Overview

This lavishly illustrated volume presents a systematic survey of Greek art and archaeology from the collapse of Mycenaean civilization to the dissolution of the Ptolemaic realm. The book begins with an introductory chapter covering the basic principles of archaeological research as well as a concise survey of the developments that led to the establishment of classical archaeology as an academic discipline. Four chapters follow, covering developments in Greek art and archaeology in the Early Iron Age, the Archaic, Classical, and Hellenistic periods respectively. Through concise, systematic coverage of the main categories of classical monuments, the reader is taken on a tour of ancient Greece through the most important period in its history, the first millennium BC. Architecture and city planning, sculpture, painting, pottery, metallurgy, jewelry, and numismatics are some of the areas covered. The book caters primarily to the nonspecialist looking for the essential in ancient Greece. The text is divided into accessible, user-friendly sections including case studies, terminology, charts, maps, a timeline, and full index. Designed as an academic textbook, the volume will interest anyone seeking an inclusive and detailed survey of the most important material remains of ancient Greek civilization. Originally published in Greek by Kapon Edtions (Athens 2011), Greek Art and Archaeology is now expanded with additional material and illustrations specially provided for this edition, and in a translation by Nicola Wardle.

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9781937040574

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Reviews

Plantzos, by contrast to [previous introductory textbooks on Greek art], situates Greek art within the framework of classical archaeology (and also classical studies), as well as within the growing field of reception studies. He interests readers in the history of the discipline, including the place of museums in historical discourse, and the importance of archaeological context. His emphasis on terminology, the combination of a linear and thematic approach, rich contextual references, and bibliographies help to move this old conversation into a new direction. The book is systematic and comprehensive on the one hand, yet user-friendly on the other (e.g. box texts, bullet points, generous illustrations). Not surprisingly, Plantzos offers ample discussions of gems, coins, terracottas, bronzes, and wall-paintings (something not attempted in quite this way since Boardman), indicating that these categories are as important as sculpture and architecture in the study of ancient Greek visual and material culture. Tyler Jo Smith, University of Virginia Plantzos' book differs from the many available handbooks on Greek art (including my own, now rather old) in a number of significant ways. It is a big book but very succinct, and thereby packs a lot of information not accessible in the usual handbooks, and it presents the whole in a proper historical perspective including the element of 'reception'. It is moreover heavily illustrated, which is essential but often inadequate through lack of energy on the part of the authors or publishers; it is not easy nowadays to assemble the impressive range of illustrations that appears here. Moreover, it includes much that wrongly gets ignored in other books - plans, reconstructions, etc. Another advantage is that it is written by a Greek scholar and teacher so that there seems to be a certain immediacy of communication of what is essential in Greek art. John Boardman, Oxford University, Emeritus

