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Exekias John Boardman American Journal of Archaeology, Vol. 82, No Exekias John Boardman American Journal of Archaeology, Vol. 82, No. 1. (Winter, 1978), pp. 11-25. Stable URL: http://links.jstor.org/sici?sici=0002-9114%28197824%2982%3A1%3C11%3AE%3E2.0.CO%3B2-P American Journal of Archaeology is currently published by Archaeological Institute of America. Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/about/terms.html. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/journals/aia.html. 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For more information regarding JSTOR, please contact [email protected]. http://www.jstor.org Mon Dec 3 14:55:34 2007 JOHN BOARDMAN Abstract archaeology and art history, where it may often An approach is proposed for the study of vase meet other classical disciplines still not ready to painters through appraisal of their choice of sub accept the validity of evidence which has not been jects compared with that of their contemporaries won from an ancient text, but for this very reason and predecessors. Exekias' interest in Trojan scenes it is a study which has most to offer to that wider is explored and in particular his innovations and apparent interest in scenes including Ajax and and deeper understanding of classical antiquity to Achilles, together or alone. It is tentatively sug- which scholars and students more openly nowadays gested that this reflects a positive attitude counter aspire. to the myth-propaganda of Peisistratan Athens, It is not easy, and probably dangerous, to attempt and that the novel scene of the heroes gaming might to formulate a procedure for such studies. This have served as a comment on an episode in Peisi- stratos' second return from exile. essay explores some of the relevant questions posed by the identified work of the greatest of the Atheni- The identification of Athenian vase painters, a an black figure vase painters, Exekias, and presents study pioneered by others but comprehensively one ~ossiblemethod of approach. organised by Beazley, a scholar of genius who de- The considerations which might have led a voted most of his working career to the subject, painter to choose one scene rather than another for may have reached the point at which further prog- a vase are most diverse. The field to be occupied ress may best be envisaged in terms of fuller illus- represents one simple, physical constraint, and an tration and explanation of the styles of the iden- artist thwarted by it could only, if his subject mat- tified painters, and the adjustment of painter lists ter meant so much to him, turn to other shapes. The in the light of re-study or fresh material: matters of lazy or second-rate artist will easily be guided by demonstration and tidiness, which may yet bring habit to reproduce, even mass-produce, a familiar new insight to the working of the Athenian pot- or well-tried scheme; but a good artist rarely re- ters' quarter and the careers of individual artists.' peats himself exactly even within the limiting con- The identification of potters and the study of ventions of a popular subject. The "pattern books" shapes, somewhat less rewarding in terms of our conjured by many scholars recently to explain rhe understanding of much beyond the organisation persistence or reappearance of subjects are un- of the potters' quarter, can be and are being fur- necessary, and a moment's thought about what ther explored. The painters have been defined they could have contained, how they could have mainly in terms of draughtsmanship. Probably the been used and by whom, and what their effect most rewarding field for study now that the master should have been, ought to convince anyone that of attribution has gone is the definition of the they did not exist. Greek art did not endure the painters as artists in the fuller sense of the word. complicated and subtle hagiographic conventions This involves study of their compositions, their of Byzantine or Mediaeval art, and the artists' choice of subject matter, the possible relevance of choice and execution were informed by what they that choice to contemporary life, politics, literature had been taught or saw around them-not only on and religion as well as to the other arts. This has vases. It is because Greek iconography did not suf- been practised haphazardly, and iconographic stud- fer the restrictions of any canon beyond uncodified ies usually start with a theme rather than the han- local habit and preference that it is such a reward- dling of it by a particular studio or artist.' It can be ing and revealing subject. Ultimately the market a more demanding study since it ranges far outside determines the product, but the market can be *The substance of this article was delivered as the Second painter studies in IHS 85 (1965) 98-101 and Mlb 27 (1976) Rodney Young Memorial Lecture at the University Museum, 29-46. Philadelphia, in January 1977. An attempt on the Kleophrades Painter's use of Troy 1Martin Robertson has discussed the way ahead for vase scenes is made in AntK 19 (1976) 3-18. 12 JOHN BOARDMAN [AJA 82 conditioned and instructed. A few vase shapes at- Even with such general headings the possibilities tract subjects of specialist or cult interest, but most of misleading or being misled are notable. First, it do not. The individually commissioned vase was seems to me unwise to attempt deductions from surely a rarity-the occasional dedication or gift. such classification unless the number of scenes to If all or most were individually commissioned we handle for one painter is at least fifty. Then, merely should not observe that undoubted unity of interest to admit the heading "Troy" begs the question in most painters' ~euvre.~The choice lay with the whether the literary treatment of a story should painter. It could be guided by a special market be taken as a criterion of choice. We have no right, (Etruria, for example), by currently popular themes, obviously, to assume that an artist is being guided, or inspired by other works. But it was his choice, directly or indirectly, by a written source that sur- and just as the vases reflect the taste, demands and vives today (as the Homeric poems); no right, preoccupations of the day so, since the possible even, to assume that he is being guided by any range is immense, we can also use them to explore written source rather than that Vol~suorstellung the interests and preoccupations of individual which antedates both writing and representational painters. art, which lay closer to the consciousness of the Individuality of choice and treatment can only ordinary Greek than any formal expression in writ- be observed through the close comparison of a ten word or image, and which a humble and painter's work with that of his contemporaries, prolific art, like that of the vase painter, may reflect sometimes with that of his predecessors and suc- more truly than other and more important sur- cessors. A quantitative approach to such subjects viving media. And if a fighting scene at Troy is is one familiar in most archaeologies- other than chosen is it because it is Trojan or because it is a the classical, but in these matters it is possible to fight? If a chariot scene, is it because the story is appear both numerate and illiterate. In what fol- important (the departure of Amphiaraos, for ex- lows the consideration of the errors inherent in ample), or because the heroic implications of a enumeration of "facts" which are really judgements chariot were attractive, or because the painter liked may prove as illuminating as any of the statistical drawing horses? There is also the possibility that "results." For a start, I give a list of the broad head- our sample is unrepresentative because it is "loaded" ings under which one might classify the subjects by one exceptional or uncharacteristic series of of black figure vases: they are vague enough and finds: but this we can generally identify and allow I have tried to keep like with like-the heroic, for. Despite these reservations, but keeping them the goodtime ones, the warlike ones : firmly in mind, the exercise of making such lists seems worth while. They draw attention to inter- HERAKLES HORSEhlEN ests which might remain unsuspected because we THESEUS CHARIOTS tend to recall a painter's work in terms of his best WARRIORS known vases only. This way too we may better TROY FIGHT judge trends in successive periods and begin to OTHER hfYTH look for explanations of change in terms of litera- ATHLETES ture, symbolism or even the contribution of indi- GODS .WEDDINGS vidual innovatory artists. GIGANTOMACHY CULT Table A gives lists of subject interests for five DOMESTIC Athenian painters whose main period of activity KOMOS/SYMPOSION TRADE lies within the third quarter of the sixth century.
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