__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

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Fullerton, Mark D.

Wiley-Blackwell (an imprint of John Wiley & Sons Ltd)

Wiley & Sons, Incorporated, John

John Wiley & Sons, Incorporated

Malden, MA : Wiley Blackwell

Wiley & Sons, Limited, John

American Geophysical Union

United Kingdom and Ireland, United Kingdom

United States, United States of America

Chichester, West Sussex, England, 2016

1, 2016

0

lg2335101

producers:
iTextSharpTM 5.5.0 ©2000-2013 iText Group NV (AGPL-version); modified using iTextSharpTM 5.5.0 ©2000-2013 iText Group NV (AGPL-version)

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Memory of the World Librarian: Slowrotation

Includes bibliographical references and index.

Title Page......Page 5
Copyright Page......Page 6
Contents......Page 9
List of illustrations......Page 11
Preface......Page 27
Chapter 1 Beginnings and Before: Greek Sculpture in the Iron Age (circa 1000–600)......Page 33
Sculpture and the Geometric Style......Page 36
Orientalizing and the Daedalic Style......Page 41
Chapter 2 The Search for Order: Sculptural Schemata and Regional Styles (circa 600–550)......Page 55
The Birth of Marble Statuary in the Cyclades......Page 56
Samos and the East......Page 64
Athens and Attica......Page 69
Boeotia and the Peloponnese......Page 74
Chapter 3 Free-Standing Sculpture in the Later Sixth Century: Style and Panhellenism (circa 550–500)......Page 78
Korai and Kouroi: Stylistic Development......Page 80
Other Acropolis Dedications......Page 88
The Meanings of Korai and Kouroi......Page 92
Bronze and Chryselephantine......Page 95
Grave and Other Reliefs......Page 98
Chapter 4 Sixth-Century Architectural Sculpture......Page 100
Early Doric Pediments......Page 101
Metopes......Page 106
Ionia, Delphi, and Athens: The Shift to Marble......Page 111
Chapter 5 The Change to Classical: Democratic Athens and the Persian Conflict (circa 500–460)......Page 121
Architectural Sculpture......Page 122
The Late Archaic Acropolis: Marble Statuary......Page 132
Statuary in Bronze......Page 138
The Change to Classical: Evolution or Revolution?......Page 142
Chapter 6 The Temple of Zeus at Olympia: Panhellenism and the Early Classical (circa 470–450)......Page 144
The Temple of Zeus at Olympia......Page 145
The Impact of Olympia: Panhellenism and Early Classical Style......Page 158
Chapter 7 Classical Moment I: The Parthenon, Pericles, and the Power of Persuasion (circa 450–430)......Page 167
The Building of the Parthenon......Page 168
The Metopes......Page 172
The Frieze......Page 179
The Pediments......Page 185
The Program......Page 190
Chapter 8 Classical Moment II: Sculptors and Statuary in the Mid-Fifth Century......Page 192
Myron and Realism......Page 195
Polyclitus and his Canon......Page 200
Phidias and Phantasia......Page 206
The Riace Warriors......Page 212
Chapter 9 Unfinished Business: Pericles’ Programs and the Archidamian War (circa 430–420)......Page 215
Unfinished Business I – The Hephaesteum......Page 218
Unfinished Business II – The Sanctuary of Athena Nike......Page 221
Sculptors of Victory and Defeat......Page 230
Chapter 10 An Attic Tragedy: The Fall of Athens and the Transition to Late Classical (circa 420–390)......Page 235
Unfinished Business III – The Erechtheum, Alcamenes, and Autochthony......Page 238
The Argive Heraeum......Page 246
The Temple of Apollo Epicurius at Bassae......Page 248
Funerary Relief Sculpture and the Peloponnesian War......Page 253
Chapter 11 Idealism and Individuality I: Late Classical Architectural Sculpture (circa 390–330)......Page 258
Temple of Asclepius at Epidaurus......Page 261
Temple of Athena Alea at Tegea......Page 265
Temple of Apollo at Delphi......Page 267
Temple of Artemis at Ephesus......Page 268
Nereid Monument at Xanthus......Page 270
Mausoleum at Halicarnassus......Page 273
Chapter 12 Idealism and Individuality II: Late Classical Statuary and Relief Sculpture (circa 390–330)......Page 279
Cephisodotus......Page 281
Praxiteles......Page 283
Scopas......Page 288
Lysippus......Page 290
Unattributed Originals......Page 294
Reliefs......Page 297
Chapter 13 Sculpture in Hellenistic Greece I: The Rise of Macedon and the Kingdoms of the Diadochs (circa 330–200)......Page 302
Macedonian Taste – The Derveni Crater......Page 304
Royal Portraiture......Page 306
The Legacy of Alexander and Lysippus......Page 311
Two Early Hellenistic Originals......Page 319
Change and Continuity in Early Hellenistic Sculpture......Page 321
Chapter 14 Sculpture in Hellenistic Greece II: Greek Styles and Roman Taste (circa 200–50)......Page 325
Sculpture and Classicism at the time of the Roman Conquest......Page 326
Baroque Narrative: The Pergamum Altar, the Laocoon, and Sperlonga......Page 331
Delos and the Classical Tradition......Page 337
The Mahdia Wreck, Neo-Atticism, and the Roman Art Market......Page 342
Glossary......Page 349
References......Page 354
General Works......Page 355
Chapter 2......Page 356
Chapter 4......Page 357
Chapter 7......Page 358
Chapter 9......Page 359
Chapter 11......Page 360
Chapter 14......Page 361
ARCHAIC (700–480)......Page 363
LATE CLASSICAL (400–323)......Page 364
HELLENISTIC (323–30)......Page 365
ARCHAIC (700–480)......Page 366
HELLENISTIC (323–30)......Page 367
ARCHAIC (700–480)......Page 368
EARLY/HIGH CLASSICAL (480–400)......Page 369
HELLENISTIC (323–30)......Page 370
ARCHAIC (700–480)......Page 372
HELLENISTIC (323–30)......Page 373
Index......Page 374
Supplemental Images......Page 384
EULA......Page 400

