How could something as insubstantial as a ghost be made visible through the material grit of stone and paint? In this original and wide-ranging study, Patrick R. Crowley uses the figure of the ghost to offer a new understanding of the status of the image in Roman art and visual culture. Tracing the shifting practices and debates in antiquity about the nature of vision and representation, Crowley shows how images of ghosts make visible structures of beholding and strategies of depiction. Yet the figure of the ghost simultaneously contributes to a broader conceptual history that accounts for how modalities of belief emerged and developed in antiquity. Neither illustrations of ancient beliefs in ghosts nor depictions of the afterlife more generally, these images ultimately show us something about the visual event of seeing itself. The Phantom Image will be essential for anyone interested in ancient art, visual culture, and the history of the image.

An in-depth and beautifully illustrated look at one of the most revered works of antiquity, the Ishtar Gate of ancient Babylon In the ancient Near East, expert craftspeople were more than technicians: they numbered among those special members of society who could access the divine. While the artisans' names are largely unknown today, their legacy remains in the form of spectacular artworks and monuments. One of the most celebrated works of antiquity-Babylon's Ishtar Gate and its affiliated Processional Way-featured a dazzling array of colorful beasts assembled from molded, baked, and glazed bricks. Such an awe-inspiring structure demanded the highest level of craft; each animal was created from dozens of bricks that interlocked like a jigsaw. Yet this display of technical and artistic skill also served a ritual purpose, since the Gate provided a divinely protected entrance to the sacred inner city of Babylon. A Wonder to Behold explores ancient Near Eastern ideas about the transformative power of materials and craftsmanship as they relate to the Ishtar Gate. This beautifully illustrated catalogue accompanies an exhibition at New York University's Institute for the Study of the Ancient World. Essays by archaeologists, art historians, curators, conservators, and text specialists examine a wide variety of artifacts from major American and European institutions. Contributors include Anastasia Amrhein, Heather Baker, Jean-Francois de Laperouse, Eduardo Escobar, Anja Fugert, Sarah Graff, Helen Gries, Elizabeth Knott, Katherine Larson, Beate Pongratz-Leisten, Shiyanthi Thavapalan, and May-Sarah Zessin. Distributed for the Institute for the Study of the Ancient World at New York University Exhibition Schedule Institute for the Study of the Ancient World, New York University Exhibition Dates: November 6, 2019-May 24, 2020

Conceived as a gorgeously illustrated accompaniment to "How Do We Look" and "The Eye of Faith," the famed Civilisations shows on PBS, renowned classicist Mary Beard has created this elegant volume on how we have looked at art. Focusing in Part I on the Olmec heads of early Mesoamerica, the colossal statues of the pharaoh Amenhotep III, and the nudes of classical Greece, Beard explores the power, hierarchy, and gender politics of the art of the ancient world, and explains how it came to define the so-called civilized world. In Part II, Beard chronicles some of the most breathtaking religious imagery ever made-whether at Angkor Wat, Ravenna, Venice, or in the art of Jewish and Islamic calligraphers- to show how all religions, ancient and modern, have faced irreconcilable problems in trying to picture the divine. With this classic volume, Beard redefines the Western-and male-centric legacies of Ernst Gombrich and Kenneth Clark.

Whats the difference between a cast shadow and a form shadow? Why do shadows become increasingly important in Western art? Can we only ever see shadows, not objects themselves, as Plato claimed? In this beautiful little book, printmaker and History of Art Professor William Vaughan presents the history of shadows, from their emergence in the visuals arts to their association with death and the subconscious. Get ready! You may never look at the world the same way again! "Fascinating" FINANCIAL TIMES. "Beautiful" LONDON REVIEW OF BOOKS. "Rich and Artful" THE LANCET. "Genuinely mind-expanding" FORTEAN TIMES. "Excellent" NEW SCIENTIST. "Stunning" NEW YORK TIMES. Small books, big ideas.

Featuring decorative, religious, and utilitarian objects from the Geometric period to the Hellenistic Age, this is the ideal introduction to Greek sculpture Introducing eight centuries of Greek sculpture, this latest addition to The Met's compelling and widely acclaimed How to Read series traces this artistic tradition from its early manifestations in the Geometric period (ca. 900-700 BCE) through the groundbreaking creativity of the Archaic and Classical periods to the dramatic achievements of the Hellenistic Age (323-31 BCE). The 40 works of art featured represent a broad range of objects and materials, both sacred and utilitarian, in metal, marble, gold, ivory, and terracotta. Sculptures of deities and architectural elements are joined by depictions of athletes, animals, and performers, as well as by funerary reliefs, perfume vases, and jewelry. The accompanying text both provides insight into Greek art as a whole and illuminates centuries of Greek life. Detailed commentaries on each work and an overview of major themes in Greek art offer a fascinating, object-focused introduction to one of the most influential cultures in Western civilization. Published by The Metropolitan Museum of Art/Distributed by Yale University Press

