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Press.Īnalysis of how subjective description and stylistic bias have affected the study of Greek sculpture from Winckelmann’s day through the 20th century.įurtwängler, Adolph. Greek sculpture and the problem of description. of Wisconsin Press.Īn indispensable introduction to the nature of the early study of classical sculpture and to the German scholarly tradition.ĭonohue, A. In Polykleitos, the Doryphoros, and tradition. Winckelmann’s history of art and Polyclitus. As these no longer exist, modern scholars have misunderstood the various ancient meanings of xoanon.ĭonohue, A. Atlanta: Scholars Press.Įxhaustive investigation of a term used by ancient authors to describe certain types of the earliest sculptural works in Greece. Xoana and the origins of Greek sculpture. For analysis of ancient Greek terminology in the arts and for its use by modern scholars, see Pollitt 1974 and Donohue 1988.ĭonohue, A. In a review of scholarship on individual works, Donohue 2005 illustrates the need for critical thinking and objective visual analysis. Furtwängler 1964, like Winckelmann, was originally published in German, with a focus on sculpture, and adding discoveries that had been made in the 130-year interim between the two works. Donohue 1995 is an invaluable introduction to his work. It is a valuable exercise in methodology to read some of his work: his stylistic chronology continues to influence the field. The modern study of Greek sculpture began with Winckelmann’s subjective descriptions of 1764 ( Winckelmann 2006), some of them lengthy, of works that he did not illustrate. General textbooks on Greek art are not part of this bibliography. Because many works address not just freestanding sculpture and relief but also architectural sculpture they are included here, even though the subject is better suited to consideration with the buildings which the sculptures adorned. Excellent photographs are a valuable tool for research in this field, and works that have them are so noted, even if the accompanying texts are less useful. Donohue, “ Ai Bakchai choreuousi: The Reliefs of the Dancing Bacchantes,” Hephaistos 16/17 : 7–46) are leading to the revision of textbooks. Studies of the ancient marble trade may help to pin down some chronological questions that cannot be solved purely on the basis of style and the literary testimonia, and new analyses of such famous works as the Aphrodite of Melos ( Hamiaux 1998 in Museum Catalogues) and the widely popular classicizing reliefs of dancing maenads (see Alice A.
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Recent scholarship takes into account ancient technology, taste, and ancient art markets ( Ridgway 1984 in Roman Copies, Modern Adaptations Mattusch 1996 in Archaizing and Classicizing Sculpture), and modern bias ( Donohue 2005 in General Overviews), and, along with traditional stylistic studies, yields a more balanced understanding of freestanding Greek sculpture and a far more revealing picture of Roman sophistication in the production of sculptures in the classical style. At the same time, Roman marble versions of classical statue types continue to be used as substitutes for lost Greek statues. Even though this notion is now understood to be overly simplified, textbooks covering classical sculpture still tend to privilege bronzes over marbles.
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Pliny’s division of media and his prejudice against the art of his own times led scholars to distinguish between Greek bronze originals, which rarely survive, and Roman marble copies, of which there are many survivors. Pliny’s separation of artists working in bronze from those working in marble revealed that the Greeks preferred bronze for their public sculpture, whereas it now appears that the Romans more often used marble for sculptures in public and in their homes. 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 34 on bronze and Book 36 on marble), and by other ancient authors. Winckelmann proposed a chronology of Greek art based upon style. In his History of the Art of Antiquity (1764 Winckelmann 2006 in General Overviews), J.