Title Page 5
Copyright Page 6
Contents 9
List of illustrations 11
Preface 27
Chapter 1 Beginnings and Before: Greek Sculpture in the Iron Age (circa 1000–600) 33
Sculpture and the Geometric Style 36
Orientalizing and the Daedalic Style 41
Chapter 2 The Search for Order: Sculptural Schemata and Regional Styles (circa 600–550) 55
The Birth of Marble Statuary in the Cyclades 56
Samos and the East 64
Athens and Attica 69
Boeotia and the Peloponnese 74
Chapter 3 Free-Standing Sculpture in the Later Sixth Century: Style and Panhellenism (circa 550–500) 78
Korai and Kouroi: Stylistic Development 80
Other Acropolis Dedications 88
The Meanings of Korai and Kouroi 92
Bronze and Chryselephantine 95
Grave and Other Reliefs 98
Chapter 4 Sixth-Century Architectural Sculpture 100
Early Doric Pediments 101
Metopes 106
Ionia, Delphi, and Athens: The Shift to Marble 111
Chapter 5 The Change to Classical: Democratic Athens and the Persian Conflict (circa 500–460) 121
Architectural Sculpture 122
The Late Archaic Acropolis: Marble Statuary 132
Statuary in Bronze 138
The Change to Classical: Evolution or Revolution? 142
Chapter 6 The Temple of Zeus at Olympia: Panhellenism and the Early Classical (circa 470–450) 144
The Temple of Zeus at Olympia 145
The Impact of Olympia: Panhellenism and Early Classical Style 158
Chapter 7 Classical Moment I: The Parthenon, Pericles, and the Power of Persuasion (circa 450–430) 167
The Building of the Parthenon 168
The Metopes 172
The Frieze 179
The Pediments 185
The Program 190
Chapter 8 Classical Moment II: Sculptors and Statuary in the Mid-Fifth Century 192
Myron and Realism 195
Polyclitus and his Canon 200
Phidias and Phantasia 206
The Riace Warriors 212
Chapter 9 Unfinished Business: Pericles’ Programs and the Archidamian War (circa 430–420) 215
Unfinished Business I – The Hephaesteum 218
Unfinished Business II – The Sanctuary of Athena Nike 221
Sculptors of Victory and Defeat 230
Chapter 10 An Attic Tragedy: The Fall of Athens and the Transition to Late Classical (circa 420–390) 235
Unfinished Business III – The Erechtheum, Alcamenes, and Autochthony 238
Architectural Sculpture in the Peloponnese 246
The Argive Heraeum 246
The Temple of Apollo Epicurius at Bassae 248
Funerary Relief Sculpture and the Peloponnesian War 253
Chapter 11 Idealism and Individuality I: Late Classical Architectural Sculpture (circa 390–330) 258
Temple Sculpture 261
Temple of Asclepius at Epidaurus 261
Temple of Athena Alea at Tegea 265
Temple of Apollo at Delphi 267
Temple of Artemis at Ephesus 268
Nereid Monument at Xanthus 270
Mausoleum at Halicarnassus 273
Chapter 12 Idealism and Individuality II: Late Classical Statuary and Relief Sculpture (circa 390–330) 279
Sculptors 281
Cephisodotus 281
Praxiteles 283
Other Attic Masters 288
Scopas 288
Lysippus 290
Unattributed Originals 294
Reliefs 297
Chapter 13 Sculpture in Hellenistic Greece I: The Rise of Macedon and the Kingdoms of the Diadochs (circa 330–200) 302
Macedonian Taste – The Derveni Crater 304
Royal Portraiture 306
The Legacy of Alexander and Lysippus 311
Two Early Hellenistic Originals 319
Change and Continuity in Early Hellenistic Sculpture 321
Chapter 14 Sculpture in Hellenistic Greece II: Greek Styles and Roman Taste (circa 200–50) 325
Sculpture and Classicism at the time of the Roman Conquest 326
Hellenistic Sculpture as an Art of the Romans – Three Case Studies 331
Baroque Narrative: The Pergamum Altar, the Laocoon, and Sperlonga 331
Delos and the Classical Tradition 337
The Mahdia Wreck, Neo-Atticism, and the Roman Art Market 342
Glossary 349
References 354
Further Reading 355
General Works 355
Chapter 1 356
Chapter 2 356
Chapter 3 357
Chapter 4 357
Chapter 5 358
Chapter 6 358
Chapter 7 358
Chapter 8 359
Chapter 9 359
Chapter 10 360
Chapter 11 360
Chapter 12 361
Chapter 13 361
Chapter 14 361
Timeline: History 363
GEOMETRIC (900–700) 363
ARCHAIC (700–480) 363
EARLY/HIGH CLASSICAL (480–400) 364
LATE CLASSICAL (400–323) 364
HELLENISTIC (323–30) 365
Timeline: Architectural Sculpture 366
GEOMETRIC (900–700) 366
ARCHAIC (700–480) 366
EARLY/HIGH CLASSICAL (480–400) 367
LATE CLASSICAL (400–323) 367
HELLENISTIC (323–30) 367
Timeline: Freestanding Sculpture 368
GEOMETRIC (900–700) 368
ARCHAIC (700–480) 368
EARLY/HIGH CLASSICAL (480–400) 369
LATE CLASSICAL (400–323) 370
HELLENISTIC (323–30) 370
Timeline: Literature/Philosophy 372
GEOMETRIC (900–700) 372
ARCHAIC (700–480) 372
EARLY/HIGH CLASSICAL (480–400) 373
LATE CLASSICAL (400–323) 373
HELLENISTIC (323–30) 373
Index 374
Supplemental Images 384
EULA 400

