Luca Giuliani
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780226297651
- eISBN:
- 9780226025902
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226025902.003.0006
- Subject:
- Classical Studies, History of Art: pre-history, BCE to 500CE, ancient and classical, Byzantine
This chapter explores the extensive changes undergone by Greek vase production. In the fifth century, the number of workshops declined and there was a change in the chosen themes of vase painters. ...
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This chapter explores the extensive changes undergone by Greek vase production. In the fifth century, the number of workshops declined and there was a change in the chosen themes of vase painters. The most significant change was the apparent shift away from narrative scenes that began in the second half of the fifth century and culminated with their virtual disappearance in the fourth century. The reason for this shift in the iconography is unclear. What is clear is that the decline of Attic ceramics is directly linked with the emergence of new production centers, particularly in southern Italy. In the second half of the fifth century, workshops on the Gulf of Taranto began to produce red-figure vases. The production of red-figure vases in Apulia led to a rapid decline in Attic imports, which had completely disappeared by 400.Less
This chapter explores the extensive changes undergone by Greek vase production. In the fifth century, the number of workshops declined and there was a change in the chosen themes of vase painters. The most significant change was the apparent shift away from narrative scenes that began in the second half of the fifth century and culminated with their virtual disappearance in the fourth century. The reason for this shift in the iconography is unclear. What is clear is that the decline of Attic ceramics is directly linked with the emergence of new production centers, particularly in southern Italy. In the second half of the fifth century, workshops on the Gulf of Taranto began to produce red-figure vases. The production of red-figure vases in Apulia led to a rapid decline in Attic imports, which had completely disappeared by 400.
Luca Giuliani
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780226297651
- eISBN:
- 9780226025902
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226025902.003.0005
- Subject:
- Classical Studies, History of Art: pre-history, BCE to 500CE, ancient and classical, Byzantine
This chapter discusses a handicap possessed by narrative images—that of being incapable of structuring the process of their reception as a temporal sequence. As opposed to storytelling by means of ...
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This chapter discusses a handicap possessed by narrative images—that of being incapable of structuring the process of their reception as a temporal sequence. As opposed to storytelling by means of words, where the listener has no option but to allow the narrator to lead him or her through the plot and place them in a state of suspense, it is very difficult for an image to evoke such suspense in its beholders. In the late sixth century , however, Attic vase painters began developing strategies to compensate for this handicap. The problem that presents itself here concerns the relationship of images to time—although, as will be shown later in this chapter, the focus of the artists themselves was on the dramatic quality of the scene rather than the temporal aspect.Less
This chapter discusses a handicap possessed by narrative images—that of being incapable of structuring the process of their reception as a temporal sequence. As opposed to storytelling by means of words, where the listener has no option but to allow the narrator to lead him or her through the plot and place them in a state of suspense, it is very difficult for an image to evoke such suspense in its beholders. In the late sixth century , however, Attic vase painters began developing strategies to compensate for this handicap. The problem that presents itself here concerns the relationship of images to time—although, as will be shown later in this chapter, the focus of the artists themselves was on the dramatic quality of the scene rather than the temporal aspect.
Martin Beckmann
- Published in print:
- 2011
- Published Online:
- July 2014
- ISBN:
- 9780807834619
- eISBN:
- 9781469603025
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/9780807877777_beckmann.10
- Subject:
- Classical Studies, Archaeology: Classical
This chapter shows how it seems an impossible task to determine how many men worked on carving the frieze of the Column of Marcus Aurelius. The most powerful method of determining the number of ...
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This chapter shows how it seems an impossible task to determine how many men worked on carving the frieze of the Column of Marcus Aurelius. The most powerful method of determining the number of carvers at work on the column is to look for the signatures of individual carvers—not written signatures, but stylistic ones. This technique, first pioneered by Giovanni Morelli for the identification of Italian Renaissance painters and later used to great effect by Sir John Beazley for the identification of Greek vase painters, usually relies on identifying peculiarities in the treatment of specific body parts. The method is much more difficult with sculpture than with two-dimensional painting, especially in the case of the Column of Marcus Aurelius, where most of the work must be done from photographs.Less
This chapter shows how it seems an impossible task to determine how many men worked on carving the frieze of the Column of Marcus Aurelius. The most powerful method of determining the number of carvers at work on the column is to look for the signatures of individual carvers—not written signatures, but stylistic ones. This technique, first pioneered by Giovanni Morelli for the identification of Italian Renaissance painters and later used to great effect by Sir John Beazley for the identification of Greek vase painters, usually relies on identifying peculiarities in the treatment of specific body parts. The method is much more difficult with sculpture than with two-dimensional painting, especially in the case of the Column of Marcus Aurelius, where most of the work must be done from photographs.