The development of emotional rendering in Greek art, 525-400
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
Ronseberg, Jonah L.
Archeology ; Greek archeology ; History of art and visual culture ; Emotion in art ; Facial expression ; Physiognomy ; Greek sculpture ; Greek vases ; Emotion ; Emotions ; Pathos ; Pathe ; Expression ; Iconography
The development of emotional rendering in Greek art, 525-400. 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
development emotional rendering greek art explores_development naturalistic rendering emotion art greece facial_expression body posture emotional naturalism arise art greece particular region period context medium restriction situation_type figure reconstruct upper chronological limit base simple observation time many medium naturalistic emotional expression employ although exception blur line slightly low limit mark major historical turn_point culmination chronology attic vase paint common date threshold small_find emotional expression require different set question reason hold strict end_point many category physical_object consider gem coin offer substantial use comparison rest form thesis original object include undergoes mark_change hellenistic_roman copy first_section treat