Explores the art of ancient Greece and its relationship to the world in which it was produced.

Explores the art of ancient Greece and its relationship to the world in which it was produced.

The past thirty years have seen an explosion of interest in Greek and Roman social history, particularly studies of women and the family. Until recently these studies did not focus especially on children and childhood, but considered children in the larger context of family continuity and inter-family relationships, or legal issues like legitimacy, adoption and inheritance. Recent publications have examined a variety of aspects related to childhood in ancient Greece and Rome, but until now nothing has attempted to comprehensively survey the state of ancient childhood studies. This handbook does just that, showcasing the work of both established and rising scholars and demonstrating the variety of approaches to the study of childhood in the classical world. In thirty chapters, with a detailed introduction and envoi, The Oxford Handbook of Childhood and Education in the Classical World presents current research in a wide range of topics on ancient childhood, including sub-disciplines of Classics that rarely appear in collections on the family or childhood such as archaeology and ancient medicine. Contributors include some of the foremost experts in the field as well as younger, up-and-coming scholars. Unlike most edited volumes on childhood or the family in antiquity, this collection also gives attention to the late antique period and whether (or how) conceptions of childhood and the life of children changed with Christianity. The chronological spread runs from archaic Greece to the later Roman Empire (fifth century C.E.). Geographical areas covered include not only classical Greece and Roman Italy, but also the eastern Mediterranean. The Oxford Handbook of Childhood and Education in the Classical World engages with perennially valuable questions about family and education in the ancient world while providing a much-needed touchstone for research in the field.

During the sixth and fifth centuries BC, Greek sculpture developed into a fine art. With the human figure as its main subject, artists worked to represent it in increasingly natural terms. This book explores the material aspects of Greek sculpture at a pivotal phase in its evolution. Considering typologies and function, an international team of experts traces the development of technical characteristics of marble and bronze sculpture, the choice of particular marbles in different areas, and the types of monuments that were created on the Greek mainland, the islands and the west coast of Asia.

In this wide-ranging study, Richard Neer offers a new way to understand the epoch-making sculpture of classical Greece. Working at the intersection of art history, archaeology, literature, and aesthetics, he reveals a people fascinated with the power of sculpture to provoke wonder in beholders. Wonder, not accuracy, realism, naturalism or truth, was the supreme objective of Greek sculptors. Neer traces this way of thinking about art from the poems of Homer to the philosophy of Plato. Then, through meticulous accounts of major sculpture from around the Greek world, he shows how the demand for wonder-inducing statues gave rise to some of the greatest masterpieces of Greek art. Rewriting the history of Greek sculpture in Greek terms and restoring wonder to a sometimes dusty subject, The Emergence of the Classical Style in Greek Sculpture is an indispensable guide for anyone interested in the art of sculpture or the history of the ancient world.

This book explores the persona of the artist in Archaic and Classical Greek art and literature. Guy Hedreen argues that artistic subjectivity, first expressed in Athenian vase-painting of the sixth century BCE and intensively explored by Euphronios, developed alongside a self-consciously constructed persona of the poet. He explains how poets like Archilochos and Hipponax identified with the wily Homeric character of Odysseus as a prototype of the successful narrator, and how the lame yet resourceful artist-god Hephaistos is emulated by Archaic vase-painters such as Kleitias. In lyric poetry and pictorial art, Hedreen traces a widespread conception of the artist or poet as socially marginal, sometimes physically imperfect, but rhetorically clever, technically peerless, and a master of fiction. Bringing together in a sustained analysis the roots of subjectivity across media, this book offers a new way of studying the relationship between poetry and art in ancient Greece.

Eye and Art in Ancient Greece examines the art of ancient Greece through reconstructions of how the Greeks saw and understood the products of their own visual culture. The material is approached using a newly developed methodology of archaeoaesthetics by which past modes of vision and perception are examined in conjunction with prevailing notions of pleasure and judgement with the purpose of identifying the visual and psychological contexts within which the aesthetics of a culture emerge. Through a wide-ranging examination of ideas found in early written sources, the book examines various key aspects of Greek visual culture, such as continuity and change, nudity, identity, lifelikeness, mimesis, personation and enactment, symmetria, dance, harmony, and the modal representation of emotions, with the aim of comprehending how and why choices were made in the conception and making of artifacts. Special attention is given to factors contributing to the formation of taste and the emergence and transmission over time of concepts of art and beauty and the means by which they were identified and judged. The approach facilitates encounters with the material in ways that give rise to new insights into how the ancient Greeks experienced their own visual culture and how Greek art may be understood by us today.