הצעות לקריאה נוספת / Suggestions for additional reading

מתוך limudbchevruta

קפיצה אל: ניווט, חיפוש

בדף זה תעודכן באופן שוטף רשימת קריאה בנושאי אמנים ובעלי-מלאכה במבט מתודולוגי, לשימוש חברי הקבוצה ולכל המעוניין. בהתאם לרוח העבודה בקבוצה, ההפניות מאורגנות לפי נושאי חתך, ולא לפי תקופות ותרבויות.

אם תרצו להציע לנו הפניות נוספות שיופיעו ברשימה, אנא כתבו לליאת נאה (liat.naeh בג'ימייל) או לרחל קן-קריינין (caine.racheli בג'ימייל). תודה!

בין ארכיאולוגיה לתולדות האמנות

Sanz, D. I., Frore, D. And May, S. K. (eds). 2008. Archaeologies of Art. Time, Place, Identity. One World Archaeology 55. Walnut Creek, Ca.: Left Coast Press.>

Scott, S. 2006. Art and the Archaeologist. World Archaeology 38: 628-643. >

'"אמנות" או'"אומנות"?

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בעלי מלאכה

פישר. מ, גרוסמרק. צ, תשנ"ו, "שיש ועובדי שיש בארץ ישראל בתקופה הרומית ובתקופה הביזנטית, ארץ ישראל, כרך כ"ה, החברה לחקירת ארץ ישראל ועתיקותיה, ירושלים.

Adam Sheila, The Technique of Greek Sculpture in the Archaic and Classical periods, London, 1966.<o:p></o:p>

Burford. A, 1972, Craftsmen in Greek and Roman Society, London> Clark, J.E, and W.J Perry. 1990. “Craft Specialization and Cultural Complexity” (12). Research in Economic Anthropology: 289–346.>

Clark, J.E. 1995. “Craft Specialization as an Archaeological Category” (16). Research in Economic Anthropology: 267–294.>

De Chaisemartin, Nathalie, "Technical aspects of the sculptural decoration at Aphrodisias in Caria", in: M. Schvoerer (ed.), Archéomatériaux: marbres et autres roches: actes de la IVème Conférence internationale de l'Association pour l'étude des marbres et autres roches utilisés dans le passé. ASMOSIA IV, Bordeaux-Talence, 9-13 Octobre 1995. Bordeaux: Presses Universitaires de Bordeaux, 1999, pp.261–267.<o:p></o:p>

Grossman, Janet Burnett, Looking at Greek and Roman Sculpture in stone: a guide to terms, styles, and techniques, Los Angeles: The J. Paul Getty Museum, 2003.<o:p></o:p>

Ling. R, 1991, Roman Painting, Cambridge University Press. (Ch. 10- Technique: Plastering, Painting; Ch. 11- Painters and Patrons)>

Mattusch Carol C., Classical Bronzes – The Art and Craft of Greek and Roman Statuary, Ithaca and London, 1996.<o:p></o:p>

Richter, Gisela M.A., "Ancient Plaster Casts of Greek Metalware", American Journal of Archaeology Vol. 62, No. 4 (Oct., 1958), pp. 369-377. <o:p></o:p>

Richter, Gisela M.A., "An Aristogeiton from Baiae", American Journal of Archaeology Vol. 74, No. 3 (Jul., 1970), pp. 296-297.<o:p></o:p>

Risch, Roberto. 2008. “From Production Traces to Social Organization: Towards an Epistemology of Functional Analysis.” InPrehistoric Technology" 40 Years Later: Functional Studies and the

Russian Legacy, edited by Laura Longo and Natalia Skakun, 519–527. BAR International Series 1783. Oxford: Archaeopress.>

Rockwell Peter, The Art of Stoneworking: a reference guide, Cambridge, 1993.<o:p></o:p>

Rockwell, Peter, "The Sculptor's Studio at Aphrodisias: The working methods and varieties of sculpture produced," in: Yaron Z. Eliav, Elise A. Friedland, and Sharon Herbart (eds.), The Sculptural Environment of the Roman Near East – Reflections on Culture, Ideology, and Power, Leuven; Dudley, MA: Peeters, 2008, pp.91–115.<o:p></o:p>

Strong. D., Brown. D, (ed.), 1976, Roman Crafts, London>


Toynbee, Jocelyn M.C., The Hadrianic School – A Chapter in the History of Greek Art, M.A., D.Phil., Cambridge, 1934.<o:p></o:p>

Toynbee. J. M. C, 1951, Some Notes on Artists in the Roman World, Brussels>

פטרונות

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Bartman Elizabeth, "Sculptural Collecting and Display in the Private Realm", in: Elaine K. Gazda (ed.), Roman Art in the Private Sphere, Ann Arbor, 1994, pp.71-88. <o:p></o:p>

Buckland. W. W, 1963, A Textbook of Roman Law, 3rd ed., pp. 503-506 (deals with contracts between patrons and painters)>

Conlin. D. A, 1997, The Artists of the Ara Pacis: The Process of Hellenization in Roman Relief Sculpture, The University of North Carolina Press, Chapel Hill and London (especially Ch. 2 which deals with: Artists and Patrons: "The Anonymous Artist and the Sculptural Workshop", "Apprenticeship and the Strength of Tradition", "Artistic transmission and the Mobility of the Sculpture", "Patron and the Design", "Toward a model of Relief Workshops in the 1st century BC. In Rome").>

