More wide ranging, both geographically and chronologically, than any previous study, this well-illustrated book offers a new definition of Celtic art.
Tempering the much-adopted art-historical approach, D.W. Harding argues for a broader definition of Celtic art and views it within a much wider archaeological context. He re-asserts ancient Celtic identity after a decade of deconstruction in English-language archaeology.
Harding argues that there were communities in Iron Age Europe that were identified historically as Celts, regarded themselves as Celtic, or who spoke Celtic languages, and that the art of these communities may reasonably be regarded as Celtic art.
This study will be indispensable for those people wanting to take a fresh and innovative perspective on Celtic Art.
'This is a well-written scholarly book that seeks a balanced view between the artefacts and archaeology… One of the striking features is the author's line drawings, re-drawn from various sources to provide consistency, which they do most successfully.' – Minerva
'A useful grounding source for those interested in Celtic expression.' – Northern Earth
'Familiarity with the Continental material as well as recent discoveries in Britain make it the most comprehensive study to date. The rich use of both black and white illustrations as well as some stunning colour plates..make this book excellent value for money… Harding’s study … represents an assured and knowledgeable account which will provide an invauluable foundation for new directions in Celtic art studies.’ – Cambridge Archaeological Journal
1. Introduction: Definitions, Material and Context 2. ‘An Art with No Genesis’: The Later Bronze Age Background 3. The La Tène Early Styles: Origins and Influences 4. The La Tène Developed Styles 5. The Art of the Swordsmith 6. The Later La Tène Relief Styles 7. Insular British Art to the Roman Conquest 8. La Tène and non-La Tène in Ireland 9. South-West Europe and the Celtiberians 10. Later Styles and Romanization 11. Late Insular Art in Britain and Ireland 12. Conclusions: Archaeology and Celtic Art