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Cambridge University Press 978-0-521-76031-7 - Greek Sculpture Nigel Spivey Frontmatter More information GREEK SCULPTURE Ancient Greek sculpture seems to have a timeless quality – provoking reactions that may range from awe to alienation. Yet it was a particular product of its age, and to know how and why it was once created is to embark upon an understand- ing of its ‘Classic’ status. In this richly illustrated and carefully written survey, encompassing works from c. 700 BC to the end of antiquity, Nigel Spivey expounds not only the social function of Greek sculpture, but also its aesthetic and technical achievement. Fresh approaches are reconciled with traditional modes of study as the connoisseurship of this art is sympathetically unravelled, while source material and historical narratives are woven into detailed explan- ations, putting the art into its proper context. Greek Sculpture is the ideal textbook for students of Classics, Classical civilization, art history and archaeology – and an accessible account for all interested readers. NIGEL SPIVEY teaches Classical Archaeology at the University of Cambridge, where he is also a Fellow of Emmanuel College. He has held scholarships at the British School at Rome and the University of Pisa, and has also worked at the Australian National University and the Getty Research Institute. He has written widely about Greek, Etruscan and Roman art, and presented several historical television documentaries, including the major BBC/PBS series How Art Made the World (2005). © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-76031-7 - Greek Sculpture Nigel Spivey Frontmatter More information © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-76031-7 - Greek Sculpture Nigel Spivey Frontmatter More information GREEK SCULPTURE Nigel Spivey © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-76031-7 - Greek Sculpture Nigel Spivey Frontmatter More information University Printing House, Cambridge CB2 8BS, United Kingdom Cambridge University Press is part of the University of Cambridge. It furthers the University’s mission by disseminating knowledge in the pursuit of education, learning and research at the highest international levels of excellence. www.cambridge.org Information on this title: www.cambridge.org/9780521760317 © Nigel Spivey 2013 This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2013 Printed in the United Kingdom at the University Press, Cambridge A catalogue record for this publication is available from the British Library Library of Congress Cataloguing in Publication data Spivey, Nigel Jonathan. Greek sculpture / Nigel Spivey. pages cm. ISBN 978-0-521-76031-7 (Hardback) – ISBN 978-0-521-75698-3 (Paperback) 1. Sculpture, Greek. I. Title. NB90.S65 2013 7330.3–dc23 2012021706 ISBN 978-0-521-76031-7 Hardback ISBN 978-0-521-75698-3 Paperback Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party internet websites referred to in this publication, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-76031-7 - Greek Sculpture Nigel Spivey Frontmatter More information Je voudrais que le lecteur ne crût rien sur parole et sans l’avoir vérifié, et qu’il se méfiât de tout, même de cet itinéraire. Croire sur parole est souvent commode en politique ou en morale, mais dans les arts c’est le grand chemin de l’ennui. STENDHAL, Promenades dans Rome, 25 Janvier 1828 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-76031-7 - Greek Sculpture Nigel Spivey Frontmatter More information © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-76031-7 - Greek Sculpture Nigel Spivey Frontmatter More information CONTENTS LIST OF FIGURES x PREFACE xix NOTE xxii 1 INTRODUCTION: THE STUDY OF GREEK SCULPTURE 1 Ancient writing about Greek sculpture 4 The modern tradition 6 The periods and styles of Greek sculpture: a glossary 7 Sources and further reading 13 2 THE GREEK REVOLUTION 17 Defining the Greek Revolution 20 Style and democracy 24 Narrative, truth and consequences 27 The cult of beauty 33 The logic of anthropomorphism 42 Conclusion: ‘Pygmalion’s power’ 50 Sources and further reading 51 3 DAEDALUS AND THE WINGS OF TECHNÊ 55 Daedalus: the invention of the arch-inventor 57 Technê: limestone and marble 64 Technê: bronze and terracotta 74 ‘The colours of white’ 81 Sources and further reading 83 4 ANATHÊMATA: GIFTS FOR THE GODS 87 The economics of idolatry and the archaeology of cult 89 Votive occasions and votive sculpture 95 Conclusion: Eusebeia and ‘Greekness’ 116 Sources and further reading 119 vii © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-76031-7 - Greek Sculpture Nigel Spivey