Mary Ann Eaverly | |
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| Academic background | |
| Alma mater | Bryn Mawr College, University of Michigan |
| Academic work | |
| Discipline | Classics;Archaeology |
| Institutions | University of Florida |
| Website | classics |
Mary Ann Eaverly is Professor of Classics at the University of Florida known for her work on Archaic Greek sculpture. [1]
Eaverly studied Classical and Near Eastern Archaeology at Bryn Mawr College and the University of Michigan,where she was awarded her PhD in 1986 for a thesis titled 'The Equestrian Statue in Archaic Greek Sculpture.' [2] She spent the period 1982–84 at the American School of Classical Studies at Athens,where she was Vanderpool Fellow in 1984. [3] [4] Subsequently,she joined the University of Florida in 1986,where she has been professor and chair of the department of Classics since 2015. [1]
In 2016 Eaverly received the Greenia Fellowship for her project Parthenon,Pilgrimage,and Panathenaia:A Re-examination of Archaic Greek Votive Statues. [5] Eaverly's scholarship has focused on iconography in Greek and Egyptian art,especially Archaic Greek sculpture. [6] [7] Her first book,based on her dissertation,was published in 1995,and her subsequent research has included colour and gender in Greek and Egyptian art,the subject of her second book,'Tan Men,Pale Women:Color and Gender in Ancient Greece and Egypt', published in 2013. [1] In 2016 she received the Greenia Fellowship for her project Parthenon,Pilgrimage,and Panathenaia:A Re-examination of Archaic Greek Votive Statues. [5]
Eaverly has also published on archaeological imagery in modernist poets,collaborating with Marsha Bryant at the University of Florida. [8] [1] Together,Bryant and Eaverly curated the exhibition 'Classical Convergences:Traditions &Inventions' at the Samuel P. Harn Museum of Art in 2014–15. [9]
A statue is a free-standing sculpture in which the realistic, full-length figures of persons or animals are carved or cast in a durable material such as wood, metal or stone. Typical statues are life-sized or close to life-size; a sculpture that represents persons or animals in full figure but that is small enough to lift and carry is a statuette or figurine, whilst one more than twice life-size is a colossal statue.
The sculpture of ancient Greece is the main surviving type of fine ancient Greek art as, with the exception of painted ancient Greek pottery, almost no ancient Greek painting survives. Modern scholarship identifies three major stages in monumental sculpture in bronze and stone: the Archaic, Classical (480–323) and Hellenistic. At all periods there were great numbers of Greek terracotta figurines and small sculptures in metal and other materials.
Classical sculpture refers generally to sculpture from Ancient Greece and Ancient Rome, as well as the Hellenized and Romanized civilizations under their rule or influence, from about 500 BC to around 200 AD. It may also refer more precisely a period within Ancient Greek sculpture from around 500 BC to the onset of the Hellenistic style around 323 BC, in this case usually given a capital "C". The term "classical" is also widely used for a stylistic tendency in later sculpture, not restricted to works in a Neoclassical or classical style.
The Esquiline Venus, depicting the goddess Venus, is a smaller-than-life-size Roman nude marble sculpture of a female in sandals and a diadem headdress. It is widely viewed as a 1st-century AD Roman copy of a Greek original from the 1st century BC. It is also a possible depiction of the Ptolemaic ruler Cleopatra VII.
Kore is the modern term given to a type of free-standing ancient Greek sculpture of the Archaic period depicting female figures, always of a young age. Kouroi are the youthful male equivalent of kore statues.
The National Archaeological Museum of Florence is an archaeological museum in Florence, Italy. It is located at 1 piazza Santissima Annunziata, in the Palazzo della Crocetta.
The Museum of Classical Archaeology is a museum in Cambridge, England, housed in the Faculty of Classics of the University of Cambridge. Since 1983, it has been located in a purpose-built gallery on the first floor of the Faculty of Classics on the Sidgwick Site of the university.
Christiane Sourvinou-Inwood was a scholar in the field of Ancient Greek religion and a highly influential Hellenist.
The Sounion Kouros is an early archaic Greek statue of a naked young man or kouros carved in marble from the island of Naxos around 600 BCE. It is one of the earliest examples that scholars have of the kouros-type which functioned as votive offerings to gods or demi-gods, and were dedicated to heroes. Found near the Temple of Poseidon at Cape Sounion, this kouros was found badly damaged and heavily weathered. It was restored to its original height of 3.05 meters (10.0 ft) returning it to its larger than life size. It is now held by the National Archaeological Museum of Athens.
