William Dinsmoor, one of the experts who directed the first reconstruction of the Athenian Acropolis, here addresses the problem of the arrangement of the sculptures on the parapet of the temple of Athena Nike on the Acropolis.

In this paper John Bonnel argues that the representation of the serpent in Eden as having a human head originated in the mystery plays of the 13th century, where the serpent was played by an actor and had a head.

This paper presents a careful chronology of white lechythoi and demonstrates the methods by which pottery dating was established before modern equipment allowed carbon dating of organic residue.

This paper reviews these competing theories of the definition of 'Gothic' and the way in which this style developed, presenting an overview of the difficulties involved in assigning a single name to a developing form of human expression

Chase describes three tripods found in Etruscan tombs and discusses the extent to which they represent Etruscan adoption of Greek tripod-offering customs.

In this paper Houghton addresses two problematic Italian Renaissance sculptures whose artists are unknown, the portrait bust of a youth and that of a Roman emperor.

Arthur Frothingham, one of the founding fathers of Art History, here discusses the problem of the Arch of Constantine, whose form and artwork is at odds with the artwork of the era of Constantine.

These two volumes present a new and comprehensive theory concerning the manner in which landscapes in Western pictorial art may be interpreted in relation to the cultures that created them. Its point of departure is a hitherto unexplored developmental pattern that characterises landscape representation from Palaeolithic cave paintings through to 19th-century modernity. A structuralist comparison between this pattern and three additional fields of analysis -- self-consciousness, socially-determined perception of nature, and world picture -- reveals a fascinating insight into culture's macrohistorical organisation. Controversially, this book argues that culture at a certain level of observation is marked by directional evolution. In Volume I the author traces the pictorial depth of field from its Palaeolithic beginnings, in which only separate bodies are portrayed, and on to antiquity and the Middle Ages with their quasi-perspectival vistas. This gradual accentuation of a viewpoint is interpreted as a sign of how self-consciousness -- the notion of an T detached from nature -- develops. Similarly, the raw rocky terrain and vividly coloured skies that are introduced in ancient and medieval landscape images are taken as a testimony of how cosmos splits into a chaotic Mother Earth and an indestructible masculine heaven. Finally, Volume I demonstrates that the ancient landscape images' exclusion of traces of cultivation (e.g. fields, roads, hedges, fences) is the result of work-shyness, a longing for the Golden Age, among the powers-that-be. The topic of Volume II is the breakthrough of the modern landscape image and its new perspectival vistas, transient time and cultivated - or completely deserted - terrains. This post-medieval paradigm shift is construed as the mature stage in the evolution of self-consciousness, with an urban individual contemplating nature at an aesthetic distance. Apart from being structurally equivalent with the new Copernican cosmos and the colonial expansion of Western culture, the new territorial landscape image is shown to develop in close interaction with the early modern work ethic, republicanism and capitalism. It is also demonstrated that this landscape image is at odds with the idealising Italian Renaissance vision, a conflict condensed in the imagery of strangely artificial rock formations.

Gallery i8 is Iceland's most prominent gallery of modern art. Now, on the occasion of its eleventh birthday, the contributors to this volume reflect on the path travelled. This retrospective consists partly of commentaries from Eva Heisler, Halldor Bjorn Runolfsson, Gudbergur Bergsson and Sigurdur Gudmundsson. Also included is a selection from the gallery archives that paints a coherent picture of the body of works exhibited over the years. Put together, these sections clearly portray the results of pioneering work that i8 has done in the past decade.

Early Celtic art' - typified by the iconic shields, swords, torcs and chariot gear we can see in places such as the British Museum - has been studied in isolation from the rest of the evidence from the Iron Age. This book reintegrates the art with the archaeology, placing the finds in the context of our latest ideas about Iron Age and Romano-British society. The contributions move beyond the traditional concerns with artistic styles and continental links, to consider the material nature of objects, their social effects and their role in practices such as exchange and burial. The aesthetic impact of decorated metalwork, metal composition and manufacturing, dating and regional differences within Britain all receive coverage. The book gives us a new understanding of some of the most ornate and complex objects ever found in Britain, artefacts that condense and embody many histories.

