Andrew Stewart is Chancellor’s Research Professor, Professor of the Graduate School, and Nicholas C. Petris Professor of Greek Studies Emeritus in the Departments of Art History and Classics at the University of California at Berkeley. He is also Curator of Mediterranean Archaeology at U.C. Berkeley’s Phoebe Apperson Hearst Museum of Anthropology. A graduate of St. Catharine’s College, Cambridge (UK), he is a former student of the British Schools of Archaeology at Athens and Rome. He has taught at Cambridge, at Otago University in New Zealand, and at Columbia in addition to Berkeley, where he joined the faculty in 1978 and retired in 2019.
He specializes in Greek art, particularly sculpture, and currently is charged with publishing the Classical and Hellenistic freestanding and architectural sculpture from the Athenian Agora. His interests include the body in art and thought; portraiture and personhood in ancient Greece; Greek and Roman attitudes to and writing on Greek art; the Greeks in the East before and after Alexander; and the Renaissance and later reception of ancient sculpture. He has excavated at Knossos in Crete, at Long Beach Maori settlement in New Zealand, and at the Phoenician, Israelite, Persian, Greek, and Roman port of Dor in Israel, where he led a U.C. Berkeley team from 1986-2006.
A member of the American School of Classical Studies at Athens and the German Archaeological Institute, and a Fellow of the Australian Academy of the Humanities, he has received fellowships and grants from the Guggenheim and Getty Foundations, and from the American Council of Learned Societies; in 2009 he received U.C. Berkeley’s Distinguished Teaching Award; and in 2022 he was awarded the Gold Medal for Distinguished Archaeological Achievement from the Archaeological Institute of America. He spends what little free time he has sailing on San Francisco Bay, playing with his grandchildren, and ministering to his wife Darlis’s menagerie of cats.
Art in the Hellenistic World: An Introduction. Cambridge and New York 2014.
Classical Greece and the Birth of Western Art. Cambridge 2008.
Attalos, Athens, and the Akropolis. The Pergamene “Little Barbarians” and their Roman and Renaissance Legacy. Cambridge 2004.
Art, Desire, and the Body in Ancient Greece. Cambridge 1997.
Faces of Power: Alexander’s Image and Hellenistic Politics. Berkeley 1993.
Greek Sculpture: An Exploration. 2 vols. New Haven 1990.
Attika. Studies in Athenian Sculpture of the Hellenistic Age. London 1979.
Skopas of Paros. Park Ridge, NJ 1977.
Recent Co-Edited Books and Collections of Papers
Papers of the Third International Conference on the Archaeology of Paros and the Cyclades: Skopas of Paros and his World, co-edited with Dora Katsonopoulou. Athens 2014.
Recent Essays, Articles, etc.:
The Athenian Agora (2012-Present)
“Fear and Loathing in the Hellenistic Agora: Antenor’s Tyrannicides Return.” Hesperia 91 (2022): 311-350.
“The Sculpture of the Temple of Ares in the Agora: Discoveries Old and New.” In. J. Neils and O. Palagia (eds.), From Kallias to Kritias. Art in Athens in the Second Half of the Fifth Century B.C. Berlin 2022: 197-216.
“Classical Sculpture from the Athenian Agora.” (4) “Concluding Remarks on the Sculptures of the Temple of Ares/Athena Pallenis.” Hesperia 91 (2022): 89-132; (3) “The Pediments, Metopes, and Akroteria of the Temple of Ares/Athena Pallenis.” Hesperia 90 (2021): 533-604; (2) “The Friezes of the Temple of Ares/ Athena Pallenis.” Hesperia 88 (2019): 625-705. (1) “The Pediments and Akroteria of the Hephaisteion.” Hesperia 87 (2018): 681-741.
“Parians at Pallene and in the Athenian Agora. Agorakritos, Lokros, and the Post-Pheidian Turn.” In Paros V. Paros Through the Ages: From Prehistoric Times through the 16th Century A.D., ed. D. Katsonopoulou. Athens 2021: 69-80.
“Nike in the Agora?” In Known and Unknown Nikai, ed. M. Lagogianni. Athens 2021: 118-147.
“Cultural and Technical Innovation on the Metopes of the Hephaisteion.” In From Hippias to Kallias. Greek Art in Athens and Beyond, 527-449 B.C., ed. O. Palagia and E. Sioumpara. Athens: Akropolis Museum, 2019: 134-143.
“Notes on the Origins and Early Development of the ‘Agora of the Kerameikos’.” In Visual Histories of the Classical World: Essays in Honour of R.R.R. Smith. Turnhout (Belgium) 2019: 299-308.
“The Herm.” In M.A. Liston, S.I. Rotroff, and L.M. Snider, The Agora Bone Well (Hesperia Supplement 50, 2018): 60-62.
