0521772672 - Greek Sculpture: Function, Materials, and Techniques in the Archaic and Classical Periods
Edited by Olga Palagia
Frontmatter
More information
www.cambridge.org
GREEK SCULPTURE
egh
FUNCTION, MATERIALS, AND
TECHNIQUES IN THE ARCHAIC
AND CLASSICAL PERIODS
Edited by
OLGA PALAGIA
University of Athens
www.cambridge.org
Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, Sao Paulo
Cambridge University Press
40 West 20th Street, New York, NY 10011-4211, USA
www.cambridge.org
Information on this title: www.cambridge.org/9780521772679
C Cambridge University Press 2006
www.cambridge.org
CONTENTS
Notes on Contributors
Illustrations and Color Plates
Preface
I Sources and Models
John Boardman
II Archaic Athens and the Cyclades
Mary C. Sturgeon
III Archaic and Classical Magna Graecia
Barbara A. Barletta
IV Classical Athens
Olga Palagia
V Late Classical Asia Minor: Dynasts and Their Tombs
Peter Higgs
VI Archaic and Classical Bronzes
Carol C. Mattusch
VII Marble Carving Techniques
Olga Palagia
page vii
ix
xiii
1
32
77
119
163
208
243
www.cambridge.org
vi
efh
Contents
280
Select Bibliography
307
Index
313
www.cambridge.org
NOTES ON CONTRIBUTORS
www.cambridge.org
viii
efh
Notes on Contributors
www.cambridge.org
page 3
5
6
7
9
11
14
15
17
21
23
26
35
37
38
39
4041
45
49
51
53
ix
www.cambridge.org
efh
Illustrations
5455
56
57
80
81
83
84
85
90
91
93
95
97
99
105
129
131
132
133
135
137
139
140
141
142
143
147
167
168
169
171
www.cambridge.org
egh
Illustrations
xi
172
173
174
175
177
185
187
188
189
195
196
197
213
217
218
219
221
222
223
224
229
231
232233
235
245
246
248
249
250
251
253
www.cambridge.org
xii
efh
Color plates
84.
85.
86.
87.
88.
89.
90.
91.
92.
93.
94.
254
255
256
257
259
265
268
293
298
299
301
www.cambridge.org
PREFACE
www.cambridge.org
xiv
efh
Preface
of Greece in the first decades of the fifth century brought about not
only the cessation of Naxian marble production but also the political
and artistic domination of Athens, which emerged as the champion and
eventually the master of the island states. The considerable resources of
the Athenian Empire financed the costly rebuilding of Athenian sanctuaries damaged by the Persians. New technologies enabled the Athenians
to fashion colossal images in ivory and gold and to adorn their temples with colossal marble statues held in place by structural iron. In the
fourth century Athenian marble became dominant, with Parian retaining a corner of the market in Magna Graecia, the panhellenic sanctuary
of Olympia and the Hellenized satrapies of Asia Minor. Finally, marble
and bronze polychromy, an essential element of Greek sculpture, was
achieved not only by the application of pigments but also through combinations of coloured stones and metal alloys.
Greek sculpture served very specific functions. During its formative
periods it was confined within a religious framework for the decoration
of temples, sanctuaries and tombs. Its subjects were gods and heroes;
dead individuals or victorious athletes were commemorated with generic
figures. It is symptomatic of the religious nature of Archaic and Classical
sculpture that in democratic Athens repeated attempts curbed the private
munificence of funerary art. It is only in the western satrapies of the
Persian Empire that Greek sculpture was employed to glorify individuals:
temple-like tombs were built on high podia that imitated funeral pyres,
and were lavishly decorated with portrait statues and sculptured friezes
illustrating aristocratic pursuits, life in the satrapal courts, and funeral
games.
Greek sculpture of the Archaic and Classical periods is admired for
its excellence. Even though it was made for worshippers, it was aimed
at connoisseurs and this gives it a timeless quality. Wrenched from its
context, it can nevertheless reach modern audiences even though they
do not always understand its production mechanisms. Virtuosity of execution is matched by clarity of design, where every fine detail counts yet
does not detract from the appreciation of the whole. What determines
the high quality of Greek sculpture? Did region or material matter? What
can direct observation or laboratory analysis teach us? The evidence is
fragmentary and the study of Greek sculpture is plagued by an inherent difficulty to correlate extant material with literary testimonia. An
www.cambridge.org
egh
Preface
xv
www.cambridge.org
www.cambridge.org
2. Statue of Leto from Delos. Athens, National Museum 22. Photo O. Palagia.
www.cambridge.org
3. Head of Telamon from the temple of Zeus Olympios at Akragas. Agrigento Archaeological Museum. Photo H. R. Goette.
www.cambridge.org
www.cambridge.org
www.cambridge.org
6. Horse from the chariot on top of the Mausoleum at Halikarnassos. London, British
Museum 1002. Photo H. R. Goette.
www.cambridge.org
7. Head of boxer from Olympia. Athens, National Museum X 6439. Photo H. R. Goette.
www.cambridge.org
Pheidias
Athena
Parthenos.
Athens,
National
www.cambridge.org