A history of the Department of Greek and Roman art -- Floor plan of the galleries of the Department of Greek and Roman art -- Art of the Neolithic and the Aegean bronze age : ca. 6000- B.C. -- Art of geometric and archaic Greece : ca. 1050-480 B.C. -- Art of classical Greece : ca. 480-323 B.C. -- Art of the Hellenistic Age : ca. 323-31 B.C. -- Art of Cyprus : ca. 3900 B.C.-ca. A.D. 100 -- Art of Etruria : ca. 900-100 B.C. -- Art of the Roman Empire : ca. 31 B.C.-A.D. 330 -- Notes on the works of art : Art of the Neolithic and the Aegean bronze age -- Art of geometric and archaic Greece -- Art of classical Greece -- Art of the Hellenistic age -- Art of Cyprus -- Art of Etruria -- Art of the Roman Empire -- Concordance -- Index of works of art

A complete introduction to the rich cultural legacy of Rome through the study of Roman art ... It includes a discussion of the relevance of Rome to the modern world, a short historical overview, and descriptions of forty-five works of art in the Roman collection organized in three thematic sections: Power and Authority in Roman Portraiture; Myth, Religion, and the Afterlife; and Daily Life in Ancient Rome. This resource also provides lesson plans and classroom activities."--Publisher website.

This well-illustrated volume provides the best collection of Etruscan inscriptions and texts currently in print. A substantial archeological introduction sets language and inscriptions in their historical, geographical, and cultural context. The overview of Etruscan grammar, the glossary, and chapters on mythological figures all incorporate the latest innovative discoveries.

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.

In the days before color photography, hand-colored drawings and photographs were the principal means of documenting polychrome Greek art. Beginning in the late 1870s, Émile Gilliéron recorded major archaeological discoveries in Greece shortly after their excavation. This Bulletin, accompanying an exhibition of five watercolors by Gilliéron, features the Swiss draftsman’s drawings of sculptures from the Athenian Acropolis. On view for decades after their acquisition, Gilliéron’s watercolors were eventually retired to The Met's basement, likely in the late 1940s, before the advent of modern conservation practices. Reproductions and copies fell out of fashion, and Gilliéron’s work remained in storage until 2015. In addition to telling the story of the watercolors during Gilliéron’s time, this Bulletin follows the conservators’ heroic efforts to rehabilitate these forgotten pieces. Images of the conserved watercolors, published here for the first time, provide fascinating insight into the sculptures found at the Acropolis as they appeared when they were first unearthed around the turn of the century.