all kinds of small sculpture, from statuettes to miniatures, in a variety of materials including stone, bronze, and terracotta, associated with a great array of functions and contexts, and with extremely different levels of manufacture and patronage. It would be a major misunderstanding to think of these small sculptures in general as nothing more than a cheap and simplified alternative to larger scale statues. Compared with those, their peculiar format allowed for a wider range of choices, in terms, for example, of use of either cheap or extremely valuable materials (not only marble and bronze, but also gold and silver, ivory, hard stones, among others), methods of production (combining seriality and variation), modes of fruition (such as involving a degree of intimacy with the beholder, rather than staging an illusion of “presence”). Furthermore, their pervasive presence in both private and public spaces at many levels of Greek and Roman society presents us with a privileged point of view on the visual literacy of a large and varied public. Although very different in many respects, small-sized sculptures entertained often a rather ambivalent relationship with their larger counterparts, drawing from them at the same time schemes, forms and iconographies. By offering a fresh, new analysis of archaeological evidence and literary sources, through a variety of disciplinary approaches, this volume helps to illuminate this rather complex dynamic and aims to contribute to a better understanding of the status of Greek and Roman small size sculpture within the general development of ancient art.

eBook available with sample pages: 0203418190

Pliny sketches a theory of advancing moral decline and extravagance, in the course of which he gives a detailed account of six centuries of classical art and a fascinating sketch of the world of the rich Roman collector. Isager's is the first full treatment of this subject for over a hundred years.

Furniture, armour, jewellery, musical instruments, bronze, silver, and gold vases, and other priceless offerings all accumulated in the Parthenon and Erechtheion on the Athenian Acropolis during the classical period. Annual inventories of these precious objects were inscribed by the Athenians on marble tablets from 434 to 300 BC. The two hundred fragments of these stelai which have survived are the only evidence for these cult objects, gifts to Athena, and treasures of the city, since the items themselves have long since vanished - either stolen, melted down, or disintegrated. This volume presents the evidence for these ancient treasures for the first time, and provides data with important implications for the history of Athens and Greek religion. Chapters include a history of the treasures on the Acropolis, catalogues of each object kept in the Opisthodomus, Proneos, Parthenon, Hekatompedos Neos, and Erechtheion, and an analysis of the individual worshippers and allied-city states who gave gifts and offerings to their goddess, Athena. The most significant and startling conclusion from the author's findings is that the gifts were used again and again, and that the temples operated as repositories from which the treasures might be deposited, withdrawn, or even borrowed.

The studies included in this volume supplement the work already published by the author on the imperial cult in the Roman West, focussing on the monuments of two cities in Roman Spain, Augusta Emerita (now Merida) and Tarraco (now Tarragona). The introduction gives the general background and context of the four following studies and argues in favour of proactive initiative from the centre. The core of the book is a study of the provincial forum at Augusta Emerita. It opens with a historiographic survey followed by discussion of the plaza (location, portico, "Arco de Trajano"), then surveys other structures and their general architectonic significance. Discussion of the hexastyle temple at the centre of the precinct considers its date of construction and the influence of the provincial governor, L. Fulcinius Trio, in copying the Aedes Concordiae at Rome. Two long sections assigned to analysis of inscriptions and the significance of the provincial centre of Lusitania complete the study. Discussion of the "Temple of Augustus" in Tarragona, in Chapter 3, begins with a historiography of the temple followed by an account of its discovery by ground-probing radar and electric resistivity tomography. After arguing that the temple was provincial ab initio - rather than first municipal then provincial - discussion moves to present opinion on the successive stages of the construction and design of the temple with a final chapter on the significance of the Temple of Hispania Citerior. Two final studies consider the numismatic evidence for an Ara Providentiae at Augusta Emerita, its counterpart in Rome, and the inferred presence of a templum minus at Augusta Emerita with its enigmatic portrayal of Agrippa at sacrifice fifty years after his death. As for the location of this copy of a Roman prototype, analysis focuses on the evidence for a supposed temple in the forum adiectum of the colonial forum and considers the iconographic recomposition of the monument, arguing against current misconception of central details.