Beginnings and before: Greek sculpture in the Iron Age (ca. 1000-600) -- Uses of sculpture in ancient Greece -- The search for order: sculptural schemata and regional styles (ca. 600-550) -- Marble, the monumental, and Egypt: materials and processes -- Free-standing sculpture in the later sixth century: style and Panhellenism (ca. 550-500) -- chronology and Herodotus -- Sixth century architectural sculpture -- The Greek architectural orders and Vitruvius -- The change to classical: democratic Athens and the Persian conflict (ca. 500-460) -- Bronze casting techniques, copies and originals -- The temple of Zeus at Olympia: panhellenism and the early classical (ca. 470-450) -- Literary sources I: Pausanias -- Classical moment I: the Parthenon, Pericles, and the power of persuasion (ca. 450-430) -- The Parthenon marbles and the Acropolis Museum -- Classical moment II: sculptors and statuary in the mid-fifth century -- Literary sources II: ancient art histories -- Unfinished business: Pericles' programs and the Archidamian War (ca. 430-420) -- The evidence of inscriptions -- An Attic tragedy: the fall of Athens and the transition to late classical (ca. 420-390) -- Painting and perceptualism -- Idealism and individuality I: late classical architectural sculpture (ca. 390-330) -- Itinerant artists and regional schools -- Idealism and individuality II: late classical statuary and relief sculpture (ca. 390-330) -- The role of the sculptor -- Sculpture in Hellenistic Greece I: the rise of Macedon and the kingdoms of the Diadochs (ca. 330-200) -- The Nike of Samothrace and Hellenistic chronology -- Sculpture in Hellenistic Greece II: Greek styles and Roman taste (ca. 200-50) -- Ars revixit, Hellenistic classicism, and Roman patronage

Beginnings And Before: Greek Sculpture In The Iron Age (ca. 1000-600) -- The Search For Order: Sculptural Schemata And Regional Styles (ca. 600-550) -- Free-standing Sculpture In The Later Sixth Century: Style And Panhellenism (ca. 550-500) -- Sixth Century Architectural Sculpture -- The Change To Classical: Democratic Athens And The Persian Conflict (ca. 500-460) -- The Temple Of Zeus At Olympia: Panhellenism And The Early Classical (ca. 470-450) -- Classical Moment I: The Parthenon, Pericles, And The Power Of Persuasion (ca. 450-430) -- Classical Moment Ii: Sculptors And Statuary In The Mid-fifth Century -- Unfinished Business: Pericles' Programs And The Archidamian War (ca. 430-420) -- An Attic Tragedy: The Fall Of Athens And The Transition To Late Classical (ca. 420-390) -- Idealism And Individuality I: Late Classical Architectural Sculpture (ca. 390-330) -- Idealism And Individuality Ii: Late Classical Statuary And Relief Sculpture (ca. 390-330) -- Sculpture In Hellenistic Greece I: The Rise Of Macedon And The Kingdoms Of The Diadochs (ca. 330-200) -- Sculpture In Hellenistic Greece Ii: Greek Styles And Roman Taste (ca. 200-50). Mark D. Fullerton. Includes Bibliographical References (pages 323-330) And Index.

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
**

2019-03-09