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Summary
Summary
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.
Author Notes
Brunilde Sismondo Ridgway is Rhys Carpenter Professor Emerita of Classical and Near Eastern Archaeology at Bryn Mawr College.
Reviews (1)
Choice Review
Beginning Greek-art students will study assigned works, e.g., Venus de Milo, and learn that the subject, date, purpose, and site of these works are not secure, but their worth is. Ancient art survey lecturers will find arguments and references to support indefinite data on art that is foreign not only to the Near Eastern, Oriental, and Primitive art minds but also to Classical Greek values. Greek art experts will find a careful sparring partner whose opinions (e.g., Pamela A. Webb's Hellenistic Architectural Sculpture, CH, Apr'97) will affect future scholarship. Each reader who slowly dips in here and there or reads arduously from beginning to end will be enthralled. But this tome will not fully reveal second-century-BCE eastern Mediterranean art. For good pictures and direct descriptions one needs art history texts or other Greek-art introductions. The erudite Ridgway (emer., Bryn Mawr) shows her viewpoint and assumes readers have a basic vocabulary and knowledge of art. The bibliography is perhaps half English, so her digest of these experts and her new, highly empirical responses add significant resources to what there is on this presently popular period. Upper-division undergraduates through professionals. E. L. Anderson; formerly, Lansing Community College
Table of Contents
| Plates | p. ix |
| Illustrations | p. xiii |
| Preface | p. xv |
| 1 Hellenistic Sculpture in the Second Century B.C. | p. 3 |
| 2 The Shadow of the Pergamon Altar | p. 19 |
| 3 The Telephos Frieze and Continuous Narrative | p. 67 |
| 4 Architectural Sculpture: A Roundup | p. 103 |
| 5 Original Statuary in the Round | p. 143 |
| 6 Original Reliefs: Funerary and Votive | p. 189 |
| 7 Cult Images and Masters | p. 230 |
| 8 The Problem of Copies | p. 268 |
| 9 Odds and Ends | p. 302 |
| List of Monuments | p. 339 |
| Bibliography | p. 341 |
| Credits for Plates | p. 365 |
| Selective Index | p. 367 |