Greek artists and architects were important social agents who played significant roles in the social, cultural, and economic life of the ancient Greek world. In Artists and Artistic Production in Ancient Greece, art historians, archaeologists, and historians explore the roles and impacts of artists and craftsmen in ancient Greek society. The contributing authors draw upon artistic, architectural, literary, epigraphical, and historical evidence to discuss a range of artists, architects, artistic media, and regions. They refer to historiography and modern theory, taking stock of the past while offering some new directions for future research. Incorporating a variety of methodological approaches and making use of often-neglected evidence, Artists and Artistic Production in Ancient Greece re-examines many long-held ideas and provides a deeper understanding of particular artists and architects, their works, and their social agency.

This book examines the development of ancient Greek civilization through a path-breaking application of social scientific theories. David B. Small charts the rise of the Minoan and Mycenaean civilizations and the unique characteristics of the later classical Greeks through the lens of ancient social structure and complexity theory, opening up new ideas and perspectives on these societies. He argues that Minoan and Mycenaean institutions evolved from elaborate feasting, and that the genesis of Greek colonization was born from structural chaos in the eighth century. Small isolates distinctions between Iron Age Crete and the rest of the Greek world, focusing on important differences in social structure. His book differs from others on Ancient Greece, highlighting the perpetuation of classical Greek social structure into the middle years of the Roman Empire, and concluding with a comparison of the social structure of classical Greece to that of the classical Maya civilization.

This volume wades into the fertile waters of Augustan Rome and the interrelationship of its literature, monuments, and urban landscape. It focused on a pair of questions: how can we productively probe the myriad points of contact between textual and material evidence to write viable cultural histories of the ancient Greek and Roman worlds, and what are the limits of these kinds of analysis? The studies gathered here range from monumental absences to monumental texts, from canonical Roman authors such as Cicero, Livy, and Ovid to iconic Roman monuments such as the Rostra, Pantheon, and Solar Meridian of Augustus. Each chapter examines what the texts in, on, and about the city tell us about how the ancients thought about, interacted with, and responded to their urban-monumental landscape. The result is a volume whose methodological and heuristic techniques will be compelling and useful for all scholars of the ancient Mediterranean world.

This book presents a radical new interpretation of Roman expansion in Italy during the fourth and third centuries BCE. Nicola Terrenato argues that the process was accomplished by means of a grand bargain that was negotiated between the landed elites of central and southern Italy, while military conquest played a much smaller role than is usually envisaged. Deploying archaeological, epigraphic, and historical evidence, he paints a picture of the family interactions that tied together both Roman and non-Roman aristocrats and that resulted in their pooling power and resources for the creation of a new political entity. The book is written in accessible language, without technical terms or quotations in Latin, and is heavily illustrated.

This unique book provides the student of Roman history with an accessible and detailed introduction to Roman and provincial coinage in the late Republic and early Empire in the context of current historical themes and debates. Almost two hundred different coins are illustrated at double life size, with each described in detail, and technical Latin and numismatic terms are explained. Chapters are arranged chronologically, allowing students to quickly identify material relevant to Julius Caesar, the second triumvirate, the relationship between Antony and Cleopatra, and the Principate of Augustus. Iconography, archaeological contexts, and the economy are clearly presented. A diverse array of material is brought together in a single volume to challenge and enhance our understanding of the transition from Republic to Empire.

Gender and the Body in Greek and Roman Sculpture offers incisive analysis of selected works of ancient art through a critical use of cutting-edge theory from gender studies, body studies, art history and other related fields. The book raises important questions about ancient sculpture and the contrasting responses that the individual works can be shown to evoke. Rosemary Barrow gives close attention to both original context and modern experience, while directly addressing the question of continuity in gender and body issues from antiquity to the early modern period through a discussion of the sculpture of Bernini. Accessible and fully illustrated, her book features new translations of ancient sources and a glossary of Greek and Latin terms. It will be an invaluable resource and focus for debate for a wide range of readers interested in ancient art, gender and sexuality in antiquity, and art history and gender and body studies more broadly.

