By Tyler Jo Smith and Dimitris Plantzos
A complete, authoritative account of the improvement Greek artwork throughout the 1st millennium BC.
An helpful source for students facing the artwork, fabric tradition and background of the post-classical world
Includes voices from such various fields as artwork background, classical stories, 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 while to the present
Includes chapters on Chronology and Topography, in addition to Workshops and Technology
Includes 4 significant sections: varieties, instances and areas Contacts and Colonies photos and Meanings Greek artwork: historical to vintage
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Additional resources for A Companion to Greek Art
The terrain of mountains enclosing fertile basins, or alluvial plains, also lends itself to the creation of localized microclimates. ) to deciduous trees such as oak, beech, maple, and cypress, and at lower levels a maquis landscape which can include box-tree, broom, hazel, juniper, laurel, myrtle, oleander, and wild olive (Descoeudres 2008: 302–304). Outside of the northern regions, rivers can seldom be relied upon to last throughout the year, but the extra water can support trees such as willow, poplar, linden, wild cherry, and elder (Descoeudres 2008: 303).
Such daring, which is commonplace in most scholarly fields, might be met with suspicion amongst a classics establishment still grappling with issues such as the relationship between art, literature, and history, or the question of ‘lost originals’ that might unlock the mysteries of the great artistic masters once and for all. It is satisfying to think that we are still quite a long way from having heard the last word about ancient Greek art. There are two further issues that should be addressed by way of introduction.
On account of the climate, travel was only really possible in summer, when the seas were calm enough and the mountain passes clear of snow. 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.
A Companion to Greek Art by Tyler Jo Smith and Dimitris Plantzos