Art movement
From left to right:
the
Venus de Milo
, discovered at the Greek island of
Milos
, 130?100 BC,
Louvre
the
Winged Victory of Samothrace
, from the island of
Samothrace
, 200?190 BC,
Louvre
Pergamon Altar
,
Pergamon Museum
, Berlin.
Hades
abducting
Persephone
, fresco in the royal tomb at
Vergina
,
Macedonia, Greece
, c. 340 BC
Hellenistic art
is the art of the
Hellenistic period
generally taken to begin with the death of
Alexander the Great
in 323 BC and end with the
conquest of the Greek world by the Romans
, a process well underway by 146 BC, when the Greek mainland was taken, and essentially ending in 30 BC with the conquest of
Ptolemaic Egypt
following the
Battle of Actium
. A number of the best-known works of
Greek sculpture
belong to this period, including
Laocoon and His Sons
,
Venus de Milo
, and the
Winged Victory of Samothrace
. It follows the period of
Classical Greek art
, while the succeeding
Greco-Roman art
was very largely a continuation of Hellenistic trends.
The term
Hellenistic
refers to the expansion of Greek influence and dissemination of its ideas following the death of Alexander ? the "Hellenizing" of the world,
[1]
with
Koine Greek
as a common language.
[2]
The term is a modern invention; the
Hellenistic World
not only included a huge area covering the whole of the
Aegean Sea
, rather than the
Classical Greece
focused on the
Poleis
of
Athens
and
Sparta
, but also a huge time range. In artistic terms this means that there is huge variety which is often put under the heading of "Hellenistic Art" for convenience.
One of the defining characteristics of the Hellenistic period was the division of Alexander's empire into smaller dynastic empires founded by the
diadochi
(Alexander's generals who became regents of different regions): the
Ptolemies
in
Egypt
, the
Seleucids
in
Mesopotamia
,
Persia
, and
Syria
, the
Attalids
in
Pergamon
, etc. Each of these dynasties practiced a royal patronage which differed from those of the city-states. In Alexander's entourage were three artists:
Lysippus
the sculptor,
Apelles
the painter, and
Pyrgoteles
the gem cutter and engraver.
[3]
The period after his death was one of great prosperity and considerable extravagance for much of the Greek world, at least for the wealthy. Royalty became important patrons of art. Sculpture, painting and architecture thrived, but
vase-painting
ceased to be of great significance. Metalwork and a wide variety of luxury arts produced much fine art. Some types of popular art were increasingly sophisticated.
There has been a trend in writing history to depict Hellenistic art as a decadent style, following the
Golden Age
of
Classical Greece
. The 18th century terms
Baroque
and
Rococo
have sometimes been applied to the art of this complex and individual period. A renewed interest in
historiography
as well as some recent discoveries, such as the tombs of
Vergina
, may allow a better appreciation of the period.
Architecture
[
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]
In the architectural field, the dynasties following Hector resulted in vast urban plans and large complexes which had mostly disappeared from city-states by the 5th century BC.
[5]
The Doric Temple was virtually abandoned.
[6]
This city planning was quite innovative for the Greek world; rather than manipulating space by correcting its faults, building plans conformed to the natural setting. One notes the appearance of many places of amusement and leisure, notably the multiplication of
theatres
and parks. The Hellenistic monarchies were advantaged in this regard in that they often had vast spaces where they could build large cities: such as
Antioch
,
Pergamon
, and
Seleucia on the Tigris
.
It was the time of gigantism: thus it was for the second temple of
Apollo
at
Didyma
, situated twenty kilometers from
Miletus
in
Ionia
. It was designed by Daphnis of Miletus and Paionios of
Ephesus
at the end of the fourth century BC, but the construction, never completed, was carried out up until the 2nd century AD. The sanctuary is one of the largest ever constructed in the Mediterranean region: inside a vast court (21.7 metres by 53.6 metres), the
cella
is surrounded by a double colonnade of 108
Ionic columns
nearly 20 metres tall, with richly sculpted bases and
capitals
.
[7]
Alexandria
[
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]
Hellenistic
Alexandria
originated a distinctive architectural form language that is often referred to as baroque due to its liberal use of ornamentation and its repurposing of structural elements as ornamental elements. Perhaps partly inspired by
traditional Egyptian architecture
, Alexandrian architects developed new shapes such as segmental, broken, hollow and volute pediments and curved arched, concave and broken entablatures.
[8]
These baroque shapes seem to have existed in Alexandria at least by the 2nd century BC.
[9]
Many of them were later adopted across the
Roman Empire
and also significantly influenced the rock-cut tombs of
Petra
.
Alexandrian architecture also made heavy use of
Corinthian capitals
, both on exteriors and interiors. (The earliest known example of a Corinthian exterior in Alexandria is
Ptolemy III
's temple of
Sarapis
in the
Sarapeion
which was constructed sometime between 246-221 BC, though the propylon of the
Sanctuary of the Great Gods
on
Samothrace
, which was sponsored by
Ptolemy II
sometime between 285-246 BC, also already featured Corinthian columns on one of its facades.) Corinthian capitals were sometimes paired with Doric entablatures, a combination that was rarely seen elsewhere in the Hellenistic world. Alexandrian Corinthian capitals exhibited a large variety of shapes and compositions which historians have divided into four distinct types.
