By Tyler Jo Smith and Dimitris Plantzos
A entire, authoritative account of the advance Greek paintings throughout the 1st millennium BC.
An useful source for students facing the artwork, fabric tradition and background of the post-classical world
Includes voices from such different fields as artwork heritage, classical stories, and archaeology and gives a range of perspectives to the topic
Features an cutting edge crew of chapters facing the reception of Greek artwork from the center a long time to the present
Includes chapters on Chronology and Topography, in addition to Workshops and Technology
Includes 4 significant sections: varieties, instances and areas Contacts and Colonies photos and Meanings Greek artwork: historic to vintage
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Extra info for A Companion to Greek Art
2 Topography Greece’s physical landscape has developed as a consequence of the country’s active geological history, climate, and, to a lesser extent, the effects of human activity. Geologically, the Greek mainland, Aegean islands and Ionian coast are the result of the movement of three plates: the sedimentary Aegean plate is being forced north into the Eurasian plate by the subduction of the African plate. The dipping under the Aegean of the African plate has caused not just the distortion of the geological strata of Greece, but also the high level of volcanic activity and earthquakes (Sauerwein 1998: 3).
Upon death, the level of carbon-14 will drop and, as the rate of decay follows a regular pattern, it is possible to use this to calculate the date of the organic material (Renfrew and Bahn 2000: 138–139). While the use of accelerator mass spectrometry (AMS) has decreased the amount of sample required, calibration with dendrochronology has highlighted that levels of carbon-14 in the atmosphere are not always constant, which affects the accuracy of any calculations. This difficulty is particularly true for samples before 1000 BC.
Publius Synistor, Boscoreale. c. 50–40 BC (New York, Metropolitan Museum of Art. Rogers Fund, 1903. n. 5. Image © The Metropolitan Museum of Art/Art Resource/Scala, Florence). indd 9 2/28/2012 4:32:44 AM Plate 10 Mosaic signed by Gnosis, ‘House of the Rape of Helen’ at Pella. ‘The Deer Hunt’. c. 325–300 BC (© World History Archive/Alamy). indd 10 2/28/2012 4:32:47 AM Plate 11 Bronze krater from Derveni (northern Greece). Dionysos and Ariadne. 330–320 BC (Thessaloniki Archaeological Museum B1. © DeAgostini/SuperStock).