The Wilton House sculptures constituted one of the largest and most celebrated collections of ancient art in Europe. Originally comprising some 340 works, the collection was formed around the late 1710s and 1720s by Thomas Herbert, the eccentric 8th Earl of Pembroke, who stubbornly 're-baptized' his busts and statues with names of his own choosing. His sources included the famous collection of Cardinal Mazarin, assembled in Paris in the 1640s and 1650s, and recent discoveries on the Via Appia outside Rome. Earl Thomas regarded the sculptures as ancient - some of them among the oldest works of art in existence - but in fact much of the collection is modern and represents the neglected talents of sixteenth-and seventeenth-century artists, restorers and copyists who were inspired by Greek and Roman sculpture. About half of the original collection remains intact today, adorning the Gothic Cloisters that were built for it two centuries ago. After a long decline, accelerated by the impact of the Second World War, the sculptures have been rehabilitated in recent years. They include masterpieces of Roman and early modern art, which cast fresh light on Graeco-Roman antiquity, the classical tradition, and the history of collecting. Illustrated with specially commissioned photographs, this catalogue offers the first comprehensive publication of the 8th Earl's collection, including an inventory of works dispersed from Wilton. It re-presents his personal vision of the collection recorded in contemporary manuscripts. At the same time, it dismantles some of the myths about it which originated with the earl himself, and provides an authoritative archaeological and art-historical analysis of the artefacts.

In the first centuries BCE and CE, Roman wall painters frequently placed representations of works of art, especially panel paintings, within their own mural compositions. Nathaniel B. Jones argues that the depiction of panel painting within mural ensembles functioned as a meta-pictorial reflection on the practice and status of painting itself. This phenomenon provides crucial visual evidence for both the reception of Greek culture and the interconnected ethical and aesthetic values of art in the Roman world. Roman meta-pictures, this book reveals, not only navigated social debates on the production and consumption of art, but also created space on the Roman wall for new modes of expression relating to pictorial genres, the role of medium in artistic practice, and the history of painting. Richly illustrated, the volume will be important for anyone interested in the social, ethical, and aesthetic dimensions of artworks, in the ancient Mediterranean and beyond.

In the Ancient Near East, cutting off someone's head was a unique act, not comparable to other types of mutilation, and therefore charged with a special symbolic and communicative significance. This book examines representations of decapitation in both images and texts, particularly in the context of war, from a trans-chronological perspective that aims to shed light on some of the conditions, relationships and meanings of this specific act. The severed head is a "coveted object" for the many individuals who interact with it and determine its fate, and the act itself appears to take on the hallmarks of a ritual. Drawing mainly on the evidence from Anatolia, Syria and Mesopotamia between the third and first millennia BC, and with reference to examples from prehistory to the Neo-Assyrian Period, this fascinating study will be of interest not only to art historians, but to anyone interested in the dynamics of war in the ancient world.

Tombs of the Ancient Poets explores the ways in which the tombs of the ancient poets - real or imagined - act as crucial sites for the reception of Greek and Latin poetry. Drawing together a range of examples, it makes a distinctive contribution to the study of literary reception by focusing on the materiality of the body and the tomb, and the ways in which they mediate the relationship between classical poetry and its readers. From the tomb of the boy poet Quintus Sulpicius Maximus, which preserves his prize-winning poetry carved on the tombstone itself, to the modern votive offerings left at the so-called 'Tomb of Virgil'; from the doomed tomb-hunting of long-lost poets' graves, to the 'graveyard of the imagination' constructed in Hellenistic poetry collections, the essays collected here explore the position of ancient poets' tombs in the cultural imagination and demonstrate the rich variety of ways in which they exemplify an essential mode of the reception of ancient poetry, poised as they are between literary reception and material culture.

This anthology of readings related to Western art history explains specific works of art illustrated in Janson's "History of Art" and De la Croix and Tansey's "Gardner's Art Through the Ages" in terms of the ideas, beliefs, and concerns of the people and cultures who created the art. It brings a new understanding of art because it shows the social and cultural basis of major works of art through history. The ten sections are Ancient Near East; Egyptian; Aegean; Greek; Etruscan; Roman; early Christian, Byzantine, and Islamic; early Medieval; Romanesque; and Gothic. The readings have been drawn from many areas of intellectual and social history, including religion, philosophy, literature, science, economics, and law. Each selection is preceded by an introductory note, which discusses the readings in terms of its subject and theme, its source and usage, and its relevance to the study of the work of art.

