Journal articles on the topic 'Art, greek – history'
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Rampley, Matthew. "Understanding Greek art history." Art East Central, no. 1 (2021): 127–33. http://dx.doi.org/10.5817/aec2021-1-6.
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Moignard, Elizabeth. "Reading Greek Art." Classical Review 49, no. 2 (October 1999): 527–28. http://dx.doi.org/10.1093/cr/49.2.527.
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Stafford, Emma. "SACRIFICE IN GREEK ART." Classical Review 53, no. 1 (April 2003): 227–28. http://dx.doi.org/10.1093/cr/53.1.227.
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Moignard, Elizabeth. "LANDSCAPE IN GREEK ART." Classical Review 53, no. 2 (October 2003): 452–54. http://dx.doi.org/10.1093/cr/53.2.452.
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Lawrence, William. "Advice to a student of Classics." Journal of Classics Teaching 18, no. 36 (2017): 15–16. http://dx.doi.org/10.1017/s2058631017000162.
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Look at the secondary school timetable and you will see that almost all the subjects are ancient Greek words; so the Greeks studied these ideas first and are worth studying for their ideas in their own language (just like the Romans in Latin!). Greek: Biology, Physics, Zoology, Philosophy, Mathematics, Economics, Politics, Music, Drama, Geography, History, Technology, Theatre Studies. Latin: Greek, Latin, Art, Science, Information (Latin) Technology (Greek), Computer Science, Media Studies.
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Scott, Michael. "Polemic in Greek Art and Architecture." Acta Classica 65, no. 1 (2022): 30–44. http://dx.doi.org/10.1353/acl.2022.a914035.
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ABSTRACT: This article argues for the existence of an artistic and architectural polemical discourse amongst the dedicatory monuments erected within the sanctuary of Delphi. With particular reference to monuments erected relating to the Persian wars of the fifth century bce, this article argues that the polemical discourse created between them focused not only on offering divergent views on the respective roles each dedicator played in the different battles, but also, more broadly and importantly, on offering conflicting understandings of how this conflict should be remembered as an event in Greek history, culture and identity.
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Harris, H. S. "The End of History in Hegel." Hegel Bulletin 12, no. 1-2 (1991): 1–14. http://dx.doi.org/10.1017/s0263523200002652.
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When we are studying Hegel's answer to any question, or his solution to any problem, we must always look first at the systematic context in which the problem is raised, or the question asked. Hegel's “philosophy of world-history” comes as the climactic stage of the development of “objective spirit”; and it provides the transition to the spheres of “absolute spirit”. The philosophical comprehension of political history provides the ultimate context for our political theory; and then it leads us on to the sphere in which we are directly aware of “the Absolute”. Our political science comes to an end, when we recognize that “the world's history is the world's court of judgment”. But that “court of judgment” has jurisdiction only over the objective forms of political and social organization. The judgment of history is not the “Last Judgment” for everything and everyone. There are modes of experience which emerge and develop in history, but which are recognized as transhistorical; and when “philosophy”, as the historical quest for wisdom, reaches its goal, we can see and say why Greek art has an enduring significance for us, even though the Greek religion (which their art expressed in its highest form) has passed over into history just as completely and irrevocably as the “city-state”. Our political thought and action exists in the context of a religious ideal that will not allow us to divide the human community into “us” and “them”, the freemen and the slaves, the civilized and the barbarians. But only the arrival of philosophical “wisdom” has enabled us to see and say what is “absolute” about our religion (just as it is we, and not the Greeks themselves, who have the “absolute” consciousness of Greek art).
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Ramadanova, Zhanna, and Şahin Filiz. "ANTIQUITY'S PHILOSOPHY AS A METHODOLOGY FOR CONTEMPORARY DANCE SCHOLARSHIP." Central Asian Journal of Art Studies 10, no. 3 (October 5, 2023): 115–31. http://dx.doi.org/10.47940/cajas.v10i3.740.
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Abstract. The art of antiquity, including dance, has long captivated human fascination with its timeless perfection, leaving an indelible mark on contemporary art. This influence is evident in the scholarly pursuits of those studying ancient Greek history. Dance held a significant position in ancient Greek life, as attested by surviving artifacts such as sculptures, reliefs, depictions on Greek vessels, and a wealth of written sources. Renowned philosophers, historians, and writers of antiquity, including Socrates, Plato, and Lucian, paid heed to dance as an art form. Even the epic poems of Homer, the "Iliad" and the "Odyssey," mention various forms of dance more than 20 times. Today, more than 300 types of Greek dances can be counted, and according to some sources, "there are more than 10,000 traditional dances that come from all regions of Greece." As research methods, the author uses an analytical review of surviving artifacts and ancient written sources, testifying to the important role of the art of dance in the life of the ancient Greeks. The author also made an analysis of the literature, which testifies to the important role of art, including dance in ancient Greece, which to this day has a huge impact on the development of modern art of choreography. And the “Apollonian” (conscious) logical and “Dionysian” (unconscious) free creative beginnings in art, which are widely discussed today, also originate from ancient Greek art. The author also emphasizes the epistemological significance of dance education and advocates for the revival of the classical tradition of mandatory dance instruction in schools.
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Kramer-Hajos, Margaretha. "A History of Greek Art by Mark D. Stansbury-O'Donnell." Classical Journal 113, no. 3 (2017): 371–74. http://dx.doi.org/10.1353/tcj.2017.0037.