Other typical features of Hellenistic Alexandrian architecture were
acanthus leaf
column bases, which were sometimes inserted between the standard Attic column base and the column shaft of a Corinthian column, and
cornices
featuring the distinctive Alexandrian flat grooved and/or hollow square modillions.
Roman
Second Style
frescoes are thought to be inspired by Alexandrian architecture.
[8]
Olynthus
[
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]
The ancient city of
Olynthus
was one of the architectural and artistic keystones in establishing a connection between the Classical and Hellenistic worlds.
Over 100 homes were found at the Olynthus city site. Interestingly, the homes and other architecture were incredibly well preserved. This allows us to better understand the activities that took place in the homes and how space inside the homes was organized and utilized.
Homes in Olynthus were typically squarer in shape. The desired home was not necessarily large or extravagant, but rather comfortable and practical. This was a mark of civilization that was extremely prominent in Greek culture during the Hellenistic period and beyond. Living a civilized life involved maintaining a sturdy living space, thus many brick-like materials were used in the construction of the homes. Stone, wood, mudbrick, and other materials were commonly used to build these dwellings.
Another element that was increasingly popular during the Hellenistic period was the addition of a courtyard to the home. Courtyards served as a light source for the home as Greek houses were closed off from the outside to maintain a level of privacy. There have been windows found at some home sites, but they are typically high off the ground and small. Because of the issue of privacy, many individuals were forced to compromise on light in the home. Well-lit spaces were used for entertaining or more public activity while the private sectors of the home were dark and closed off which complicated housework.
Courtyards were typically the focus of the home as they provided a space for entertaining and a source of light from the very interior of the home. They were paved with cobblestones or pebbles most often, but there have been discoveries of mosaicked courtyards. Mosaics were a wonderful way for the family to express their interests and beliefs as well as a way to add decor to the home and make it more visually appealing. This artistic touch to homes at Olynthus introduces another element of civilized living to this Hellenistic society.
[10]
Pergamon
[
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]
Pergamon in particular is a characteristic example of Hellenistic architecture. Starting from a simple fortress located on the
Acropolis
, the various
Attalid
kings set up a colossal architectural complex. The buildings are fanned out around the Acropolis to take into account the nature of the terrain. The
agora
, located to the south on the lowest terrace, is bordered by galleries with colonnades (columns) or
stoai
. It is the beginning of a street which crosses the entire Acropolis: it separates the administrative, political and military buildings on the east and top of the rock from the sanctuaries to the west, at mid-height, among which the most prominent is that which shelters the monumental
Pergamon Altar
, known as "of the twelve gods" or "of the gods and of the giants", one of the masterpieces of Greek sculpture. A colossal theatre, able to contain nearly 10,000 spectators, has benches embedded in the flanks of the hill.
[11]
Sculpture
[
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]
Pliny the Elder
, after having described the sculpture of the classical period notes:
Cessavit deinde ars
("then art disappeared").
[12]
According to Pliny's assessment, sculpture declined significantly after the 121st Olympiad (296?293 BC). A period of stagnation followed, with a brief revival after the 156th (156?153 BC), but with nothing to the standard of the times preceding it.
[13]
During this period sculpture became more naturalistic, and also expressive; there is an interest in depicting extremes of emotion. On top of anatomical realism, the Hellenistic artist seeks to represent the character of his subject, including themes such as suffering, sleep or old age. Genre subjects of common people, women, children, animals and domestic scenes became acceptable subjects for sculpture, which was commissioned by wealthy families for the adornment of their homes and gardens; the
Boy with Thorn
is an example.
Realistic portraits of men and women of all ages were produced, and sculptors no longer felt obliged to depict people as ideals of beauty or physical perfection.
[14]
The world of
Dionysus
, a pastoral idyll populated by
satyrs
,
maenads
, nymphs and
sileni
, had been often depicted in earlier vase painting and figurines, but rarely in full-size sculpture. The
Old Drunkard
at Munich portrays without reservation an old woman, thin, haggard, clutching against herself her jar of wine.
[15]
Portraiture
[
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]
The period is therefore notable for its
portraits
: One such is the
Barberini Faun
of
Munich
, which represents a sleeping
satyr
with relaxed posture and anxious face, perhaps the prey of nightmares. The
Belvedere Torso
, the
Resting Satyr
, the
Furietti Centaurs
and
Sleeping Hermaphroditus
reflect similar ideas.
[16]
Another famous Hellenistic portrait is that of
Demosthenes
by Polyeuktos, featuring a well-done face and clasped hands.
[13]
Privatization
[
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]
Another phenomenon of the Hellenistic age appears in its sculpture: privatization,
[17]
[18]
seen in the recapture of older public patterns in decorative sculpture.
[19]
Portraiture is tinged with naturalism, under the influence of
Roman art
.
