This book focus on Athenian art in the second half of the fifth century, one of the most important periods of ancient art. Including papers on architecture, sculpture, and vase painting the volume offers new and before unpublished material as well as new interpretations of famous monuments like the sculptures of the Parthenon. The contributions go back to an international conference at the American School of Classical Studies, Athens.

The Handbook of Greek Sculpture aims to provide a detailed examination of current research and directions in the field. Bringing together an international cast of contributors from Greece, Italy, France, Great Britain, Germany, and the United States, the volume incorporates new areas of research, such as the sculptures of Messene and Macedonia, sculpture in Roman Greece, and the contribution of Greek sculptors in Rome, as well as important aspects of Greek sculpture like techniques and patronage. The written sources (literary and epigraphical) are explored in dedicated chapters, as are function and iconography and the reception of Greek sculpture in modern Europe. Inspired by recent exhibitions on Lysippos and Praxiteles, the book also revisits the style and the personal contributions of the great masters.

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.

For a century following the end of the Lamian War in 322 B.C., Athens' harbour at Pireus was almost constantly occupied by a Macedonian garrison. The Macedonian presence dealt a crucial blow to Athenian independence and Athenian democracy, initiating the first in a long and intermittent series of foreign occupations. The twenty-eight papers in this volume are based on an international conference hosted by the University of Athens in May 2001, and focus on various aspects of Athenian art, archaeology and history in the century of Macedonian domination. They consider Athens' new role as a political stepping stone for potential Successors to the throne of Macedon - Cassander, Demetrios Poliorketes and Antigonos Gonatas were each able to secure Macedonia by using Athens as a power base - and the ways in which Athenian culture was affected by the Macedonian presence. They contribute to the ongoing debate about the reasons for the Macedonian ascendancy, the degree of independence accorded Athens by their Macedonian overlords, the third-century archon list, and changes in Athenian art and architecture.

This book examines the effects of the Peloponnesian War on the arts of Athens and the historical and artistic contexts in which this art was produced. During this period, battle scenes dominated much of the monumental art, while large numbers of memorials to the war dead were erected. The temple of Athena Nike, built to celebrate Athenian victories in the first part of the war, carries a rich sculptural program illustrating military victories. For the first time, the arts in Athens expressed an interest in the afterlife, with many sculptured dedications to Demeter and Kore, who promised initiates special privileges in the underworld. Not surprisingly, there were also dedications to healer gods. After the Sicilian disaster, a retrospective tendency can be noted in both art and politics, which provided reassurance in a time of crisis. Bringing together essays by an international team of art historians and historians, this is the first book to focus on the new themes and new kinds of art introduced in Athens as a result of the thirty-year war.

This is the only comprehensive account of the Parthenon pediments in English and the first in any language since 1963. It serves as an up-to-date introduction to their study and includes new proposals for the restoration and interpretation of their composition. Debate on the Parthenon pediments has concentrated on the interpretation of individual figures, the restoration of the missing parts and the question of Roman repairs. The present study is based on autopsy and considers the evidence of technical details. It questions the attribution of certain familiar pieces and offers new suggestions for restoring the east pediment. All sculptures are illustrated, some with photographs taken especially for this book, and there are new drawings of the restorations proposed by the author. Chapter 1 is a general introduction to the study of the pediments. It includes an assessment of the documentation and a summary of stylistic and technical characteristics of the sculptures. Chapters 2 and 3 treat each pediment separately. The discussion of individual sculptures is incorporated in a continuous narrative which sets them within the context of the overall composition.