Frontmatter More information CONTENTS 5 HEROES APPARENT 123 Of the great and the good 124 ‘Say not that the good die’ 127 ‘Heroic nudity’ 133 The Tyrannicides 136 Heroes beyond the grave 139 Sources and further reading 148 6 TEMPLE STORIES 151 The Corfu pediment 153 Temples on the Archaic Akropolis 156 Metopes of the temple of Zeus at Olympia 160 The Parthenon frieze 165 The Bassae frieze 170 Sources and further reading 172 7 IN SEARCH OF PHEIDIAS 175 Pheidias: the legend 177 Rationalizing genius 182 Athena Parthenos and Olympic Zeus 188 Sources and further reading 192 8 REVEALING APHRODITE 195 Aphrodite’s genesis and Aphrodite’s cult 197 Knidos: the shock of the nude? 202 Aphrodite at large 209 Sources and further reading 213 9 ROYAL PATRONAGE 217 The Nereid monument 220 The Mausoleum at Halicarnassos 222 Ruler-cult and ‘propaganda’ 226 After Alexander 230 Pergamon: the Athens of the East 235 viii © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-76031-7 - Greek Sculpture Nigel Spivey Frontmatter More information CONTENTS From Pergamon to Rome 243 Sources and further reading 245 10 PORTRAITS AND PERSONIFICATIONS 249 ‘The mask of Socrates’ 250 Putting names to faces 254 Seven Athenian worthies 255 The physiognomic factor 257 Alexander –‘the Great’ 258 After Alexander 262 Personifications: a selective survey 265 Sources and further reading 271 11 GRAECIA CAPTA 277 The Verrine controversy 281 ‘Captive Greece made captive her wild conqueror’ 284 Sculptures in the horti 286 The Sperlonga sculptures 292 Hadrian’s Antinous 295 Coda: mutilated statues 296 Sources and further reading 297 12 AFTERLIFE 301 Byzantium and the Middle Ages 303 The Renaissance 306 Enlightenment and Romanticism 313 The rise of archaeology 317 Sources and further reading 321 INDEX 324 COLOUR PLATES FOUND BETWEEN PAGES 168 AND 169 ix © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-76031-7 - Greek Sculpture Nigel Spivey Frontmatter More information FIGURES My thanks to colleagues who have assisted with pictures: Lucilla Burn, David Gill, Ian Jenkins, Bert Smith, Cornelia Weber-Lehmann. I am also obliged to John Donaldson at the Museum of Classical Archaeology, Cambridge. Museum refer- ences (especially those of Berlin, currently under reorganization) are provisional: here, the following abbreviations have been used: BM – British Museum; NM – Athens, National Archaeological Museum. Frontispiece: Laocoon – a sketch attributed to Michelangelo, in the underground room of the New Sacristy of San Lorenzo, Florence. COLOUR PLATES I Portrait of J.J. Winckelmann, by Anton von Maron, 1768. Weimar, Schlossmuseum. II (a) Detail of Riace Figure ‘B’. Reggio Calabria, Archaeological Museum (Nick Murphy). (b) Detail of Riace Figure ‘A’. Reggio Calabria, Archaeological Museum (Nick Murphy). III Detail of painted drapery on Athens Akropolis korê no. 594, as recorded at time of excavation. After H. Schrader, Auswahl archaischer Marmor-Skulpturen im Akropolis-Museum (Vienna 1913), pl. V. IV Part of a fragmentary Attic funerary stêlê, c. 540 BC: girl with flower. Berlin, Staatliche Museen. (Further parts of the same monument are in the New York Metropolitan Museum.) V Reconstruction of the Triton pediment: after T. Wiegand, Die archaische Poros-Architektur der Akropolis zu Athen (Cassell 1904), pl. iv. (Original fragments in Athens, Akropolis Museum.) VI Reconstruction of the chryselephantine Zeus at Olympia. Artwork by Sian Frances. VII Detail of the ‘Terme Boxer’. Rome, Palazzo Massimo. VIII Figure ‘N’–usually identified as Iris – from the Parthenon west pediment. London, BM. x © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-76031-7 - Greek Sculpture Nigel Spivey Frontmatter More information LIST OF FIGURES FIGURES IN TEXT 1.1 Portrait of J.J. Winckelmann, by Anton von Maron. Weimar, Schlossmuseum. 4 1.2 ‘Daedalic’ relief from Mycenae. Athens, NM. 7 1.3 ‘Apollo of Tenea’. Munich, Glyptothek. 8 1.4 ‘Blond Boy’. Athens, Akropolis Museum (D. Gill). 9 1.5 View of the Athenian Akropolis, c. 1950 (from archive of R.M. Cook). 10 1.6 ‘Nike adjusting her sandal’. Athens, Akropolis Museum. 11 2.1 Horse-head from the Parthenon east pediment. London, BM. Photo by courtesy of the Trustees. 18 2.2 Drawing of the same. 19 2.3 Geometric bronze horse figurine. Cambridge, Museum of Classical Archaeology. 20 2.4 Black-figure amphora by Exekias. Vatican Museums (Beazley Archive). 21 2.5 Detail of the Parthenon frieze. London, BM. 22 2.6 ‘Kritian Boy’. Athens, Akropolis Museum. 23 2.7 Detail of relief from the Apadana, Persepolis. 27 2.8 Ensemble from the west pediment of the temple of Zeus at Olympia.
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