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Tsourgianni, Despoina. "Issues of Gender Representation in Modern Greek Art." Aspasia 13, no. 1 (March 1, 2019): 31–64. http://dx.doi.org/10.3167/asp.2019.130105.
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There is a recent trend, mainly in the field of historiography but also in art history, toward the exploration of female autobiographical discourse, whether it concerns written (autobiographies, correspondence), painted (self-portraits), or photographic data. On the basis of the highly fruitful gender perspective, this article seeks to present and interpret the numerous photographs of the well-known Greek painter Thaleia Flora-Caravia. These photographic recordings, taken almost exclusively from the painter’s unpublished personal archive, are inextricably linked to the artist’s self-portraits. This kind of cross-examination allows the reader to become familiar with the mosaic of roles and identities that constitutes the subjectivity of female artists in Greece in the late nineteenth and early twentieth centuries.
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Tourtounis, Paraskevas-Marios. "The art of the flute in ancient Libya." Libyan Studies 51 (July 17, 2020): 40–42. http://dx.doi.org/10.1017/lis.2020.10.
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AbstractThis article deals with the question of the art of the flute in ancient Libya. First, reference is made to the way in which the Greek rulers of ancient Libya tried to impose the idea of the Greek origin of the art of flute on the Libyans. This is followed by an analysis of the indications of the continuous existence of the art of flute in ancient Libya. Finally, it is interesting to note that ancient Libya has such a long tradition in the art of flute, opening up the possible Libyan origin of the instrument.
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Arrington, Nathan T. "Touch and Remembrance in Greek Funerary Art." Art Bulletin 100, no. 3 (July 3, 2018): 7–27. http://dx.doi.org/10.1080/00043079.2018.1429743.
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Hurwit, Jeffrey M., and Sarah P. Morris. "Daidalos and the Origin of Greek Art." Art Bulletin 76, no. 2 (June 1994): 358. http://dx.doi.org/10.2307/3046027.
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Boardman, J. "Image and Myth: A History of Pictorial Narration in Greek Art." Common Knowledge 21, no. 2 (January 1, 2015): 345–46. http://dx.doi.org/10.1215/0961754x-2872462.
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Havelock, Christine Mitchell. "PLATO AND WINCKELMANN: IDEOLOGICAL BIAS IN THE HISTORY OF GREEK ART." Source: Notes in the History of Art 5, no. 2 (January 1986): 1–6. http://dx.doi.org/10.1086/sou.5.2.23202372.
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Ruprecht, Louis A. "Still Life." liquid blackness 6, no. 1 (April 1, 2022): 140–65. http://dx.doi.org/10.1215/26923874-9546602.
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Abstract This essay explores the subtle interplay between sculptural bodies and animate bodies by exploring several “moments” in the history of classical and neoclassical aesthetics. These exemplary moments include the ancient Roman period (Pliny's reflections on Greek sculpture); the eighteenth and nineteenth centuries (Winckelmann's reflections on Greek sculpture and later Italian excavations at Pompeii); the twentieth century (Nazi adaptations of ancient Greek sculpture in Munich); and the twenty-first century (recurring discussion of polychromatic Greek art). Given that most of the art under discussion was “pagan,” this slippage between sculptural bodies and animate bodies highlights the presence of desire, specifically a desire for forbidden bodies.
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Peers, Glenn. "Art and Identity in an Amulet Roll from Fourteenth-Century Trebizond." Church History and Religious Culture 89, no. 1 (2009): 153–78. http://dx.doi.org/10.1163/187124109x408041.
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AbstractThis article examines a unique survival from the Middle Ages: an amulet roll, now divided between libraries in New York City and Chicago, which now measures approximately 5 m in width and 8–9 cm in width, which has Greek texts on the obverse and Arabic on the reverse, and a series of very fine illustrations on the Greek side. Analysis of the roll reveals that it originated in Trebizond in the second half of the fourteenth century, and the roll is therefore considered within the cultural and political context of that small but active Greek kingdom. The article pays particular attention to the text and representation of a rare figure, Evgenios of Trebizond, who is included among a series of saints and prophets in order to enact that saint's protection of the (evidently elite) patron of the roll. And through the series of texts and images about the letter and self-portrait of Christ, the Mandylion, the roll also stated the sacred destiny of Trebizond. The roll generated identity through its Greek Christian texts and images, and made clear the special role God had chosen for Trebizond.
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Peña Benavente, Karen. "Art Echo: María Zambrano and the Kouroi Relief." Synthesis: an Anglophone Journal of Comparative Literary Studies, no. 5 (May 1, 2013): 94. http://dx.doi.org/10.12681/syn.17433.
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The aim of this paper is to examine the role of early Greek thought in the work of María Zambrano, a Spanish critic and philosopher who lived most of her life in exile (1939-1984). Zambrano incorporates Greek concepts into her writing as a means to question conventional Philosophy, not as an aim or télos, but as an uncomfortable dwelling that paradoxically leads into suspension and doubt. Key concepts and artistic figures emerge in her seemingly illogical reasoning (razón poética) such as those arising from her work on the Greek Kouroi. Zambrano refuses fixity in Philosophy, where logic and method can be rigorously apprehended. She gracefully takes another turn: by elucidating ancient wisdom through allusive metaphors and ancient ruins, she resists direct pathways into History and Truth. Her style takes after her thinking and can often meander into the realms of enigma, mysticism, and other unconventional forms of thought such as intuition and dreams.
