Brunilde Sismondo Ridgway
Bryn Mawr College
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Art Bulletin | 1986
Brunilde Sismondo Ridgway
It may seem presumptuous for an archaeologist to write an essay summarizing and evaluating current research on ancient art, and I approach the task with considerable misgivings. Not only is the task itself inherently liable to subjectivity and bound to be shaped by arbitrary selection and personal interests and expertise, but in this case the very competence of the writer can be challenged. My own claim to “legitimacy” within art-historical circles lies not so much in my own research in the field of classical sculpture as in the fact that for eight years (1978-1985) I have been Editorin-Chief of the American Journal of Archaeology. It is therefore assumed that a broad spectrum of contributions on ancient art was submitted for my consideration, and that this experience should give me the broad overview on current approaches that is needed for this essay.1
American Journal of Archaeology | 2001
Mark D. Stansbury-O'Donnell; Brunilde Sismondo Ridgway
The second century BCE 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 centurys art can be dated with certainty, and those that plausibly belong to it reflect no general trends in function, iconography or style. In the second of Ridgways three planned 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 fuelled by the desire of the kings of Pergamon to emulate the past glories of 5th-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 BCE. 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 BCE.
American Journal of Archaeology | 2000
J. J. Pollitt; Brunilde Sismondo Ridgway
The meaning of architectural sculpture is essential to our understanding of ancient Greek culture. The embellishment of buildings was common for the ancient Greeks, and often provocative. Some ornamental sculpture was placed where, when the building was finished, no mortal eye could view it. And unlike much architectural ornamentation of other cultures, Greek sculpture was often integral to the building, not just as decoration, and could not be removed without affecting the integrity of the building structure. This book is the first comprehensive treatment of the significance of Greek architectural sculpture. Brunilde Sismondo Ridgway, a world-class authority on ancient Greek sculpture, provides a highly informative tour of many dimensions of Greek public buildings - especially temples, tombs, and treasuries - in a text that is at once lucid, accessible, and authoritative. Ridgways pragmatism and common sense steer us tactfully and clearly through thickets of uncertainty and scholarly disagreement. She refers to a huge number of monuments, and documents her discussions with copious and up-to-date bibliographies. This book is sure to be acknowledged at once as the standard treatment of its important topic.
American Journal of Archaeology | 1982
Olga Palagia; Brunilde Sismondo Ridgway
The Description for this book, Fifth-Century Styles in Greek Sculpture, will be forthcoming.
American Journal of Archaeology | 1964
Brunilde Sismondo Ridgway
Lysippos of Sikyon, one of the most famous sculptors of antiquity, is also among the most imperfectly known. We are fairly certain that his activity extended from at least 364 to at least 306 B.C.,1 that he had three sons and many pupils, and that his artistic influence on later sculpture was considerable. Beyond these facts we are in doubt and find ourselves in the uncomfortable position of ascribing to the Sikyonian artist two such basically different statues as the Agias in Delphi,2 which retains the conservative two-dimensional stance of
Archive | 1981
Brunilde Sismondo Ridgway
Art Bulletin | 1974
Jiri Frel; Brunilde Sismondo Ridgway
Archive | 1977
Brunilde Sismondo Ridgway
Archive | 1990
Brunilde Sismondo Ridgway
Hesperia | 1981
Brunilde Sismondo Ridgway