Amos Lawrence Professor of Art
M.A. Bryn Mawr College (1983)
Ph.D. Bryn Mawr College, Classical/Near Eastern Archaeo (1988)
Areas of Expertise
Teaching: I teach undergraduate and graduate courses on the art of ancient Greece. My courses are interdisciplinary in orientation, touching on literature, religion, mythology, and society as well as the art of antiquity. I also teach the undergraduate course on the history and methodology of art history required of art-history majors.
ARTH 236 / CLAS 234 / ENVI 237(S)Demigods: Nature, social theory, and visual imagination in art and literature, ancient to modern
ARTH 238 / REL 216 / CLAS 248Greek Art and the Gods (not offered 2020/21)
The Image of the Artist in Archaic and Classical Greece: Art, Poetry, and Subjectivity (Cambridge University Press, 2016). Named 2016 Choice Outstanding Academic Title.
Capturing Troy: The Narrative Function of Landscape in Archaic and Early Classical Greek Art (The University of Michigan Press, 2001).
Silens in Attic Black-figure Vase-painting: Myth and Performance (The University of Michigan Press, 1992). Recipient of the 1995 Gustave O. Arlt Award in the Humanities from the Council of Graduate Schools.
With Michael Kwakkelstein, At the limits of the material world: The intersection of art, science, and nature in ancient literature and its Renaissance reception, proceedings of a conference held at the Istituto Universitario Olandese di Storia dell’Arte, Florence, April 20-21, 2018, in preparation.
Publications—book chapters, essays, articles:
“The problem of the centaur in Empedoklean evolutionary theory and ancient art,” under review.
“On the magnitude of the gods in materialist theology and Greek art,” under review.
“Sex, love, and marriage in Dionysiac myth, cultural theory, and satyr drama,” submitted for inclusion in Brill’s Companion to Satyr Drama, edited by Andreas P. Antonopoulos, Menelaos M. Christopoulos, and George W. M. Harrison (Brill).
“Troy,” submitted for inclusion in The Cambridge Encyclopedia of Homer, edited by Corinne Pache (under contract with Cambridge University Press).
“Athenian Dionysian Vase Imagery, Primitive Life, and the Etruscans,” submitted for inclusion in Greek Pots Abroad, edited by Dyfri Williams, R. R. R. Smith, and Thomas Mannack (Oxford University Press).
“Wendy Artin,” in Ad Libitum: Wendy Artin-2018 (Boston: Gurari Collections, 2018).
“The Question of Centaurs: Ovid and Lucretius in Piero di Cosimo,” in Piero di Cosimo: Painter of Faith and Fable, edited by Dennis Geronimus (Florence: Nederlands Kunsthistorisch Instituut, 2018), 187-209.
“Unframing the Representation: The Frontal Face in Greek Art,” in The Frame in Classical Art: A Cultural History, edited by Verity Platt and Michael Squire (Cambridge: Cambridge University Press, 2017), 154-187.
“‘So-and-so kalē’: A Brief Reexamination of the ‘Beautiful’ Woman,” in Epigraphy of Art: Ancient Greek Vase-Inscriptions and Vase-Paintings, edited by Dimitrios Yatromanolakis (Oxford: Archaeopress, 2016), 53-72.
“Smikros: Iambic Portrait of an Artist as a Symposiast by Euphronios,” in The Cup of Song: Studies on Poetry and the Symposion, edited by Vanessa Cazzato, Dirk Obbink, and Enrico Prodi (Oxford: Oxford University Press, 2016) 113-139.
“Smikros and Epilykos: Two Comic Inventions in Athenian Vase-Painting,” in Athenian Potters and Painters, III, edited by John Oakley (Oxford: Oxbow Press, 2014), 49-62.
“The Artificial Sculptural Image of Dionysos in Athenian Vase-Painting and the Mythological Discourse of Early Greek Life,” in Approaching the Ancient Artifact: Representation, Narrative, and Function, edited by Amalia Avramidou and Denise Demetriou (Berlin: de Gruyter, 2014), 267-280.
“The Semantics of Processional Dithyramb: Pindar’s Second Dithyramb and Archaic Athenian Vase-Painting,” in Dithyramb and Society: Texts and Contexts in a Changing Choral World, edited by Barbara Kowalzig and Peter Wilson (Oxford: Oxford University Press, 2013), 171-197.
“Vase-Painting and Narrative Logic: The Death of Troilos in Greece and Etruria,” in Red-Figure Iconography in its Ancient Setting: Acts of the International Colloquium held at the National Museum of Denmark in Copenhagen, November 5-6, 2009, ed. Stine Schierup and Bodil Bundgaard Rasmussen (Gösta Enbom Monographs, Aarhus: Aarhus University Press, 2012), 134-146.