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Hurwit, Jeffrey M. "Lizards, Lions, and the Uncanny in Early Greek Art." Hesperia 75, no. 1 (April 2006): 121–36. http://dx.doi.org/10.2972/hesp.75.1.121.
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Hajdú, Attila. "Lukianos és Kallistratos műtárgyleírásai: szöveg és hagyomány." Antikvitás & Reneszánsz, no. 1 (January 1, 2018): 21–40. http://dx.doi.org/10.14232/antikren.2018.1.21-40.
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Lucian of Samosata’s descriptions of works of art are invaluable for the studying of the Classical and post-Classical Greek sculpture. The Second Sophistic author does not only give accurate and detailed descriptions about Greek sculptures and paintings, but as a real connoisseur of art he also judges them from the perspective of aesthetics. In the first main part of my paper, I will focus on the characteristics of his descriptions by analyzing the nude figure of Aphrodite of Cnidus made by Praxiteles and the ‘eclectic’ portrait of Panthea. The aim of the second part of my paper is to present the essential features of Ekphraseis of the sophist Callistratus who lived in Late Antiquity (IV–Vth century AD). It has been disputed if Callistratus’ work inspired by the rhetorical exercises has any art history values. This paper also raises the question how the tradition of both Lucian and Callistratus could influence the description of the sculpture ‘Apollo Belvedere’ included in Winckelmann's epoch-making Art History.
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Pemberton, Elizabeth G., D. A. Amyx, Patricia Lawrence, Jurgen Schilbach, C. M. Stibbe, Shirley Schwarz, Norbert Kunisch, R. M. Cook, and Brian A. Sparkes. "Review Article: Between Art History and Archaeology: Recent Studies in Greek Ceramics." American Journal of Archaeology 102, no. 2 (April 1998): 424. http://dx.doi.org/10.2307/506474.
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Krasnova, Anna L. "Historiography of Greek Religious Engravings." Observatory of Culture 19, no. 3 (July 5, 2022): 256–65. http://dx.doi.org/10.25281/2072-3156-2022-19-3-256-265.
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The article presents an overview of the literature on the history of the study of Greek religious engravings. For the first time, there is collected information about the Greek engravings, from the first mentions of them by travelers, to scientific works — monographs, articles, catalogs of collections and exhibitions dedicated to this rare phenomenon of mass religious culture of the 19th century, which has received insufficient attention, especially in Russian literature. This kind of art is quite fully represented in Russian collections, but it remains known only to a narrow circle of specialists. The article presents a systematized review of the world literature, which shows the extent of the study of the topic and opens up space for further research. The article shows the first pre-scientific (empirical) experiments in the description and interpretation of Greek engravings as a special type of church art, mainly Athonite. Further, the author considers the first scientific research and analyzes the monumental works on which all subsequent scientists rely. These are such catalogs as “Paper Icons” by D. Papastratu (in two volumes), “Khilandar Graphics”, “Svyatogorsk Graphics” by D. Davydov. Along with the studies of the main contemporary authors, there are also mentioned studies related to the theme of Greek engraving in an indirect way — those concerning the genesis of the phenomenon of this type of church art. These are studies of proskynetarions, specific engravings and paintings with views of holy places. The article concludes with a historiographic survey of recently published Russian catalogs and studies. This presentation structure corresponds to the task of studying the interest of scientists in this kind of art, identifying scientific problems that attracted researchers in different periods of time.
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Wagner, Roy. "For Some Histories of Greek Mathematics." Science in Context 22, no. 4 (November 9, 2009): 535–65. http://dx.doi.org/10.1017/s0269889709990159.
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ArgumentThis paper argues for the viability of a different philosophical point of view concerning classical Greek geometry. It reviews Reviel Netz's interpretation of classical Greek geometry and offers a Deleuzian, post-structural alternative. Deleuze's notion of haptic vision is imported from its art history context to propose an analysis of Greek geometric practices that serves as counterpoint to their linear modular cognitive narration by Netz. Our interpretation highlights the relation between embodied practices, noisy material constraints, and operational codes. Furthermore, it sheds some new light on the distinctness and clarity of Greek mathematical conceptual divisions.
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Tanner, Jeremy. "Culture, social structure and the status of visual artists in classical Greece." Proceedings of the Cambridge Philological Society 45 (2000): 136–75. http://dx.doi.org/10.1017/s0068673500002376.
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Recent contributions to the debate on the role, status and autonomy of the artist in classical Greece remain polarised in terms which have remained largely unchanged for more than a century. On one side, we find ‘modernisers’ who hold that the role of the artist, the function of art and the social structure of the Greek art world was more similar to the modern western art world than different. On the other side are ranged the ‘primitivists’ who argue that modern conceptions of artistic autonomy and creativity are an anachronistic imposition on ancient Greek art, which was a largely anonymous craft, performing traditional functions and oriented to the reproduction of traditional artistic forms rather than the individualistic innovation held to be characteristic of western European art since the Renaissance. The modernisers look back to Winckelmann's neo-classical view of the Greek artist as free and autonomous creator, whilst the primitivists ultimately draw their inspiration from Jacob Burckhardt's alternative account of the Greek artist as mechanical craftsman or banausos. In this century, the primary point of reference for the debate has been Bernard Schweitzer's argument that whilst artists were held in low esteem during the classical period of Greek history, the fifth and fourth centuries, they came to be recognised as ‘creative’ in the Hellenistic period, the third to first centuries B.C. More recent contributions have largely been concerned with adducing, or criticising, new evidence for one or other side of the debate, whilst retaining the assumptions within which the debate was set up in the nineteenth century.
