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Painting was one of the major achievements of the Classical world.
This book examines the development of mural and panel painting in
the Classical world from the earliest Minoan and Cycladic frescoes
of the Aegean Bronze Age to late Roman painting, from approximately
1800 B.C. to A.D. 400. It provides a comprehensive study of major
monuments, including exciting new material that has been discovered
in recent years and has transformed the field. It also offers a
critical overview of scholarly debates and controversies on aspects
of style, iconography, technique, and cultural context. This volume
provides an up-to-date and much-needed overview of the monuments
that are now known and of the ideas that have been generated about
them.
A comprehensive look at ancient sculptures, wall paintings, vases,
and more depicting the elderly in Greek and Roman society Some of
the most vivid portraits in ancient art depict older members of
society. In marble and bronze sculptures, on coins and painted
vases, and in wall paintings and mosaics, elderly men and women are
shown with the telltale signs of old age: wrinkles, white hair,
sagging jowls, and stooped postures. This publication examines more
than 300 of these vivid images to reveal perceptions—both
positive and negative—about aging and the aged in Greek and Roman
society. Seven chapters explore medium and form—including Greek
grave reliefs, marble grave monuments in Roman Africa, and Roman
sarcophagi—as well as subjects, from priests and priestesses to
ancient kings of Athens, old gods, and satyrs. Grounded in the
analysis of art, contemporary literature, and the archaeological
record, this comprehensive volume is the first in English to
explore how old age was presented in art from antiquity.
Distributed for the Yale University Art Gallery
The aim of this book is to identify and assess the distinctive styles of five important ancient Greek sculptors. By using the most recent archaeological evidence and reevaluating both the ancient literary sources and earlier scholarly literature, the international group of authors whose essays appear here expands our understanding of the role of personal styles in ancient art.
This book, a companion volume to Professor Pollitt's The Art of
Rome: Sources and Documents (published by the Press in 1983),
presents a comprehensive collection in translation of ancient
literary evidence relating to Greek sculpture, painting,
architecture, and the decorative arts. Its purpose is to make this
important evidence available to students who are not specialists in
the Classical languages or Classical archaeology. The author's
translations of a wide selection of Greek and Latin texts are
accompanied by an introduction, explanatory commentary, and a full
bibliography. An earlier version of this book was published
twenty-five years ago by Prentice-Hall. In this new publication
Professor Pollitt has added a considerable number of new passages,
revised some of his earlier translations and presented the texts in
a different order which allows the reader to follow more easily the
development of sculpture and painting as perceived by the ancient
writers. The new and substantial bibliography, organised by topics
as they appear in the book, emphasises works that deal directly
with the literary sources or that supplement our knowledge of the
personalities and monuments described in the sources. This
collection will be welcomed by students and teachers of Greek art
who have long been in need of an authoritative and reliable
sourcebook for their subject.
What did the ancient Greeks think about their own art? J.J. Pollitt
attempts to answer this question by studying the critical
terminology of the ancient Greeks-the terms they used to describe
and evaluate sculpture, painting, and architecture. Although Greeks
and Romans with a wide variety of backgrounds and
interests-including artists, philosophers, rhetoricians,
historians, and guidebook writers-wrote about art in antiquity,
very few of their works have survived. Mr. Pollitt has therefore
had to draw largely on works of authors who, while discussing some
other subject, make passing references to art for the purpose of
analogy or illustration. By carefully assembling and organizing
these fragments, he presents a coherent view of art criticism in
ancient Greece. This study is divided into two parts. The first
part provides a general history of Greek art criticism and its
sources. The second is an extensive glossary which collects,
translates, and analyzes passages from Greek and Latin authors in
which important critical terms are used. The book can therefore be
used by art historians and classicists as both a scholarly text and
an important work of reference.
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