By Tyler Jo Smith and Dimitris Plantzos
A complete, authoritative account of the advance Greek artwork during the 1st millennium BC.
An worthy source for students facing the paintings, fabric tradition and heritage of the post-classical world
Includes voices from such assorted fields as paintings heritage, classical experiences, and archaeology and provides a range of perspectives to the topic
Features an leading edge crew of chapters facing the reception of Greek paintings from the center a long time to the present
Includes chapters on Chronology and Topography, in addition to Workshops and Technology
Includes 4 significant sections: kinds, occasions and areas Contacts and Colonies photos and Meanings Greek artwork: old to vintage
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Extra info for A Companion to Greek Art
These factors encouraged a fragmentation into small, easily defended communities (Map 1; Stewart 1990: 1; Sauerwein 1998: 7). The landscape we see today is thought to be a fair approximation of what the ancient Greeks would have experienced (Osborne 1996: 57). Equally, it is generally agreed that the climate of Greece has not materially changed since ancient times (current global warming notwithstanding) (Salmon 1984: 7 n. 19; Foxhall et al. 2007: 89–90; Descoeudres 2008: 301–302). It is characterized by intense heat in the summer, interrupted by brief squalls and stormy winters with heavy rain.
Relative dating methodologies, such as stratigraphy and stylistic analysis, provide discrete chronological sequences that may be cross-referenced with each other and with other means of dating (for example, the fixed historical dates) to provide an overall chronology for ancient Greek art and material culture. Stratigraphy is based on the layering of deposits in a site, where the earliest material is at the bottom of the site and later material accumulates in layers above. These layers can then be identified through excavation and the materials found in each placed in a chronological sequence.
1 shows the development of Lakonian pottery related to the stratigraphy identified at the sanctuary of Artemis Orthia excavated by the British School at Athens in 1906–1910 (Dawkins 1929: plate XIX; Boardman 1963). g. Cavanagh and Laxton 1984; Boardman 1998: 186, 271; Gill and Vickers 2001). Such sequencing allows an understanding of the changes in style for discrete pottery collections. 1 Development of Lakonian Pottery (after Dawkins 1929: pl. 19). Chronology and Topography 23 both) and a relative chronological dating created based on estimates of a potter/painter’s working life.
A Companion to Greek Art by Tyler Jo Smith and Dimitris Plantzos