The study of Roman sculpture has been an essential part of the disciplines of Art History and Classics since the eighteenth century. Famous works like the Laocooen, the Arch of Titus, and the colossal portrait of Constantine are familiar to millions. Again and again, scholars have returned to sculpture to answer questions about Roman art, society, and history. Indeed, the field of Roman sculptural studies encompasses not only the full chronological range of the Roman world but also its expansive geography, and a variety of artistic media, formats, sizes, and functions. Exciting new theories, methods, and approaches have transformed the specialized literature on the subject in recent decades. Rather than creating another chronological catalogue of representative examples from various periods, genres, and settings, The Oxford Handbook of Roman Sculpture synthesizes current best practices for studying this central medium of Roman art, situating it within the larger fields of Art History, Classical Archaeology, and Roman Studies. This comprehensive volume fills the gap between introductory textbooks and highly focused professional literature. The Oxford Handbook of Roman Sculpture conveniently presents new technical, scientific, literary, and theoretical approaches to the study of Roman sculpture in one reference volume while simultaneously complementing textbooks and other publications that present well-known works in the corpus. The contributors to this volume address metropolitan and provincial material from the early republican period through late antiquity in an engaging and fresh style. Authoritative, innovative, and up-to-date, The Oxford Handbook of Roman Sculpture will remain an invaluable resource for years to come.

This unique book provides the student of Roman history with an accessible and detailed introduction to Roman and provincial coinage in the late Republic and early Empire in the context of current historical themes and debates. Almost two hundred different coins are illustrated at double life size, with each described in detail, and technical Latin and numismatic terms are explained. Chapters are arranged chronologically, allowing students to quickly identify material relevant to Julius Caesar, the second triumvirate, the relationship between Antony and Cleopatra, and the Principate of Augustus. Iconography, archaeological contexts, and the economy are clearly presented. A diverse array of material is brought together in a single volume to challenge and enhance our understanding of the transition from Republic to Empire.

This book offers a new and surprising perspective on the evolution of cities across the Roman Empire in late antiquity and the early Middle Ages (third to ninth centuries AD). It suggests that the tenacious persistence of leading cities across most of the Roman world is due, far more than previously thought, to the persistent inclination of kings, emperors, caliphs, bishops, and their leading subordinates to manifest the glory of their offices on an urban stage, before crowds of city dwellers. Long after the dissolution of the Roman Empire in the fifth century, these communal leaders continued to maintain and embellish monumental architectural corridors established in late antiquity, the narrow but grandiose urban itineraries, essentially processional ways, in which their parades and solemn public appearances consistently unfolded. Hendrik W. Dey's approach selectively integrates urban topography with the actors who unceasingly strove to animate it for many centuries.

This book explores the persona of the artist in Archaic and Classical Greek art and literature. Guy Hedreen argues that artistic subjectivity, first expressed in Athenian vase-painting of the sixth century BCE and intensively explored by Euphronios, developed alongside a self-consciously constructed persona of the poet. He explains how poets like Archilochos and Hipponax identified with the wily Homeric character of Odysseus as a prototype of the successful narrator, and how the lame yet resourceful artist-god Hephaistos is emulated by Archaic vase-painters such as Kleitias. In lyric poetry and pictorial art, Hedreen traces a widespread conception of the artist or poet as socially marginal, and sometimes physically imperfect, but rhetorically clever, technically peerless, and a master of fiction. Bringing together in a sustained analysis the roots of subjectivity across media, this book offers a new way of studying the relationship between poetry and art in ancient Greece.

The Egyptologist Annie Quibell, nee Pirie (1862-1927), became a student of Sir Flinders Petrie, copying wall-paintings and inscriptions at his Saqqara excavations, where she met her husband, who was an inspector for the Egyptian Antiquities Service. Accompanying him and sharing in his work on site, she was keen to popularise the marvels of ancient Egyptian civilisation, writing several works for the lay reader. This 1923 book was a new edition of a work originally focusing on the Cairo Museum, but which was now intended as a historical guide to Egyptian collections in general. She advises that it should be skimmed through before any visit, 'sufficiently to get an impression of the great length of Egyptian history', but can also be used afterwards to follow up any particular interest. The very recent discovery of Tutankhamen's tomb, 'just as the book was going to press', enthuses Quibell with prospects for the future.