The Phrasikleia Kore is an Archaic Greek funerary statue by the artist Aristion of Paros, created between 550 and 540 BCE. It was found carefully buried in the ancient city of Myrrhinous in Attica and excavated in 1972. The exceptional preservation of the statue and the intact nature of the polychromy elements makes the Phrasikleia Kore one of the most important works of Archaic art.
Ancient Greek art stands out among that of other ancient cultures for its development of naturalistic but idealized depictions of the human body, in which largely nude male figures were generally the focus of innovation. The rate of stylistic development between about 750 and 300 BC was remarkable by ancient standards, and in surviving works is best seen in sculpture. There were important innovations in painting, which have to be essentially reconstructed due to the lack of original survivals of quality, other than the distinct field of painted pottery.
The Peplos Kore is one of the most well-known examples of Archaic Greek art. Kore is a type of archaic Greek statue that portray a young woman with a stiff posture looking straight forward. Although this statue is one of the most famous examples of a kore, it is actually not considered as typical one. The statue is not completely straight, her face is leaned slightly to the side, and she is standing with her weight shifted to one leg. The other part of the statues name, peplos, is based on the popular archaic Greek gown for women. When the statue was found it was initially thought that she was wearing a peplos, although it is now known that she is not.
The Apobates Base is a marble statue base featuring the scene of an Apobates competition or chariot race. The base, which is part of the collection at the Acropolis Museum in Athens, stands at 42 centimetres (17 in) in height and 86 centimetres (34 in) in width. A charioteer, armed athlete or warrior, and four horse-drawn chariot are depicted in profile relief. Named for the Greek “Apobatai” – literally the “Dismounters” – the base's relief depicts the racing event or Apobates race, which was a ceremonial part of the Panathenaic Games. In this event athletes would race against other athletes by dismounting and remounting moving chariots for prizes and renown.
Ann Bergren was Professor of Greek literature, Literary Theory, and Contemporary Architecture at University of California, Los Angeles. She is known for her scholarship on Ancient Greek language, gender, and contemporary architecture.
Sarah Emily Bond is a Professor of History at the University of Iowa. Her research focuses on late Roman history, epigraphy, law, topography, GIS, and digital humanities.
The Persian Rider is an archaic Greek equestrian sculpture, c. 520–500 BCE, that once stood on the Acropolis of Athens. Only fragmentary remains survive; the lower torso and legs of the rider and the head, forelegs and chest of the horse. It was found west of the Erechtheion in 1886 and reconstructed by Franz Studniczka. Significant amounts of the original surface painting remains on the statue including the multicoloured pattern on the leggings of the rider which is thought to indicate that he was Persian or Scythian, hence the name. The sculpture now stands in the Acropolis Museum.
Lea Margaret Stirling is a Canadian classical scholar and professor in the Department of Classics at the University of Manitoba. Her research focuses on Roman archaeology and Roman art with particular emphases on Roman sculpture, Late Antique art, and cemetery archaeology, and Roman North Africa.
The race of Cleopatra VII, the last active Hellenistic ruler of the Macedonian-led Ptolemaic Kingdom of Egypt, has caused debate in some circles. There is a general consensus among scholars that she was predominantly of Macedonian Greek ancestry and minorly of Iranian descent. Others, including some scholars and laymen, have speculated whether she may have had additional ancestries.
Classical Greek sculpture has long been regarded as the highest point in the development of sculptural art in Ancient Greece, becoming almost synonymous with "Greek sculpture". The Canon, a treatise on the proportions of the human body written by Polykleitos around 450 B.C., is generally considered its starting point, and its end marked with the conquest of Greece by the Macedonians in 338 B.C., when Greek art began a great diffusion to the East, from where it received influences, changed its character, and became cosmopolitan. This phase is known as the Hellenistic period. In this period, the tradition of Greek Classicism was consolidated, with Man being the new measure of the universe.
Archaic Greek Sculpture represents the first stages of the formation of a sculptural tradition that became one of the most significant in the entire history of Western Art. The Archaic period of Ancient Greece is poorly delimited, and there is great controversy among scholars on the subject. It is generally considered to begin between 700 and 650 BC and end between 500 and 480 BC, but some indicate a much earlier date for its beginning, 776 BC, the date of the first Olympiad. In this period the foundations were laid for the emergence of large-scale autonomous sculpture and monumental sculpture for the decoration of buildings. This evolution depended in its origins on the oriental and Egyptian influence, but soon acquired a peculiar and original character.
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