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In Image and Myth , Luca Giuliani tells the stories behind the pictures, exploring how artists of antiquity had to determine which motifs or historical and mythic events to use to tell an underlying story while also keeping in mind the tastes and expectations of paying clients.

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Covering the range of Greek style and its growth between the early Archaic and Hellenistic periods, Giuliani describes the intellectual, social, and artistic contexts in which the images were created. He reveals that developments in Greek vase painting were driven as much by the times as they were by tradition—the better-known the story, the less leeway the artists had in interpreting it. As literary culture transformed from an oral tradition, in which stories were always in flux, to the stability of written texts, the images produced by artists eventually became nothing more than illustrations of canonical works.

At once a work of cultural and art history, Image and Myth builds a new way of understanding the visual culture of ancient Greece. University of Chicago Press: E. About Contact News Giving to the Press. Believing and Seeing Roland Recht. Sculpture Johann Gottfried Herder.


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On museum visits, we pass by beautiful, well-preserved vases from ancient Greece—but how often do we understand what the images on them depict? In Image and Myth , Luca Giuliani tells the stories behind the pictures, exploring how artists of antiquity had to determine which motifs or historical and mythic events to use to tell an underlying story while also keeping in mind the tastes and expectations of paying clients. Covering the range of Greek style and its growth between the early Archaic and Hellenistic periods, Giuliani describes the intellectual, social, and artistic contexts in which the images were created.

He reveals that developments in Greek vase painting were driven as much by the times as they were by tradition—the better-known the story, the less leeway the artists had in interpreting it.


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Review of L. Caspar Meyer.

Image and Myth

Mariev, Ioannis Antiocheni fragmenta quae supersunt Accordingly Potter makes critical remarks about G. The most prominent feature of this new edition resides in the 47 pages of annotations, with which Potter manages to rejuvenate G. It is also a pity that Potter only expanded existing notes, without creating new ones, thus remaining within G.

Furthermore, while the bibliographical appendix may suit undergraduate students, it does not meet a scientific purpose.

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Schuller in CPh 56 , The obvious choice of an exclusively English bibli- ography can justify the absence of major non-English references, like P. Paschoud, Eunape, Olympiodore, Zosime But with a whole chapter on the Ostrogoths, studies like P. Amory, People and Identity in Ostrogothic Italy, — , are sharply missing. Image and Myth. ISBN: Its success rests on its combination of historical and ontological perspectives — G.

The historical argument is easily summarised.

According to G. The gradual assimilation of images to texts — exemplified by South Italian red-figure vases with subjects from Athenian drama and the Hellenistic relief The Classical Review The history of earlier pictorial narration, by contrast, is described as a process of problem-solving contingent on the internal logic of image-making. To explore this process, G.