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Those in the field of classical art will appreciate this investigation of the most common remnant of ancient Greek society available to the modern scholar, the painted vase. Guy Hedreen discusses how the imagery on Greek vases is only sometimes used as a narrative device, and delves further into the extent to which visual imagery depends upon literary sources. With the backdrop of one of the world's earliest, and some would argue greatest stories ever told, the sacking of Troy, Hedreen brings the reader into one of the most current and persistent topics in the art world: Narrative vs. Art. Employing a wide range of stunning visual imagery to illustrate his points, this insightful original text, Capturing Troy is a valuable new contribution to the subject, accessible to the learned scholar and beginning student alike.
Guy Michael Hedreen is Professor of Art, Williams College.

On museum visits, we pass by beautiful, well-preserved vases from ancient Greece—but how often do we understand what the images on them depict? In Image and Myth, Luca Giuliani tells the stories behind the pictures, exploring how artists of antiquity had to determine which motifs or historical and mythic events to use to tell an underlying story while also keeping in mind the tastes and expectations of paying clients.

 

Covering the range of Greek style and its growth between the early Archaic and Hellenistic periods, Giuliani describes the intellectual, social, and artistic contexts in which the images were created. He reveals that developments in Greek vase painting were driven as much by the times as they were by tradition—the better-known the story, the less leeway the artists had in interpreting it. As literary culture transformed from an oral tradition, in which stories were always in flux, to the stability of written texts, the images produced by artists eventually became nothing more than illustrations of canonical works. At once a work of cultural and art history, Image and Myth builds a new way of understanding the visual culture of ancient Greece.

Using material remains, as well as the evidence of contemporary Greek history, rhetoric, and poetry, David Castriota interprets the Athenian monuments as vehicles of an official ideology intended to celebrate and justify the present in terms of the past.

    Castriota focuses on the strategy of ethical antithesis that asserted Greek moral superiority over the “barbaric” Persians, whose invasion had been repelled a generation earlier.  He examines how, in major public programs of painting and sculpture, the leading artists of the period recast the Persians in the guise of wild and impious mythic antagonists to associate them with the ethical flaws or weaknesses commonly ascribed to women, animals, and foreigners.  The Athenians, in contrast, were compared to mythic protagonists representing the excellence and triumph of Hellenic culture.

    Castriota’s study is innovative in emphasizing the ethical implication of mythic precedents, which required substantial alterations to render them more effective as archetypes for the defense of Greek culture against a foreign, morally inferior enemy.  The book looks in new ways at how the patrons and planners sought to manipulate viewer response through the selective presentation or repackaging of mythic traditions.

Before the world knew of the thinker who “philosophizes with a hammer,” there was a young, passionate thinker who was captivated by the two forces found within Greek art: Dionysus and Apollo. In this essay, which was the forerunner to his groundbreaking book The Birth of Tragedy, The Dionysian Vision of the World provides an unparalleled look into the philosophical mind of one of Europe’s greatest and provocative intellects at the beginning of his philosophical interrogation on the subject of art. “While dreaming is the game man plays with reality as an individual, the visual artist (in the larger sense) plays a game with dreaming.” This is the Dionysian vision of the world.

In this wide-ranging study, Richard Neer offers a new way to understand the epoch-making sculpture of classical Greece. Working at the intersection of art history, archaeology, literature, and aesthetics, he reveals a people fascinated with the power of sculpture to provoke wonder in beholders.  Wonder, not accuracy, realism, naturalism or truth, was the supreme objective of Greek sculptors. Neer traces this way of thinking about art from the poems of Homer to the philosophy of Plato. Then, through meticulous accounts of major sculpture from around the Greek world, he shows how the demand for wonder-inducing statues gave rise to some of the greatest masterpieces of Greek art. Rewriting the history of Greek sculpture in Greek terms and restoring wonder to a sometimes dusty subject, The Emergence of the Classical Style in Greek Sculpture is an indispensable guide for anyone interested in the art of sculpture or the history of the ancient world.