Background
Boardman, John was born on August 20, 1927 in Ilford, England. Son of Frederick Archibald and Clara (Wells) Boardman.
(Gem engraving was a major art in ancient times, notably i...)
Gem engraving was a major art in ancient times, notably in the Greek and Roman civilizations. But it has not received adequate attention from scholars until quite recent years. John Boardman, Reader in Classical Archaeology at the University of Oxford and a leading specialist on classical engraved gems, here outlines the history of the art in Greece and Rome.
http://www.amazon.com/gp/product/B0000CO7GP/?tag=2022091-20
(Like his other two works on Athenian Figure Vases, John B...)
Like his other two works on Athenian Figure Vases, John Boardman offers a detailed survey of the important painters and workshops of the time, providing readers with over five hundred illustrations and a complete bibliography. Particular attention is paid to the technique and to the production and marketing of these outstanding vases as well as to the information they provide about everyday life and the way this reflects the changing fortunes of Athens through the period. We see how the increasingly diverse subject matter throws much light on Greek myths and religious practice, and how the appearance of flamboyant vases in the final phases of the Classical period seems to show Athenian painters looking back to earlier achievements in their craft. 566 illus.
http://www.amazon.com/gp/product/0500202443/?tag=2022091-20
(This is the last in the series of Sir John Boardman's acc...)
This is the last in the series of Sir John Boardman's acclaimed handbooks on Greek sculpture; a sequel to similar volumes on the Archaic and Classical periods. Here, the story continues through the fourth century B.C. to the days of Alexander the Great. The innovations of the period are discussed, such as the female nude and portraiture, along with many important monuments including the Mausoleum of Halicarnassus and several of the great names such as Praxiteles and Lysippus who were lionized by later generations. The volume also presents Greek sculpture made in the colonies of Italy and Sicily from the Archaic period onwards, as well as that made for eastern, non-Greek rulers. A final section considers the role of Greek sculpture in moulding western taste to the present day.
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(In antiquity the art of Classical Greece was carried far ...)
In antiquity the art of Classical Greece was carried far from the Greek lands by colonists, merchants and armies. Wherever it went, it was observed by local artists who borrowed from it what suited them. Based on the Mellon Lectures on the Fine Arts held at the National Gallery of Art, Washington DC, in 1993, Boardman looks at the impact and influnce of Greek art in the Near East and the Persian Empire; the Semitic world and Spain; the east after Alexander the Great; Egypt and North Africa; the countries of the Black Sea; and Italy and Europe. His comprehensive and richly illustrated survey shows how, by looking at Greek art through non-Greek eyes, we may be compelled to adjust our views on what Greek art achieved.
http://www.amazon.com/gp/product/0500236968/?tag=2022091-20
(An illustrated archaeological investigation of the genesi...)
An illustrated archaeological investigation of the genesis of Achaemenid Persian Art and the elements of other styles of art, sculpture and archaeology which influenced it. It is written by the author of EARLY GREEK VASE PAINTING and ATHENIAN BLACK FIGURE VASES.
http://www.amazon.com/gp/product/050005102X/?tag=2022091-20
(This title presents a comprehensive account of the miniat...)
This title presents a comprehensive account of the miniaturist art of gem engraving in Greek lands from the early Bronze Age down to the Hellenistic period. The gems are related to history and to the artistic achievements in other media of their day.
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(Early Greek Vase Painting: 11th-6th Centuries B.C. (World...)
Early Greek Vase Painting: 11th-6th Centuries B.C. (World of Art) EARLY GREEK VASE PAINTING: 11TH-6TH CENTURIES B.C. (WORLD OF ART) By Boardman, John ( Author )May-01-1998 Paperback
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(A large and comprehensive account of gem engraving from t...)
A large and comprehensive account of gem engraving from the Early Bronze Age through to the Hellenistic period. This new expanded edition has been re-issued thirty years after its first publication and includes an Epilogue, 1970-2000, taking account of three decades of research, an additional select bibliography and more illustrations. John Boardman discusses the history of engraving, the subject matter, materials and techniques and their relationship with other artistic media accompanied by black and white drawings, photographs of gem impressions and colour photographs of many of the originals.
http://www.amazon.com/gp/product/0500237778/?tag=2022091-20
( "Will undoubtedly become a standard work of reference."...)