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Osborne, Robin. "Men Without Clothes: Heroic Nakedness and Greek Art." Gender & History 9, no. 3 (November 1997): 504–28. http://dx.doi.org/10.1111/1468-0424.00037.
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Tsamakis, Konstantinos, and Ioannis Karakis. "Neuroscience and art." Acta medico-historica Adriatica 20, no. 1 (2022): 155–73. http://dx.doi.org/10.31952/amha.20.1.8.
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The objective of this article is to highlight the bidirectional relationship between neuroscience and art in the life and times of the most preeminent sculptor in modern Greek history, Yannoulis Chalepas. Analysis of biographical sources and testimonies on the life and works of Yannoulis Chalepas was performed. Findings are discussed in relation to the neuropsyc-hiatric maladies that he faced in his lifespan and their impact on his art. Yannoulis Chalepas’ life and art are trichotomized in a charismatic, premorbid era (1851-1877), a prolonged, medieval, morbid period (1878 1917), and a transfigurative, post morbid era (1918-1938). The amalgamate of medical evidence suggests that Yannoulis Chalepas suffered from schizophrenia. That was reflected in his art through two distinct periods of artistic productivity and stylistic creativity. The bidirectional relationship between neuroscience and art in the history of humanity is also exemplified in the legacy of Yannoulis Chalepas. The borderland of artistic ingenuity with aberrant behavior, the misconceptions of neurocognitive disorders with psychosis along with their associated social stigma, the effect of artistic expression in the manifestation of psychiatric disease, as well as its healing and often transformative power are concepts that still tantalize equally scientists and artists around the globe.
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Chen, Jing, and Yiqiang Cao. "Research on the Drapery in Ancient Greek Sculptures." Asian Social Science 17, no. 6 (May 31, 2021): 29. http://dx.doi.org/10.5539/ass.v17n6p29.
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Sculpture in the ancient Greek period has an extremely lofty position in the history of Western art, and the drapery is one of the most important modeling characteristics of ancient Greek sculpture. This article summarizes the style evolution of drapery in ancient Greek sculptures through the performance of ancient Greek costume characteristics and dressing methods in sculptures. And through the drapery produced by the different postures of the human body in the sculptures, it is explored how the ancient Greek artists used drapery to show the dialectical relationship between clothing, the human body and the posture, thereby shaping the beauty model of classical clothing.
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Wang, Zhiyong. "A Discussion on Rationalism of Ancient Greek Art and Its Influences in History." International Journal of Literature and Arts 4, no. 3 (2016): 30. http://dx.doi.org/10.11648/j.ijla.20160403.11.
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Harloe, Katherine. "Allusion and ekphrasis in Winckelmann's Paris description of the Apollo Belvedere." Cambridge Classical Journal 53 (2007): 229–52. http://dx.doi.org/10.1017/s1750270500000129.
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As Vout (2006) has recently reminded us in this journal, Johann Joachim Winckelmann's History of the art of antiquity (Geschichte der Kunst des Alterthums, 1st ed. 1764) is widely considered to be a foundational text in the history of art. Advertising itself as the first ‘systematic’ account of ancient art in relation to its geographical, social and political circumstances, Winckelmann filled out the well-known Plinian chronology of artists with a new analysis in terms of a succession of period styles, providing a satisfyingly scientific justification for the preference his contemporaries were beginning to accord to the art of the Greeks. Small wonder then that the book was lauded as a classic as soon as it appeared in Germany and was quickly translated into French and Italian. Nevertheless, it is also hardly surprising that this text, which promised nothing less than a ‘new paradigm’ for the study of antique culture, has always presented problems to its readers. These are partly caused by its magnitude of ambition. Titled, first and foremost, a ‘history’, Winckelmann's magnum opus in fact attempts to be many things: part systematic exploration of the social and physical factors that condition the development of all art; part impassioned disquisition on the essence of beauty; part antiquarian catalogue of the greatest surviving works of Greek and Roman art; part manual of aesthetic taste for aspiring contemporary artists. Few books since Winckelmann's History can have combined bold claims about their importance as historical scholarship with detailed instructions on how to draw a perfectly beautiful face.
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Squire, Michael. "Art and Archaeology." Greece and Rome 69, no. 1 (March 7, 2022): 156–61. http://dx.doi.org/10.1017/s0017383521000322.