[20]
New Hellenistic cities were springing up all over
Egypt
,
Syria
, and
Anatolia
, which required statues depicting the gods and heroes of Greece for their temples and public places. This made sculpture, like pottery, an industry, with the consequent standardization and some lowering of quality. For these reasons many more Hellenistic statues have survived than is the case with the Classical period.
Second classicism
[
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]
Hellenistic sculpture repeats the innovations of the so-called "second classicism":
nude
sculpture-
in-the-round
, allowing the statue to be admired from all angles; study of draping and effects of transparency of clothing, and the suppleness of poses.
[21]
Thus,
Venus de Milo
, even while echoing a classic model, is distinguished by the twist of her hips.
"Baroque"
[
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]
The multi-figure group of statues was a Hellenistic innovation, probably of the 3rd century, taking the epic battles of earlier temple pediment reliefs off their walls, and placing them as life-size groups of statues. Their style is often called "
baroque
", with extravagantly contorted body poses, and intense expressions in the faces. The
Laocoon Group
, detailed below, is considered one of the prototypical examples of the Hellenistic baroque style.
[22]
Pergamon
[
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]
Pergamon did not distinguish itself with its architecture alone: it was also the seat of a brilliant school of sculpture known as
Pergamene Baroque
.
[23]
The sculptors, imitating the preceding centuries, portray painful moments rendered expressive with three-dimensional compositions, often V-shaped, and anatomical hyper-realism. The Barberini Faun is one example.
Gauls
[
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]
Attalus I
(269?197 BC), to commemorate his victory at Caicus against the
Gauls
;? called
Galatians
by the Greeks ? had two series of votive groups sculpted: the first, consecrated on the Acropolis of Pergamon, includes the famous
Gaul killing himself and his wife
, of which the original is lost; the second group, offered to Athens, is composed of small bronzes of Greeks, Amazons, gods and giants, Persians and Gauls.
[24]
Artemis Rospigliosi in the
Louvre
is probably a copy of one of them; as for copies of the
Dying Gaul
, they were very numerous in the Roman period. The expression of sentiments, the forcefulness of details ? bushy hair and moustaches here ? and the violence of the movements are characteristic of the Pergamene style.
[25]
Great Altar
[
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]
These characteristics are pushed to their peak in the friezes of the
Great Altar of Pergamon
, decorated under the order of
Eumenes II
(197?159 BC) with a
gigantomachy
stretching 110 metres in length, illustrating in the stone a poem composed especially for the court. The
Olympians
triumph in it, each on his side, over Giants ? most of which are transformed into savage beasts: serpents, birds of prey, lions or bulls. Their mother
Gaia
comes to their aid, but can do nothing and must watch them twist in pain under the blows of the gods.
[26]
Colossus of Rhodes
[
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]
One of the few city states who managed to maintain full independence from the control of any Hellenistic kingdom was
Rhodes
. After holding out for
one year under siege by Demetrius Poliorcetes
(305?304 BC), the Rhodians built the
Colossus of Rhodes
to commemorate their victory.
[27]
With a height of 32 meters, it was one of the
Seven Wonders of the Ancient World
. Progress in bronze casting made it possible for the Greeks to create large works. Many of the large bronze statues were lost ? with the majority being melted to recover the material.
Laocoon
[
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]
Discovered in Rome in 1506 and seen immediately by
Michelangelo
,
[28]
beginning its huge influence on Renaissance and Baroque art.
Laocoon
, strangled by snakes, tries desperately to loosen their grip without affording a glance at his dying sons. The group is one of very few non-architectural ancient sculptures that can be identified with those mentioned by ancient writers. It is attributed by Pliny the Elder to the
Rhodian
sculptors
Agesander
,
Athenodoros
, and
Polydorus
.
[28]
Johann Joachim Winckelmann
, who first articulated the difference between Greek, Greco-Roman and Roman art, drew inspiration from the
Laocoon
.
Gotthold Ephraim Lessing
based many of the ideas in his 'Laocoon' (1766) on Winckelmann's views on harmony and expression in the visual arts.
[29]
Sperlonga
[
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]
The fragmentary
Sperlonga sculptures
are another series of "baroque" sculptures in the Hellenistic style, perhaps made for the Emperor
Tiberius
, who was certainly present at the collapse of the seaside grotto in southern Italy that they decorated.
[28]
The inscriptions suggest the same sculptors made it who made the Laocoon group,
[30]
or possibly their relations.
"Rococo"
[
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]
The "Baroque" traits in Hellenistic art, predominately sculpture, have been contrasted with a contemporary trend that has been described as "Rococo". The concept of a Hellenistic "Rococo" was coined by Wilhelm Klein in the early 20th century.
[31]
Unlike the dramatic "Baroque" sculptures, the "Rococo" trend emphasized playfull motifs, such as
satyrs
and
nymphs
. Wilhelm Klein considered the sculpture group "The Invitation to the Dance" to be a prime example of the trend.
[32]
[33]
Also lighthearted depictions of
Aphrodite
, the goddess of love, and
Eros
, were seen as typical (as seen, for instance, in the so-called Slipper Slapper Group depicted below). It has later been argued that the preference for the "Rococo" motifs in Hellenistic sculpture can be tied to a changed use of sculpture in general. Private sculpture collecting became more common during the later Hellenistic period, and in such collections there seems to have been a preference for the kinds of motifs characterized as "Rococo".