"Will undoubtedly become a standard work of reference."―Journal of Hellenic Studies Athenian black figure vases bear the work of consummate artists like Exekias, who depicted on them scenes of myth and everyday life that deepen our knowledge and understanding of Greek antiquity. John Boardman enables the reader to study the many aspects of the vases, and to grasp the essential style of a painter or group of painters, without having to consult a number of expensive, and not always easily accessible, publications. A final section is devoted to the mythological scenes and other decorative features of the vases. 385 black-and-white illustrations
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(The Greeks were obsessed with their past; it infused ever...)
The Greeks were obsessed with their past; it infused every aspects of their culture. In this interesting and insightful book, John Boardman explores 'How the Greeks re-created their mythical past' in a physical, artistic and literary sense and how they drew on this nostalgia to comment on contemporary behaviour. He discusses how finds of massive fossil bones, strange natural features and eerie places, along with stories from other cultures, plus a bit of imagination, were combined to form the essence of Greek myth. 'By the end of this book the reader may be persuaded that a major source for Greek myth was also the result of the Greeks' imaginative response to the natural world around them and to the artefacts of their predecessors'.
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(All the components of Greek art which were to culminate i...)
All the components of Greek art which were to culminate in the Classical styles of the 5th century BC can be traced in the development of vase painting in early Greece, from the 11th to the 6th centuries BC. Geometric styles gave way by about 700 BC to the influence of the Near East; in the following Orientalizing period the Greeks learned how to tell a story in pictures; and by the 6th century various regional studios were competing with the dominant Corinthian and Athenian potters and painters for markets east and west. Early Greek vases display the Greek painter's craft at its most mathematical, its most colorful, and in its most directly narrative mode. They closely mirror the history and culture of their day. The later achievements of Greek art can only be fully understood in the light of this formative period of variety, competition and experiment.
http://www.amazon.com/gp/product/0500203091/?tag=2022091-20
(This book has hardback covers.Ex-library,With usual stamp...)
This book has hardback covers.Ex-library,With usual stamps and markings,In fair condition, suitable as a study copy.No dust jacket.
http://www.amazon.com/gp/product/B0043KPZHG/?tag=2022091-20
( "Authoritative and brilliantly illustrated. . . . The b...)
"Authoritative and brilliantly illustrated. . . . The book recommends itself not only for its synthesis of existing knowledge, but also for its original ideas." ―The Daily Telegraph For most people there is no more satisfying expression of Greek art than its sculpture. It was the first, the only ancient art to break free from conceptual conventions for representing men and animals, and to explore consciously how art might imitate or even improve upon it. The first stages of this discovery, from the semi-abstract beginnings in the eighth century BC to the more representational art of the early fifth century, are explored and illustrated in this handbook.
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(Schede critiche di Robert J. Charleston, Robert M. Cook, ...)
Schede critiche di Robert J. Charleston, Robert M. Cook, John Basil Hennessy. Numerose illustrazioni a colori e glossario. Bibliografia essenziale 4to pp. 278 ril tela, sovrac (cloth, DJ)
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(Very slightest of wear to the dust jacket, pages nice and...)
Very slightest of wear to the dust jacket, pages nice and clean, no writing or highlighting. A very nice copy. All our books are individually inspected, rated and described. Never EX-LIB unless specifically listed as such.
http://www.amazon.com/gp/product/0801406439/?tag=2022091-20
(For most people there is no more satisfying expression of...)
For most people there is no more satisfying expression of Greek art than its sculpture. It was the first, the only ancient art to break free from conceptual conventions for representing men and animals, and to explore consciously how art might imitate or even improve upon it. The first stages of this discovery, from the semi-abstract beginnings in the eighth century BC to the more representational art of the early fifth century, are explored and illustrated in this handbook. 481 illus.
http://www.amazon.com/gp/product/0500201986/?tag=2022091-20
(Among the gods of classical antiquity Pan - that distinct...)