Plantzos, by contrast to [previous introductory textbooks on Greek art], situates Greek art within the framework of classical archaeology (and also classical studies), as well as within the growing field of reception studies. He interests readers in the history of the discipline, including the place of museums in historical discourse, and the importance of archaeological context. His emphasis on terminology, the combination of a linear and thematic approach, rich contextual references, and bibliographies help to move this old conversation into a new direction. The book is systematic and comprehensive on the one hand, yet user-friendly on the other (e.g. box texts, bullet points, generous illustrations). Not surprisingly, Plantzos offers ample discussions of gems, coins, terracottas, bronzes, and wall-paintings (something not attempted in quite this way since Boardman), indicating that these categories are as important as sculpture and architecture in the study of ancient Greek visual and material culture. Tyler Jo Smith, University of Virginia Plantzos' book differs from the many available handbooks on Greek art (including my own, now rather old) in a number of significant ways. It is a big book but very succinct, and thereby packs a lot of information not accessible in the usual handbooks, and it presents the whole in a proper historical perspective including the element of 'reception'. It is moreover heavily illustrated, which is essential but often inadequate through lack of energy on the part of the authors or publishers; it is not easy nowadays to assemble the impressive range of illustrations that appears here. Moreover, it includes much that wrongly gets ignored in other books - plans, reconstructions, etc. Another advantage is that it is written by a Greek scholar and teacher so that there seems to be a certain immediacy of communication of what is essential in Greek art. John Boardman, Oxford University, Emeritus Plantzos, by contrast to [previous introductory textbooks on Greek art], situates Greek art within the framework of classical archaeology (and also classical studies), as well as within the growing field of reception studies. He interests readers in the history of the discipline, including the place of museums in historical discourse, and the importance of archaeological context. His emphasis on terminology, the combination of a linear and thematic approach, rich contextual references, and bibliographies help to move this old conversation into a new direction. The book is systematic and comprehensive on the one hand, yet user-friendly on the other (e.g. box texts, bullet points, generous illustrations). Not surprisingly, Plantzos offers ample discussions of gems, coins, terracottas, bronzes, and wall-paintings (something not attempted in quite this way since Boardman), indicating that these categories are as important as sculpture and architecture in the study of ancient Greek visual and material culture. Tyler Jo Smith, University of Virginia Plantzos' book differs from the many available handbooks on Greek art (including my own, now rather old) in a number of significant ways. It is a big book but very succinct, and thereby packs a lot of information not accessible in the usual handbooks, and it presents the whole in a proper historical perspective including the element of 'reception'. It is moreover heavily illustrated, which is essential but often inadequate through lack of energy on the part of the authors or publishers; it is not easy nowadays to assemble the impressive range of illustrations that appears here. Moreover, it includes much that wrongly gets ignored in other books - plans, reconstructions, etc. Another advantage is that it is written by a Greek scholar and teacher so that there seems to be a certain immediacy of communication of what is essential in Greek art. John Boardman, Oxford University, Emeritus -This readable and thorough introductory textbook includes boxes with information on people, places, and artifacts, and definitions of terms to enhance the text. The line drawings and many beautiful illustrations capture the reader's interest. Chapters cover the methods of classical archaeology, the early Iron Age, and the Archaic, Classical, and Hellenistic periods. [...] Of interest to professors seeking a new textbook, and students and others interested in an introduction to classical art, culture, and archaeology. Summing Up: Recommended. General and undergraduate collections; faculty.- --N. Mactague, Aurora University, CHOICE, March 2017 -Plantzos, by contrast to [previous introductory textbooks on Greek art], situates Greek art within the framework of classical archaeology (and also classical studies), as well as within the growing field of reception studies. He interests readers in the history of the discipline, including the place of museums in historical discourse, and the importance of archaeological context. His emphasis on terminology, the combination of a linear and thematic approach, rich contextual references, and bibliographies help to move this old conversation into a new direction. The book is systematic and comprehensive on the one hand, yet user-friendly on the other (e.g. box texts, bullet points, generous illustrations). Not surprisingly, Plantzos offers ample discussions of gems, coins, terracottas, bronzes, and wall-paintings (something not attempted in quite this way since Boardman), indicating that these categories are as important as sculpture and architecture in the study of ancient Greek visual and material culture.- Tyler Jo Smith, University of Virginia -Plantzos' book differs from the many available handbooks on Greek art (including my own, now rather old) in a number of significant ways. It is a big book but very succinct, and thereby packs a lot of information not accessible in the usual handbooks, and it presents the whole in a proper historical perspective including the element of 'reception'. It is moreover heavily illustrated, which is essential but often inadequate through lack of energy on the part of the authors or publishers; it is not easy nowadays to assemble the impressive range of illustrations that appears here. Moreover, it includes much that wrongly gets ignored in other books - plans, reconstructions, etc. Another advantage is that it is written by a Greek scholar and teacher so that there seems to be a certain immediacy of communication of what is essential in Greek art.- John Boardman, Oxford University, Emeritus This readable and thorough introductory textbook includes boxes with information on people, places, and artifacts, and definitions of terms to enhance the text. The line drawings and many beautiful illustrations capture the reader's interest. Chapters cover the methods of classical archaeology, the early Iron Age, and the Archaic, Classical, and Hellenistic periods. [...] Of interest to professors seeking a new textbook, and students and others interested in an introduction to classical art, culture, and archaeology. Summing Up: Recommended. General and undergraduate collections; faculty. --N. Mactague, Aurora University, CHOICE, March 2017 This is one of the most instructively illustrated textbooks that this reviewer has ever seen. Each of the 592 magnificent color illustrations has been strategically positioned to coordinate with accompanying test and incredibly well blended into the large page format. Commentary is well organized, terse, pointed and minimalist in description. Bibliographies accompany each chapter although omitting some prominent American scholarship. To facilitate student comprehension chronological tables, maps, and site plans are abundant and complemented by specific treatment of major art or architectural examples. [...] As a textbook this volume provides a very viable platform current, comprehensive, and convenient for teaching a survey approach which promotes more than a fleeting academic traction. Henry V. Bender, St. Joseph's University, Classical Journal 2017.09.01 Plantzos, by contrast to [previous introductory textbooks on Greek art], situates Greek art within the framework of classical archaeology (and also classical studies), as well as within the growing field of reception studies. He interests readers in the history of the discipline, including the place of museums in historical discourse, and the importance of archaeological context. His emphasis on terminology, the combination of a linear and thematic approach, rich contextual references, and bibliographies help to move this old conversation into a new direction. The book is systematic and comprehensive on the one hand, yet user-friendly on the other (e.g. box texts, bullet points, generous illustrations). Not surprisingly, Plantzos offers ample discussions of gems, coins, terracottas, bronzes, and wall-paintings (something not attempted in quite this way since Boardman), indicating that these categories are as important as sculpture and architecture in the study of ancient Greek visual and material culture. Tyler Jo Smith, University of Virginia Plantzos' book differs from the many available handbooks on Greek art (including my own, now rather old) in a number of significant ways. It is a big book but very succinct, and thereby packs a lot of information not accessible in the usual handbooks, and it presents the whole in a proper historical perspective including the element of 'reception'. It is moreover heavily illustrated, which is essential but often inadequate through lack of energy on the part of the authors or publishers; it is not easy nowadays to assemble the impressive range of illustrations that appears here. Moreover, it includes much that wrongly gets ignored in other books - plans, reconstructions, etc. Another advantage is that it is written by a Greek scholar and teacher so that there seems to be a certain immediacy of communication of what is essential in Greek art. John Boardman, Oxford University, Emeritus