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My first title in fact comprises two independent books. Within a section dedicated to Graeco-Roman art and archaeology, the subject may come as something of a surprise: the case study is not ‘Greek’ or ‘Roman’, nor does it derive from the extended Mediterranean. Rather, From Memory to Marble analyses the Voortrekker Monument in Pretoria, inaugurated in 1949. Elizabeth Rankin and Rolf Michael Schneider have delivered a pair of volumes almost as monumental as the installation they describe, the first examining the context, origin, and legacy of the building's frieze, the second cataloguing its twenty-seven scenes. One of the many remarkable aspects of these two books is that both have been made available as free downloads. But what really stands out in the analysis is the ‘unconditional collaboration’ (5) between an art historian and a classical archaeologist: on the one hand, the project showcases how a broader art-historical training can enrich the traditional sorts of questions posed by classical archaeology, especially when it comes to issues of pictorial narrative; on the other, it demonstrates what classical archaeological formalism can offer to contemporary art history, and indeed larger debates about cultural history and contemporary identity politics. The result will be essential reading for anyone concerned with the legacy of classical ideas and imagery in South Africa.
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SALEM-WISEMAN, JONATHAN. "Heidegger, Wagner, and the History of Aesthetics." PhaenEx 7, no. 1 (May 26, 2012): 162. http://dx.doi.org/10.22329/p.v7i1.3361.
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This article explores Heidegger’s ambivalent philosophical relationship with Richard Wagner. After showing how Heidegger situates Wagner within his larger critique of aesthetics, I will explain why Heidegger believes that Wagner’s operas, due to the dominance of music, could not attain the status of “great art.” Because music can do no more than stimulate or intensify feelings, it becomes, for Heidegger, the paradigm of what art has become under the influence of aesthetics. Heidegger’s views on music even motivate him to contest Nietzsche’s thesis that music was the origin of Greek tragedy. Heidegger dismisses Nietzsche’s developmental account and argues instead that poetry is the essence of tragic drama. To conclude, I will show that Heidegger’s exclusive focus on Wagner’s theoretical work is too narrow, for his music reveals ontological concerns that cannot be easily assimilated into Heidegger’s history of aesthetics, and in fact suggest possible affinities with Heidegger’s own philosophical insights.
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Buzykina, Yu N. "Tradition and historical reconstruction in modern Church art on the example of the “Apocalypse” by Nikolai Masteropulo (from the point of view of the Medievalist)." Russian Journal of Church History 2, no. 3 (November 9, 2021): 75–89. http://dx.doi.org/10.15829/2686-973x-2021-67.
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The article deals with Apocalypse cycle of cloisonné enamels created in the early 2000-s by Russian and Greek artist Nilolaos Masteropoulos. The article analyses the concept of this creation, conceived as an actual art work made by medieval tool — ancient technique of cloisonné enamel, reconstructed and reconceived by the artist. The choice of the old technique which disappeared in byzantine tradition in 13th century is united with the subject which was not typical for byzantine art at all and appeared only in the early 15th century in the wall painting of Annunciation Cathedral of Moscow Kremlin, ordered by Russian prince and painted by Byzantine artist Theophanes the Greek. This union, demonstrating the artist’s deep knowledge in the art history and scientific literature, does not turn this Apocalypse into intellectual rebus or kind of historical reconstruction. Reviving ancient techniques and using ancient symbols, Nikolaos Masteropulos created an actual art work, intended for beholding by his contemporaries.
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Elsner, John. "Image and ritual: reflections on the religious appreciation of classical art." Classical Quarterly 46, no. 2 (December 1996): 515–31. http://dx.doi.org/10.1093/cq/46.2.515.
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It is a cliché that most Greek art (indeed most ancient art) was religious in function. Yet our histories of Classical art, having acknowledged this truism, systematically ignore the religious nuances and associations of images while focusing on diverse arthistorical issues from style and form, or patronage and production, to mimesis and aesthetics. In general, the emphasis on naturalism in classical art and its reception has tended to present it as divorced from what is perceived as the overwhelmingly religious nature of post-Constantinian Christian art. The insulation of Greek and Roman art from theological and ritual concerns has been colluded in by most historians of medieval images. Take for instance Ernst Kitzinger's monographic article entitled ‘The Cult of Images in the Age before Iconoclasm’. Despite its title and despite Kitzinger's willingness to situate Christian emperor worship in an antique context, this classic paper contains nothing on the Classical ancestry of magical images, palladia and miracle-working icons in Christian art. There has been the odd valiant exception (especially in recent years), but in general it is fair to say that the religiousness of antiquity's religious art is skirted by the art historians and left to the experts on religion.
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Smith, Terry. "An Introduction to Nicos Hadjinicolaou's “Art Centers and Peripheral Art” (1982)." ARTMargins 9, no. 2 (June 2020): 112–18. http://dx.doi.org/10.1162/artm_a_00266.
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Change in the history of art has many causes, but one often overlooked by art historical institutions is the complex, unequal set of relationships that subsist between art centers and peripheries. These take many forms, from powerful penetration of peripheral art by the subjects, styles and modes of the relevant center, through accommodation to this penetration to various degrees and kinds of resistance to it. Mapping these relationships should be a major task for art historians, especially those committed to tracing the reception of works of art and the dissemination of ideas about art. This lecture, delivered by Nicos Hadjinicolaou in 1982, outlines a “political art geography” approach to these challenges, and demonstrates it by exploring four settings: the commissioning of paintings commemorating key battles during the Greek War of Independence; the changes in Diego Rivera's style on his return to Mexico from Paris in the 1920s; the impact on certain Mexican artists in the 1960s of “hard edge” painting from the United States; and the differences between Socialist Realism in Moscow and in the Soviet Republics of Asia during the mid-twentieth century. The lecture is here translated into English for the first time and is introduced by Terry Smith, who relates it to its author's long-term art historical quest, as previously pursued in his book Art History and Class Struggle (1973).
