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Hellenistic sculpture

Chapter 2: INTRODUCTORY NOTE
By Guy Dickins
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ArtHistory - Ancient

About This Book

A concise survey of sculpture from the Hellenistic period, organized by regional schools—Pergamon, Alexandria, Rhodes, mainland Greece—and a chapter on Greco‑Roman developments. It outlines stylistic shifts toward greater naturalism, expressive movement, dramatic composition, individualized portraiture and a widening range of subjects, and considers sculptural techniques and typologies through selected plates and museum examples. The narrative traces relationships between local workshops, major monuments and later Roman adaptation, while offering references and an appendix that gathers the author’s published work and sources for further study.

INTRODUCTORY NOTE

Guy Dickins wrote these chapters on Hellenistic Sculpture as a brief sketch of the period to which he hoped to devote years of study. They foreshadow some of the theories which he intended to work out, and for that reason we believe that they will be useful to the student. There are obvious omissions, but no attempt has been made to fill up gaps in the manuscript, such as paragraphs on the Barberini Faun or the Attic Gaul, which were left blank in 1914.

The illustrations, which naturally must be limited in number, have been selected by me mainly on the principle of reproducing the less accessible pieces of sculpture while giving references to standard works for the others.

In preparing my husband’s manuscript for publication I have to acknowledge with gratitude the help of many friends. To Professor Percy Gardner I am particularly indebted for valuable advice and for his kindness in writing a preface to the volume; to Miss C. A. Hutton for her counsel throughout; and to Mr. Alan Wace for sending me photographs from Athens. I have also to thank the Hellenic Society, the Committee of the British School at Athens, and Dr. Caskey of the Boston Museum for permission to reproduce certain photographs.

MARY DICKINS.

Oxford, March, 1920.