Among the gods of classical antiquity Pan - that distinctive figure combining the physical characteristics of man and goat - is one of the few to have retained a special place in the imaginations of writers and artists, even into modern times. In this, the twenty-ninth Walter Neurath Memorial Lecture, Sir John Boardman describes how the concept of Pan - originally a rustic deity associated with herdsmen in southern Greece - and his familiar pipes developed and was adapted in later times. Whether viewed as a personification of country ways, equated with the excesses of Bacchic revels or treated as a demon figure, the presence of Pan was felt in the literature and art of antiquity, the medieval period and notably in Renaissance and later paintings. More recently, in the nineteenth and twentieth centuries, he was adopted by many Romantic artists and writers and has also served as a medium for topical caricatures. Although the ideals which Pan represented in ancient Greece and Rome may have passed into history, the traditional image associated with his name remains as vivid as ever in the minds of modern man.
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(Plates (pictures) in appendix at the back. Veritable gold...)
Plates (pictures) in appendix at the back. Veritable goldmine of data on the this subject in these pages
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(In his sequel to "Athenian Black Figure Vases, " John Boa...)
In his sequel to "Athenian Black Figure Vases, " John Boardman, Professor Emeritus at Oxford University, covers the invention of the "red figure" technique in about 530 BC. Professor Boardman illuminates the ancient art form by placing the painters and their vases within the history of Athens and the greater tradition of Greek mythology. 528 illus.
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( "Boardman gets down to the nitty-gritty of how and why ...)
"Boardman gets down to the nitty-gritty of how and why potters created and decorated the vases, how their artistic quality developed and their influence spread."—Publishers Weekly Greek pottery has long fascinated scholars and historians of art. It provides a continuous commentary on all other Greek arts, even sculpture, and the scenes figured on the vases can prove to be as subtle and informative as the great works of Greek literature. In no other art of antiquity do we come closer to the visual experience of the ancient Greeks, or are we able to observe so clearly their views on life, myth, and even politics. John Boardman has demonstrated the stylistic history of Greek vases in other Thames & Hudson titles; as he writes, the subject "is a central one to classical archaeology and art, and dare not be ignored by students of any other ancient medium, or indeed of any other classical discipline." Here Boardman sketches that history but goes on to explore many other matters that make the study so fruitful. He describes the processes of identifying artists, the methods of making and decorating the vases, the life of the potters' quarter in Greek towns, and the way in which the wares were traded far beyond the borders of the Greek world. Boardman shows how Greek artists exercised a style of narrative in art that was long influential in the West, and how their pictures reflected not simply on storytelling but also on the politics and social order of the day. 358 illustrations
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( "One of the very best short histories of Greek art."―Fi...)
"One of the very best short histories of Greek art."―Financial Times First published in the early 1960s, this history of Greek art has been enlarged and rewritten. It takes into account new finds as well as new ideas and attitudes to the subject, and emphasizes that Greek art should be seen in its proper context, not that of galleries and museums. 302 illustrations, 73 in color
http://www.amazon.com/gp/product/0500202923/?tag=2022091-20
(In this book, the most powerful and the most moving scene...)
In this book, the most powerful and the most moving scenes and fragments from this monumental body of work are displayed. The spirit of the time in which these works were produced, their meaning for the citizens of Athens, the methods by which they were made, the fine points of technique and illusion they conceal, the historical background, and the message contained in the myths they portray are some of the topics covered in the narrative introduction.
http://www.amazon.com/gp/product/0292764987/?tag=2022091-20
anthropologist archaeologist art historian university professor
Boardman, John was born on August 20, 1927 in Ilford, England. Son of Frederick Archibald and Clara (Wells) Boardman.
Bachelor, Magdalene College, Cambridge (England) University, 1948; Master of Arts, Magdalene College, Cambridge (England) University, 1951; Doctor of Philosophy (honorary), University Athens, Greece, 1991; Doctor of Philosophy (honorary), University Paris, 1994.
