Classical Art

How did the statues of ancient Greece wind up dictating art history in the West? How did the material culture of the Greeks and Romans come to be seen as "classical" and as "art"? What does "classical art" mean across time and place? In this ambitious, richly illustrated book, art historian and classicist Caroline Vout provides an original history of how classical art has been continuously redefined over the millennia as it has found itself in new contexts and cultures. All of this raises the question of classical art's future. What we call classical art did not simply appear in ancient Rome, or in the Renaissance, or in the eighteenth-century Academy. Endlessly repackaged and revered or rebuked, Greek and Roman artifacts have gathered an amazing array of values, both positive and negative, in each new historical period, even as these objects themselves have reshaped their surroundings. Vout shows how this process began in antiquity, as Greeks of the Hellenistic period transformed the art of fifth-century Greece, and continued through the Roman empire, Constantinople, European court societies, the neoclassical English country house, and the nineteenth century, up to the modern museum. A unique exploration of how each period of Western culture has transformed Greek and Roman antiquities and in turn been transformed by them, this book revolutionizes our understanding of what classical art has meant and continues to mean.

This book reveals how 'marginal' aspects of Graeco-Roman art play a fundamental role in shaping and interrogating ancient and modern visual culture.

An inquiry into the foundations of European culture. The account ranges from the Greek Dark Ages to the Christianisation of Rome, revealing how the experience of a constantly changing physical environment influenced the inhabitants of Ancient Greece and Rome.

From one of the world’s leading authorities on ancient Greek art, a groundbreaking account of how Greek images were understood and used by other ancient peoples, from Britain to China In this book, acclaimed archaeologist and art historian John Boardman explores Greek art as a foreign art transmitted to the non-Greeks of antiquity—peoples who weren’t necessarily able to judge the meaning of Greek art and who may have regarded the Greeks themselves with great hostility. Boardman examines how and why the arts of the classical world traveled and to what effect, from Britain to China, from roughly the eighth century BCE to the early centuries CE. In some places, such as Italy, Greek images were overwhelmingly successful. In Egypt, the Celtic world, the eastern steppes, and other regions with strong local traditions, they were never effectively assimilated. And in cultures where there was a subtler blend of influences, notably in the Buddhist east, classical images served as a catalyst to the generation of new styles. Along the way, Boardman demonstrates that looking at Greek art from the outside provides a wealth of new insights into Greek art itself, and he raises important questions about how images in general are copied and reinterpreted.

Want to paint more like Manet and less like Jackson Pollock? Students of art hailed Classical Drawing Atelier, Juliette Aristides’s first book, as a dynamic return to the atelier educational model. Ateliers, popular in the nineteenth century, teach emerging artists by pairing them with a master artist over a period of years. The educational process begins as students copy masterworks, then gradually progress to painting as their skills develop. The many artists at every level who learned from Classical Drawing Atelier have been clamoring for more of this sophisticated approach to teaching and learning. In Classical Painting Atelier, Aristides, a leader in the atelier movement, takes students step-by-step through the finest works of Old Masters and today’s most respected realist artists to reveal the principles of creating full-color realist still lifes, portraits, and figure paintings. Rich in tradition, yet practical for today’s artists, Classical Painting Atelier is ideal for serious art students seeking a timeless visual education.

'The book is part of a series of introductory studies intended to bring the latest developments in art history to students and general readers. But it offers something new to the specialist reader too [...] the quantity of illustrations is impressive for such a slim and inexpensive book ...Classical Art is illuminating, playful, provocative, and often (literally) iconoclastic' -Times Higher Education Supplement

Medusa, the monstrous Gorgon of Greek mythology whose gaze turned beholders to stone, became increasingly anthropomorphic and feminine beginning in the fifth century B.C. A similar transformation occurred in representations of other female half-human beings from Greek myth, such as sphinxes, sirens, and the sea monster Scylla. Believed to have protective powers, these mythical hybrid creatures were frequently employed on sepulchral monuments, sacred architecture, military equipment, drinking vessels, and the luxury arts. Their metamorphosis was a consequence of the idealizing humanism of Greek art of the Classical period (480–323 B.C.), which understood beauty as the result of harmony and ideal proportions, a concept that influenced not only the representation of the human body but also that of mythological beings. “Dangerous Beauty: Medusa in Classical Art,” on view at The Met until January 6, 2019, is organized by Kiki Karoglou, Associate Curator in the Department of Greek and Roman Art, who is also the author of this Bulletin. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Verdana}

The Classical Age of Greece produced some of history's best-known generals and commanders. They include the Spartan king Leonidas, who embodied his countrymen's heroic ethos in the battle of Thermopylae; the Athenian leader Themistocles, credited as the architect of Athens' naval power and of the Greek victory over the Persians; the famous democratic leader, Pericles, who prepared Athens and directed its conflict with Sparta, known as the Peloponnesian War; the Athenian general Demosthenes, who deviated from contemporary conventions of warfare with his innovative approach; the Spartan general Lysander, who won the Peloponnesian War for Sparta; Dionysius I of Syracuse, arguably the most innovative and best skilled of the eight generals discussed in this book; and Epaminondas and Pelopidas who together transformed their city, Thebes, into an hegemonic power. The Classical Art of Command gives readers a unique opportunity to examine the variegated nature of Greek generalship through the individual careers of eight prominent commanders. It describes the attributes of these leaders' command, the many facets of their individual careers and stratagems, and the mark they left on Greek history and warfare. It draws attention to the important role that personality played in their leadership. Joseph Roisman investigates how these generals designed and executed military campaigns and strategy, and to what degree they were responsible for the results. The volume also looks at how the Greek art of command changed during the Classical Age, and how adaptable it was to different military challenges. Other questions involve the extent to which a general was a mere leader of the charge, a battle director, or a strategist, and what made both ancient and modern authorities regard these eight generals as outstanding shapers of military history. Filled with original analyses and accessible accounts of legendary battles, The Classical Art of Command will appeal to all readers with an interest in ancient warfare and generalship.