The Greeks inscribed their works of art and craft with labels identifying mythological or historical figures, bits of poetry, and claims of ownership. But no type of inscription is more hotly debated or more intriguing than the artist's signature, which raises questions concerning the role and status of the artist and the work of art or craft itself. In this book, Jeffrey M. Hurwit surveys the phenomenon of artists' signatures across the many genres of Greek art from the eighth to the first century BCE. Although the great majority of extant works lack signatures, the Greek artist nonetheless signed his products far more than any other artist of antiquity. Examining signatures on gems, coins, mosaics, wall-paintings, metalwork, vases, and sculptures, Hurwit argues that signatures help us assess the position of the Greek artist within his society as well as his conception of his own skill and originality.

In this bold book, Jonas Grethlein proposes a new dialogue between the fields of Classics and aesthetics. Ancient material, he argues, has the capacity to challenge and re-orientate current debates. Comparisons with modern art and literature help to balance the historicism of classical scholarship with transcultural theoretical critique. Grethlein discusses ancient narratives and pictures in order to explore the nature of aesthetic experience. While our responses to both narratives and pictures are vicarious, the 'as-if' on which they are premised is specifically shaped by the form of the representation. Form emerges as a key to how narratives and pictures constitute an important means of engaging with experience. Combining theoretical reflections with close readings, this book will appeal to art historians as well as to textual scholars.

Located in the small kingdom of Commagene at the upper Euphrates, the late Hellenistic monument of Nemrud Dag (c.50 BC) has been undeservedly neglected by scholars. Qualified as a Greco-Persian hybrid instigated by a lunatic king, this fascinating project of bricolage has been written out of history. This volume redresses that imbalance, interpreting Nemrud Dag as an attempt at canon building by Antiochos I in order to construct a dynastic ideology and social order, and proving the monument's importance for our understanding of a crucial transitional phase from Hellenistic to Roman. Hellenistic Commagene therefore holds a profound significance for a number of discussions, such as the functioning of the Hellenistic koine and the genesis of Roman 'art', Hellenism and Persianism in antiquity, dynastic propaganda and the power of images, Romanisation in the East, the contextualising of the Augustan cultural revolution, and the role of Greek culture in the Roman world.

In this book, Catherine M. Keesling lends new insight into the origins of civic honorific portraits that emerged at the end of the fifth century BC in ancient Greece. Surveying the subjects, motives and display contexts of Archaic and Classical portrait sculpture, she demonstrates that the phenomenon of portrait representation in Greek culture is complex and without a single, unifying history. Bringing a multi-disciplinary approach to the topic, Keesling grounds her study in contemporary texts such as Herodotus' Histories and situates portrait representation within the context of contemporary debates about the nature of arete (excellence), the value of historical commemoration and the relationship between the human individual and the gods and heroes. She argues that often the goal of Classical portraiture was to link the individual to divine or heroic models. Offering an overview of the role of portraits in Archaic and Classical Greece, her study includes local histories of the development of Greek portraiture in sanctuaries such as Olympia, Delphi and the Athenian Acropolis.

The frames of classical art are often seen as marginal to the images that they surround. Traditional art history has tended to view framing devices as supplementary 'ornaments'. Likewise, classical archaeologists have often treated them as tools for taxonomic analysis. This book not only argues for the integral role of framing within Graeco-Roman art, but also explores the relationship between the frames of classical antiquity and those of more modern art and aesthetics. Contributors combine close formal analysis with more theoretical approaches: chapters examine framing devices across multiple media (including vase and fresco painting, relief and free-standing sculpture, mosaics, manuscripts and inscriptions), structuring analysis around the themes of 'framing pictorial space', 'framing bodies', 'framing the sacred' and 'framing texts'. The result is a new cultural history of framing - one that probes the sophisticated and playful ways in which frames could support, delimit, shape and even interrogate the images contained within.

It has often been claimed that "monsters"--supernatural creatures with bodies composed from multiple species--play a significant part in the thought and imagery of all people from all times. The Origins of Monsters advances an alternative view. Composite figurations are intriguingly rare and isolated in the art of the prehistoric era. Instead it was with the rise of cities, elites, and cosmopolitan trade networks that "monsters" became widespread features of visual production in the ancient world. Showing how these fantastic images originated and how they were transmitted, David Wengrow identifies patterns in the records of human image-making and embarks on a search for connections between mind and culture. Wengrow asks: Can cognitive science explain the potency of such images? Does evolutionary psychology hold a key to understanding the transmission of symbols? How is our making and perception of images influenced by institutions and technologies? Wengrow considers the work of art in the first age of mechanical reproduction, which he locates in the Middle East, where urban life began. Comparing the development and spread of fantastic imagery across a range of prehistoric and ancient societies, including Mesopotamia, Egypt, Greece, and China, he explores how the visual imagination has been shaped by a complex mixture of historical and universal factors. Examining the reasons behind the dissemination of monstrous imagery in ancient states and empires, The Origins of Monsters sheds light on the relationship between culture and cognition.