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Morris, Ian Macgregor. "To Make a New Thermopylae: Hellenism, Greek Liberation, and the Battle of Thermopylae." Greece and Rome 47, no. 2 (October 2000): 211–30. http://dx.doi.org/10.1093/gr/47.2.211.
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In the eighteenth century, attitudes towards ancient Greece were changing from an antiquarian interest in literature and art, into a wider emotional affiliation that permeated many aspects of artistic and political life. With this new attitude came an interest in contemporary Greece and an awareness of and concern about her state under Turkish rule which, by the early nineteenth century, culminated in growing sympathy for the cause of Greek liberation. Of all the characters and incidents of ancient Greek history, none played such a central part in this tradition as those involved in the Battle of Thermopylae of 480 B.C., so that by the very eve of the Greek revolution in 1821 Byron could call on his contemporaries to ‘make a new Thermopylae’. The history of Thermopylae in the late eighteenth and early nineteenth centuries is, in many ways, the history of contemporary hellenism.
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Abreu, José Guilherme, Salomé Carvalho, Rui Bordalo, and Eduarda Vieira. "THE IMAGE OF SOARES DOS REIS’ SCULPTURE IN ART HISTORY, ART CRITICISM AND LITERATURE: EPOCHS, MODELS AND REPRESENTATIONS." ARTis ON, no. 9 (December 26, 2019): 74–85. http://dx.doi.org/10.37935/aion.v0i9.240.
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A hundred thirty years after his dramatic death, António Soares dos Reis (ASR) remains a huge challenge for art history understanding and art criticism interpretation, since he has been seen simultaneously as “a Greek, […] a realist, […] a classical, […] and a naturalist” (Arroyo, 1899: 78). His major sculpture – O Desterrado – being “an existential work” (França, 1966: 454) escapes from the classic orthodox aesthetic analysis, standing apart from the typical sculptural work of late 19th century. Our hypothesis is that ASR art works like a Rorschach test, for the narratives referred to it, instead of unveiling its character, reveal the concepts and beliefs upon which successive art studies have been produced. No visual images are displayed in this text, since the aim of our study is to detect the mental images associated to the insights and models that art historians and other authors traditionally used to assess ASR’s artistic work.
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Mattiello, Andrea. "Art and female agency in late Byzantium: three methodological case studies." Byzantine and Modern Greek Studies 48, no. 1 (March 8, 2024): 100–119. http://dx.doi.org/10.1017/byz.2023.25.
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This essay employs the anthropological notion of female social agency to analyse a selection of case studies in the art history of the late Byzantine Empire. They concern three women – Nicoletta Grioni, Isabelle de Lusignan, and Maria d'Enghien-Brienne – who lived between the mid- to late fourteenth century and the first half of the fifteenth. All three were part of a Greek-Latin Mediterranean socio-cultural context. While their stories are not fully represented in textual primary sources, the present essay examines a selection of heterogeneous visual and cultural materials that help to reinstate their role in history and overcome the male-logocentric nature of the written evidence related to them.
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Bintliff, John. "Editorial: Volume 2." Journal of Greek Archaeology 2 (January 1, 2017): v. http://dx.doi.org/10.32028/jga.v2i.568.
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This issue maintains our mission to publish across the whole time range of Greek Archaeology, with articles from the Palaeolithic to the Early Modern era, as well as reaching out from the Aegean to the wider Greek world. Lithics and Ceramics are accompanied by innovative Art History and Industrial Archaeology. Our book reviews are equally wideranging. Our authors are international, and include young researchers as well as longestablished senior scholars. I am sure you readers will find a feast of stimulating studies and thoughtful reviews.
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Ojakangas, Mika. "Polis and Oikos: The Art of Politics in the Greek City-State." European Legacy 25, no. 4 (February 17, 2020): 404–20. http://dx.doi.org/10.1080/10848770.2020.1721828.
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Zheng, Yifan. "A Study of the History of the Development of Buddhist Iconography." Journal of Education, Humanities and Social Sciences 11 (April 20, 2023): 119–24. http://dx.doi.org/10.54097/ehss.v11i.7519.
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Nowadays Buddhism is one of the world's major religions, and its means of transmission and artistic approach are diverse. As one of these means of communication, Buddhist statuary has also been passed on to the present day as an excellent form of art. The art of statuary is very rich, with different periods of statuary having different characteristics, which have been handed down from one generation to the next. The art of Buddhist statuary also varies from region to region. They have their own history of development, but they are not independent, learning from each other and from other regions and times. There is no clear lineage of the specific development of Buddha's statues and the specific history of their development in different regions and at different times. The aim of this paper is to trace the history of the development of Buddhist iconography, to sort out its development from Hellenism to its arrival in India and its subsequent introduction to China, and to clarify the influence of Greek sculpture on Indian Buddhist iconography and subsequently on Chinese Buddhist iconography.
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McMullen, Roger L., and Giorgio Dell’Acqua. "History of Natural Ingredients in Cosmetics." Cosmetics 10, no. 3 (April 29, 2023): 71. http://dx.doi.org/10.3390/cosmetics10030071.