[34]
Neo-Attic
[
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]
From the 2nd century the
Neo-Attic
or Neo-Classical style is seen by different scholars as either a reaction to baroque excesses, returning to a version of Classical style, or as a continuation of the traditional style for cult statues.
[35]
Workshops in the style became mainly producers of copies for the Roman market, which preferred copies of Classical rather than Hellenistic pieces.
[36]
Paintings and mosaics
[
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]
Paintings and mosaics were important mediums in art, but no examples of paintings on panels have survived the fall to the Romans. It is possible to get some idea of what they were like from related media, and what seem to be copies of or loose derivations from paintings in a wider range of materials.
Landscape
[
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]
Perhaps the most striking element of Hellenistic paintings and mosaics is the increased use of landscape.
[37]
Landscapes in these works of art are representative of familiar naturalistic figures while also displaying mythological and sacro-idyllic elements.
[38]
Landscape friezes and mosaics were commonly used to display scenes from Hellenistic poetry such as that by Herondas and Theocritos. These landscapes that expressed the stories of Hellenistic writers were utilized in the home to emphasize that family's education and knowledge about the literary world.
[39]
Sacro-idyllic means that the most prominent elements of the artwork are those related to sacred and pastoral themes.
[40]
This style that emerged most prevalently in Hellenistic art combines sacred and profane elements, creating a dreamlike setting.
[41]
Sacro-idyllic influences are conveyed in the Roman mosaic "
Nile Mosaic of Palestrina
" which demonstrates fantastical narratives with a color scheme and commonplace components that illustrate the Nile in its passage from Ethiopia to the Mediterranean. The inclusion of Hellenistic backgrounds can also be seen in works throughout Pompeii, Cyrene, Alexandria. Moreover, specifically in Southern Russia, floral features and branches can be found on walls and ceilings strewn in a disordered yet conventional manner, mirroring a late Greek style.
[42]
In addition, "Cubiculum" paintings found in
Villa Boscoreale
include vegetation and a rocky setting in the background of detailed paintings of grand architecture.
Wall paintings
[
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]
Wall paintings began appearing more prominently in the Pompeian period. These wall paintings were not just displayed in places of worship or in tombs.
[43]
Often, wall paintings were used to decorate the home. Wall paintings were common in private homes in Delos, Priene, Thera, Pantikapaion, Olbia, and Alexandria.
[43]
Few examples of Greek wall paintings have survived the centuries. The most impressive, in terms of showing what high-quality Greek painting was like, are those at the Macedonian royal tombs at
Vergina
. Though Greek painters are given tribute to bringing fundamental ways of representation to the Western World through their art. Three main qualities unique to Hellenistic painting style were three-dimensional perspective, the use of light and shade to render form, and
trompe-l'œil
realism.
[44]
Very few forms of Hellenistic Greek painting survive except for wooden
pinakes
panels and those painted on stone. The most famously known stone paintings are found on the Macedonian Tomb at
Agios Athanasios
.
[44]
Researchers have been limited to studying the Hellenistic influences in Roman
frescoes
, for example those of
Pompeii
or
Herculaneum
. In addition, some of the paintings in
Villa Boscoreale
clearly echo lost Hellenistic, Macedonian royal paintings.
[45]
Mediums and technique
[
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]
Recent excavations from the Mediterranean have revealed the technology used in Hellenistic painting.
[46]
Wall art of this period utilized two techniques: secco technique and
fresco
technique.
[46]
Fresco technique required layers of lime-rich plaster to then decorate walls and stone supports.
[46]
On the other hand, no base was necessary for the secco technique, which used gum arabic and egg tempera to paint finalizing details on marble or other stone.
[46]
This technique is exemplified in the Masonry friezes found in Delos.
[46]
Both techniques used mediums that were locally accessible, such as terracotta aggregates in the base layers and natural inorganic pigments, synthetic inorganic pigments, and organic substances as colorants.
[46]
Recent discoveries
[
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]
Recent discoveries include those of chamber tombs in
Vergina
(1987) in the former kingdom of
Macedonia
, where many friezes have been unearthed.
[37]
For example, in Tomb II archaeologists found a Hellenistic-style frieze depicting a lion hunt.
[47]
This frieze found in the tomb supposedly that of
Philip II
is remarkable by its composition, the arrangement of the figures in space and its realistic representation of nature.
[48]
Other friezes maintain a realistic narrative, such as a symposium and banquet or a military escort, and possibly retell historical events.
[47]
There is also the recently restored 1st-century
Nabataean
ceiling frescoes in the Painted House at
Little Petra
in Jordan.
[49]
As the Nabataeans traded with the Romans, Egyptians, and Greeks, insects and other animals observed in the paintings reflect Hellenism while various types of vines are associated with the Greek god,
Dionysus
.