“Bild, Mythos, and Ritual: Choral Dance in Theseus’ Cretan Adventure on the François Vase,” Hesperia 80 (2011): 491-510.
“The Trojan War, Theoxenia, and Aigina in Pindar’s Sixth Paian and the Aphaia Sculptures,” in Aegina: Contexts for Choral Lyric Poetry; Myth, History, and Identity in the Fifth Century BC, edited by David Fearn (Oxford: Oxford University Press, 2011), 323-369.
“Iambic Caricature and Self-Representation: An interpretation of Internal References among Red-Figure Vase-Painters and Potters of the Pioneer Group,” in An Archaeology of Representations: Ancient Greek Vase-Painting and Contemporary Methodologies, edited by Dimitrios Yatromanolakis (Athens: Kardamitsa Editions, 2009), 200-239.
“Achilles beyond the Iliad,” in Heroes! Mortals and Myths in Ancient Greece, catalog of a loan exhibition, Walters Art Gallery, 2009, edited by Charles Dibble (Baltimore: Walters, 2009), 39-48.
“Ambivalence, Athenian Dionysiac Vase-Imagery, and the Narrative of Human Social Evolution,” in Hermeneutik der Bilder: Beiträge zur Ikonographie und Interpretation griechischer Vasenmalerei, edited by Stefan Schmidt and John Oakley (Munich: Corpus Vasorum Antiquorum, Deutschland, Beiheft, 2009), 125-133.
“Involved Spectatorship in Archaic Greek Art,” Art History 30 (2007): 217-246.
“Myths of Ritual in Athenian Vase-Paintings of Silens,” in The Origins of Theatre in Ancient Greece and Beyond: From Ritual to Drama, edited by Eric Csapo and Margaret Miller (Cambridge: Cambridge University Press, 2007), 150-195.
“‘I Let Go My Force Just Touching Her Hair’: Male Sexuality in Athenian Vase-Paintings of Silens and Iambic Poetry,” Classical Antiquity 25 (2006): 277-325.
“Dysfunctional Sexuality in Iambic Poetry and in Athenian Vase-Paintings of Silens,” in Proceedings of the XVIth International Congress of Classical Archaeology: Boston, August 23-26, 2003: Common Ground: Archaeology, Art, Science, and Humanities, edited by Carol C. Mattusch, A. A. Donohue, and Amy Brauer (Oxford: Oxbow Books, 2006), 168-171.
“The Return of Hephaistos, Dionysiac Processional Ritual, and the Creation of a Visual Narrative,” Journal of Hellenic Studies 124 (2004) 38-64.
“Image, Text, and Story in the Recovery of Helen,” Classical Antiquity 15 (1996) 152-184.
“Narrative art, I.3. Greece and Rome,” in The Dictionary of Art, ed. Jane Turner (New York, 1996), 22:510 and 513-515.
“Sir Lawrence Alma-Tadema’s Women of Amphissa,” The Joural of the Walters Art Gallery 52/53 (1994/95) 79-92.
“Silens, Nymphs, and Maenads,” Journal of Hellenic Studies 114 (1994) 47-69.
“The Cult of Achilles in the Euxine,” Hesperia 60 (1991) 313-330
Robin Osborne, The Transformation of Athens: Painted Pottery and the Creation of Classical Greece (Princeton, 2018), in American Journal of Archaeology 123.2 (April 2019, forthcoming).
Richard Neer, The Emergence of the Classical Style in Greek Sculpture (Chicago, 2010), in Bryn Mawr Classical Review 2011 (2011.07.42).
Richard T. Neer, Style and Politics in Athenian Vase-Painting: The Craft of Democracy, ca. 530-460 B. C. E. (Cambridge, 2002), in Bryn Mawr Classical Review 2003 (2003.03.20).
Michael J. Anderson, The Fall of Troy in Early Greek Poetry and Art (Oxford, 1997), in Bryn Mawr Classical Review 9 (1998) 405-409 (98.2.01).
Thomas H. Carpenter, Dionysian Imagery in Fifth-Century Athens (Oxford, 1997), Bryn Mawr Classical Review 9 (1998) 315-321 (97.11.10).
Susan Matheson, Polygnotos and Vase Painting in Classical Athens (Madison, 1995), in Bryn Mawr Classical Review 8 (1997) 69-70 (96.12.5).
Christiansen and Melander eds, Proceedings of the 3rd Symposium on Ancient Greek and Related Pottery (Copenhagen, 1988), in American Journal of Archaeology 94 (1990) 690-691.