A Cyclops is popularly assumed to be nothing more than a flesh-eating, one-eyed monster. In an accessible, stylish, and academically authoritative investigation, this book seeks to demonstrate that there is far more to it than that - quite apart from the fact that in myths the Cyclopes are not always one-eyed! This book provides a detailed, innovative, and richly illustrated study of the myths relating to the Cyclopes from classical antiquity until the present day. The first part is organised thematically: after discussing various competing scholarly approaches to the myths, the authors analyse ancient accounts and images of the Cyclopes in relation to landscape, physique (especially eyes, monstrosity, and hairiness), lifestyle, gods, names, love, and song. While the man-eating Cyclops Polyphemus, famous already in the Odyssey, plays a major part, so also do the Cyclopes who did monumental building work, as well as those who toiled as blacksmiths. The second part of the book concentrates on the post-classical reception of the myths, including medieval allegory, Renaissance grottoes, poetry, drama, the visual arts, contemporary painting and sculpture, film, and even a circus performance. This book aims to explore not just the perennial appeal of the Cyclopes as fearsome monsters, but the depth and subtlety of their mythology which raises complex issues of thought and emotion.

This is a revealing consideration of ancient bronzes from their halcyon days in antiquity to their allure today. Ancient bronze statuary provides a sense of immediacy, a window directly back to the classical world. The wistful expression of a young Roman woman, the fixed jaw of a politician, and the tensed muscles of a Greek athlete appear startlingly lifelike, transfixing the viewer with their striking realism. Incredibly durable yet frequently destroyed for their valuable materials, ancient bronzes are comparatively rare discoveries. This book, richly illustrated with works from the J. Paul Getty Museum and other important collections, provides an engaging overview of classical bronzes. The exquisite volume considers bronze throughout its long history, exploring its enormous appeal from antiquity to the present day. The book discusses the many roles bronze objects played in ancient Greece and Rome and analyzes discoveries made at ancient foundries and by contemporary scientists. It also examines references to bronze in mythology, Pliny's histories, and other classical texts, as well as representations on vases and other artworks.

A study of the material culture of Egypt during the period of Achaemenid Persian rule, c. 526-404 BCE Provides a clear overview of the archaeological evidence for Achaemenid Egypt, including temples, tombs, irrigation works, statues, stelae, seals and coins Demonstrates how different types of evidence, both textual and archaeological - including material of uncertain provenance - can be used to address a single historical question Offers critical discussion of the dating criteria used by archaeologists for Egyptian Late Period material Elucidates strategies used by the Persians to establish and maintain control of Egypt Examines how these strategies may have affected the lives of people living in Egypt during the 27th Dynasty Creates a new explanatory model for the introduction of coinage to ancient Egypt Previous studies have characterised Achaemenid rule of Egypt either as ephemeral and weak or oppressive and harsh. These characterisations, however, are based on the perceived lack of evidence for this period, filtered through ancient and modern preconceptions about the Persians. Henry Colburn challenges these views by assembling and analyzing the archaeological remains from this period, including temples, tombs, irrigation works, statues, stelae, sealings, drinking vessels and coins. By looking at the decisions made about material culture - by Egyptians, Persians and others - it becomes possible to see both how the Persians integrated Egypt into their empire and the full range of experiences people had as a result.

Images are more than just objects to be observed. In all periods they have had a direct influence on the way we perceive things and act, in particular in the course of ceremonies. In this volume, various archaeological disciplines consider a number of case studies of the relationships between works of art, spaces and actions in past cultures including the Nasca-Palpa glyphs in South America, the Stone Age site of Gobekli Tepe, Minoan and Mycenaean palaces, and Greek and Roman towns. The aim is to developa new methodical approach to the power and effect of works of art."

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.

When we try to make sense of pictures, what do we gain when we use a particular method - and what might we be missing or even losing? Empirical experimentation on three types of mythological imagery - a Classical Greek pot, a frieze from Hellenistic Pergamon and a second-century CE Roman sarcophagus - enables Katharina Lorenz to demonstrate how theoretical approaches to images (specifically, iconology, semiotics, and image studies) impact the meanings we elicit from Greek and Roman art. A guide to Classical images of myth, and also a critical history of Classical archaeology's attempts to give meaning to pictures, this book establishes a dialogue with the wider field of art history and proposes a new framework for the study of ancient visual culture. It will be essential reading not just for students of classical art history and archaeology, but for anyone interested in the possibilities - and the history - of studying visual culture.

Is music just matter of hearing and producing notes? And is it of interest just to musicians? By exploring different authors and philosophical trends of the Roman Empire, from Philo of Alexandria to Alexander of Aphrodisias, from the rebirth of Platonism with Plutarch to the last Neoplatonists, this book sheds light on different ways in which music and musical notions were made a crucial part of philosophical discourse. Far from being mere metaphors, notions such as harmony, concord and attunement became key philosophical tools in order to better grasp and conceptualise fundamental notions in philosophical debates from cosmology to ethics and from epistemology to theology. The volume is written by a distinguished international team of contributors.