Plantzos, by contrast to [previous introductory textbooks on Greek art], situates Greek art within the framework of classical archaeology (and also classical studies), as well as within the growing field of reception studies. He interests readers in the history of the discipline, including the place of museums in historical discourse, and the importance of archaeological context. His emphasis on terminology, the combination of a linear and thematic approach, rich contextual references, and bibliographies help to move this old conversation into a new direction. The book is systematic and comprehensive on the one hand, yet user-friendly on the other (e.g. box texts, bullet points, generous illustrations). Not surprisingly, Plantzos offers ample discussions of gems, coins, terracottas, bronzes, and wall-paintings (something not attempted in quite this way since Boardman), indicating that these categories are as important as sculpture and architecture in the study of ancient Greek visual and material culture. Tyler Jo Smith, University of Virginia Plantzos' book differs from the many available handbooks on Greek art (including my own, now rather old) in a number of significant ways. It is a big book but very succinct, and thereby packs a lot of information not accessible in the usual handbooks, and it presents the whole in a proper historical perspective including the element of 'reception'. It is moreover heavily illustrated, which is essential but often inadequate through lack of energy on the part of the authors or publishers; it is not easy nowadays to assemble the impressive range of illustrations that appears here. Moreover, it includes much that wrongly gets ignored in other books - plans, reconstructions, etc. Another advantage is that it is written by a Greek scholar and teacher so that there seems to be a certain immediacy of communication of what is essential in Greek art. John Boardman, Oxford University, Emeritus

Author Information

Dimitris Plantzos is a classical archaeologist, educated at Athens and Oxford. He is the author of various articles and books on Greek art and archaeology, archaeological theory and classical reception, including Hellenistic Engraved Gems (Oxford 1999) and The Archaeologies of the Classical (Athens 2014), and co-editor of the collective volumes A Singular Antiquity (Athens 2008; with Dimitris Damaskos) and the Wiley-Blackwell Companion to Greek Art (Oxford 2012; with Tyler J. Smith). Formerly a Curator at the Museum of Cycladic Art in Athens, he is a professor in classical archaeology at the University of Athens and codirector of the Argos Orestikon Excavation (Kastoria, Greece).

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