Relevant bibliographies by topics / Harmodius Sculpture, Greek. Art, Greek

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  2. Dissertations / Theses
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Academic literature on the topic 'Harmodius Sculpture, Greek. Art, Greek'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 February 2022

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Journal articles on the topic "Harmodius Sculpture, Greek. Art, Greek"

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Gill, David W. J. "Expressions of wealth: Greek art and society." Antiquity 62, no. 237 (1988): 735–43. http://dx.doi.org/10.1017/s0003598x00075189.

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In the 2nd century AD Pausanias (i.2.4-15.1) walked through the agora at Athens describing some of the statues and naming the artists; at least 35 of the statues were of bronze, yet not a single one survives intact today (Mattusch 1982: 8-9). Thinking only of the extant marble sculpture does an injustice to the civic art of Athens. This problem is commonplace; almost any classical site has numerous stone bases for bronze statues which have long gone into the melting-pot. Yet so often in modern scholarship stone sculpture is given a privileged position. Although modern histories of Greek art pa
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Sparkes, Brian A. "Greek Bronzes." Greece and Rome 34, no. 2 (1987): 152–68. http://dx.doi.org/10.1017/s0017383500028102.

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When I first began to study Greek art, back in the mid 1950s, a book on Greek sculpture had recently been published in Germany and in England that did much to encourage my interest. It was Reinhard Lullies and Max Hirmer's big picture book, Greek Sculpture, since enlarged and running into three German and two English editions. Its basic idea was not totally novel but was rare for its time and never previously done so well. It presented large, clear photographs of original Greek works (by Hirmer) with a scholarly commentary to each piece (by Lullies); it omitted anything that was known, or cons
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Roccos, Linda Jones, and Brunilde S. Ridgway. "Greek Sculpture in the Art Museum, Princeton University: Greek Originals, Roman Copies and Variants." Classical World 90, no. 5 (1997): 383. http://dx.doi.org/10.2307/4351981.

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Chen, Jing, and Yiqiang Cao. "Research on the Drapery in Ancient Greek Sculptures." Asian Social Science 17, no. 6 (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 huma
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Spalva, Rita. "Dance in Ancient Greek Culture." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 2 (May 9, 2015): 451. http://dx.doi.org/10.17770/sie2012vol2.523.

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The greatness and harmony of ancient Greece has had an impact upon the development of the Western European culture to this day. The ancient Greek culture has influenced contemporary literature genres and systems of philosophy, principles of architecture, sculpture and drama and has formed basis for such sciences as astronomy and mathematics. The art of ancient Greece with its penchant for beauty and clarity has been the example of the humanity’s search for an aesthetic ideal. Despite only being preserved in its fragments, the dance of ancient Greece has become an example worthy of imitation in
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Sparkes, Brian A. "IV Luxury Items." New Surveys in the Classics 40 (2010): 75–94. http://dx.doi.org/10.1017/s0017383510000732.

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The uneven survival of material evidence from Greek antiquity has tended to guide interest and research towards the diferent forms and functions of sculpture (Chapters II and III) and of vase-painting (Chapters V and VI). They have been preserved in such numbers that, although we have only a fraction of the total output, we can study the ways in which they developed over the centuries against the social, economic, and political background and in the diferent parts of the Greek world. This has encouraged a tendency towards positivism and has had the unfortunate outcome of considering them as th
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Sparkes, Brian A. "II Freestanding Sculpture." New Surveys in the Classics 40 (2010): 24–50. http://dx.doi.org/10.1017/s0017383510000719.

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In 2003, the 150th anniversary of the birth of Adolf Furtwängler was celebrated with an exhibition in his home town of Freiburg, accompanied by a memorial volume and an international symposium. His influence on Greek sculptural studies through emphasis on the search for individual craftsmen via Roman copies continues, particularly in Germany and the USA. The mystery of the ‘whodunit’ is still strong, and the cult of the creative artist is too deeply ingrained in our own thinking to be totally jettisoned for other, more impersonal considerations. There is such an innate desire to link a work of
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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 (1996): 389. http://dx.doi.org/10.1093/cr/46.2.389.

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Aldrovandi, Cibele, and Elaine Hirata. "Buddhism, Pax Kushana and Greco-Roman motifs: pattern and purpose in Gandharan iconography." Antiquity 79, no. 304 (2005): 306–15. http://dx.doi.org/10.1017/s0003598x00114103.

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The authors show how the Gandharan art of early first millennium Afghanistan used Greek and Roman motifs to give an international context to Buddhist sculpture and reduce tension at home and with the neighbours.
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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
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Dissertations / Theses on the topic "Harmodius Sculpture, Greek. Art, Greek"

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Levéntī, Ifigéneia. "Hygieia in classical Greek art /." Athens : Archaiognosia, 2003. http://catalogue.bnf.fr/ark:/12148/cb40101183p.

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Lawton, Carol L. "Attic document reliefs : art and politics in ancient Athens /." Oxford : Clarendon Press, 1995. http://www.perseus.tufts.edu/cgi-bin/ptext?doc=1999.04.0005.

