Thesis--New York University.

Thesis (Ph. D.)--Columbia University. / Life. Bibliography: p. 64.

Thesis (Ph. D.)--Columbia University. / Life. Bibliography: p. 64.

Cette étude traite de la sculpture exécutée en pierre – marbre et calcaire – dans les cités grecques d’Italie du Sud : Caulonia, Crotone, Héraclée, Locres Épyzéphyrienne, Métaponte, Poséidonia, Rhégion, Sybaris et Tarente. Toutes les périodes grecques sont considérées entre l’apparition de la sculpture en pierre au VIème siècle jusqu’à la chute de Tarente, dernière cité italiote indépendante. La première partie présente la méthodologie adoptée et précise l’acception des termes liés à la recherche italiote. 128 fragments ou monuments ont été retenus et ont fait l’objet de notices détaillées dans le catalogue. Le corpus ainsi constitué a été contextualisé par lieu de provenance, lorsque ce dernier est connu, puis par cité. La statue trônante de déesse provenant de Tarente et conservée à Berlin constitue un cas emblématique de statuaire italiote et a fait l’objet d’une étude approfondie. Cette recherche doctorale a également permis de reconsidérer des questions techniques et stylistiques. S’il n’a pas été possible de déterminer des « écoles » stylistiques dans les cités italiotes (à l’exception peut-être de Tarente dès le IVème siècle), les acrolithes italiotes ont pu être classés selon trois catégories : les têtes entières, les têtes à section diagonale et les têtes à section verticale. Certaines thématiques, qui auraient mérité un traitement plus approfondi que ce travail ne le permettait, ont été abordées dans les annexes. Il s’agit de la sculpture funéraire tarentine, des ensembles de métopes sculptés du Sélé ainsi que des découvertes de sculptures en contexte italique, avec une attention plus particulière portée à l’ensemble provenant de Garaguso. / This study discusses stone sculpture – marble and limestone – from the Greek cities of Southern Italy : Kaulonia, Kroton, Heraclea, Locri, Metaponto, Poseidonia, Rhegion, Sibari and Taranto. All the Greek periods are included : Archaic, Classical and Hellenistic, from the 6th century to 209, the year of the fall of Taranto, the last independent Italiot city in Magna Graecia. The first part of this study presents the methodology and the acceptation of the terms used in the research on italiot sculpture. A catalogue has been created, where all 128 selected artefacts are analysed. The selected corpus is analysed according to the site of provenance of the artefacts and, in a second step, according to the cities these sites depended from. An exhaustive and updated study of the seated goddess of Taranto, now in Berlin, which is emblematic of Italiot sculpture, constitutes an important part of the present research. A number of technical and stylistic questions are also reconsidered. Due to the small size of the corpus, it has not been possible to define different Italiot schools of sculptors. However, the Italiot acrolithes have been separated in three groups : those with complete heads, those whose heads are cut diagonally and those whose heads are cut vertically. Some topics which would have deserved a more in-depth examination than this allowed it, were summarised in the annexes : funerary Tarentine sculpture, metopes of the sanctuary on the Sele and the Greek sculptures discovered in Italic contexts, such as the miniature temple and goddess from Garaguso.

Many studies of the Archaic Greek kore focus exclusively on stylistic considerations in an attempt to date these statues more and more accurately. Other studies propose various meanings for the kore. Each of these approaches can be extremely subjective, with the result that the large body of extant literature about the kore tends to be repetitive and argumentative in nature, and, with several exceptions, does not advance the understanding of the kore to any appreciable degree past where it had developed by the 1980s. I use a different, more empirical methodology to study a small group of korai, found in the 1880s near the Erechtheion on the Athenian Akropolis. Symmetry analysis of the patterns painted onto these korai at the time of their creation reveals both consistency of pattern use through the period of seventy years between c560 BCE and c490 BCE, as well as some anomalous patterns. I tabulate the various patterns, as well as their frequency of occurrence, and briefly speculate that there is a correlation between the pattern consistencies and anomalies and events in the known historical record, such as the mid-6th century rule by the Peisistratids and the democratic reforms of Kleisthenes. I also propose other directions in which the study of the kore could be taken using symmetry analysis. / Thesis (Master, Classics) -- Queen's University, 2008-01-31 13:25:56.567

"A thesis approved by the University of London for the degree of PH. D." / Includes bibliographical references.

