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A collection of essays dedicated to the memory of Eleni
Hatzivassiliou (1977-2007). The range of subjects reflects her
broad circle of friends. Many are her contemporaries, but many are
very senior scholars; ages range from 25 to 80. It is truly
remarkable that someone who had not yet reached her thirtieth
birthday could have come to know so many scholars and win their
admiration and affection. Contents: Editorial foreword (Donna
Kurtz); Biography of Eleni Hatzivassiliou (Donna Kurtz); Tribute
(John Boardman); Guide to readers; The origins of Greek myth (John
Boardman); Homer and the Solymians (J.J. Coulton); Sappho's sensual
world (Thomas Brisart); An early archaic sphinx from the Polis
Cave, Ithaka (Stavros 59)(Catherine Morgan); The riddle of the
sphinx: a Protocorinthian vase from Perachora and the sphinx in
Corinthian art (Catherine Cooper); A Middle Corinthian puzzle from
Isthmia (K.W. Arafat); Athens versus Attika: local variations in
funerary practices during the late seventh and early sixth century
BC (Alexandra-Fani Alexandridou); A chorus of women ololyzousai on
an early Attic skyphos (Nassi Malagardis); Dead warriors and their
wounds on Athenian black-figure vases (David Saunders); Towers,
pillars or frames? (Elizabeth Moignard); Nikosthenes looking east?
Phialai in Six's and polychrome Six's technique (Athena
Tsingarida); Some fictile biographies from Naukratis (Alan
Johnston) The painter of Rhodes 13472: observations on a
vase-painter of the Leagros Group (Anna A. Lemos); Kalypso's
conifers? (Elke Br); Attic, Boeotian or Euboean? An orphan skyphos
from Rhitsona revisited (Victoria Sabetai); Bird-women on the Harpy
Monument from Xanthos, Lycia: sirens or harpies? (Catherine M.
Draycott); The asses' lot (Louise Calder); The mounds associated
with the Battle of Marathon in 490BC and the dating of Greek
pottery (Chia-Lin Hsu) A wild goose chase? Geese and goddesses in
classical Greece (Alexandra Villing); Prometheus Bound and Unbound:
between art and drama (Dyfri Williams); Comedies on South Italian
vases (Thomas Mannack); The Derveni Krater (Michalis Tiverios);
Private sentiments in public spaces: two votive groups from
Epidauros (Olympia Bobou); Cretan nymphs: an Attic hypothesis
(Milena Melfi); A banquet relief from Thasos (Konstantina Panousi);
Sosilos' statue and nudity in public honorific portrait statues in
the Hellenistic period (Stella Skaltsa); Ouaphres Horou, an
Egyptian priest of Isis from Demetrias (Maria Stamatopoulou);
Piecing it together: the fragmentary Hellenistic vermiculatum
mosaic from Tel Dor (William Wootton); Designing the landscapes of
the Villa of Livia at Prima Porta (Manta Zarmakoupi); The quality
of virtand Jose Nicolsss de Azara in Rome, 1766-1798 (Alexandra
Sulzer); 'Poor architecture of antiquity, what is it doing in such
a climate as this?' Classical archaeology and its influence on
nineteenth-century London monuments (Kate Nichols); Doing business:
two unpublished letters from Athenasios Rhousopoulos to Arthur
Evans in the Ashmolean Museum, Oxford (Yannis Galanakis); Early
visitors to the site of the Perachoran Heraion (Thomas R. Patrick);
Sappho (and Sophocles) at King's College London (Michael Trapp).
This Oxford-centric' book explores the history of classical
reception by focusing on objects in the Ashmolean Museum and
assessing the development of classical art studies at Oxford
University. The seven papers are based on a series of lectures
given at the University in 2003 to complement the Master of Studies
in Classical Archaeology course. Contents: The study of art at
Oxford befroe 1955 (Donna Kurtz); An introduction to the reception
of classical art (Donna Kurtz); Nudity in art (John Boardman);
Medals and the reception of antiquity (Henry Kim); Renaissance
istoriato maiolica (Kate Nichols); The reception of classsical art
- neoclassical gems (Gertrud Seidmann); The Sackler Library (Robert
Adam). Fully illustrated throughout with some of Oxford's
treasures.
Plaster casts of Greek and Roman sculptures provided the principal
means of studying classical works of art from the 15th century
until the end of the 19th century. This fascinating and ambitious
study presents a history of taste, beginning in late medieval Italy
and ending in Oxford in 1897, which is also a history of Classical
scholarship in Oxford. Illustrated throughout with photographs and
drawings of statues, collectors, scholars, buildings and Oxford,
Kurtz discusses early collectors of Classical art, Britain's
earliest collections, the Grand Tour, 18th-century archaeology and
the Classical museums and galleries of Britain. Scholars discussed
include Percy Gardner, John Davidson Beazley, Bernard Ashmole,
Martin Robertson and John Boardman. Includes a lengthy chronology.
Athenian art of the sixth and fifth centuries BC offers the
yardstick by which we judge the artistic achievement of the rest of
the Greek world, and provides the models on which the later history
of Greco-Roman art and much of the art of the later western world
are based. The evidence is rich: some long known, like the
Parthenon marbles, some fresh from the ground. These six essays, by
prominent classical art-historians, British, German and American,
explore some of the subjects and problems in the art of Archaic and
Classical Athens which have exercised scholars in recent years. The
essays are dedicated to Martin Robertson, formerly Lincoln
Professor of Classical Archaeology and Art in the University of
Oxford, himself a leading scholar of Classical art, and author of
the magisterial A History of Greek Art (Cambridge University Press
1976) and of A Shorter History of Greek Art (Cambridge University
Press 1981).
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