[49]
Recent archaeological discoveries at the cemetery of
Pagasae
(close to modern
Volos
), at the edge of the
Pagasetic Gulf
have brought to light some original works. The excavations of this site led by Dr. Arvanitopoulos may be connected to various Greek painters in the 3rd and 4th centuries and depict scenes that allude to the reign of
Alexander the Great
.
[50]
[51]
In the 1960s, a group of wall paintings was found on
Delos
.
[52]
It is evident that the fragments of friezes found were created by a community of painters who lived during the late Hellenistic period.
[53]
The murals emphasized domestic decoration, conveying the belief these people held that the Delian establishment would remain stable and secure enough for this artwork to be enjoyed by homeowners for many years to come.
[53]
Mosaics
[
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]
Certain
mosaics
, however, provide a pretty good idea of the "grand painting" of the period: these are copies of frescoes. This art form has been used to decorate primarily walls, floors, and columns.
[54]
Mediums and technique
[
edit
]
The development of mosaic art during the
Hellenistic Period
began with
Pebble Mosaics
, best represented in the site of
Olynthos
from 5th century BC. The technique of Pebble Mosaics consisted of placing small white and black pebbles of no specific shape, in a circular or rectangular panel to illustrate scenes of mythology. The white pebbles -in slightly different shades- were placed on a black or blue background to create the image. The black pebbles served to outline the image.
[54]
In the mosaics from the site of
Pella
, from the 4th century BC, it is possible to see a more evolved form of the art. Mosaics from this site display the use of pebbles that were shaded in a wider range of colors and tones. They also show early use of terra-cotta and lead wire to create a greater definition of contours and details to the images in the mosaics.
[54]
Following this example, more materials were gradually added. Examples of this extended use of materials in mosaics of the 3rd century BC include finely cut stones, chipped pebbles, glass and baked clay, known as
tesserae
. This improved the technique of mosaics by aiding the artists in creating more definition, greater detail, a better fit, and an even wider range of colors and tones.
[54]
Despite the chronological order of the appearance of these techniques, there is no actual evidence to suggest that the tessellated necessarily developed from the pebble mosaics.
[55]
Opus vermiculatum
and
opus tessellatum
were two different techniques used during this period of mosaic making.
Opus tessellatum
refers to a redacted tessera (
a small block of stone, tile, glass, or other material used in the construction of a mosaic)
size followed by an increased variety in shape, color, and material as well as
andamento
??or the pattern in which the tessera was laid.
Opus vermiculatum
is oftentimes partnered with this technique but differs in complexity and is known to have the highest visual impact.
[54]
The majority of mosaics were produced and laid on site. However, a number of floor mosaics display the use of the
emblemata
technique, in which panels of the image are created off-site in trays of terra-cotta or stone. These trays were later placed into the setting-bed on the site.
[54]
At Delos, colored grouts were used on opus vermiculatum mosaics, but in other regions this is not common. There is one example of colored grout used in Alexandria on the Dog and Askos mosaic. At Samos, the grouts and the tesserae are both colored.
Studying color here is difficult as the grouts are extremely fragile and vulnerable.
Scientifics research has been a source of interesting information with regard to the grouts and tesserae used in Hellenistic Mosaics. Lead strips were discovered on mosaics as a definiting characteristic of the surface technique. Lead strips are absent from the mosaics here. At Delos, lead strips were common on mosaics in the opus tessellatum style. These strips were used to outline decorative borders and geometric decorative motifs. The strips were extremely common on opus vermiculatum mosaics from Alexandria. Because lead strips were present in both styles of surface types, they cannot be the sole characteristic of one type or the other.
[56]
Tel Dor mosaic
[
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]
A rare example of virtuoso Hellenistic style picture mosaic found in the Levantine coast. Through a technical analysis of the mosaic, researchers suggest that this mosaic was created by itinerant craftsman working in
situ
. Since 2000, over 200 fragments of the mosaic have been discovered at the headline of Tel Dor, however, the destruction of the original mosaic is unknown.
[57]
Excavators suggest that earthquake or urban renewal is the cause. Original architectural context is unknown, but stylistic and technical comparisons suggest a late Hellenistic period date, estimating around the second half of the second century B.C.E. Analyzing the fragments found at the original site, researchers have found that the original mosaic contained a centralized rectangle with unknown iconography surrounded by a series of decorative borders consisting of a perspective meander followed by a mask-and-garland border.
[57]
This mosaic consists of two different techniques of mosaic making,
opus vermiculatum
and
opus tessellatum
.
[57]
Alexander mosaic
[
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]
An example is the
Alexander Mosaic
, showing the confrontation of the young conqueror and the Grand King
Darius III
at the
Battle of Issus
, a mosaic from a floor in the
House of the Faun
at Pompeii (now in
Naples
). It is believed to be a copy of a painting described by Pliny which had been painted by Philoxenus of
Eretria
for King
Cassander
of
Macedon
at the end of the 4th century BC,
[58]
or even of a painting by Apelles contemporaneous with Alexander himself.
[59]
The mosaic allows us to admire the choice of colors along with the composition of the ensemble using turning movement and facial expression.