“Hellenistic Sculpture from the Athenian Agora.” (4) “The East Pediment and Akroteria of the Temple of Apollo Patroos.” Hesperia 86 (2017): 273–323. (3) “Agathe Tyche, Aphrodite, Artemis, Athena, Eileithyia.” Hesperia 86 (2017): 83-127. (2) “Demeter, Kore, and the Polykles Family.” Hesperia 81 (2012): 655-689. (1) “Aphrodite.” Hesperia 81 (2012): 267-342.
“The Borghese Ares Revisited. New Evidence for the Original and a Reconstruction of the Augustan Cult Group in the Temple of Ares.” Hesperia 85 (2016): 577-625.
“Sculptors’ Sketches, Trial Pieces, Figure Studies, and Models in Poros Limestone from the Athenian Agora.” Hesperia 82 (2013): 615-650.
The “Classical Revolution”
“Continuity or Rupture? Further Thoughts on the ‘Classical Revolution.’” Journal of Greek Archaeology 6 (2021): 220-226.
“Kritios and Nesiotes. Two Revolutionaries in Context.” In Artists and Artistic Production in Ancient Greece, ed. K. Seaman and P. Schultz. Cambridge and New York 2017: 37-54.
“Die Invasionen der Perser und Karthager und der Beginn des klassischen Stils.” In Zurück zur Klassik: ein neuer Blick auf das alte Griechenland, ed. V. Brinkmann. Liebieghaus Skulpturensammlung, Frankfurt and Munich 2013: 133-143.
“The Persian and Carthaginian Invasions of 480 B.C.E. and the Beginning of the Classical Style in Greek Sculpture.” American Journal of Archaeology 112 (2008): 377-412; 581-615.
Greek and Roman writing on Greek art
“Paragone? Xenophon, Sokrates, and Quintilian on Greek Painting and Sculpture.” In Images at the Cross-Roads: Meanings, Media, Methods, ed. J.M. Barringer and F. Lissarrague. Edinburgh 2021: 257-279.
“Patronage, Compensation, and the Social Status of Sculptors.” In A Handbook of Greek Sculpture, ed. Olga Palagia. Berlin 2019: 50-88.
“Why Bronze?” In Power and Pathos: Bronze Sculpture of the Hellenistic World, ed. J. Daehner and K. Lapatin. Florence 2015: 34-47.
“Individuality and Innovation in Greek Sculpture.” Humanities Australia 5 (2014): 73-88.
“Alexander, Philitas, and the Skeletos: Poseidippos and Truth in Early Hellenistic Portraiture.” In New Directions in Early Hellenistic Portraiture, ed. R. von den Hoff and P. Schulz. Cambridge 2008: 123-138.
“Bronze Boxer.” In Gabriele Tinti, Ruins, 119-22. London 2021.
“The Nike of Samothrace: Putting the Record Straight.” American Journal of Archaeology 124 (2020): 551-573. Co-authored with Kevin Clinton, Ludovic Laugier, and Bonna Wescoat.
“An Absolute Chronology of Attic Sculpture, 450-390 B.C.” In AΡΙΣΤΕΙA / Excellence. Essays in Honour of Olga Palagia, ed. H. Goette and I. Leventi. Rahden / Westfahlen 2019: 85-101.
“Bathing Beauties. Hygiene, Hydrotherapy, and the Female Nude: An Early Hellenistic Bronze Case-Mirror from Elis.” In HYDRΩMED. Cultes et cultures de l’eau dans le monde méditerranéen au premier millénaire avant notre ère / Water Cult and Culture in the Mediterranean World of the 1st Millennium B.C.E. Aix-en-Provence 2018: 117-129. Co-authored with Maria Liston.
“The Nike of Samothrace: Another View.” American Journal of Archaeology 120 (2016): 399-410.
“Desperately Seeking Skopas.” In Skopas of Paros and his World, ed. D. Katsonopoulou and A. Stewart. Athens 2014: 19-34.
“Two Notes on Greeks Bearing Arms. The Hoplites of the Chigi Jug and Gelon’s Armed Aphrodite.” In Medien der Geschichte in den griechisch-römischen Altertumswissenschaften, ed. Tonio Hölscher et al. Berlin 2013: 227-243.
“(Yet Another) Note on the Olympia Hermes and Dionysos.” In Sailing to Classical Greece. Papers on Greek Art, Archaeology, and Epigraphy Presented to Petros Themelis, ed. O. Palagia and H.-R. Goette. Oxford 2011: 51-53.
“A Tale of Seven Nudes: The Capitoline and Medici Aphrodites, Four Nymphs at Elean Herakleia, and an Aphrodite at Megalopolis.” Antichthon 44 (2010): 12-32.