This book challenges the widely held view that Greek pottery vases were objects of great value in antiquity, commissioned by rich patrons from the greatest artists of the day. Instead, they are shown to have been simply low cost versions of tableware originally made in silver and gold. Vickers and Gill demonstrates how Greek pottery first came to be regarded as a high value commodity in the eighteenth century thanks to clever, if not fraudulent, sales techniques. They explore the ways in which w
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This book opens a neglected chapter in the reception of Athenian drama, especially comedy, and gives center stage to a particularly attractive and entertaining series of vase-paintings which have generally been regarded as marginal curiosities. These are the so-called “phylax vases,” nearly all painted in Greek cities of South Italy in the period 400 to 360 B.C. Until now, they have been taken to reflect a sort of local folk-theater, but Taplin argues that most, if not all, reflect Athenian come
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![Comic Angels: And Other Approaches to Greek Drama through Vase Paintings Reviews]( "Comic Angels: And Other Approaches to Greek Drama through Vase Paintings Reviews")
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This book opens a neglected chapter in the reception of Athenian drama, especially comedy, and gives center stage to a particularly attractive and entertaining series of vase-paintings which have generally been regarded as marginal curiosities. These are the so-called phylax vases, nearly all painted in Greek cities of South Italy in the period 400 to 360 B.C. Until now, they have been taken to reflect a sort of local folk-theater, but Taplin argues that most, if not all, reflect Athenian comedy of the sort represented by Aristophanes. His bold thesis brings up questions about the relation of tragedy as well as comedy to vase painting, the cultural climate of the Greek cities in Italy, and the extent to which Athenians were aware of drama as a potential export. It also enriches appreciation of many key aspects of Aristophanic comedy. The book has assembled 46 photographs of vase-paintings, many printed here for the first time outside specialist publications not readily accessible. more info
The British Museum’s holding of Greek Geometric pottery comprises 200 items, covering the period from the 10th to the 7th century BC. Most of these pieces have never been published before. The bulk of the collection – 123 pieces – is Attic, but eleven other regional styles are also represented. These include not only mainland Greek fabrics such as Argive, Boeotian, Corinthian and Laconian, but also the island fabrics of the Cyclades and Crete, as well as those of East Greece and Caria. The colle
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![The Aesthetics of the Greek Banquet: Images of Wine and Ritual (Un Flot Dimages)]( "The Aesthetics of the Greek Banquet: Images of Wine and Ritual (Un Flot Dimages)")
In deepening our understanding of the symposium in ancient Greece, this book embodies the wit and play of the images it explains: those decorating Athenian drinking vessels from the sixth and fifth centuries B.C. The vases used at banquets often depict the actual drinkers who commissioned their production and convey the flowing together of wine, poetry, music, games, flirtation, and other elements that formed the complex structure of the banquet itself. A close reading of the objects handled by
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