A lucrative trade in Athenian pottery flourished from the early sixth until the late fifth century B.C.E., finding an eager market in Etruria. Most studies of these painted vases focus on the artistry and worldview of the Greeks who made them, but Sheramy D. Bundrick shifts attention to their Etruscan customers, ancient trade networks, and archaeological contexts. Thousands of Greek painted vases have emerged from excavations of tombs, sanctuaries, and settlements throughout Etruria, from southern coastal centers to northern communities in the Po Valley. Using documented archaeological assemblages, especially from tombs in southern Etruria, Bundrick challenges the widely held assumption that Etruscans were hellenized through Greek imports. She marshals evidence to show that Etruscan consumers purposefully selected figured pottery that harmonized with their own local needs and customs, so much so that the vases are better described as etruscanized. Athenian ceramic workers, she contends, learned from traders which shapes and imagery sold best to the Etruscans and employed a variety of strategies to maximize artistry, output, and profit.

Athenian Potters and Painters III presents a rich mass of new material on Greek vases, including finds from excavations at the Kerameikos in Athens and Despotiko in the Cyclades. Some contributions focus on painters or workshops – Paseas, the Robinson Group, and the structure of the figured pottery industry in Athens; others on vase forms – plates, phialai, cups, and the change in shapes at the end of the sixth century BC. Context, trade, kalos inscriptions, reception, the fabrication of inscribed painters’ names to create a fictitious biography, and the reconstruction of the contents of an Etruscan tomb are also explored. The iconography and iconology of various types of figured scenes on Attic pottery serve as the subject of a wide range of papers – chariots, dogs, baskets, heads, departures, an Amazonomachy, Menelaus and Helen, red-figure komasts, symposia, and scenes of pursuit. Among the special vases presented are a black spotlight stamnos and a column krater by the Suessula Painter. Athenian Potters and Painters III, the proceedings of an international conference held at the College of William and Mary in Virginia in 2012, will, like the previous two volumes, become a standard reference work in the study of Greek pottery.

Ancient Athenians were known to reuse stone artifacts, architectural blocks, and public statuary in the creation of new buildings and monuments. However, these construction decisions went beyond mere pragmatics: they were often a visible mechanism for shaping communal memory, especially in periods of profound and challenging social or political transformation. Sarah Rous develops the concept of upcycling to refer to this meaningful reclamation, the intentionality of reemploying each particular object for its specific new context. The upcycling approach drives innovative reinterpretations of diverse cases, including column drums built into fortification walls, recut inscriptions, monument renovations, and the wholesale relocation of buildings. Using archaeological, literary, and epigraphic evidence from more than eight centuries of Athenian history, Rous's investigation connects seemingly disparate instances of the reuse of building materials. She focuses on agency, offering an alternative to the traditional discourse on spolia. Reset in Stone illuminates a vital practice through which Athenians shaped social memory in the physical realm, literally building their past into their city.

How remarkable changes in ancient Greek pottery reveal the transformation of classical Greek culture Why did soldiers stop fighting, athletes stop competing, and lovers stop having graphic sex in classical Greek art? The scenes depicted on Athenian pottery of the mid-fifth century BC are very different from those of the late sixth century. Did Greek potters have a different world to see—or did they come to see the world differently? In this lavishly illustrated and engagingly written book, Robin Osborne argues that these remarkable changes are the best evidence for the shifting nature of classical Greek culture. Osborne examines the thousands of surviving Athenian red-figure pots painted between 520 and 440 BC and describes the changing depictions of soldiers and athletes, drinking parties and religious occasions, sexual relations, and scenes of daily life. He shows that it was not changes in each activity that determined how the world was shown, but changes in values and aesthetics. By demonstrating that changes in artistic style involve choices about what aspects of the world we decide to represent as well as how to represent them, this book rewrites the history of Greek art. By showing that Greeks came to see the world differently over the span of less than a century, it reassesses the history of classical Greece and of Athenian democracy. And by questioning whether art reflects or produces social and political change, it provokes a fresh examination of the role of images in an ever-evolving world.