Stag Hunt mosaic
[
edit
]
The
Stag Hunt Mosaic
by
Gnosis
is a mosaic from a wealthy home of the late 4th century BC, the so-called "House of the Abduction of
Helen
" (or "House of the Rape of Helen"), in
Pella
, The signature ("Gnosis epoesen", i.e. Gnosis created) is the first known signature of a
mosaicist
.
[60]
The
emblema
is bordered by an intricate
floral
pattern, which itself is bordered by stylized depictions of
waves
.
[62]
The mosaic is a pebble mosaic with stones collected from beaches and riverbanks which were set into cement.
[62]
As was perhaps often the case,
[63]
the mosaic does much to reflect styles of painting.
[64]
The light figures against a darker background may allude to
red figure
painting.
[64]
The mosaic also uses
shading
, known to the
Greeks
as
skiagraphia
, in its depictions of the musculature and cloaks of the figures.
[64]
This along with its use of overlapping figures to create
depth
renders the image
three dimensional
.
Sosos
[
edit
]
The Hellenistic period is equally the time of development of the mosaic as such, particularly with the works of
Sosos of Pergamon
, active in the 2nd century BC and the only mosaic artist cited by Pliny.
[65]
His taste for
trompe-l'œil
(optical illusion) and the effects of the medium are found in several works attributed to him such as the "Unswept Floor" in the Vatican museum,
[66]
representing the leftovers of a repast (fish bones, bones, empty shells, etc.) and the "Dove Basin" (made of small
opus vermiculatum
tesserae
stones)
[67]
at the
Capitoline Museum
, known by means of a reproduction discovered in
Hadrian's Villa
.
[68]
In it one sees four doves perched on the edge of a gilt bronze basin filled with water. One of them is watering herself while the others seem to be resting, which creates effects of reflections and shadow perfectly studied by the artist. The "Dove Basin" mosaic panel is an emblema, designed to be the central point of an otherwise plain mosaic floor. The emblema was originally an import from the Hellenistic eastern Mediterranean, where, in cities such as
Pergamom
,
Ephesus
and
Alexandria
, there were artists specializing in mosaics.
[67]
One of them was Sosos of Pergamon, the most celebrated mosaicist of antiquity who worked in the second century BC.
[67]
Delos
[
edit
]
According to the French archaeologist
Francois Chamoux
, the
mosaics of Delos
in the
Cyclades
represent the zenith of Hellenistic-period mosaic art employing the use of
tesserae
to form complex, colorful scenes.
[69]
This style of mosaic continued until the
end of Antiquity
and may have had an impact on the widespread use of mosaics in the Western world during the
Middle Ages
.
[69]
Pottery
[
edit
]
The Hellenistic Age comes immediately after the great age of painted
Ancient Greek pottery
, perhaps because increased prosperity led to more use of fine metalware (very little now surviving) and the decline of the fine painted "vase" (the term used for all vessel shapes in pottery). Most vases of the period are black and uniform, with a shiny appearance approaching that of varnish, decorated with simple motifs of flowers or
festoons
. The shapes of the vessels are often based on metalwork shapes: thus with the
lagynos
, a wine jar typical of the period. Painted vase types that continued production into the Hellenistic period include
Hadra vases
and
Panathenaic amphora
.
Megarian ware
[
edit
]
It is also the period of so-called Megarian ware:
[72]
mold-made vases with decoration in relief appeared, doubtless in imitation of vases made of precious metals. Wreaths in relief were applied to the body of the vase. One finds also more complex relief, based on
animals
or
legendary creatures
.
West Slope ware
[
edit
]
Red-figure painting
had died out in
Athens
by the end of the 4th century BC to be replaced by what is known as
West Slope Ware
, so named after the finds on the west slope of the
Athenian Acropolis
. This consisted of painting in a tan coloured slip and white paint on a fired black slip background with some incised detailing.
[73]
Representations of people diminished, replaced with simpler motifs such as wreaths, dolphins, rosettes, etc. Variations of this style spread throughout the Greek world with notable centres in
Crete
and
Apulia
, where figural scenes continued to be in demand.
Apulian
[
edit
]
Gnathia vases
[
edit
]
Gnathia vases
however were still produced not only in
Apulian
, but also in
Campanian
,
Paestan
and
Sicilian
vase painting.
Canosa ware
[
edit
]
In
Canosa di Puglia
in South Italy, in 3rd century BC burials one might find
vases
with fully three-dimensional attachments.
[74]
The distinguishing feature of Canosa vases are the water-soluble paints. Blue, red, yellow, light purple and brown paints were applied to a white ground.
Centuripe ware
[
edit
]
The
Centuripe ware
of Sicily, which has been called "the last gasp of Greek vase painting",
[1]
had fully coloured
tempera
painting including groups of figures applied after firing, contrary to the traditional practice. The fragility of the pigments prevented frequent use of these vases; they were reserved for use in funerals, and many were purely for display, for example with lids that did not lift off. The practice perhaps continued into the 2nd century BC, making it possibly the last vase painting with significant figures.
