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The Evolution of the Pan Painter's Artistic Style

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The Evolution of the Pan Painter's Artistic Style HESPERIA 75 (2006) THE EVOLUTION OF Page* 435-451 THE PAN PAINTER'S ARTISTIC STYLE ABSTRACT In this article the author explores the decorative style of the Pan Painter in order to distance him from the so-called Mannerists and highlight the three oeuvre dimensional nature of his artistry. An analysis of his reveals traits shared with the Berlin Painter and thus revives Christiane Sourvinou-Inwood s was a an suggestion that the Pan Painter shop-boy under Myson and later ap to treatment prentice to the Berlin Painter. Attention is given the Pan Painter's amanner of costume, which enlivened his figures and compositions in suiting the range of iconographie types and vessel shapes with which he worked. our to Thanks to the modern tendency in publications flatten images from as Athenian pots by rendering them two-dimensional artworks, it has vase become difficult to appreciate fully the artistry of painters.11 make to some this observation to bring attention the fact that Attic pot paint on ers did not merely paint pictures awkwardly shaped surfaces, but used their artistry to enhance the overall appearance of each individual pot. an In this article I seek understanding of the Pan Painter, the Classical Attic pot decorator named for his memorable depiction of the woodland a on a in god chasing shepherd bell krater Boston (Figs. 1, 2).2 The Pan to at Painter probably worked in the Early Classical period, from 480 least 460 b.c.3 I do not take it for granted that this painter?or any other, for was was to that matter?chose to paint pots because that all there paint. an was as a as The skills of artist who good draftsman the Pan Painter would have been useful in any medium. It seems, therefore, to have been more a matter of choice. can be seen in This derives from a 10.185. ARV2 no. 1. This tendency script. essay paper 550, 1; Paralipomena etch to Addenda2 Beaz works ranging from 18th-century delivered the Classical Archaeology 386; Beazley 256-257; to in the at the Institute for Classical Archive abbreviated ings 21st-century photographs Seminar ley (hereafter BA) vasorum series. December no. 206276. For the Archive Corpus antiquorum Studies, London, 4,2002. Beazley I am to and to see grateful Tracey Cullen My thanks Alan Johnston and Dyfri Database, www.beazley.ox.ac.uk. two reviewers for the invitation to deliver 3. all dates are b.c. Beaz Hesperias anonymous Williams Hereafter, the Pan Painter's who read and recommended improve that paper. ley (1931, p. 17) dates manu to 480-450. ments to earlier versions of this 2. Boston, Museum of Fine Arts work the period ? The American School of Classical Studies at Athens 436 AMY C. SMITH 1. Pan a Figure pursuing goatherd, at a rural shrine. Side B of a krater by the Pan Painter. Boston, Museum of Fine Arts 10.185. Photo ? 2006, Museum of Fine Arts, Boston Figure 2. Artemis and the death of Aktaion. Side A of a krater by the Pan Painter. Boston, Museum of Fine Arts 10.185. Photo ? 2006, Museum of Fine Arts, Boston EVOLUTION OF THE PAN ARTISTIC STYLE PAINTER'S 437 so More than other known Classical red-figure painters, the Pan was aware Painter keenly of the space and volume of the surfaces he use painted, and of how best to the decoration to complement the object some and the object to complement the decoration. His decorative choices, as a of which reflect Late Archaic styles, have led to his being classified Mannerist. I argue here, however, for his identification as a sub-Archaic as a painter and I explain his mannerism manifestation of his decorative tendencies. BEAZLEY AND THE MANNERIST INTERPRETATION as In 1912 Sir John Beazley first defined the Pan Painter follows: Cunning composition; rapid motion; quick deft draughtsmanship; a strong and peculiar stylisation; deliberate archaism, retaining old forms, but refining, refreshing, and galvanizing them; nothing noble or majestic, but grace, humour, vivacity, originality, and dramatic are force: these the qualities which mark the Boston krater, and which characterize the anonymous artist who, for the sake of convenience, may be called the "master of the Boston Pan-vase," more "the Pan-master."4 or, briefly, can I hardly disagree with Beazley's brief comments. I seek rather to s seem elucidate the Pan Painter peculiar style and archaism, which to a display recognition that particular forms?whether clothing, attributes, or some poses?suited pot shapes better than others. How did the master as we known the Pan Painter develop the style by which identify him? come How did his "backward looking genius"5 about? a concern ar A painters training is central in the exploration of his 4. Beazley 1912b, p. 354. tistic In this context it is best to avoid own terms such as 5. Robertson 1959, p. 120. style. Beazley's or for which