John Boardman

#2

1994

John Boardman here explores Greek art as a foreign art transmitted to the non-Greeks of antiquity - peoples who were not necessarily able to judge the meaning of Greek art and who may have regarded the Greeks themselves with great hostility. Boardman's pioneering work assesses how and why the arts of the Classical world traveled and to what effect, roughly from the eighth century B.C. to early centuries A.D., from Britain to China. Since the Greeks were not themselves always the intermediaries and the results were largely determined by the needs of the recipients, this becomes a study of foreign images accepted or copied usually without regard to their original function. In some places, such as Italy, these images were overwhelmingly successful. In Egypt, the Celtic world, the eastern steppes, and other regions with strong local traditions, they were never effectively assimilated. Finally, in cultures where there was a subtler blend of influences, notably in the Buddhist east, the Classical images could serve as a catalyst to the generation of effective new styles. Boardman's approach is as much archaeological as art-historical, and the processes he reveals pose questions about how images in general are copied and reinterpreted. In addition, the author has demonstrated for specialists and for a broader audience that looking at Greek art from the outside provides a wealth of new understanding of Greek art itself.

#3

"What can we learn from the stunning rise and mysterious death of the ancient world's greatest conqueror? An acclaimed biographer reconstructs the life of Alexander the Great in this magisterial portrait. More than two millennia have passed, but Alexander the Great is still a household name. His life was an adventure story and took him to every corner of the ancient world. His memory and glamour persist, and his early death at thirty-three has kept him evergreen in our imaginations with a legacy that meant something different to every age: in the Middle Ages he became an exemplar of knightly chivalry, he was a star of Renaissance paintings, and by the early twentieth century he even came to resemble an English gentleman. But who was he in his own time? In Alexander the Great, Anthony Everitt judges Alexander's life against the criteria of his own age and considers all his contradictions. We meet the Macedonian prince who was naturally inquisitive and fascinated by science and exploration, who enjoyed the arts and used the poet Homer's great epic, the Iliad, as a bible. As his empire grew, stretching from Greece and Macedonia to Ancient Egypt and Persia and all the way to India, Alexander exhibited respect for the traditions of his new subjects and careful judgment in administering rule over a vast territory. But his career also had a dark side. An inveterate conqueror, who in his short life built the largest empire to that point in history, Alexander glorified war and was known to commit acts of great cruelty. As debates continue about the meaning of his life, Alexander's death remains an unsolved mystery. Did he die of natural causes, felled by a fever, or did his marshals, angered by his tyrannical behavior, kill him? An explanation of his death can lie only in what we know of his life, and Everitt ventures to solve that puzzle, offering an ending to Alexander's story that has eluded so many for so long"-- The life of Alexander the Great took him to every corner of the ancient world. His memory and glamour persist, and his early death at thirty-three has kept him evergreen in our imaginations. But who was he in his own time? Naturally inquisitive, fascinated by science and exploration, Alexander exhibited respect for traditions as his empire grew-- yet glorified war and was known to commit acts of great cruelty. Did Alexander die of natural causes, or did his marshals, angered by his tyrannical behavior, kill him? Everitt judges Alexander's life against the criteria of his own age and considers all his contradictions. -- adapted from jacket