Jenifer Neils

Guide to Research in Classical Art and Mythology

Learning to use the research tools to unravel the intricate terminology of classification of antiquities is a formidable task. Van Keurens work aims to enable students both to use these tools and to devise projects for their own research. After a major reference is presented, handbooks and monographs are successively identified in ways that suggest patterns of information. These patterns will allow students to formulate hypotheses to undertake original research. With use of the library collection, original questions can be asked and answered. The entries are presented in three parts, each representing an art form. Part One includes the most general references on Greek, Etruscan and Roman art and architecture. Part Two describes references dealing with mythology in art and literature of antiquity and post-classical times. Part Three concentrates on references that consider particular media of ancient art. Each entry is broken down into seven parts - art form, research use, organization, complementary references, handbooks, supplementary sources, and additional supplementary sources.

Figures of Speech: Men and Maidens in Ancient Greece@@@Style and Politics in Athenian Vase-Painting: The Craft of Democracy, ca. 530-460 B.C.E.@@@Greek Vases in New Contexts: The Collecting and Trading of Greek Vases: An Aspect of the Modern Reception of Antiquity

This volume examines the developments in Greek vase collecting and trading since World War II. The author employs two approaches to the subject: case studies of eight major museum collections, and an analysis of auction catalogues and dealer publications listing 18,000 Greek vases between 1954 and 1998. A detailed historical narrative, beginning with the early Renaissance, provides a helpful introduction to the field. A major scholarly shift in the 1960s broadened the gap between the collections held in museums, which adopted the new contextual approach, and the collections of private individuals who still favoured an aesthetic approach. The growing curatorial emphasis on context also lent weight to emerging ethical concerns, as the relation between unprovenanced objects and the destruction of archaeological sites became an international issue.