Ebook The Art of Vase-Painting in Classical Athens, by Martin Robertson
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The Art of Vase-Painting in Classical Athens, by Martin Robertson
Ebook The Art of Vase-Painting in Classical Athens, by Martin Robertson
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In this book, Professor Martin Robertson, author of A History of Greek Art (CUP 1975) and A Shorter History of Greek Art (CUP 1981), draws together the results of a lifetime's study of Greek vase-painting, tracing the history of figure-drawing on Athenian pottery from the invention of the "red-figure" technique in the later archaic period to the abandonment of figured vase-decoration two hundred years later. The book covers red-figure and also work produced over the same period in the same workshops in black-figure and other techniques, especially that of drawing in outline on a white ground. This book is a major contribution to the history of Greek vase-painting and anyone seriously interested in the subject--whether scholar, student, curator, collector or amateur--will find it essential reading.
- Sales Rank: #1418178 in Books
- Brand: Brand: Cambridge University Press
- Published on: 1994-01-28
- Original language: English
- Number of items: 1
- Dimensions: 10.87" h x .75" w x 8.62" l, 1.80 pounds
- Binding: Paperback
- 364 pages
- Used Book in Good Condition
Review
"...a clear and enjoyable style. Robertson's life-long experience in the field of Greek art brings authority and depth to the study. The significant themes, for instance, are discussed in the light of a vast knowledge of Greek mythology, history, and culture." Religious Studies Review
"...a thorough, sober, yet critical, and very scholarly work which will provide hours of learned company for the specialist art historian, and from which the nonspecialist reader can derive extensive information and great enjoyment." Birgitte Ginge, Classical World
From the Back Cover
In this book, Professor Martin Robertson draws together the results of a lifetime's study of Greek vase-painting, tracing the history of figure-drawing on Athenian pottery from the invention of the 'red-figure' technique in the later archaic period to the abandonment of figured vase-decoration two hundred years later. The book covers red-figure and also work produces over the same period in the same workshops in black-figure and other techniques, especially that of drawing in outline on a white ground.
Most helpful customer reviews
9 of 9 people found the following review helpful.
Excellent overview
By winfred van de put
This book has a slightly deceptive title: the period discussed is larger (as it includes the late archaic as well, 530-480, seen as the pinnacle of the 'art' of Athenian vase-painting) and it is mainly limited to the red-figure technique. It has been written by an very knowledgeable scholar, who has at close hand witnessed the development of the study of vase-painting over the last half century and who has managed to keep an open mind. This results in a highly readable account of the development of this important witness to the painting and drawing skills of this important period, which defined the way we see 'classical'.
The open mind results in the incorporation and open yet critical assessment of many of the latest insights, such as the chronological debate initiated by Vickers and Francis. Nowhere one gets the impression the author is copying a text he hasn't carefully considered himself, and his criticism is always careful and constructive.
Some criticism could be made as regards the scope of the study: matters like use, trade, production or the lesser painters get little or no attention. This is a conscious choice of the author, as expressed in the title ('art'); many in archaeology may find this an outdated approach. As long as there are 300 pages packed with useful information I'm not complaining.
Another point of criticism could be the lack of clear dates. In my view, the framework of red-figure vasepainting, also through studies like Oakley's Phiale Painter and Achilles Painter and the work of Lezzi-Hafter on the Eretria Painter and the Shuvalov Painter, to mention only two prominent scholars, makes it possible to date nearly any red-figure vase within 10 years. Robertson consciously avoids this, which is a pity because it clarifies chronological relations between different painters. But this is a minor point.
For specialists in the field (to whom I reckon myself) it is a helpful overview, for the beginner it may be slightly overwhelming. Illustrations, although there are 300 of them, do not sufficiently illuminate the wealth of the material and the book is best enjoyed alongside, or after reading Boardman's lavishly illustrated histories of Attic Red Figure in the Thames and Hudson series.
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