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Early Hellenistic Portraiture Edited by Peter Schultz , Ralf Von Den Hoff Excerpt More Information Cambridge University Press 978-1-107-66185-1 — Early Hellenistic Portraiture Edited by Peter Schultz , Ralf von den Hoff Excerpt More Information Ralf VON DEN HOFF and Peter SCHULTZ 1 EARLY HELLENISTIC PORTRAITURE AN INTRODUCTION his book is about portraits produced in the – is in order. The early Hellenistic period, in particular the T Greek world during one of the most turbulent and middle of the fourth century, is often seen as the moment exciting times in human history, the early Helle- in which artists in the Western tradition became concerned nistic period (ca. 350–200 b.c.e.). In addition, this book is with the "re-presentation" of physiognomic likeness. For this about something else: the intellectual tools and models that reason, studies of ancient Greek portraits take this moment we use to examine and interpret archaeological evidence – as their starting point. But is it certain that likeness should be what Ian Hodder has called the “frameworks of meaning” – (or was) the defining attribute of an ancient Greek portrait and how these tools and models inform our understanding in the first place? It does not seem so. Indeed, students of an- of the portraits produced during a key period of artistic cient portraiture have consistently used three loosely defined, transition.1 The nature of the volume is thus art historical, sometimes overlapping, concepts as criteria for “portraiture” archaeological, and methodological. Indeed, the fifteen chap- as a genre. ters of this book are unified not only by their common con- For some scholars, as we shall see, the traditional notion cern with the portraiture of the fourth and third centuries of likeness is, in fact, fundamental. For others, however, a but also, paradoxically, by their commitment to individual “true portrait” should communicate something of the inner approaches and radically diverse methodologies. The vol- psychological life of the “sitter.” Still others favor a genre ume can thus be read as an introduction both to a number definition based solely on epigraphical evidence with no ref- of specific problems within the field of portrait studies and erence to an image at all. Complicating the picture is the fact to the dominant frameworks of archaeological thought as that these criteria are modern and thus problematic for defin- applied to a controversial and exciting body of evidence: ing the genre as it may have been seen by the early Greeks. portraits produced at the dawn of the Hellenistic age. In other words, even though each of these criteria might be Before turning to these problems and approaches, a def- useful for determining whether any given image would have inition of our primary subject – the early Hellenistic portrait been considered a “portrait” by an ancient audience, there 1 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-66185-1 — Early Hellenistic Portraiture Edited by Peter Schultz , Ralf von den Hoff Excerpt More Information RALF VON DEN HOFF AND PETER SCHULTZ 1. Kroisos from Anavyssos, Attica, ca. 530 b.c.e. Athens, National 2. Phrasikleia by Aristion of Paros, ca. 550 b.c.e. Athens, Nation- Museum inv. 3851. Marble. The base is inscribed: “Stay and mourn al Museum inv. 4889. Marble. The base is inscribed: “The tomb of at the tomb of the dead Kroisos, whom raging Ares destroyed one Phrasikleia. Maiden I will always be called, since instead of mar- day as he fought in the foremost ranks.” Photo: Olga Palagia. riage this is what the gods have allotted me.” Photo: Olga Palagia. remains a conceptual problem with their applicability to an- use here of “image” and “statue” and “portrait” and “portrait cient visual culture. This point that has recently been raised statue” [thus] implies not separate classes of object but rather by Graham Oliver: the intentional blurring of modern distinctions.2 The ancient historian might be less anxious whether the stat- This is a key point. How is the art historian to respond? ue of an honorand was what an art historian might describe as We believe that the most straightforward answer is an appeal a portrait statue, or a proto-portrait statue, or simply a statue identifiable as a particular individual by its inscribed base but to ancient intentionality, a move already made by Ernst Bu- not necessarily by the sculpted physiognomy. In fact, these dis- schor in 1947 and 1960 and more recently by Jerome Pollitt tinctions made by art historians concerning portrait statues is in 1986.3 For Buschor, Pollitt, and others, the portrait was de- not at all obvious from the [epigraphical] evidence.... [T]he fined as an intentional representation of a person that included 2 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-66185-1 — Early Hellenistic Portraiture Edited by Peter Schultz , Ralf von den Hoff Excerpt More Information EARLY HELLENISTIC PORTRAITURE: AN INTRODUCTION 3. Herm of Themistokles from Ostia. Roman copy after a bronze 4. Portrait of Aristotle. Roman copy after a bronze original of ca. original of ca. 470 b.c.e. Marble. Ostia Antica, Museo Ostiense. 