The Discobolus, the Venus de Milo and the Parthenon frieze are sculptural masterpieces of worldwide renown. But our appreciation of them as "works of art", enshrined in museums, is far removed from the way in which the ancient Greeks saw and perceived them. In order to fully comprehend Greek sculpture, it is important to recreate the conditions of its production and consider those who commissioned, used and viewed it, as well as the sculptors themselves. This text re-examines the contexts in which classical statuary was made and displayed, and restores its former cultural significance. In its original, intended setting, Greek sculpture not only looked quite different - massed together or elevated on pediments and friezes, and brightly painted - but it also served surprising social, religious and political purposes. Illustrated with diverse examples, this text draws upon literary, historical, and archaeological evidence to explain the techniques of the manufacture of Greek sculpture, tracing its production over a period of some 700 years from the eighth century BC to the Hellenistic period.
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Most Helpful Customer Reviews
5 of 5 people found the following review helpful:
5.0 out of 5 stars
Great art history reference,
By Artprofgal (Grayslake, IL) - See all my reviews
This review is from: Understanding Greek Sculpture: Ancient Meanings, Modern Readings (Paperback)
One of the great strengths of Nigel Spivey's book is his questioning of the usual art historical approach to Greek art as product of genius, a matter of personalities similar to the artists of the Italian Renaissance. He thinks it is futile to search for the originals of the great Greek sculptors when only copies survive. "How then, can the historical meanings of Greek sculpture be fathomed without primary reference to the sculptors themselves." Spivey asserts that with the exception of the Parthenon, Greek sculpture was not created as art for its own sake, rather as an expression of Greek religious, social, and political beliefs. He quotes the respected, art historian, E.H. Gombrich to support his thesis, "Iconology must start with a study of institutions, rather than symbols. Spivey gives philosophical weight to his thesis by referring to Michel Foucault's statement that art is a game of power, "And in that game, institutions and customs are more powerful than individuals"
Spivey writes a concise refutation of the ideas of art historians J.J. Winkelmann and E. H. Gombrich that the impulse in Greek culture to make naturalistic, figurative sculpture and depart from the conceptual art of the early Archaic period was driven by the beginning of democracy in the 5th century B.C. Spivey does not completely discount the connection between style and democracy. He thinks that the development of Classical Greek sculpture in the 5th century was more complex and explains all the historic and artistic developments that led to what Gombrich termed, "The Great Awakening." Of interest to artists and those studying art history is Spivey's explanation of the technical development of Greek sculpture from limestone to marble to bronze. He even includes a set of instructions on the carving of a kouros figure. The second half of the book concerns the use of Greek sculpture in religious rituals, the concept of heroic nudity, a critical analysis of the sculpture of Pheidias, the emergence of the naked Aphrodite, the sculpture of the Hellenistic age, and finally a discussion of Roman and modern attitudes toward Greek sculpture.
1 of 3 people found the following review helpful:
4.0 out of 5 stars
Great book for research.,
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This review is from: Understanding Greek Sculpture: Ancient Meanings, Modern Readings (Paperback)
This very informative look at Greek Sculpture is the perfect book for any person looking for a basic overview of this period of art. This book is written well, in a very understandable prose, and an essential for any researcher looking for basic information and controversial angles/connotations for the greek statuary. Also, check out the Jensen sources.
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