This 1996 book Identifies and evaluates the distinctive styles of five important ancient Greek sculptors.

Careful summaries of ongoing scholarly debates illustrate how the fourth century fits into the development of Greek sculpture, votive and document reliefs, funerary art, and architectural sculpture from Greece proper to the non-Greek territories of Lykia and Karia in the Anatolian peninsula, she looks at major monuments and categories of monuments, describing each work carefully, puts into perspective problems surrounding interpretation and dating of the sculpture, reviews and evaluates previous scholarship o the subject, and offers her own views.

The Handbook of Greek Sculpture aims to provide a detailed examination of current research and directions in the field. Bringing together an international cast of contributors from Greece, Italy, France, Great Britain, Germany, and the United States, the volume incorporates new areas of research, such as the sculptures of Messene and Macedonia, sculpture in Roman Greece, and the contribution of Greek sculptors in Rome, as well as important aspects of Greek sculpture like techniques and patronage. The written sources (literary and epigraphical) are explored in dedicated chapters, as are function and iconography and the reception of Greek sculpture in modern Europe. Inspired by recent exhibitions on Lysippos and Praxiteles,the book also revisits the style and the personal contributions of the great masters.

During the sixth and fifth centuries BC, Greek sculpture developed into a fine art. With the human figure as its main subject, artists worked to represent it in increasingly natural terms. This book explores the material aspects of Greek sculpture at a pivotal phase in its evolution. Considering typologies and function, an international team of experts traces the development of technical characteristics of marble and bronze sculpture, the choice of particular marbles in different areas, and the types of monuments that were created on the Greek mainland, the islands and the west coast of Asia.

Greek Art and Aesthetics in the Fourth Century B.C. analyzes the broad character of art produced during this period, providing in-depth analysis of and commentary on many of its most notable examples of sculpture and painting. Taking into consideration developments in style and subject matter, and elucidating political, religious, and intellectual context, William A. P. Childs argues that Greek art in this era was a natural outgrowth of the high classical period and focused on developing the rudiments of individual expression that became the hallmark of the classical in the fifth century. As Childs shows, in many respects the art of this period corresponds with the philosophical inquiry by Plato and his contemporaries into the nature of art and speaks to the contemporaneous sense of insecurity and renewed religious devotion. Delving into formal and iconographic developments in sculpture and painting, Childs examines how the sensitive, expressive quality of these works seamlessly links the classical and Hellenistic periods, with no appreciable rupture in the continuous exploration of the human condition. Another overarching theme concerns the nature of “style as a concept of expression,” an issue that becomes more important given the increasingly multiple styles and functions of fourth-century Greek art. Childs also shows how the color and form of works suggested the unseen and revealed the profound character of individuals and the physical world.

The Description for this book, Severe Styles in Greek Sculpture, will be forthcoming.

Explains the social function and aesthetic achievement of Greek sculpture from c.750 BC to the end of antiquity.

Greek Sculpture is probably the most well known aspect of Greek art, for a contemporary it expresses the most beautiful ideal and plastic perfection. It is the first of the Ancient Arts that looked to free itself from the imitative constraints, of the faithful representation of nature. Only a small part of the production of Greek Sculpture is known to us. Many of the masterpieces described by Antique literature are henceforth lost or badly damaged, and a large part, we know are copies, more or less skillful and faithful to the Roman era. Many have been restored by Western Sculptors, from the Renaissance to nowadays, and often in a meaning very different from the original work: a discobolous is thus turned into a dying gladiator, this god received the attributes of another, the legs of this statue are transplanted to the torso of this other one. “The soul of Greek Sculpture contains in it all sculpture. Its essential simplicity, defies all definition. We can feel it, but we can not express it. ‘Open your eyes, study the statues, look, reflect and look again,’ is the perpetual perception of anyone who wants to learn or know about Greek Sculpture.”