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There has been interest in the history of cosmetics for the last several decades. In part, this renewed curiosity is probably due to the revolutionizing natural movement in the cosmetic industry. In this article, we provide an overview of the historical aspects of the use of natural ingredients in cosmetics, which mostly come from botanical and mineral sources. We begin with an introduction to the art and science of cosmetics in the ancient world, which includes accounts of Egyptian, Mesopotamian, Greek, and Roman cosmetics as well as Traditional Chinese Medicine and Ayurvedic Medicine. These dermatological and cosmetic practices, which were advanced for the time, paved the way for the current revolution of natural ingredients in cosmetic products. Without providing a comprehensive historical account, we surveyed selected cultures during different periods of time to provide some perspective of our current understanding of natural ingredients in cosmetics. Attention is also given to the rich contributions of body art by tribal societies to our knowledge base, especially in the areas of dyes and pigments. Finally, we offer some perspective of natural ingredient cosmetics in the Information Age.
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Christou, Anastasia. "Curatorial Dissonance and Conflictual Aesthetics: Holocaust Memory and Public Humanities in Greek Historiography." Histories 4, no. 2 (March 26, 2024): 204–19. http://dx.doi.org/10.3390/histories4020010.
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Despite the increasingly diverse societal landscape in Greece for more than three decades within a context of migration, understandings of its fragile histories are still limited in shaping a sense of belonging that is open to ‘otherness’. While Greek communities have utilised history as a pathway to maintain identity, other parallel histories and understandings do not resonate with ‘Greekness’ for most, such as the case of Greek Jewry. Critical historical perspectives can benefit from tracing ‘re-membering’ as a feminist practice in the reassessment of societal values of inclusivity. Histories of violence and injustice can also include elements of ‘difficult histories’ and must be embraced to seek acknowledgement of these in promoting social change and cultural analysis for public humanities informing curation and curricula. Between eduscapes, art heritage spaces, an entry into contested and conflictual histories can expand a sense of belonging and the way we imagine our own connected histories with communities, place and nation. Greek Jews do not constitute a strong part of historical memory for Greeks in their past and present; in contrast to what is perceived as ‘official’ history, theirs is quite marginal. As a result, contemporary Greeks, from everyday life to academia, do not have a holistic understanding in relation to the identities of Jews in Greece, their culture or the Holocaust. Given the emergence of a new wave of artistic activism in recent years in response to the ever-increasing dominance of authoritarian neoliberalism, along with activist practices in the art field as undercurrents of resistance, in this intervention I bring together bodies of works to create a dialogic reflection with historical, artistic and feminist sources. In turn, the discussion then explores the spatiotemporal contestations of the historical geographies of Holocaust monuments in Greece. While interrogating historical amnesia, I endeavour to provide a space to engage with ‘difficult histories’ in their aesthetic context as a heritage of healing and social justice.
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ROCHE, HELEN. "THE PECULIARITIES OF GERMAN PHILHELLENISM." Historical Journal 61, no. 2 (December 18, 2017): 541–60. http://dx.doi.org/10.1017/s0018246x17000322.
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AbstractStudies of German philhellenism have often focused upon the idealization of Greece by German intellectuals, rather than considering the very real, at times reciprocal, at times ambivalent or even brutal, relationship which existed between contemporary Germans and the Greek state from the Greek War of Independence onwards. This review essay surveys historiographical developments in the literature on German philhellenism which have emerged in the past dozen years (2004–16), drawing on research in German studies, classical philology and reception studies, Modern Greek studies, intellectual history, philosophy, art history, and archaeology. The essay explores the extent to which recent research affirms or rebuts that notion of German cultural exceptionalism which posits a HellenophileSonderweg– culminating in the tyranny of Germany over Greece imposed by force of arms under the Third Reich – when interpreting the vicissitudes of the Graeco–German relationship. The discussion of new literature touches upon various themes, including Winckelmann reception at the fin-de-siècle and the anti-positivist aspects of twentieth-century philhellenism, the idealization of ‘Platonic’ homoeroticism in the Stefan George-Kreis, the reciprocal relationship between German idealist philhellenism and historicism, and the ways in which German perceptions of modern Greece's materiality have constantly been mediated through idealized visions of Greek antiquity.
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Spivey, Nigel. "Art and Archaeology." Greece and Rome 60, no. 1 (March 12, 2013): 176–79. http://dx.doi.org/10.1017/s0017383512000344.
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The front cover of John Bintliff's Complete Archaeology of Greece is interesting. There is the Parthenon: as most of its sculptures have gone, the aspect is post-Elgin. But it stands amid an assortment of post-classical buildings: one can see a small mosque within the cella, a large barrack-like building between the temple and the Erechtheum, and in the foreground an assortment of stone-built houses – so this probably pre-dates Greek independence and certainly pre-dates the nineteenth-century ‘cleansing’ of all Byzantine, Frankish, and Ottoman remains from the Athenian Akropolis (in fact the view, from Dodwell, is dated 1820). For the author, it is a poignant image. He is, overtly (or ‘passionately’ in today's parlance), a philhellene, but his Greece is not chauvinistically selective. He mourns the current neglect of an eighteenth-century Islamic school by the Tower of the Winds; and he gives two of his colour plates over to illustrations of Byzantine and Byzantine-Frankish ceramics. Anyone familiar with Bintliff's Boeotia project will recognize here an ideological commitment to the ‘Annales school’ of history, and a certain (rather wistful) respect for a subsistence economy that unites the inhabitants of Greece across many centuries. ‘Beyond the Akropolis’ was the war-cry of the landscape archaeologists whose investigations of long-term patterns of settlement and land use reclaimed ‘the people without history’ – and who sought to reform our fetish for the obvious glories of the classical past. This book is not so militant: there is due consideration of the meaning of the Parthenon Frieze, of the contents of the shaft graves at Mycenae, and suchlike. Its tone verges on the conversational (an attractive feature of the layout is the recurrent sub-heading ‘A Personal View’); nonetheless, it carries the authority and clarity of a textbook – a considerable achievement.