The Codrus Painter was a painter of cups and vases in fifth-century B.C.E. Athens with a distinctive style; he is named after Codrus, a legendary Athenian king depicted on one of his most characteristic vases. He was active as an artist during the rule of Pericles, as the Parthenon was built and then as the troubled times of the Peloponnesian War began. In contrast to the work of fellow artists of his day, the vases of the Codrus Painter appear to have been created almost exclusively for export to markets outside Athens and Greece, especially to the Etruscans in central Italy and to points further west. Amalia Avramidou offers a thoroughly researched, amply illustrated study of the Codrus Painter that also comments on the mythology, religion, arts, athletics, and daily life of Greece depicted on his vases. She evaluates his style and the defining characteristics of his own hand and of the minor painters associated with him. Examining the subject matter, figure types, and motifs on the vases, she compares them with sculptural works produced during the same period. Avramidou’s iconographic analysis not only encompasses the cultural milieu of the Athenian metropolis, but also offers an original and intriguing perspective on the adoption, meaning, and use of imported Attic vases among the Etruscans.

The papers in this volume derive from the proceedings of an international symposium held at the J. Paul Getty Museum at the Getty Villa in June 2006 in connection with the exhibition The Colors of Clay: Special Techniques in Athenian Vases. The themes of the exhibition--vases executed in bilingual, coral-red gloss, outline, Kerch-style, white ground, and Six's techniques, as well as examples with added clay and gilding, and sculpted vases and additions--are the touchstones for the essays. More than twenty papers by renowned scholars are grouped under such general rubrics as Social Contexts for Athenian Vases in Special Techniques; Conservation, Analysis, and Experimentation; Artists, Workshops, and Production; and Markets and Exchange.

A COMPANION TO ANCIENT GREEK AND ROMAN MUSIC A comprehensive guide to music in Classical Antiquity and beyond Drawing on the latest research on the topic, A Companion to Ancient Greek and Roman Music provides a detailed overview of the most important issues raised by the study of ancient Greek and Roman music. An international panel of contributors, including leading experts as well as emerging voices in the field, examine the ancient 'Art of the Muses' from a wide range of methodological, theoretical, and practical perspectives. Written in an engaging and accessible style, this book explores the pervasive presence of the performing arts in ancient Greek and Roman culture—ranging from musical mythology to music theory and education, as well as archaeology and the practicalities of performances in private and public contexts. But this Companion also explores the broader roles played by music in the Graeco-Roman world, examining philosophical, psychological, medical and political uses of music in antiquity, and aspects of its cultural heritage in Mediaeval and Modern times. This book debunks common myths about Greek and Roman music, casting light on yet unanswered questions thanks to newly discovered evidence. Each chapter includes a discussion of the tools or methodologies that are most appropriate to address different topics, as well as detailed case studies illustrating their effectiveness. This book Offers new research insights that will contribute to the future developments of the field, outlining new interdisciplinary approaches to investigate the importance of performing arts in the ancient world and its reception in modern culture Traces the history and development of ancient Greek and Roman music, including their Near Eastern roots, following a thematic approach Showcases contributions from a wide range of disciplines and international scholarly traditions Examines the political, social and cultural implications of music in antiquity, including ethnicity, regional identity, gender and ideology Presents original diagrams and transcriptions of ancient scales, rhythms, and extant scores that facilitate access to these vital aspects of ancient music for scholars as well as practicing musicians Written for a broad range of readers including classicists, musicologists, art historians, and philosophers, A Companion to Ancient Greek and Roman Music provides a rich, informative and thought-provoking picture of ancient music in Classical Antiquity and beyond.

This book is a comprehensive introduction to ancient Athens, its topography, monuments, inhabitants, cultural institutions, religious rituals, and politics. Drawing from the newest scholarship on the city, this volume examines how the city was planned, how it functioned, and how it was transformed from a democratic polis into a Roman urbs.

Perhaps the most spectacular of all Greek vases, the Sarpedon krater depicts the body of Sarpedon, a hero of the Trojan War, being carried away to his homeland for burial. It was decorated some 2,500 years ago by Athenian artist Euphronios, and its subsequent history involves tomb raiding, intrigue, duplicity, litigation, international outrage, and possibly even homicide. How this came about is told by Nigel Spivey in a concise, stylish book that braids together the creation and adventures of this extraordinary object with an exploration of its abiding influence. Spivey takes the reader on a dramatic journey, beginning with the krater’s looting from an Etruscan tomb in 1971 and its acquisition by the Metropolitan Museum of Art, New York, followed by a high-profile lawsuit over its status and its eventual return to Italy. He explains where, how, and why the vase was produced, retrieving what we know about the life and legend of Sarpedon. Spivey also pursues the figural motif of the slain Sarpedon portrayed on the vase and traces how this motif became a standard way of representing the dead and dying in Western art, especially during the Renaissance. Fascinating and informative, The Sarpedon Krater is a multifaceted introduction to the enduring influence of Greek art on the world.