The female portrait statue in the Greek world

Başlık:

Yazar:

Dillon, Sheila.

ISBN:

9780521764506

9781107603608

Ek Yazar:

Dillon, Sheila.

Yayım Bilgisi:

New York : Cambridge University Press, 2010.

Fiziksel Tanım:

xvi, 254 p. : ill. ; 27 cm.

Contents:

Introduction: Finding the female portrait in Greek art -- Portrait honors for women in late Classical and Hellenistic Greece -- Clothes and the woman : statue formats and portrait costumes -- The female portrait face -- The "not portrait" style of female portraiture in the Roman period -- Appendix 1: Female portrait statues in fourth-century Athens -- Appendix 2: Female portrait statues on independent Delos (before 166) -- Appendix 3: Female portrait statues on Athenian-controlled Delos (post 166) -- Appendix 4: Female portrait statues in Athens, third-first centuries BCE.

Abstract:

The first detailed analysis of the female portrait statue in the Greek world from the fourth century BCE to the third century CE.

Corporate Subject:

Arkeoloji ihtisas kütüphanesi

Konu Terimleri:

Portre heykelleri -- Yunanistan.

Yunan portre heykelleri.

Kadın -- Yunanistan -- v Portre.

Kadın -- Yunanistan -- Tarih -- 1500.

Kadın resimleri.

Resimlerde insan -- Tarih -- 1500.

Kadın güzelliği (estetik) -- Yunanistan -- Tarih -- 1500.

heykeller -- Yunanistan -- Tarih -- 1500.

Portrait sculpture, Ancient -- Greece.

Portrait sculpture, Greek.

Women -- Greece -- Portraits.

Women -- Greece -- History -- To 1500.

Women in art.

Human figure in art -- History -- To 1500.

Feminine beauty (Aesthetics) -- Greece -- History -- To 1500.

Statues -- Greece -- History -- To 1500.

Geographic Term:

Greece -- History -- To 146 B.C.

Greece -- History -- 146 B.C.-323 A.D.

Mevcut:*

Library	Materyal Türü	Barkod	Yer Numarası	Durum
Searching... Pamukkale Merkez Kütüphanesi	Kitap	0066392	NB1296.3 D555 2010	Searching... Unknown
Searching... Pamukkale Merkez Kütüphanesi	Kitap	0073980	NB1296.3 D555 2010	Searching... Unknown

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On Order

Özet

In this book, Sheila Dillon offers the first detailed analysis of the female portrait statue in the Greek world from the fourth century BCE to the third century CE. A major component of Greek sculptural production, particularly in the Hellenistic period, female portrait statues are mostly missing from our histories of Greek portraiture. Whereas male portraits tend to stress their subject's distinctiveness through physiognomic individuality, portraits of women are more idealized and visually homogeneous. In defining their subjects according to normative ideals of beauty rather than notions of corporeal individuality, Dillon argues that Greek portraits of women work differently than those of men and must be approached with different expectations. She examines the historical phenomenon of the commemoration of women in portrait statues and explores what these statues can tell us about Greek attitudes toward the public display of the female body.

Author Notes

Sheila Dillon is associate professor of Greek and Roman art in the department of Art, Art History and Visual Studies at Duke University. A recipient of fellowships from the National Endowment for the Humanities, the American Academy in Rome, and the American School of Classical Studies at Athens, she is the author of Ancient Greek Portrait Sculpture: Contexts, Subjects, and Styles, which was awarded the James R. Wiseman Book Award by the Archaeological Institute of American in 2008.

Reviews (1)

Choice Review

The study of Greek female portrait statues has been neglected until now. Dillon (Duke) offers a thorough examination of its many exemplars from the fourth to the first century BCE. The previous neglect may result from the conformity of these statues to a limited typology, dominated by an adherence to a general standard of female beauty derived from the imagery of divine females, and to social codes of propriety imposed even on the elite women represented. The repertory exhibits some variation according to contemporary sculptural styles, modes of dress, and coiffeur, but remains close to the repressed social role of its subjects. Identification of statues as "portraits" was hindered by name-bearing inscriptions without statuary, by statues without heads, and by heads without either bodies or particularities of detail. Because so many of these statues lack physical and physiognomic individuality, their indexical reference is primarily to class and type--to a bland imagery of Greek womanhood defined by status and marital position. Contemporary male portraits, characterized by great specificity, and the individualized portraits of Hellenistic royalty--had they been introduced into this book by way of comparison--would have further clarified the socially responsive imagery of these female statues and the constraints imposed on their representations. Summing Up: Recommended. Upper-level undergraduates through faculty/researchers. R. Brilliant emeritus, Columbia University

List of Illustrations	p. ix
Acknowledgments	p. xiii
Abbreviations	p. xv
Introduction: Finding the Female Portrait in Greek Art	p. 1
Chapter 1 Portrait Honors for Women in Late Classical and Hellenistic Greece	p. 9
Chapter 2 Clothes and the Woman: Statue Formats and Portrait Costumes	p. 60
Chapter 3 The Female Portrait Face	p. 103
Chapter 4 The "Not Portrait" Style of Female Portraiture in the Roman Period	p. 135
Conclusion	p. 164
Appendix 1 Female Portrait Statues in Fourth-Century Athens	p. 169
Appendix 2 Female Portrait Statues on Independent Delos (before 166)	p. 171
Appendix 3 Female Portrait Statues on Athenian-Controlled Delos (post-166)	p. 173
Appendix 4 Female Portrait Statues in Athens, Third-First Centuries BCE	p. 176
Notes	p. 179
Selected Bibliography	p. 229
Epigraphic Index	p. 241
Museum Index	p. 244
General Index	p. 248

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