Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
  1. Home
  2. Search

Refine search

Refine search

Access:
Content type:
Publication date:
Apply   From and To filters
Subject: Show more
Journals Show more
Publishers: Show more
Societies Show more
Series: Show more
Collections: Show more

Actions for selected content:

Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Save to Kindle
  • Save to Dropbox
  • Save to Google Drive

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Please provide a title, maximum of 40 characters.
Cancel
×

1 results

  • History and image: the Penelope Painter's Akropolis (Louvre G372 and 480/79 BC)1

  • Robert D. Cromey
  • Journal:
    The Journal of Hellenic Studies / Volume 111 / November 1991
    Published online by Cambridge University Press:
    11 October 2013, pp. 165-174
    Print publication:
    November 1991

  • Why the Athenians of the classical era seem never to have set their own greatest historical moments into representational art has remained a major problem for historians and art historians alike. In attempting an answer, perhaps more attention should be given to one of the explanations by Aischines of why it would be wrong for the Demos to honor Demosthenes with a crown (iii 183-192). In brief, Aischines says that in the great days of the democracy, the days of unforgettable victories, it was undemocratic for a great man to be exalted in art when the achievement in truth belonged to the Demos. He adds pointedly that some great men of that era adhered to this patriotic ethic themselves, while others like Miltiades had their attempts at prominence in representational arts rebuffed or sharply diminished in scale.