This thesis explores the development of naturalistic rendering of emotion in the art of Greece through facial expression and body posture from 525 to 400. Why does emotional naturalism arise in the art of Greece, and in which particular regions? Why at this period? In which contexts and media? What restrictions on situation and type of figure can be interpolated or reconstructed? The upper chronological limit is based on simple observation. It is about this time, in many media, that naturalistic emotional expression is employed, although there are exceptions that blur this line slightly. The lower limit marks a major historical turning point, a culmination in Beazley's chronology of Attic vase painting and a common dating threshold for small finds. Emotional expression accelerates from the fourth century, and requires a different set of questions. 400 is for this reason held as a strict end-point. Many categories of physical object were considered; gems and coins did not offer substantial results, but are used for comparison. The rest have formed the armature of the thesis. Only original objects are included, as emotionality undergoes marked changes in Hellenistic and Roman copies. The first section treats publically-commissioned sculpture – sculpture integrated into architecture. The second section treats privately-commissioned sculpture, stone and terracotta; the third pottery: black-figure, red-figure and whiteground. Within these sections, material is arranged broadly chronologically. Human figures are the focus, and semi-humans such as Centaurs and satyrs are included; figures with essentially non-human faces such as the Gorgon are not. Human anatomy is constant, so the method of analysis is physiological. Rather than putting facial expressions in folk terms – a frown, a smile – they are described anatomically for precision: by muscular contractions and extensions and their correspondent manifestations on the surface of the body. Moving beyond description to explanation, neurochemistry and psychology are the preferred tools, although neither discipline has a consensus on the nature of emotion or its expression. History, religion, location, maker, commissioner, viewer, medium and technique are brought to bear in order put expressivity in context. An important methodological tool has been the separation of emotional 'input' and ‘output’. Output is the evocation or intended evocation of an emotional state in the viewer, and the thesis is constantly aware of the disconnect between the 'intended audience' and a modern one. It focuses instead on input – the methods used to render the inner state of the figures shown. This has twofold benefit: it avoids insurmountable subjectivity – one might laugh at the expression of fear on a maenad being raped by a satyr, while another might not – and allows for comparison across genre and medium.

Zugl.: Budapest, Univ., Diss., 2003 / Zsfassung in engl. Sprache

Ce travail vise à étudier les techniques de fixation des statues sur leurs bases dans le monde grec, depuis la fin du VIIe s. jusqu’à la fin de l’époque hellénistique, à partir des bases inscrites. Il se fonde sur l’étude d’un corpus de 387 monuments ayant conservé des traces de fixation, à Delphes, Délos et Athènes, décrits et analysés dans un catalogue dédié. La première partie est consacrée à l’établissement d’une chrono-typologie des techniques de fixation visant à les caractériser en fonction du matériau, de la taille et du type de figure, et à les dater. La seconde partie s’attache à l’interprétation des traces de fixation en comme empreintes de la statue disparue. On a d’abord déterminé le type d’informations qu’elles pouvaient apporter sur elle, comme son matériau et sa taille, mais aussi son type et surtout sa position. On s’est ensuite intéressé aux bases signées, afin de dégager des traditions artisanales propres à des régions ou des ateliers, en croisant la fixation utilisée et les positions révélées par les traces. Enfin, on s’est interrogé sur les évolutions de l’utilisation des matériaux ; on a pu dégager le rôle des contextes d’exposition à partir de l’époque classique, et contribuer à élucider le retour du marbre à partir du IIe s. Cette étude entend par là contribuer aux recherches sur les techniques de fabrication autant qu’à celles sur la sculpture dans son contexte. / The study examines the techniques used to attach statues to their bases in the Greek world from the end of the 7th c. BC to the end of the Hellenistic period. Starting from bases bearing inscriptions, it builds on a corpus of 387 monuments from Delphi, Delos and Athens, showing traces of attachment. Their description and analysis can be found in a separated catalogue. In the first part of the study, a chrono‐typology was elaborated, identifying and dating each technique according to the material, the size and the type of the figures. In the second part, the traces of attachment were interpreted as signs of the missing statue. First, we showed that these traces brought information on its material and its size but also its type and its position. Then we focused on signed bases and proceeded to a cross‐examination of the kind of technique used and the position revealed by the traces in order to identify artisanal traditions specific to regions or workshops. Finally, we considered the reasons for using marble or bronze for statues; we thus showed the importance of the setting context from the classical period onward, as exemplified by the come-back of marble sculpture in the 2nd c. BC. The study is thus intended as a contribution to research both on attachment techniques and sculpture in its context.