The resonant ruins of Pompeii are perhaps the most direct route back to the living, breathing world of the ancient Romans. Two million visitors annually now walk the paved streets which re-emerged, miraculously preserved, from their layers of volcanic ash. Yet for all the fame and unique importance of the site, there is a surprising lack of a handy archaeological guide in English to reveal and explain its public spaces and private residences. This compact and user-friendly handbook, written by an expert in the field, helpfully fills that gap. Illustrated throughout with maps, plans, diagrams and other images, Pompeii: An Archaeological Guide offers a general introduction to the doomed city followed by an authoritative summary and survey of the buildings, artefacts and paintings themselves. The result is an unrivalled picture, derived from an intimate knowledge of Roman archaeology around the Bay of Naples, of the forum, temples, brothels, bath-houses, bakeries, gymnasia, amphitheatre, necropolis and other site buildings - including perennial favourites like the House of the Faun, named after its celebrated dancing satyr.

The Archbasilica of St John Lateran is the world's earliest cathedral. A Constantinian foundation pre-dating St Peter's in the Vatican, it remains the seat of the Bishop of Rome, the Pope, to this day. This volume brings together scholars of topography, archaeology, architecture, art history, geophysical survey and liturgy to illuminate this profoundly important building. It takes the story of the site from the early imperial period, when it was occupied by elite housing, through its use as a barracks for the emperor's horse guards to Constantine's revolutionary project and its development over 1300 years. Richly illustrated throughout, this innovative volume includes both broad historical analysis and accessible explanations of the cutting-edge technological approaches to the site that allow us to visualise its original appearance.

Scholarship often treats the post-Roman art produced in central and north-western Europe as representative of the pagan identities of the new 'Germanic' rulers of the early medieval world. In this book, Matthias Friedrich offers a critical reevaluation of the ethnic and religious categories of art that still inform our understanding of early medieval art and archaeology. He scrutinises early medieval visual culture by combining archaeological approaches with art historical methods based on contemporary theory. Friedrich examines the transformation of Roman imperial images, together with the contemporary, highly ornamented material culture that is epitomized by 'animal art.' Through a rigorous analysis of a range of objects, he demonstrates how these pathways produced an aesthetic that promoted variety (varietas), a cross-cultural concept that bridged the various ethnic and religious identities of post-Roman Europe and the Mediterranean worlds.

In 1922, after fifteen years of searching, archaeologists finally discovered the tomb of King Tutankhamun. There, buried alongside the king's mummy, they found more than 5,000 unique objects, from the mundane to the extravagant, from the precious to the everyday. Tutankhamun's spectacular gold mask is justifiably famous, but the rest of the treasures remain largely unknown, their stories untold. In this rich and beautifully illustrated work of history, renowned Egyptologist Toby Wilkinson allows one hundred artifacts from the boy king's tomb to speak again-not only for themselves, but as witnesses of the civilization that created them. A gold-decorated chariot reveals the impressive scale of Egyptian technology. Loaves of bread, baskets of fruit, and jars of wine hint at the fertility of the Nile Valley and the abundant feasts enjoyed by its people. Ebony and ivory from Nubia and a jewel of Libyan desert glass show the range of Egypt's trading and diplomatic networks. Shaving equipment and board games provide a window into the everyday lives of the people. And perhaps most poignant of all the objects in the tomb is one that conjures up a lost world of human experience: Tutankhamun's silver trumpet. Through these treasures, Wilkinson bring us face-to-face with the culture of the pharaohs, its extraordinary development, its remarkable flourishing, and its lasting impact. Filled with surprising insights and vivid details, Tutankhamun's Trumpet offers an indelible portrait of the history, people, and legacy of ancient Egypt.

A strange thing happened to Roman sarcophagi in the third century: their Greek mythic imagery vanished. Since the beginning of their production a century earlier, these beautifully carved coffins had featured bold mythological scenes. How do we make sense of this imagery's own death on later sarcophagi, when mythological narratives were truncated, gods and heroes were excised, and genres featuring no mythic content whatsoever came to the fore? What is the significance of such a profound tectonic shift in the Roman funerary imagination for our understanding of Roman history and culture, for the development of its arts, for the passage from the High to the Late Empire and the coming of Christianity, but above all, for the individual Roman women and men who chose this imagery, and who took it with them to the grave? In this book, Mont Allen offers the clues that aid in resolving this mystery.