An illustrated introduction to internationally acclaimed glass artist Stephen Rolfe Powell's career, this book charts the evolution of Powell's remarkable body of work. Dazzling photographic close-ups not only detail the luminous murrini patterns that have become Powell's signature but also reveal new ways of appreciating the complex interplay of color and texture in his art. Biographical and analytical essays by Mark Lucas, Laurie Winters, and James Yood explore such topics as the teamwork that is so critical to Powell's unique glassmaking process; his teaching and learning experiences on the road, from the former Soviet Union to Salt Lake City during the Olympics; and the story of the two freak injuries that deeply affected his work and how he thinks about it. Reflections by Kenn Holsten, Marvin Lipofsky, Dante Marioni, Bonnie Marx, John Roush, and Lino Tagliapietra further supplement the book. The book's stunning photographs encourage the viewer to see Powell's work from different viewpoints, and they highlight the unique interactions between transparent, opaque, and translucent glass and Powell's bold color combinations. Stephen Rolfe Powell: Glassmaker vividly portrays the tension and excitement involved in the artist's nontraditional, collaborative approach to working with molten glass.

This handsome volume presents 161 pairs of matching before and after photographs of Pittsburgh. A treasury of images for those who remember the old Pittsburgh, those who are curious about its past, and anyone interested in Pittsburgh's fascinating evolution from \u201csmoky city\u201d to the city it is today.

America was once full of small, lively places that produced things. But then factories closed, mills shut down, mines quit hiring. Steelworkers, textile workers, automakers, and coal miners were laid off, phased out, downsized, outsourced, given the axe, or otherwise told to get lost. Once proud towns gave way to vacant storefronts, empty streets, and wounded people struggling with anger and bitterness. Through words and pictures After the Smoke Clears takes readers into the communities of Homestead and Braddock, Pennsylvania; Lewiston, Maine; Matewan, West Virginia; and Flint, Michigan. Each of these company towns had staked its fortune to a single industry. And each has suffered for it. Steve Mellon focuses on the human face of that suffering. Again and again, men and women fighting to make ends meet freely admit that the blows to their sense of self and sense of community were more hurtful than the economic damage caused by the departure of the mill or mine or plant. As he explores the complex relationship between work, loss, and identity, Mellon offers thought-provoking reflections on the hidden costs of economic policies and business decisions made by multinational corporations to abandon the small towns that made them strong.

This inspired collection of over sixty original paintings, stone carvings and woodcut prints by Greg Tricker portrays the human suffering, exultation, compassion and joy of the life of St Francis; with their visionary quality, they present a fresh contemporary image of St Francis. Greg Tricker travelled to Assisi to research St Francis, drawing inspiration from the small church of San Damiano where the saint prayed and the square of San Rufino where he preached; and by walking through the beautiful olive groves and hills that surround Assisi.The plates, many of which have not been seen before, are complemented by a lively text on the historical background and life of St Francis by artist and teacher Johannes Steuck, and a spirited introduction by writer and philosopher Jeremy Naydler.

Luke Swank: Modernist Photographer reintroduces the work of an important artist who had been relegated to virtual anonymity after his untimely death in 1944. As both a biography of Swank (1890-1944) and an analysis of his work, the book focuses on his essential contribution to the modernist movement and positions Swank alongside contemporaries Edward Weston, Margaret Bourke-White, and Walker Evans. In 1930, at age forty, Luke Swank was selling cars in his hometown of Johnstown, Pennsylvania. Just two years later, his five-part photo mural “Steel Plant” was featured in Murals by American Painters and Photographers, the first show at the Museum of Modern Art in New York to include photography. Although Swank’s images share stylistic similarities with many of the modernists, they also reveal his unique visual poetry. His compositional exploration, technical virtuousity, and use of intense highlight and shadow and geometric forms and lines affirm his contributions to the modernist movement and the emerging art of photography.

This collection of seventeen essays explores the dramatic changes in Western conceptions of the body, encompassing the cultural shifts that occurred across Empire, religion and science, from antiquity to the eighteenth century.