front cover of Chersonesan Studies 1
Chersonesan Studies 1
The Polychrome Grave Stelai from the Early Hellenistic Necropolis
By Richard Posamentir
University of Texas Press, 2010

Chersonesan Studies 1 presents the painted grave stelai of the Early Hellenistic necropolis of Chersonesos Taurike, a Greek city on the northern shore of the Black Sea. This unique collection of over one hundred objects is of major interest to students of ancient art and Greek culture. Their polychrome decoration has been extraordinarily well preserved, a rarity in the ancient world. They compose a remarkable, even unique, body of evidence of Greek funerary memorial sculpture: their shapes are gender-specific, their depicted objects are gender- and age-specific, and they can be ascribed to a handful of specific workshops. Their surprising uniformity requires an explanation, since comparable assemblages from other parts of the Greek world show substantial diversity in all these aspects.

This book provides the first complete catalog and description of the stelai, together with full-color illustrations of all the significant stelai and many details. Through his painstaking recovery and reassembling of fragments, as well as the use of advanced photographic techniques, Richard Posamentir has been able to add a whole new dimension to the study of these artifacts. The volume covers the history of the stelai, analysis of the workshops, and reconstruction of the necropolis that the stelai originally graced. A comparison chapter discusses how the stelai fit into the context of Greek funerary art and provides insights into the culture and society of a city on the Black Sea.

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front cover of Hellenistic Sculpture II
Hellenistic Sculpture II
The Styles of ca. 200–100 B.C.
Brunilde Sismondo Ridgway
University of Wisconsin Press, 2008
The second century B.C. is one of the most prolific periods in the production of Greek and Hellenistic art, but it is a period extremely vexing to scholars. Very few of the works traditionally cited as examples of this century's art can be dated with certainty, and those that plausibly belong to it reflect no obvious general trends in function, iconography, or style. In Hellenistic Sculpture II: The Styles of ca. 200-100 B.C., the second of Brunilde Sismondo Ridgway's three volumes on Hellenistic sculpture, she takes on the challenge of interpreting and dating the art of this complex and lively century.
During this period, artistic production was stimulated by the encounter between Greece and Rome and fueled by the desire of the kings of Pergamon to emulate the past glories of fifth-century Athens. Statuary in relief and in the round, often at monumental scale, was created in a variety of styles. Ridgway attempts to determine what can be securely considered to have been produced during the second century B.C. In the course of her exploration, she critically scrutinizes most of the best-known pieces of Greek sculpture, ultimately revealing a tentative but plausible picture of the artistic trends of 200–100 B.C.
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