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2013
Ancient Greek sculpture seems to have a timeless quality – provoking reactions that may range from awe to alienation. Yet it was a particular product of its age: and to know how and why it was once created is to embark upon an understanding of its 'Classic' status.
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Ancient Greek sculpture seems to have a timeless quality – provoking reactions that may range from awe to alienation. Yet it was a particular product of its age: and to know how and why it was once created is to embark upon an understanding of its 'Classic' status.
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2011
In his History of the Art of Antiquity (1764; Winckelmann 2006 in General Overviews), J. J. Winckelmann proposed a chronology of Greek art based upon style. Following his lead, scholars used ancient literary sources to assign extant freestanding sculptures to artists and to name specific works mentioned by Pliny the Elder in his Natural History (Book ...
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In his History of the Art of Antiquity (1764; Winckelmann 2006 in General Overviews), J. J. Winckelmann proposed a chronology of Greek art based upon style. Following his lead, scholars used ancient literary sources to assign extant freestanding sculptures to artists and to name specific works mentioned by Pliny the Elder in his Natural History (Book ...
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Greece and Rome, 1937
Five years ago, in these pages, I ventured to suggest the ‘urgent need of a finely illustrated new book on Greek art before 460’. The new appreciation of the earlier Greek masters, so fervent among young people whose perceptions belong to their own age, and who have had the luck to see ‘archaic’ Greek sculpture at first hand, has long demanded some ...
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Five years ago, in these pages, I ventured to suggest the ‘urgent need of a finely illustrated new book on Greek art before 460’. The new appreciation of the earlier Greek masters, so fervent among young people whose perceptions belong to their own age, and who have had the luck to see ‘archaic’ Greek sculpture at first hand, has long demanded some ...
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The Journal of Hellenic Studies, 1967
These notes on the beginnings of Greek sculpture contain little that has not been said before, but aim at applying a severer logic to the evidence and the conclusions drawn from it. The problems may be defined as what models were used by early Greek sculptors, why they chose those models, where the choice was made, and what the impulse was that induced
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These notes on the beginnings of Greek sculpture contain little that has not been said before, but aim at applying a severer logic to the evidence and the conclusions drawn from it. The problems may be defined as what models were used by early Greek sculptors, why they chose those models, where the choice was made, and what the impulse was that induced
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The Journal of Hellenic Studies, 1923
There is probably no sculptor as to whose work our notions have been more completely revolutionised in recent times than Myron. This change is due partly to new discoveries, but more to the identification of statues already known and exhibited. It is above all Myron's treatment of the head that has been hitherto inadequately realised, and for this the ...
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There is probably no sculptor as to whose work our notions have been more completely revolutionised in recent times than Myron. This change is due partly to new discoveries, but more to the identification of statues already known and exhibited. It is above all Myron's treatment of the head that has been hitherto inadequately realised, and for this the ...
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Right–left and the scrotum in Greek sculpture
Laterality: Asymmetries of Body, Brain and Cognition, 2004The scrotum in humans is asymmetric, the right testicle being visibly higher than the left in most men. Paradoxically, it is also the case that the right testicle is somewhat larger, rather than smaller, as might be expected. Greek classical and pre-classical art, which took great care in its attention to anatomical detail, correctly portrayed the ...
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polychromy, sculptural, Greek and Roman
2018The term “polychromy” has been in use since the early 19th century to denote the presence of any element of colour in Greek and Roman sculpture. The evidence for such polychromy is literary, epigraphical, archaeological, and archeometric; research on the subject therefore requires collaboration between the humanities, conservation science, and natural ...
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