Why did Roman portrait statues, famed for their individuality, repeatedly employ the same body forms? The complex issue of the Roman copying of Greek 'originals' has so far been studied primarily from a formal and aesthetic viewpoint. Jennifer Trimble takes a broader perspective, considering archaeological, social historical and economic factors, and examines how these statues were made, bought and seen. To understand how Roman visual replication worked, Trimble focuses on the 'Large Herculaneum Woman' statue type, a draped female body particularly common in the second century CE and surviving in about two hundred examples, to assess how sameness helped to communicate a woman's social identity. She demonstrates how visual replication in the Roman Empire thus emerged as a means of constructing social power and articulating dynamic tensions between empire and individual localities.

Much like our own time, the ancient Greek world was constantly expanding and becoming more connected to global networks. The landscape was shaped by an ecology of city-states, local formations that were stitched into the wider Mediterranean world. While the local is often seen as less significant than the global stage of politics, religion, and culture, localism, argues historian Hans Beck has had a pervasive influence on communal experience in a world of fast-paced change. Far from existing as outliers, citizens in these communities were deeply concerned with maintaining local identity, commercial freedom, distinct religious cults, and much more. Beyond these cultural identifiers, there lay a deeper concept of the local that guided polis societies in their contact with a rapidly expanding world. Drawing on a staggering range of materials----including texts by both known and obscure writers, numismatics, pottery analysis, and archeological records--Beck develops fine-grained case studies that illustrate the significance of the local experience. Localism and the Ancient Greek City-State builds bridges across disciplines and ideas within the humanities and shows how looking back at the history of Greek localism is important not only in the archaeology of the ancient Mediterranean, but also in today's conversations about globalism, networks, and migration.

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.

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

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.

This book explores the persona of the artist in Archaic and Classical Greek art and literature. Guy Hedreen argues that artistic subjectivity, first expressed in Athenian vase-painting of the sixth century BCE and intensively explored by Euphronios, developed alongside a self-consciously constructed persona of the poet. He explains how poets like Archilochos and Hipponax identified with the wily Homeric character of Odysseus as a prototype of the successful narrator, and how the lame yet resourceful artist-god Hephaistos is emulated by Archaic vase-painters such as Kleitias. In lyric poetry and pictorial art, Hedreen traces a widespread conception of the artist or poet as socially marginal, and sometimes physically imperfect, but rhetorically clever, technically peerless, and a master of fiction. Bringing together in a sustained analysis the roots of subjectivity across media, this book offers a new way of studying the relationship between poetry and art in ancient Greece.

The Greeks inscribed their works of art and craft with labels identifying mythological or historical figures, bits of poetry, and claims of ownership. But no type of inscription is more hotly debated or more intriguing than the artist's signature, which raises questions concerning the role and status of the artist and the work of art or craft itself. In this book, Jeffrey M. Hurwit surveys the phenomenon of artists' signatures across the many genres of Greek art from the eighth to the first century BCE. Although the great majority of extant works lack signatures, the Greek artist nonetheless signed his products far more than any other artist of antiquity. Examining signatures on gems, coins, mosaics, wall-paintings, metalwork, vases, and sculptures, Hurwit argues that signatures help us assess the position of the Greek artist within his society as well as his conception of his own skill and originality.

The transition from republic to monarchy with the accession of Augustus heralded the transformation not just of the Roman political system but of the city of Rome itself. This volume, written by some of the foremost scholars from around the world, addresses three main topics: the impact of imperial building programs on the configuration of space within the city and on the evolution of Rome's urban image; the various ways in which the figure of the emperor himself was represented, both visually and symbolically, in the city's urban fabric; and the performance of rituals and ceremonies that expressed key imperial ideals and values and enabled communications between the emperor and important collectivities in the city. The contributors build on important recent developments in research: increased archaeological excavation and restoration, the proliferation of digital technologies, and the greater attention paid by scholars to the centuries after Augustus.