ABSTRACT

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.

chapter 1|16 pages

DEFINITIONS, MATERIAL AND CONTEXT

chapter 4|28 pages

THE LA TÈNE DEVELOPED STYLES

chapter 5|25 pages

THE ART OF THE SWORDSMITH

chapter 6|22 pages

THE LA TÈNE LATER RELIEF STYLES

chapter 7|40 pages

INSULAR BRITISH ART TO THE ROMAN CONQUEST

chapter 8|25 pages

LA TÈNE AND NON-LA TÈNE IN IRELAND

chapter 9|22 pages

SOUTH-WEST EUROPE AND THE CELTIBERIANS

chapter 10|27 pages

LATER STYLES AND ROMANIZING INFLUENCES

chapter 11|24 pages

LATER INSULAR ART IN BRITAIN AND IRELAND

chapter 12|13 pages

CONCLUSIONS: Archaeology and Celtic art