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Bumke, Helga. "Statuarische Gruppen in der frühen griechischen Kunst /." Berlin [u.a.] : de Gruyter, 2004. http://www.loc.gov/catdir/toc/fy0704/2005404149.html.

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Ronseberg, Jonah L. "The development of emotional rendering in Greek art, 525-400." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:48c6bdc3-85a0-4d1c-983d-cd833510c98f.

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This thesis explores the development of naturalistic rendering of emotion in the art of Greece through facial expression and body posture from 525 to 400. Why does emotional naturalism arise in the art of Greece, and in which particular regions? Why at this period? In which contexts and media? What restrictions on situation and type of figure can be interpolated or reconstructed? The upper chronological limit is based on simple observation. It is about this time, in many media, that naturalistic emotional expression is employed, although there are exceptions that blur this line slightly. The l
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Havé-Nikolaus, Felicitas. "Untersuchungen zu den kaiserzeitlichen Togastatuen griechischer Provenienz kaiserliche und private Togati der Provinzen Achaia, Creta (et Cyrene) und Teilen der Provinz Macedonia /." Mainz : Von Zabern, 1998. http://catalog.hathitrust.org/api/volumes/oclc/40489799.html.

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Atac, Mehmet Ali. "The standing female figure in its ancient Mediterranean context: an investigation into the origins and significance of the Kore type in Archaic Greek sculpture." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1371827160.

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Tagalidou, Efpraxia. "Weihreliefs an Herakles aus klassischer Zeit." Jonsered : P. Ǻströms, 1993. http://catalogue.bnf.fr/ark:/12148/cb388954183.

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Brophy, Elizabeth Mary. "Royal sculpture in Egypt 300 BC - AD 220." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:590228be-3001-49b3-bf6c-137af08ac71c.

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The aim of this thesis is to approach Ptolemaic and Imperial royal sculpture in Egypt dating between 300 BC and AD 220 (the reigns of Ptolemy I and Caracalla) from a contextual point of view. To collect together the statuary items (recognised as statues, statue heads and fragments, and inscribed bases and plinths) that are identifiably royal and have a secure archaeological context, that is a secure find spot or a recoverable provenance, within Egypt. I then used this material, alongside other types of evidence such as textual sources and numismatic material, to consider the distribution, styl
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Fries, Katherine. "Ariadne's thread - memory, interconnection and the poetic in contemporary art." Connect to full text, 2008. http://hdl.handle.net/2123/5709.

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Thesis (M.V.A.)--University of Sydney, 2009.<br>Title from title screen (viewed November 26, 2009) Submitted in fulfilment of the requirements for the degree of Master of Visual Arts to the Sydney College of the Arts, University of Sydney. Degree awarded 2009; thesis submitted 2008. Includes bibliographical references.
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Tzani, Nikoleta. "Costas Dimitriadis (1879-1943) : la carrière européenne d'un sculpteur grec." Thesis, Strasbourg, 2012. http://www.theses.fr/2012STRAG007.

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Costas Dimitriadis (1879-1943) est l’artiste grec le plus célèbre sur le plan international de la première moitié du XXe siècle, entre Paris et Athènes. Par ses fonctions, il contribua à la création et à la modernisation des institutions artistiques publiques grecques, en assumant de 1930 à sa mort, la direction de l’École Supérieure des Beaux-Arts d’Athènes. Dans cette thèse, nous racontons la vie de Dimitriadis en Roumélie Orientale, où il est né, et puis à Athènes, dans le premier atelier libre où il fit son apprentissage et ses études à l’École des Beaux-Arts. Ensuite, nous suivons la trac
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Books on the topic "Harmodius Sculpture, Greek. Art, Greek"

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Britain), Classical Association (Great, ed. Greek art. 2nd ed. Cambridge University Press, 2011.

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Greek art. Cambridge University Press, 2000.

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Art of ancient Greece: Sculpture, painting, architecture. Terrail, 1995.

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Archaismus: Untersuchungen zu Funktion und Bedeutung archaistischer Kunst in der Klassik und im Hellenismus. P. Lang, 1994.

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Laisné, Claude. L' art grec: Sculpture, peinture, architecture. Terrail, 1995.

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Himmelmann, Nikolaus. Minima archeologica: Utopie und Wirklichkeit der Antike. P. von Zabern, 1996.

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The emergence of the classical style in Greek sculpture. The University of Chicago Press, 2010.

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Säflund, Gösta. Myter i marmor: Grekiska konstverk i romerska museer. P. Åströms Förlag, 1999.

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1929-, Ridgway Brunilde Sismondo, and Berkin Jon M, eds. Greek sculpture in the Art Museum, Princeton University: Greek originals, Roman copies and variants. The Museum, 1994.

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An introduction to Greek art. Cornell University Press, 1986.

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Book chapters on the topic "Harmodius Sculpture, Greek. Art, Greek"

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La Rocca, Eugenio. "19. Greek Sculptors in Rome: An Art for the Romans." In Handbook of Greek Sculpture, edited by Olga Palagia. De Gruyter, 2019. http://dx.doi.org/10.1515/9781614513537-019.