Costas Dimitriadis (1879-1943) est l’artiste grec le plus célèbre sur le plan international de la première moitié du XXe siècle, entre Paris et Athènes. Par ses fonctions, il contribua à la création et à la modernisation des institutions artistiques publiques grecques, en assumant de 1930 à sa mort, la direction de l’École Supérieure des Beaux-Arts d’Athènes. Dans cette thèse, nous racontons la vie de Dimitriadis en Roumélie Orientale, où il est né, et puis à Athènes, dans le premier atelier libre où il fit son apprentissage et ses études à l’École des Beaux-Arts. Ensuite, nous suivons la trace de ses premiers pas en Europe ainsi que le rôle déterminant qu’ont joué dans sa survie artistique certains membres éminents des cercles parisiens tels que Jean Moréas et Jean Pischari, de même que son mécène, le marchand d’armes Basil Zaharoff. En passant par Paris et Londres, nous déterminons les processus qui l’ont conduit à des commandes en France, en Angleterre et en Grèce. Nous recherchons aussi de quelle façon Dimitriadis se rangea du côté des gouvernements grecs pro-venizelistes (1922-32) en vue de la modernisation de l’État grec par l’européanisation des institutions artistiques et quelle fut sa contribution à l’exercice de la diplomatie culturelle. Finalement, nous examinons l’évolution décroissante de son rôle protagoniste, interrompu par la politique d’intervention du dictateur Ioannis Metaxas ainsi que par l’Occupation jusqu’à sa mort, en octobre 1943. Sans exclure les analyses thématiques, nous avons choisi pour ce travail de suivre une structure chronologique accompagnée d’un catalogue raisonné de l’oeuvre du sculpteur. / Costas Dimitriadis (1879-1943), who lived and worked in Athens and Paris, was the most famous Greek artist of the first half of the twentieth century. Through his directorship of the School of Fine Arts in Athens (1930-1943), he defined the role and viewpoint of public art institutions in Greece to this day. This dissertation traces Dimitriadis’ life and work. It begins with his youth in Eastern Roumelia followed by an examination of his studies in Athens both as an apprentice and in the School of Fine Arts. The dissertation continues with an exploration of his early career in Europe and the role Paris intellectual circles played in his artistic development, mainly the prominent members Jean Moréas and Jean Pischari, and his patron, the arms dealer Basil Zaharoff. In addition, this dissertation establishes the process by which Dimitriadis established ateliers in Paris and London, as well as a leading role in the art life of these cities as well as in Greece. His political viewpoints are also examined; for example, his support to the Venizelist Governments (1922-1932), which promoted modernization of the Greek state through the Europeanization of art institutions and his role in cultural diplomacy are documented and discussed. Circumstances that limited Dimitriadis’ leading role are also examined, including policies of the dictator Ioannis Metaxas and the Occupation of Greece during World War II. Although chronological in structure, the dissertation also explores thematic issues. It includes moreover a Catalogue Raisonné of the artist.