By Jane Ellen Harrison
Jane Ellen Harrison (1850-1928) was once a renowned classical pupil who's remembered mainly for her influential reports of Greek faith, archaeology, literature and paintings. Introductory reviews in Greek artwork (1885) was once Harrison's moment e-book, released after a interval spent learning archaeology on the British Museum lower than Sir Charles Newton and writing and lecturing with reference to Greek vase portray. In her preface to the ebook Harrison claims that Greek paintings is uncommon by means of what she calls 'ideality', a time period she defines as a 'peculiar caliber ... which adapts itself to the recognition of successive a long time ... a definite largeness and universality which outlives the person race and persists for all time.' The ebook covers issues together with Chaldaeo-Assyria, Phoenicia, Pheidias and the Parthenon, and the altar of Eumenes at Pergamos.
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Extra resources for Introductory Studies in Greek Art
At this purely animalistic stage the sacred animal or 24 STUDIES IN CREEK ART. its image was actually worshipped ; indeed this phase in some cases obtained even to the end—the sacred bull Apis was worshipped in the days of the Ptolemies ; but meanwhile another tendency was in process of development with which this animal worship became in part fused. When man has in part outgrown the worship of the nearer fetich or animal which he can handle and observe, he still dreads the remoter powers of earth and sky; these caHnot be investigated.
37 powerful for good or evil; never safe unless under the guidance of a pure religion or the control of a healthy, human daily life. This is the Greek side of the picture. The instinct for beauty was strong with them, if possible almost too strong for perfect balance ; for them then, the fusion of the useful and the fine arts could be only beneficial. But there is another side—the union may be for evil as well as for good ; the useful element may drag down the fine instead of rising with her to a higher region.
He wears on his head the divine crown and the divine symbols, and surely the artist would seek to express in his face something of the higher life to which he has attained. It does seem that there was some tendency of this sort. The faces of Seti, of Ramses, and the rest of the Theban line, have about them a delicate purity, a sort of abstractedness, which affects us not so much as ideal, but as containing the possibilities of idealism. But the impulse was always restrained by the PREDECESSORS OF GREEK ART.