Haskell. F. 1980, Patrons and Painters: A Study in the Relations Between Italian Art and Society in the Age of the Baroque, New Haven>

Leach. W. E, 1982, "Patrons, Painters and Patterns: The anonymity of Romano-Campanian Painting and the Transition from the Second to the Third Style", in Gold. B. K. (ed.), 1982, Literary and Artistic Patronage in ancient Rome, Austin (deals with the effects of patronage on form and content)>

Ling. R, 1991, Roman Painting, Cambridge University Press. (Ch. 10- Technique: Plastering, Painting; Ch. 11- Painters and Patrons)>

Stirling, Lea M., The Learned Collector – Mythological Statuettes and Classical Taste in Late Antique Gaul, Ann Arbor, Michigan, 2005.<o:p></o:p>

Stuart. M, 1939, "How were Imperial Portraits Distributed Throughout the Roman Empire?", AJA 43, (1939), pp. "

Swift. E. H, 1923, "Imagines in Imperial Portraiture", AJA 27, (1923), pp. 286-301>

זיהוי סדנאות בעולם הקדום 

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גרשט, רבקה, "אימפריאלי, לוקאלי ופרובינציאלי – הגדרתם וביטוים בפיסול הרומי שנתגלה בארץ-ישראל", מכמנים 16 (2002), עמ' 61–73.<o:p></o:p>

Boardman, J. 2001. The History of Greek Vases. Potters, Painters and Pictures.   London:  Thames and Hudson.>

(Especially Chapter 2: Connoisseurship, and Chapter 3: Potters and Painters).>

 Beyen. H. G, 1951, "The Workshops of the Fourth Style at Pompeii and in its neighborhood", Mnemosyne 4th ser. 4, pp. 235-257. >

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Bieber, Margarete, Ancient Copies – Contributions to the history of Greek and Roman Art, New York, 1977.<o:p></o:p>

Costin, C. L. 1991. Craft Specialization: Issues in Defining, Documenting and Explaining the Organization of Production. Advances in Method and Theory of Archaeology 3: 1-56.>

(Pottery production)>

 Costin, C. L. 2000. The Use of Ethnoarchaeology for the Archaeological Study of Ceramic Production. Journal of Archaeological Method and Theory 7: 377-403.>

(Pottery production)>

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Fischer, L. Moshe, "Sculpture in Roman Palestine. Import and Local Production: An Overview," in: Vassiliki Gaggadis-Robin (ed.), Les ateliers de sculpture régionaux : techniques, styles et iconographie. Actes du Xe Colloque International sur l’art Provincial Romain, Aix-en-Provence et Arles, 21-23 Mai 2007, pp.401–415.<o:p></o:p>

 Heilmeyer, W-D. 2004. Ancient Workshops and Ancient ‘Art’. Oxford Journal of Archaeology 23: 403-416.>

 Kristensen, T. M. and Poulsen, B. (eds). 2012. Ateliers and Artisans in Roman Art and Archaeology. Journal of Roman Archaeology Supplementary Series Number 92. Portsmouth: Journal of Roman Archaeology.

Magness-Gardiner, B. 2003. Pottery Production and Demand in a Middle Bronze Age Levantine Village: Ceramic Specialization and Rural Development. Pp. 117-130 in The Near East in the Southwest: Essays in Honor of William Dever, ed. B.A. Nakhai. The Annual of the American Schools of Oriental Research 58. Boston: American Schools of Oriental Research.

Noga-Banay, G. 2004. Workshops with Style: Minor Art in the Making. Byzantinische Zeitschrift 97: 531-542.>

Rockwell. P, 2008, "The Sculptor's Studio at Aphrodisias: the Working Methods and Varieties of Sculpture Produced", in Eliav. Y. Z., Friedland. E. A., Herbert. S, 2008, The Sculptural Environment of the Roman Near East, Reflections on Culture, Ideology and Power, pp. 91-115<

זיהוי "סגנון" בעולם הקדום וייחוס יצירות

 Emison. P, 2008, The Shaping of Art History, Meditations on a Discipline, the Pennsylvania State University Press>

Gibson-Wood, G. 1980. Studies in the Theory of Connoisseurship from Vasari to Morelli. London. >

חתימות יוצרים בעולם הקדום

 Cohen, B. 1991.    The Literate Potter - a Tradition of Incised Signatures on Attic Vases. Metropolitan Museum Journal 26: 49-96.>

Siebert, G. 1978.   Signatures d'artistes, d'artisans et de fabricants dans l'antiquit é classique. Ktema 3: 111-131.>

אמנות מודרנית וארכיאולוגיה: פרספקטיבות חדשות

Bonaventura, P. and Jones, A. (eds). 2011. Sculpture and Archaeology. Farnham: Ashgate Publishing.>

Colin, R. 2003. Figuring it Out. The Parallel Visions of Artist and Archaeologists. London: Thames and Hudson. >

Hansen, C. 2008. Art and Archaeology: The Function of the Artist in Interpreting Material Culture. Unpublished PhD Dissertation, Waterford Institute of Technology.>

Jameson, J. H., Ehrenhard, J. E., and Finn, Ch. A. (eds). 2003. Ancient Muses. Archaeology and the Arts. Alabama: University of Alabama Press.>

Schonfield, J. 2009. Constructing Place. When Artists and Archaeologists Meet (Chapter 14). Pp. 185-196 in Aftermath: Reading in the Archaeology if Recent Conflict, by. J. Schonfield. Swindon: Springer.  >


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