[75]
A workshop was active until at least the 3rd century BC. These vases are characterized by a base painted pink. The figures, often female, are represented in coloured clothing: blue-violet
chiton
, yellow
himation
, white veil. The style is reminiscent of
Pompeii
and draws more from grand contemporary paintings than on the heritage of the red-figure pottery.
Terracotta figurines
[
edit
]
Bricks and tiles were used for architectural and other purposes. Production of
Greek terracotta figurines
became increasingly important. Terracotta figurines represented divinities as well as subjects from contemporary life. Previously reserved for religious use, in Hellenistic Greece the terracotta was more frequently used for funerary and purely decorative, purposes. The refinement of molding techniques made it possible to create true miniature statues, with a high level of detail, typically painted.
Several Greek styles continued into the Roman period, and Greek influence, partly transmitted via the
Ancient Etruscans
, on
Ancient Roman pottery
was considerable, especially in figurines.
Tanagra figurines
[
edit
]
Tanagra figurines
, from
Tanagra
in
Boeotia
and other centers, full of lively colours, most often represent elegant women in scenes full of charm.
[76]
At
Smyrna
, in Asia Minor, two major styles occurred side-by-side: first of all, copies of masterpieces of great sculpture, such as the
Farnese
Hercules
in gilt terracotta.
Grotesques
[
edit
]
In a completely different genre, there are the "grotesques", which contrast violently with the canons of "Greek beauty": the
koroplathos
(figurine maker) fashions deformed bodies in tortuous poses ?
hunchbacks
,
epileptics
,
hydrocephalics
,
obese
women, etc. One could therefore wonder whether these were medical models, the town of
Smyrna
being reputed for its
medical school
. Or they could simply be caricatures, designed to provoke laughter. The "grotesques" are equally common at
Tarsus
and also at
Alexandria
.
Negro
[
edit
]
One theme which emerged was the "negro", particularly in
Ptolemaic
Egypt: these statuettes of Black adolescents were successful up to the Roman period.
[77]
Sometimes, they were reduced to echoing a form from the great sculptures: thus one finds numerous copies in miniature of the
Tyche
(Fortune or Chance) of
Antioch
, of which the original dates to the beginning of the 3rd century BC.
Hellenistic pottery designs can be found in the city of
Taxila
in modern
Pakistan
, which was colonized with Greek artisans and potters after Alexander conquered it.
-
A bottle (
Lekythos
) in
Gnathia style
-
Eros
,
with a painting
depicting a figure
playing with a ball
, Apulia (
Magna Graecia
), Italy, third quarter of the 4th century BC
-
Krater
,
Apulian vase painting
with relief decorations, 330-320 BC
-
Krater
with
volutes
in terracotta;
Greek art
from
Southern Italy
,
c.
330
-320 BC.
-
A
sphageion
with
gorgoneions
,
from South Italy
,
Canosa di Puglia
, late 4th to early 3rd century BC, clay, slip, paint.
Pushkin Museum
, Moscow
-
An
askos
in the shape of a woman's head, 270-200 BC, from
Canosa di Puglia
-
Female head partially imitating a vase (
lekythos
), 325-300 BC.
-
Ancient Greek
terracotta
head of a young man, found in
Tarent
, ca. 300 BC, Antikensammlung Berlin.
-
Tanagra figurine playing a
pandura
, 200 BC
Minor arts
[
edit
]
Metallic art
[
edit
]
Because of so much bronze statue melting, only the smaller objects still exist. In Hellenistic Greece, the raw materials were plentiful following eastern conquests.
The work on metal vases took on a new fullness: the artists competed among themselves with great virtuosity. The
Thracian
Panagyurishte Treasure
(from modern
Bulgaria
), includes Greek objects such as a gold
amphora
with two rearing
centaurs
forming the handles.
The
Derveni Krater
, from near
Thessaloniki
, is a large bronze
volute
krater
from about 320 BC, weighing 40 kilograms, and finely decorated with a 32-centimetre-tall frieze of figures in relief representing
Dionysus
surrounded by
Ariadne
and her procession of
satyrs
and
maenads
.
[78]
The neck is decorated with ornamental motifs while four satyrs in high relief are casually seated on the shoulders of the vase.
The evolution is similar for the art of jewelry. The jewelers of the time excelled at handling details and filigrees: thus, the funeral wreaths present very realistic leaves of trees or stalks of wheat. In this period the insetting of precious stones flourished.
Glass and glyptic art
[
edit
]
It was in the Hellenistic period that the Greeks, who until then only knew molded glass, discovered the technique of
glass blowing
, thus permitting
new forms
. Beginning in
Syria
,
[79]
the art of glass developed especially in Italy. Molded glass continued, notably in the creation of
intaglio
jewelry.
The art of
engraving gems
hardly advanced at all, limiting itself to mass-produced items that lacked originality. As compensation, the
cameo
made its appearance. It concerns cutting in relief on a stone composed of several colored layers, allowing the object to be presented in relief with more than one color. The Hellenistic period produced some masterpieces like the
Gonzaga cameo
, now in the
Hermitage Museum
, and spectacular
hardstone carvings
like the
Cup of the Ptolemies
in Paris.
[80]
Coinage
[
edit
]
Coinage in the Hellenistic period increasingly used portraits.
