Greek Sculpture / Edition 1

by Mark D. Fullerton

Overview

Greek Sculpture presents a chronological overview of the plastic and glyptic art forms in the ancient Greek world from the emergence of life-sized marble statuary at the end of the seventh century BC to the appropriation of Greek sculptural traditions by Rome in the first two centuries AD.

• Compares the evolution of Greek sculpture over the centuries to works of contemporaneous Mediterranean civilizations
• Emphasizes looking closely at the stylistic features of Greek sculpture, illustrating these observations where possible with original works rather than copies
• Places the remarkable progress of stylistic changes that took place in Greek sculpture within a broader social and historical context
• Facilitates an understanding of why Greek monuments look the way they do and what ideas they were capable of expressing
• Focuses on the most recent interpretations of Greek sculptural works while considering the fragile and fragmentary evidence uncovered

Product Details

ISBN-13:	9781444339796
Publisher:	Wiley
Publication date:	05/02/2016
Pages:	384
Product dimensions:	7.40(w) x 9.60(h) x 1.10(d)

About the Author

Mark D. Fullerton is Professor of History of Art and Classics at The Ohio State University. He is the author of The Archaistic Style in Roman Statuary (1990), Greek Art (2000), and co-editor of Ancient Art and its Historiography (2003).

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Table of Contents

Preface

CHAPTER 1 – Beginnings and Before: Greek Sculpture in the Iron Age (ca.1000-600)

BOX - Uses of Sculpture in Ancient Greece

CHAPTER 2 - The Search for Order: Sculptural Schemata and Regional Styles (ca. 600-550)

BOX - Marble, the Monumental, and Egypt: Materials and Processes

CHAPTER 3. Free-Standing Sculpture in the Later Sixth Century: Style and Penhellenism (ca. 550-500):

BOX - Chronology and Herodotus

CHAPTER 4. Sixth Century Architectural Sculpture

BOX - The Greek Architectural Orders and Vitruvius

CHAPTER 5. The Change to Classical: Democratic Athens and the Persian Conflict (ca. 500-460)

BOX - Bronze Casting Techniques – “Copies and Originals”

CHAPTER 6. The Temple of Zeus at Olympia: Panhellenism and the Early Classical (ca. 470-450)

BOX - Literary Sources I – Pausanias

CHAPTER 7. Classical Moment I: The Parthenon, Pericles, and the Power of Persuasion (ca. 450-430)

BOX - The Parthenon Marbles and the Acropolis Museum

CHAPTER 8. Classical Moment II: Sculptors and Statuary in the Mid-Fifth Century

BOX - Literary Sources II – Ancient Art Histories

CHAPTER 9. Unfinished Business: Pericles’ Programs and the Archidamian War (ca. 430-420)

BOX - The Evidence of Inscriptions

CHAPTER 10. An Attic Tragedy: The Fall of Athens and The Transition to Late Classical (ca. 420-390)

BOX - Painting and Perceptualism

CHAPTER 11. Idealism and Individuality I: Late Classical Architectural Sculpture

(ca. 390-330)

BOX - Itinerant Artists and Regional Schools

CHAPTER 12. Idealism and Individuality II: Late Classical Statuary and Relief Sculpture (ca. 390-330)

BOX - The Role of the Sculptor

CHAPTER 13. Sculpture in Hellenistic Greece I: The Rise of Macedon and the Kingdoms of the Diadochs (ca. 330-200)

BOX - The Nike of Samothrace and Hellenistic Chronology

CHAPTER 14. Sculpture in Hellenistic Greece II: Greek Styles and Roman Taste (ca. 200-50)

BOX - Ars revixit, Hellenistic Classicism, and Roman Patronage

What People are Saying About This

From the Publisher

“Mark Fullerton's important treatment of the history of ancient Greek sculpture is concise, powerful, and — above all — imaginative. Written by a master art historian at the top of his game, this book is a necessary addition to the libraries of classicists and archaeologists, students and professionals alike.”

Peter Schultz, North Dakota State University

 

“Clear, concise, informative, and adequately illustrated, this is exactly the kind of balanced, well-rounded survey that undergraduates need but seldom get.”

Andrew Stewart, University of California, Berkeley

 

“Fullerton's welcome chronological survey of Greek sculpture provides a solid foundation of up-to-date information and illuminates this rich body of material with acute observations on style, iconography, and interpretation.”

A.A. Donohue, Bryn Mawr College