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Sculpture of Greece

Greek SculpturesGreek Sculptures: Its Spirit and Its Principles (Temporis). Greek Sculptures. If the Soul is Christian, Beauty is Greek. Freud defines aesthetics as the intellectual construction of personal parameters that express themselves in sublime emotions. In Greek sculpture, man becomes God, and the gods lend their image to humanity. Defying the laws of gravity, Greek sculptors explored the harmony, forms, and spaces that have shaped our unconscious according to the canons of eternal beauty for more than two thousand years. Art historian Edmund von Mach reflects on the epic story of how the hand of man came to transform marble into works of art, art that contributed substantially to the permanent legacy of civilisations. This work is a study of Greek sculpture between the seventh and the first centuries B.C., based on an extensive examination of iconography and presented as an erudite, yet accessible text for everyone.

Greek SculptureGreek Sculpture: Function, Materials, and Techniques in the Archaic and Classical Periods. Greek sculpture developed into a fine art in the archaic and classical periods. With the human figure as its main subject, artists worked to represent it in increasingly natural terms. This book explores the material aspects of Greek sculpture at a pivotal phase in its evolution. Considering typologies and function, an international team of experts traces the development of technical characteristics of marble and bronze sculpture, the choice of particular marbles in different areas, and the types of monuments that were created on the Greek mainland, the islands and the west coast of Asia Minor. Taking a novel approach to a key topic in classical archaeology, this volume will serve as the groundwork for future research.

Ancient Greek Portrait Sculpture: Contexts, Subjects, and Styles. Ancient Greek Portrait Sculpture. This book offers a new approach to the history of Greek portraiture by focusing on portraits without names. Comprehensively illustrated, it brings together a wide range of evidence that has never before been studied as a group. Sheila Dillon considers the few original bronze and marble portrait statues preserved from the Classical and Hellenistic periods together with the large number of Greek portraits known only through Roman 'copies'. In focusing on a series of images that have previously been ignored, Dillon investigates the range of strategies and modes utilized in these portraits to construct their subject's identity. Her methods undermine two basic tenets of Greek portraiture: first, that is was only in the late Hellenistic period, under Roman influence, that Greek portraits exhibited a wide range of styles, including descriptive realism; and second, that in most cases, one can easily tell a subject's public role - that is, whether he is a philosopher of an orator - from the visual traits used in this portrait. The sculptures studied here instead show that the proliferation of portrait styles takes place much earlier, in the late Classical period; and that the identity encoded in these portraits is much more complex and layered than has previously been realized. Despite the fact that these portraits lack the one feature most prized by scholars of ancient portraiture, a name, they are evidence of utmost importance for the history of Greek portraiture.

Understanding Greek SculptureUnderstanding Greek Sculpture: Ancient Meanings, Modern Readings. Understanding Greek Sculpture. The Discobolus, the Venus de Milo and the Parthenon frieze are sculptural masterpieces of worldwide renown. But our appreciation of them as "works of art", enshrined in museums, is far removed from the way in which the ancient Greeks saw and perceived them. In order to fully comprehend Greek sculpture, it is important to recreate the conditions of its production and consider those who commissioned, used and viewed it, as well as the sculptors themselves. This text re-examines the contexts in which classical statuary was made and displayed, and restores its former cultural significance. In its original, intended setting, Greek sculpture not only looked quite different, massed together or elevated on pediments and friezes, and brightly painted, but it also served surprising social, religious and political purposes. Illustrated with diverse examples, this text draws upon literary, historical, and archaeological evidence to explain the techniques of the manufacture of Greek sculpture, tracing its production over a period of some 700 years from the eighth century BC to the Hellenistic period.

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