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RICHARD NEER GREEK ART AND ARCHAEOLOGY PDF

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Read Greek Art and Archaeology PDF - A New History, c. c. BCE by Richard T. Neer Thames & Hudson | A richly illustrated, authorita. yazik.info: Greek Art and Archaeology: A New History, c. c. BCE ( ): Richard T. Neer: Books. T. Neer. *Download PDF | ePub | DOC | audiobook | ebooks Greek Art and Archeology, by Richard T. Neer, is the only comprehensive survey that reflects.


Richard Neer Greek Art And Archaeology Pdf

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PDF Epub Greek Art and Archaeology: A New History, CC BCE PDF Online Library - by Richard T Neer . Book Details. Author: Richard T Neer. c. BCE => yazik.info?book= Greek Art and Greek Art and Archeology, by Richard T. Neer, is the only. [PDF] Download Greek Art and Archaeology: A New History, Author: Richard T Neer Pages: Binding: Paperback Brand: ISBN Book.

The Emergence of the Classical Style in Greek Sculpture

When Neer devotes much of the introduction of his Emergence of the Classical Style to denying a distinction in art-historical and archaeological method, his insistence on aesthetics and interdisciplinarity only underlines that the fault line is active.

Visually, this conclusion is one of the most difficult to countenance. Even if we do as Stewart advises and accept the similarities Norbert Eschbach sees between the figures in each group, as well as his explanation that the west pediment was simply by a more conservative workshop than the east, 10 all of the figures are worlds away from the seer on the east pediment of the Temple of Zeus at Olympia, a figure that does not just act but thinks.

His wrinkled brow, half-open mouth and dramatically introspective gesture script the scene, theorizing almost what it means to see a story spelled in marble. Are they really only a decade later than their counterparts at Aigina?

None of the archaeological data contradict the contention that it began on the Greek mainland after BC, with sculptors on Sicily as we discover in an ensuing section gradually catching on some ten years later. The biggest achievement of post-Revolution art is not what it looks like, but a new kind of viewing.

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Although attuned to the problems of putting these images side by side, each scholar is less concerned with the particular date or function of any one of them than they are with what they say, en masse, about the development of representation, which for Gombrich is about how artists see the world and for Elsner about how spectators see statues.

Classical statuary, on the other hand, glances rather than gazes, so absorbed in its own experience as to sever this hotline to the viewer and stand in a strange, parallel universe.

The viewer is now a voyeur, free to observe, unobserved, and eager to read emotion and motivation into statues in an attempt to bridge the distance. Numerous helpful graphics, including timelines, summary charts, and comparative tables are included throughout the volume to synthesize the vast body of material presented and draw connections across time and space.

These considerations offer a welcome platform for faculty to enrich class discussions without having to supplement the textbook with lengthy outside readings. The presentation of the selected monuments themselves is similarly comprehensive.

As Neer makes clear in the introduction, the volume takes a liberal view of the Greek world and its artistic production, both materially and geographically. These are perhaps less initially attention grabbing because of their size, material, or aesthetic quality but no less important for communicating the Greek experience.

This commitment to inclusivity and delving into multifaceted considerations of historical, political, social, religious, and economic constructs is simultaneously a great asset and a potential detriment to the volume as an introductory text.

While Neer admirably signals difficulties in interpretation, raises topics of scholarly controversy, and points out weaknesses in available evidence in order to provoke critical thinking in the reader and signal the current state of the discipline, the true beginning student may become overwhelmed with the sheer volume of information and sometimes inevitably unresolved conclusions.

While introducing the objects and placing them within their appropriate contexts is obviously a priority of any textbook and is done particularly successfully here, one of the major contributions of this volume is its pedagogical approach that aims to introduce readers with diverse academic backgrounds and professional goals to ways of considering objects methodically and productively.

Three guiding questions help to cultivate these highly valuable, transferable skills that serve the student reader well in the art history classroom and beyond. The text aids readers in acquiring the appropriate vocabulary to articulate and communicate their visual experience by featuring key words and phrases in bold typeface throughout the volume.

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I would be and was: p. Far be it from me to remind my reviewer of his sixteenth-century papal history. As for the charge of reneging on research, readers will have to make up their own minds: I refer them to the relevant discussion by Francis Haskell and Nicholas Penny.

I am pleased that Stewart and I reach similar conclusions here. We come, finally, to the issue of style and presentation.

There are all sorts of epistemological reasons for advocating a greater degree of self-conscious prose, especially in a book of this kind. Foremost among them, perhaps, are the playful paradigms of ancient writers themselves. Quoted out of context, though, the academic point is all too easily lost.

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I conclude mine with a contrasting sentiment. True to the remit of the series, my objective was to make an accessible intervention within the disciplines of both Classics and art history: to show how the stories we tell about the art of the ancient body have always been — and always will be — bound up with changing modern perspectives.

The structure of this book is decidedly idiosyncratic some will say idiotic. The result articulates both a method and a position.

Greek art and archaeology : a new history, c. c. BCE

Notes R. Goldhill and R. Osborne Cambridge, , pp. Back to 2 Cf. These and numerous other critical works are referenced on pp. Back to 3 This is the subject of a forthcoming book project by Jeremy Tanner, developed from his J. Hung and J.

Back to 4 Responding to A. Alcock and R.These are perhaps less initially attention grabbing because of their size, material, or aesthetic quality but no less important for communicating the Greek experience.

Are they really only a decade later than their counterparts at Aigina?

The instructor is thus enabled to use lecture to reinforce important concepts while also inducing students to speculate further on evaluation, argumentation, and the plausibility of differing approaches and opinions.

Nonetheless, there are potential pitfalls in execution with such an arrangement, since the thematic chapters can interrupt a flow that is primarily diachronic, making it difficult to assign specific chapters to specific weeks and causing monuments to be discussed in more than one place, prompting more flipping of pages than is necessary.

Hung and J.