Rewritten from cover to cover and updated to include the discoveries and new theories from the past decade and a half, this classic guide to the art of the ancient Maya is now illustrated in full colour throughout. World expert Mary Miller and her co-author Megan O'Neil take the reader through the visual world of the Maya, explaining how and why they created the paintings, sculpture and monuments that intrigue and compel people the world over. With an array of new material, from recent finds including the La Corona panels, to new studies of the monuments at Palenque, Zotz and elsewhere, to the beautiful wall paintings discovered in recent years, this new edition will be essential reading for students and scholars - and for travellers to the cities of this mysterious civilization.

The unique relationship between word and image in ancient Egypt is a defining feature of that ancient culture's records. All hieroglyphic texts are composed of images, and large-scale figural imagery in temples and tombs is often accompanied by texts. Epigraphy and palaeography are two distinct, but closely related, ways of recording, analyzing, and interpreting texts and images. This Handbook stresses technical issues about recording text and art and interpretive questions about what we do with those records and why we do it. It offers readers three key things: a diachronic perspective, covering all ancient Egyptian scripts from prehistoric Egypt through the Coptic era (fourth millennium BCE-first half of first millennium CE), a look at recording techniques that considers the past, present, and future, and a focus on the experiences of colleagues. The diachronic perspective illustrates the range of techniques used to record different phases of writing in different media. The consideration of past, present, and future techniques allows readers to understand and assess why epigraphy and palaeography is or was done in a particular manner by linking the aims of a particular effort with the technique chosen to reach those aims. The choice of techniques is a matter of goals and the records' work circumstances, an inevitable consequence of epigraphy being a double projection: geometrical, transcribing in two dimensions an object that exists physically in three; and mental, an interpretation, with an inevitable selection among the object's defining characteristics. The experiences of colleagues provide a range of perspectives and opinions about issues such as techniques of recording, challenges faced in the field, and ways of reading and interpreting text and image. These accounts are interesting and instructive stories of innovation in the face of scientific conundrum.

Ancient Greek, Roman and Etruscan civilizations come to life in this illustrated selection of 100 highlights from the famous collections of classical art of the Museum of Fine Arts, Boston. An introduction by curator Christine Kondoleon describes the geographic range, stylistic progression and technical development of art in the classical world, and a second essay briefly relates tales of conservation and the provenance of some of the featured objects. In the main body of the book, the highlighted artworks are grouped into five broad themes: Myth and Religion, Heroes and Warriors, Love and Loss, Daily Life and Beasts and Beauties. Celebrated mosaics, statues and vases share the stage with less familiar jewelry, coins and glassware, with each piece accompanied by a concise discussion of its artistic creation and cultural context. Both common themes and distinctions emerge in cross-cultural discussions of topics such as war and politics, commemoration of the dead, sports and entertainment and the human form, providing rich insight into the astonishing civilizations that produced and used these fascinating objects so many centuries ago.

A comprehensive, authoritative account of the development Greek Art through the 1st millennium BC. * An invaluable resource for scholars dealing with the art, material culture and history of the post-classical world * Includes voices from such diverse fields as art history, classical studies, and archaeology and offers a diversity of views to the topic * Features an innovative group of chapters dealing with the reception of Greek art from the Middle Ages to the present * Includes chapters on Chronology and Topography, as well as Workshops and Technology * Includes four major sections: Forms, Times and Places; Contacts and Colonies; Images and Meanings; Greek Art: Ancient to Antique

This book presents the results of the study of the wall paintings from the Northeast Bastion at Ayia Irini, situating them within the wider social context of the island of Kea and the Aegean world. Like the spectacularly well-preserved town of Akrotiri on Thera, with which these paintings are contemporary, Ayia Irini thrived 3,500 years ago. But unlike Akrotiri, Ayia Irini was not protected by a layer of volcanic ash. When the site was excavated in the 1960s-1970s by the University of Cincinnati under the auspices of the American School of Classical Studies at Athens, the paintings had long since collapsed, fracturing into thousands of small pieces and becoming mixed with stones, broken pottery, and accumulated debris. This study attempts to bring the wall paintings back to life through the best-preserved fragments. Within the Northeast Bastion was a miniature frieze and, in the adjacent room, large-scale panels of plants. Human action set within townscapes, landscapes, and the sea presents a vivid account of the social life and environment of the people for whom this harbor town was vital within the trading network of the time. In this book the social implications of the fascinating and often unique iconography is explored, and the setting within a fortification wall is quite extraordinary. The volume contains many catalog entries, which contain color images of the fragments, and it is also abundantly illustrated with color drawings, visualizations, and photographs.