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The prominence of athletic subject material in Greek art is no coincidence. Even statuary, called Athletic Dedications, arose as a way to immortalize Greek athletes and athletic games. Athletic events and art were so closely related that a common practice of athletes was to commemorate their victories with artistic dedications.
Picture of a classical Greek athlete wearing the kynodesme (attributed to the Triptolemos painter, dating from about 480 BC) A kynodesmē (Greek: κυνοδέσμη, English translation: "dog tie") was a cord or string [1] or sometimes a leather strip that was worn primarily by athletes in Ancient Greece and Etruria to prevent the exposure of the glans penis in public (considered to be ill ...
The writings of Johann Joachim Winckelmann, especially his books Thoughts on the Imitation of Greek Works in Painting and Sculpture (1750) and Geschichte der Kunst des Alterthums ("History of Ancient Art", 1764) were the first to distinguish sharply between ancient Greek, Etruscan, and Roman art, and define periods within Greek art, tracing a ...
The most impressive discovery is an expansive fresco that depicts the Greek legend Helen of Troy, painted on the high walls of a large banqueting hall that was thought to be owned by a high-status ...
Fresco (pl. frescos or frescoes) is a technique of mural painting executed upon freshly laid ("wet") lime plaster. Water is used as the vehicle for the dry-powder pigment to merge with the plaster, and with the setting of the plaster, the painting becomes an integral part of the wall.
The frescoes in Akrotiri are especially important for the study of Minoan art because they are much better preserved than those that were already known from Knossos and other sites on Crete, which have nearly all survived only in small fragments, usually fallen to the ground.
They are famous for their frescoes, painted by Raphael and his workshop. Together with Michelangelo's Sistine Chapel ceiling frescoes, they are the grand fresco sequences that mark the High Renaissance in Rome. The Stanze, as they are commonly called, were originally intended as a suite of apartments for Pope Julius II.
"The bull-leaping fresco from below the Ramp House at Mycenae: a study in iconography and artistic transmission"; The Annual of the British School at Athens 91 (1996); pp. 167–190 Sipahi, Tunç; "New Evidence From Anatolia Regarding Bull Leaping Scenes in the Art of the Aegean and the Near East"; Anatolica 27 (2001); pp. 107–125.