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Palagia, Olga. "John Boardman and Greek Sculpture." In Greek Art in Motion: Studies in honour of Sir John Boardman on the occasion of his 90th Birthday. Archaeopress Publishing Ltd, 2019. http://dx.doi.org/10.2307/j.ctvndv598.4.

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Stoneman, Richard. "Greeks and the Art of India." In The Greek Experience of India. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691154039.003.0016.

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This chapter considers the influence of Greek techniques on Indian art. When European scholarship moved beyond seeing Indian sculptures as “monsters” and began to discern the historical trajectory of Indian art, many were convinced that Greek art was the mainspring that got Indian sculpture going. The chronological coincidence of Alexander's arrival in the north-west appeared to explain the sudden emergence of sculpture in the Maurya lands. James Fergusson asserted that Bactria was the origin of all Indian art. Inevitably the sculpture of Gandhara, with its pronounced Hellenistic features, was the first to catch the eye of explorers with a background in classical art. But the art of an earlier period was quick to follow.
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"5A. Form and Presentation. Sculpture." In Greek Art and Aesthetics in the Fourth Century B.C. Princeton University Press, 2018. http://dx.doi.org/10.1515/9781400890514-009.

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"5B. Form and Presentation. Architectural Sculpture." In Greek Art and Aesthetics in the Fourth Century B.C. Princeton University Press, 2018. http://dx.doi.org/10.1515/9781400890514-010.

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"4. General Issues of Style in Sculpture and Painting." In Greek Art and Aesthetics in the Fourth Century B.C. Princeton University Press, 2018. http://dx.doi.org/10.1515/9781400890514-008.

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Desmond, Will D. "Art." In Hegel's Antiquity. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198839064.003.0003.

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Hegel’s Lectures on Fine Art offer a veritable ‘world history of art’, and have led to his being called the real ‘father of art history’, but at their heart is a close identification of beauty with ‘the ideal’ and of art with ‘the classical’—and hence with (Greek) antiquity. With reference to the legacies of Winckelmann and Kantian aesthetic theory, this chapter begins by explicating the main features of Hegel’s aesthetics: the notion of ‘the ideal’ and of art’s vocation to reveal ‘the truth’ sensuously; the classification of artistic styles into Symbolic, Classical, and Romantic; and the division of basic art forms into architecture, sculpture, painting, music, and poetry. The chapter tackles each of these art forms in turn, focusing on Hegel’s sources and understanding of their role in Greek and Roman civilizations. His discussions of the Greek temple, Greek sculpture, epic, lyric, and comedy are relatively neglected, but all contribute as much as tragedy to his Winckelmannian understanding of the Greeks as ‘the people of art’ and of the ‘sculptural’ nature of the Greek mind. Here his Romans play counterpoint, as a derivative and aesthetically uncreative people—except in the genre of satire, which also fills out Hegel’s portrait of Roman ‘prose’, alienation, and increasing self-awareness. Though each of the art-forms peaks in a certain historical period, Hegel tends to associate each peak with the ‘classical’ ideal—an association that may help to illuminate his controversial statements about the ‘end of art’ in the modern, Romantic style.
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"The Reception of Parthenon Sculpture in Modern Japanese Art Studies 454." In Receptions of Greek and Roman Antiquity in East Asia. BRILL, 2018. http://dx.doi.org/10.1163/9789004370715_025.

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Moland, Lydia L. "Classical Art." In Hegel's Aesthetics. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190847326.003.0004.

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Hegel claims that the human body is the only physical form that can fully embody the divine. Classical Greek artists perfectly depicted this embodiment in their mythology and statues. Hegel traces the emergence of the human out of earlier evocations of nature as the divine and argues that the perfect repose of Phidian sculpture represents the complete interpenetration of spirit and nature. But once human subjectivity begins to develop, it ruptures this unity and precipitates classical art’s decline. Aristophanes, Hegel claims, achieved a late example of classical perfection in his comedies. But soon afterward, classical art dissolves into incomplete forms such as satire, domestic comedy, and merely pleasant sculpture. After this decline, art will never again achieve the highest level of beauty or regain its prominence in human culture.
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Adriaensens, Vito. "Of Swords, Sandals, and Statues: The Myth of the Living Statue." In Screening Statues. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474410892.003.0008.

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As sculpture is the classical art par excellence, statues abound in films set in Greek or Roman antiquity. Moreover, many of the mythological tropes involving sculptures that have persisted on the silver screen have their origins in classical antiquity: the Ovidian account of a Cypriot sculptor named Pygmalion who falls in love with his ivory creation and sees it bestowed with life by Venus, Hephaistos’s deadly automatons, the petrifying gaze of the Medusa, and divine sculptural manifestation, or agalmatophany, for instance. This chapter investigates the myths of the living statue as they originated in Greek and Roman literary art histories and found their way to the screen. It will do so by tracing the art-historical form and function of classical statuary to the cinematic representation of living statues in a broad conception of antiquity. The cinematic genre in which mythic sculptures thrive is that of the sword-and-sandal or peplum film, where a Greco-Roman or ersatz classical context provides the perfect backdrop for spectacular special effects, muscular heroes, and fantastic mythological creatures.
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