After completing two years" national service in the Intelligence Corps he spent three years in Greece, from 1952 to 1955, as the Assistant Director of the British School at Athens. On his return to England in 1955, Boardman took up the post of Assistant Keeper at the Ashmolean Museum in Oxford, thus beginning his lifelong affiliation to lieutenant In 1959 he was appointed Reader in Classical Archaeology in the University of Oxford, and in 1963 was appointed a Fellow of Merton College.
Here he remained until his appointment as Lincoln Professor of Classical Art and Archaeology, a position previously held by John Beazley, and the concomitant Fellowship of Lincoln College in 1978.
He was knighted in 1989 and retired in 1994, and is now Emeritus Professor. He was awarded the Onassis Prize for Humanities in 2009.
He is an Honorary Fellow of Magdalene College, Cambridge, and of Merton and Lincoln Colleges in Oxford, as well as the holder of many other academic distinctions. He has carried out archaeological excavations at many sites, including in Smyrna, Crete, Emporio in Chios and at Tocra in Libya.
His voluminous publications focus primarily on the art and architecture of ancient Greece, and in particular on sculpture, engraved gems, and vase-painting.
Additionally, he is the author of the pre-eminent text, The Greeks Overseas, on the ancient Greek diaspora throughout the Mediterranean, in which Greek populations from the Aegean region, Greek coastal mainland and Western Turkey settled the coastal regions of Italy, North Africa, southern France, reaching as far as southern Spain. The book has now undergone four editions, as new archaeological research emerges.
( The supremely accessible culmination of decades of rese...)
(Among the gods of classical antiquity Pan - that distinct...)
(Like his other two works on Athenian Figure Vases, John B...)
(All the components of Greek art which were to culminate i...)
(The collection of about 800 engraved gems of the Fourth D...)
(An illustrated archaeological investigation of the genesi...)
(In his sequel to "Athenian Black Figure Vases, " John Boa...)
(Dionysos carried the blessing of wine to the whole world,...)
( "Boardman gets down to the nitty-gritty of how and why ...)
(This is the last in the series of Sir John Boardman's acc...)
(This title presents a comprehensive account of the miniat...)
(In this book, the most powerful and the most moving scene...)
(A full account of the excavations and an illustrated desc...)
(In antiquity the art of Classical Greece was carried far ...)
(A large and comprehensive account of gem engraving from t...)
(Gem engraving was a major art in ancient times, notably i...)
(Very slightest of wear to the dust jacket, pages nice and...)
(/ 9780500201435 / / Engels / English / Anglais / Englisch...)
(For most people there is no more satisfying expression of...)
(The Greeks were obsessed with their past; it infused ever...)
(Two volumes from Boardman's Greek Art series within the W...)
( "Will undoubtedly become a standard work of reference."...)
( “One of the very best short histories of Greek Art.” ― ...)
( "One of the very best short histories of Greek art."―Fi...)
(Early Greek Vase Painting: 11th-6th Centuries B.C. (World...)
( "Authoritative and brilliantly illustrated. . . . The b...)
(Plates (pictures) in appendix at the back. Veritable gold...)
(This book has hardback covers.Ex-library,With usual stamp...)
(Schede critiche di Robert J. Charleston, Robert M. Cook, ...)
(hardcover with dust jacket)
( “A masterly summary.”—The Times Literary Supplement T...)
(236 pp. with 387 illus. (15 in color), 8vo.)
2nd lieutenant British Army, Intelligence Corps, 1950-1952. Fellow Society Antiquaries, British Academy (Cromer Greek prize 1959, Kenyon medal 1995), Bavarian Academy of Sciences (correspondent). Member Hellenic Society, Libya Exploration Society, Society South Asian Studies, Royal Danish Academy (foreign), Academy des Inscriptions et Belles Lettres, Institute de France (associate), Royal Irish Academy, Athens Archeological Society (vice president since 1998), Accademia dei Lincei, Rome, American Philosophical Society, Russian Academy of Sciences.
Married Sheila Joan Lyndon Stanford, October 26, 1952. Children: Julia, Mark.