320 b.c.e. Marble. Vienna, Kunsthistorisches Museum. Plaster cast. Inscribed: “Themistokles.” Plaster cast. Munich, Museum für Ab- Munich, Museum für Abgüsse Klassischer Bildwerke inv. 113. Pho- güsse Klassischer Bildwerke inv. 353. Photo: Heide Glöckler. to: Heide Glöckler. a sufficient number of specific features to make the image recog- Aristotle (Fig. 4); or a combination of all three, like the fa- nizable to viewers. For us, it is the intention on the part of the mous early Hellenistic Demosthenes of Polyeuktos (see Figs. ancient artist or patron to create a recognizable image of an 35–37). If artistic intent to produce a recognizable image of individual that is of fundamental importance for the identi- an ancient personage can be demonstrated via any of these fication of a portrait as such. Why? Because an appeal to an- three criteria, then it should probably be acknowledged that cient intentionality encompasses the three common criteria we are looking at an image that was considered a “portrait” for portraiture noted above and because the presence of this by its ancient maker and patron. particular form of intentionality (or agency) can be archae- This definition allows a change of focus within the field ologically documented. Indeed, if these three criteria – like- of portrait studies. Indeed, the primary questions asked in ness, psychological depth, and epigraphical testament – are this book do revolve not around the traditional concerns of seen as interconnected components of visual culture, then identification and classification of images but rather around they can serve as a framework of meaning that allows us to how concepts like individuality, realism, and likeness can be understand a given image as a “portrait,” as an eikon – an im- understood at precise moments within the history of early age that resembled, replaced, or duplicated the represented Hellenistic culture and how artistic intent (with all its atten- subject. dant social and political associations) can be recognized, re- Under this broad definition, the specific features of an constructed and – most important – interpreted by students image that qualifies it as a “portrait” might include a name of ancient Greek art. inscribed on its base, as is the case for most Greek portraits and for many Archaic kouroi and korai such as Kroisos from Anavyssos (Fig. 1) or Phrasikleia from Merenda (Fig. 2); an TRADITIONS attempt to capture the individual’s unique personality, like the early fifth-century portraits of Themistokles (Fig. 3) or Within the history of art, the study of ancient portraits has Pindar (see Fig. 38); an attempt to capture a physical likeness a long tradition. Indeed, early works such as Pirro Ligorio’s of a “sitter,” like the well-known fourth-century portrait of Antichi heroi et huomini illustri (1550) and Fulvio Orsini’s 3 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-66185-1 — Early Hellenistic Portraiture Edited by Peter Schultz , Ralf von den Hoff Excerpt More Information RALF VON DEN HOFF AND PETER SCHULTZ Imagines et elogia virorum illustrium (1570) show that ancient the first representations of poets, philosophers, and politi- portraiture has been studied as a specific body of evidence – cians of the fifth century b.c.e. to the last portraits of the with its own particular challenges – for more than four hun- independent Ptolemaic kings of the end of the first century dred years.4 For historians of ancient art, this tradition is both b.c.e. and beyond.11 Although her principles of organization a blessing and curse. On one hand, early interest in ancient differed little from those of the Renaissance antiquarians, it portraits ensured that a vast body of literature and evidence was Richter’s brilliant insight that only a complete catalog of would be preserved for future study. On the other hand, the evidence – both literary and artistic, both Roman copies and majority of scholarship on portraits produced until the 1970s Greek originals – could lay the foundation for further re- was very traditional in nature, focusing exclusively on the search. Chronologically, Richter’s work stands as a turning identification of “sitters” and on the canonization of certain point. It is no coincidence that soon afterward the study of views regarding the development of style. ancient portraiture underwent a massive paradigm shift, For the Renaissance humanists, well before Ligorio and with the hitherto dominant stylistic, antiquarian, and art- Orsini, the corpus of portraits of Roman emperors provid- historical approaches being transformed by a newfound in- ed a visual record of ideal rulers.5 The portraits of the Greeks terest in broader, sociocultural critiques.
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