[81]
-
The golden
larnax
of
Philip II of Macedon
which contained his remains. It was constructed in 336 BC. It weighs 11 kilos and is made of 24 carat gold.
Vergina
, Greece.
-
The golden wreath of
Philip II
found inside the golden larnax. It weighs 717 grams.
-
Golden jewelry to be worn as hair ornaments, 3rd century BC, Stathatos Collection,
National Archaeological Museum of Athens
.
-
The
Gonzaga Cameo
3rd century BC, in the Hermitage Museum, St. Petersburg
-
Apollonios of Athens, gold ring with portrait in
garnet
, c. 220 BC
-
Philip V
, "
the darling of Hellas
", wearing the
royal
diadem
-
Sardonyx
cameo
of a
Ptolemaic
prince as the Greek god
Hermes
,
Cabinet des medailles
, Paris, 2nd century BC
Later Roman copies
[
edit
]
Spurred by the Roman acquisition, elite consumption and demand for Greek art, both Greek and Roman artists, particularly after the establishment of
Roman Greece
, sought to reproduce the marble and bronze artworks of the Classical and Hellenistic periods. They did so by creating
molds
of original sculptures, producing
plaster casts
that could be sent to any sculptor's workshop of the Mediterranean where these works of art could be duplicated. These were often faithful reproductions of originals, yet other times they fused several elements of various artworks into one group, or simply added
Roman portraiture
heads to preexisting athletic Greek bodies.
[82]
-
The
Dying Gaul
, a Roman marble copy of a
Hellenistic
work of the late third century BC
Capitoline Museums
, Rome.
-
Roman copy of an original Hellenistic bust depicting
Seleucus I Nicator
(founder of the
Seleucid Empire
), found in
Herculaneum
, Italy
-
A Roman copy of a lost Hellenistic original (2nd century BC) depicting
Homer
, from
Baiae
, Italy,
British Museum
-
Statue of
Mars
from the
Forum of Nerva
, 2nd century AD, based on an
Augustan-era
original that in turn used a Hellenistic Greek model of the 4th century BC,
Capitoline Museums
[83]
-
Drunken old woman clutching a
lagynos
. Marble, Roman copy after a Greek original of the 2nd century BC, credited to
Myron
.
-
Roman bronze reduction of Myron's
Discobolos
, 2nd century AD
-
The
Boxer of Quirinal
, a Hellenistic sculpture in the
National Museum of Rome
.
-
Child playing with a goose. Roman copy (1st?2nd centuries AD) of a Greek original, in the Louvre.
-
The
Tyche
of Antioch. Roman copy after a Greek bronze original by
Eutychides
of the 3rd century BC.
-
Old market woman, Roman artwork after a Hellenistic original of the 2nd century BC.
-
Demosthenes
. Marble, Roman copy after an original by
Polyeuktos
(ca. 280).
-
Crouching Aphrodite, marble copy from the 1st century BC after a Hellenistic original of the 3rd century BC.
-
Artemis of the Rospigliosi type. Marble, Roman artwork of the Imperial Era, 1st?2nd centuries AD. Copy of a Greek original, Louvre
-
Roman marble copy of
Boy with Thorn
, c.25 - 50 CE,
-
The
Farnese Hercules
, probably an enlarged copy made in the early 3rd century AD and signed by a certain Glykon, from an original by
Lysippos
(or one of his circle) that would have been made in the 4th century BC; the copy was made for the
Baths of Caracalla
in Rome (dedicated in 216 AD), where it was recovered in 1546
See also
[
edit
]
References and sources
[
edit
]
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b
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Burn 2005
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Pollitt 1986
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Winter 2006
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Anderson 1927
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Havelock 1968
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McKenzie, Judith S. (2011).
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Smith, 33?40, 136?140
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. Cambridge University Press.
ISBN
978-0-521-27672-6
.
- Richter, Gisela M. A. (1970).
The Sculpture and Sculptors of the Greeks
.
- Singleton, Esther (1910).
Famous sculpture as seen and described by great writers
. Dodd, Mead & Company.
- Stewart, Andrew (2014).
Art in the Hellenistic World: An Introduction
. Cambridge University Press.
ISBN
978-1-107-62592-1
.
- Winter, Frederick (2006).
Studies in Hellenistic Architecture
.
ISBN
978-0802039149
.
- Zanker, Graham (2004).
Modes of Viewing in Hellenistic Poetry and Art
. University of Wisconsin Press.
ISBN
978-0299194505
.
Further reading
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- Anderson, Jane E. A.
Body Language in Hellenistic Art and Society
. First edition. Oxford: Oxford University Press, 2015.
- Stewart, Andrew F.
Art in the Hellenistic World: An Introduction
. New York: Cambridge University Press, 2014.
- Trofimova, Anna A.
Imitatio Alexandri in Hellenistic Art: Portraits of Alexander the Great and Mythological Images
. Rome: L'Erma di Bretschneider, 2012.
- Zanker, G.
Modes of Viewing in Hellenistic Poetry and Art
. Madison: University of Wisconsin Press, 2004.
External links
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