he have had 6. For Beazley's fluctuating opinions "master," "school," "teacher," may very specific these see Robertson regarding terms, intentions and usages.6 By training I refer rather to the evolution of the 1989; Rouet 2001, pp. 93-108. a a Pan Painters artistic skills. Becoming painter of any sort?let alone pot 7. includes the Pan Painter Beazley who must some of the art as well?is painter acquire knowledge potter's among the Mannerists in his lists a The of artistic skills entailed in (ARV2 550), but excludes him else complicated process. range pot painting am not a student-teacher as even where: "I including the Pan probably precluded one-on-one, relationship, Painter the Mannerists in the among Beazley might have acknowledged. Yet I must reopen the question that stricter sense. He from the proceeds Beazley ostensibly laid to rest for generations of students and scholars of same and has much in com teacher, ancient art: who was the teacher of the Pan Painter? mon with them, but went his own way, not own conclusion can be summarized as follows: the Pan is immeasurably superior, and did Beazley's or not Painter was a and was the teacher of the sit, for long, in the Mannerist Mannerist, Myson Mannerists; n. was course workshop" (Beazley 1946, p. 13, 1). therefore, Myson the teacher of the Pan Painter.7 Of his opinion 8. 1931. to as were Beazley (as opposed his conclusion) may have been better reasoned, his 9. Sourvinou-Inwood 1975, p. 108. on oeuvre opinions the style, character, and of the Pan Painter, expressed An exception is the Eucharides Painter; inDer Pan-Maler} As Christiane Sourvinou-Inwood has noted, however, Beazley 1913, p. 245. This followed his with the Pan Painter as with most did not to or publication of the Eucharides Painter's others, Beazley try explain oeuvre in 1912a. he identified a as a Beazley analyze why particular painter teacher.9 438 AMY C. SMITH Figure 3. The death of Argos. Shoulder of a kalpis hydria attributed to the Agrigento Painter. Boston, Museum of Fine Arts 08.417. Drawing A. C. Smith, after CB, pi. 86 vase to Mannerism as applied to ancient Greek painting refers the depiction of figures, and especially their attire, attributes, and other de as a tails, for decorative, that is,mannered effect, not necessarily reflection of contemporary styles.10 Figures by the Classical red-figure Mannerists reminded Beazley of the Antwerp Mannerists, Dutch painters of the early were 16th century whose slender figures and pleated garments barely dis tinguishable from those of their immediate predecessors.11 The comparison vase is apt. The Antwerp Mannerists, like the Greek painters, remain were anonymous and mediocre. They influenced by their contemporaries, while copying older compositions and styles. man A kalpis hydria in Boston exemplifies Early Classical red-figure ca. nerism (Fig. 3).12 Here the Agrigento Painter, who worked 470-440,13 uses Archaic-style clothing and details (sharply pointed beards and cloth 10. The term is derived from the and without the decora Italian maniera which in the corners, loopy hems, pleated drapery) mastering ("style"), 16th denoted "artistic abil tive spirit that buoyed the Archaic period. Despite great strides and raised century affectation and are ity and grace but also arms, the doughy human figures rigidly posed in three-quarter views. as noted or not superficiality," succinctly by Affected drapery (whether Archaic in style), framed panels, and Mannack 2001, p. 1. Beazley first used are of the Mannerists. old-fashioned shapes typical red-figure They this term in connection with Attic often use the border ornaments shown in the vase in a Figure 3, especially pendant black-figure painters chapter on title in 3-22. lotus-bud chain, with intersecting arcs, the neck.14 The Agrigento Beazley 1918, pp. a 11. 1974, p. 8. Painter shares with other Early Classical painters tendency to crowd Beazley as 12. Boston, Museum of Fine Arts the composition with overlapping figures, fussy details such the shrub 08.417. ARV2 579, no. 84; beneath and or ornament almost Paralipom bery Argos, sloppy bordering filling ena 391; Beazley Addenda1 262; BA everywhere. Only the last of these tendencies characterizes the Classical no. 206686. Mannerists. 13. Mannack 2001, p. 121. as a re 14. See Mannack The appellation "Mannerist," usually taken pejorative term, (2001, pp. 61, 65, our 67-68) for the lotus-bud chain. stricts the Pan Painter's significance and confuses understanding of 15. Boardman (1975, 181) called his I to call the Pan Painter a sub-Archaic one who p. style. prefer painter, to him sub-Archaic. According Beazley, was at home with the Archaic in its final Archaism is one style phase.15 "Der Maler beginnt als Manierist und means or of many aspects of mannerism practiced by the Pan Painter and endet als Manierist: dazwischen ist er s mehr" other sub-Archaic artists in the Early Classical period (480-450).
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