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Boletsi, Maria, and Ipek A. Celik Rappas. "Introduction: Ruins in Contemporary Greek Literature, Art, Cinema, and Public Space." Journal of Modern Greek Studies 38, no. 2 (2020): vii—xxv. http://dx.doi.org/10.1353/mgs.2020.0020.
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Sychenkova, Lydia. "Crimean Roots of Dmitry Ainalov." ISTORIYA 12, no. 12-1 (110) (2021): 0. http://dx.doi.org/10.18254/s207987840018596-4.
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The article examines the ethnic origin of Dmitry Aynalov from the Crimean-Azov Greeks, which predetermined the choice of his life's work — the study of Hellenistic art. D. Aynalov's early-formed polylinguism and the acquired cultural traditions of the crimean greeks made it easier for him to study ancient greek history and ancient texts. Knowledge of the crimean tatar and Urum languages from childhood allowed D. Ainalov to feel comfortable, both in Greece and in the tatar environment of Kazan. Art education received in early childhood, allowed D. Aynalov made a significant contribution to the methodology of research of artistic monuments of Byzantium, the middle Ages and the Renaissance. The unexplored iconographic heritage of the scientist is an important evidence of the developed visual thinking of D. Ainalov and his artistic abilities. Since the Italian travels of 1891—1892, the pictorial source has become for D. Aynalov the most important companion of historical research. The introduction of a pictorial source as a full-fledged document in the construction of a system of evidence distinguished D. Ainalova from historians of the second half of the 19th — early 20th centuries, allowed him to reach the forefront of the methodology of historiography and art studies.
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W Arafat, K. "Note. Greek sculpture in the Art Museum Princeton University. Greek orignals, Roman copies and variants. B S Ridgway." Classical Review 46, no. 2 (February 1, 1996): 389. http://dx.doi.org/10.1093/cr/46.2.389.
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Hadjinicolaou, Nicos. "Art Centers and Peripheral Art [A Lecture at the University of Hamburg, October 15, 1982]." ARTMargins 9, no. 2 (June 2020): 119–40. http://dx.doi.org/10.1162/artm_a_00267.
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Change in the history of art has many causes, but one often overlooked by art historical institutions is the complex, unequal set of relationships that subsist between art centers and peripheries. These take many forms, from powerful penetration of peripheral art by the subjects, styles and modes of the relevant center, through accommodation to this penetration to various degrees and kinds of resistance to it. Mapping these relationships should be a major task for art historians, especially those committed to tracing the reception of works of art and the dissemination of ideas about art. This lecture, delivered by Nicos Hadjinicolaou in 1982, outlines a “political art geography” approach to these challenges, and demonstrates it by exploring four settings: the commissioning of paintings commemorating key battles during the Greek War of Independence; the changes in Diego Rivera's style on his return to Mexico from Paris in the 1920s; the impact on certain Mexican artists in the 1960s of “hard edge” painting from the United States; and the differences between Socialist Realism in Moscow and in the Soviet Republics of Asia during the mid-twentieth century. The lecture is here translated into English for the first time and is introduced by Terry Smith, who relates it to its author's long-term art historical quest, as previously pursued in his book Art History and Class Struggle (1973).
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Kozbelt, Aaron. "Psychological Implications of the History of Realistic Depiction: Ancient Greece, Renaissance Italy and CGI." Leonardo 39, no. 2 (April 2006): 139–44. http://dx.doi.org/10.1162/leon.2006.39.2.139.
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Art historian Ernst Gombrich argued that learning to create convincing realistic depictions is a difficult, incremental process requiring the invention of numerous specific techniques to solve its many problems. Gombrich's argument is elaborated here in a historical review of the evolution of realistic depiction in ancient Greek vase painting, Italian Renaissance painting and contemporary computer-generated imagery (CGI) in video games. The order in which many problems of realism were solved in the three trajectories is strikingly similar, suggesting a common psychological explanation.
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Walda, H. M., and S. Walker. "Ancient Art and Architecture in Tripolitania and Cyrenaica: New Publications 1969–1989." Libyan Studies 20 (January 1989): 107–15. http://dx.doi.org/10.1017/s0263718900006634.
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To mark the twentieth year of publication of the Report of the Society for Libyan Studies, selective bibliographies have been compiled of publications of ancient art and architecture in Tripolitania (H. Walda) and Cyrenaica (S. Walker). Particular attention has been given to sculpture and architecture of the Punic, Greek and Roman periods. Byzantine and Islamic works are regretfully excluded. Brief overviews of the direction of recent research precede the bibliographies. To conform with the ‘house style’ ofLibyan Studies, the bibliographies have been edited using the Harvard reference system.