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La Cerámica Ática Y Su Historiografía La Cerámica Ática Y Su Historiografía Su Y Ática La Cerámica LA CERÁMICA ÁTICA Y SU HISTORIOGRAFÍA LA CERÁMICA ÁTICA Y SU HISTORIOGRAFÍA SU Y ÁTICA LA CERÁMICA DIANA RODRÍGUEZ PÉREZ THOMAS MANNACK OBRA PUBLICADA COM A COORDENAÇÃO CIENTÍFICA • CLASSICA INSTRVMENTA Versão integral disponível em digitalis.uc.pt CONFIRMAR DIMENSÕES DA LOMBADA/CAPA CLASSICA INSTRVMENTA • 1 Versão integral disponível em digitalis.uc.pt Versão integral disponível em digitalis.uc.pt • 2 LA CERÁMICA ÁTICA Y SU HISTORIOGRAFÍA Versão integral disponível em digitalis.uc.pt Título • La Cerámica Ática y su Historiografía Autor • Diana Rodríguez Pérez y Thomas Mannack Ficha Técnica CLASSICA INSTRVMENTA – Monografias de História de Arte e Arqueologia Coordenador Científico do plano de edição: Maria do Céu Filho Comissão Redactorial José Ribeiro Ferreira Francisco de Oliveira Maria de Fátima Silva Nair Castro Soares Director Técnico: Delfim Leão Conselho Editorial Adolfo Fernández Fernández | Vigo Maria Helena da Rocha Pereira | Coimbra Amílcar Guerra | Lisboa Nuno Simões Rodrigues | Lisboa Ángel Morillo Cerdán | Madrid Pedro Carvalho | Coimbra Carlos Fabião | Lisboa Rui Morais | Braga/Coimbra Luísa de Nazaré Ferreira | Coimbra Edição Créditos Fotográficos Imprensa da Universidade de Coimbra Pedro Medeiros URL: http://www.uc.pt/imprensa_uc E‑mail: [email protected] Impressão e Acabamento Vendas online: Simões e Linhares, Lda. http://livrariadaimprensa.uc.pt ISBN Coordenação editorial 978‑989‑26‑1533‑2 Imprensa da Universidade de Coimbra ISBN Digital Conceção gráfica 978‑989‑26‑1534‑9 Imprensa da Universidade de Coimbra DOI Infografia https://doi.org/10.14195/978‑989‑26‑1534‑9 Bookpaper DEPÓSITO LEGAL 456978/19 Obra Publicada com o apoio de: © Junho 2019. Imprensa da Universidade de Coimbra Classica Digitalia Vniversitatis Conimbrigensis (http://classicadigitalia.uc.pt) Centro de Estudos Clássicos e Humanísticos da Universidade de Coimbra Reservados todos os direitos. Nos termos legais fica expressamente proibida a reprodução total ou parcial por qualquer meio, em papel ou em edição electrónica, sem autorização expressa dos titulares dos direitos. É desde já excepcionada a utilização em circuitos académicos fechados para apoio a leccionação ou extensão cultural por via de e-learning. Versão integral disponível em digitalis.uc.pt Medallón de una copa del Pintor de Evergides de la colección de Sir John Beazley Museo Ashmolean no. inv. 1966.447 Universidad de Oxford Versão integral disponível em digitalis.uc.pt SUMÁRIO Introducción .................................................................................................... 13 Diana Rodríguez Pérez y Thomas Mannack Capítulo I: La cerámica ática .......................................................................... 19 Diana Rodríguez Pérez 1. Aspectos técnicos .................................................................................. 20 Cocción ................................................................................................ 22 2. Historia de la cerámica ática durante los siglos VI‑IV a.C. .................. 23 Cerámica ática de figuras negras ...................................................... 23 Cerámica ática de figuras rojas ......................................................... 31 Finales del siglo V a.C. ......................................................................... 41 • 7 El siglo IV a.C. ....................................................................................... 43 3. Iconografía............................................................................................. 44 Identificación de las escenas .............................................................. 46 Temas principales de la cerámica ática de los siglos V y IV a.C. ....... 48 4. Contextos ............................................................................................... 56 Capítulo II: El estudio de los vasos griegos antes de Beazley ..................... 63 Thomas Mannack 1. De la Antigüedad al siglo XVII .............................................................. 66 2. El siglo XVIII............................................................................................ 68 Etruscomania ...................................................................................... 69 Johann Joachim Winckelmann .......................................................... 70 La colección de vasos griegos de William Hamilton .......................... 76 3. El siglo XIX ............................................................................................. 77 Vulci y la clasificación de los vasos griegos ....................................... 79 Versão integral disponível em digitalis.uc.pt Atribución ........................................................................................... 80 Inscripciones ........................................................................................ 80 Cronología ........................................................................................... 80 Capítulo III: Sir John Beazley ......................................................................... 85 Diana Rodríguez Pérez 1. John Davidson Beazley: vida y obras .................................................. 85 Beazley en el Christ Church College ................................................... 87 Primeros viajes .................................................................................... 96 Primeras publicaciones .................................................................... 100 “Vases in America” ............................................................................ 104 “Citharoedus” .................................................................................... 107 Cátedra Lincoln ................................................................................. 113 Las listas ..............................................................................................115 Otras publicaciones ...........................................................................118 Algo más que vasos áticos ................................................................. 120 Los últimos años ................................................................................ 120 • 8 2. Método y aparato científico: notas, cuadernos de notas, y dibujos 124 Las fuentes del método ...................................................................... 125 El aparato científico I: cuadernos de notas ..................................... 133 El aparato científico II: dibujos y calcos ...........................................141 Capítulo IV: El estudio de los vasos griegos después de Beazley .............153 Thomas Mannack 1. Epígonos ...............................................................................................153 Objeciones al sistema de Beazley ......................................................153 Sir John Boardman ............................................................................156 2. Nuevos enfoques .................................................................................156 3. El Archivo Beazley y el Centro de Investigación del Arte Clásico ..... 160 Capítulo V: Catálogo de imágenes ............................................................... 165 Diana Rodríguez Pérez y Thomas Mannack Versão integral disponível em digitalis.uc.pt Bibliografía general sobre la cerámica ática.................................................179 Diana Rodríguez Pérez y Thomas Mannack Obras citadas .................................................................................................191 • 9 Versão integral disponível em digitalis.uc.pt menciona especialmente las bocas medio abiertas de sus héroes y Luciano hace referencia a las mejillas sonrosadas, dos detalles que, quizá por influencia del pintor, se dejan ver en la conocida Tumba del Nadador de Paestum. En la primera mitad del siglo V a.C. existe un número de vasos áti‑ cos que se han puesto en relación con estas novedades que se estaban produciendo en el ámbito de la pintura mural. Una cratera de cáliz del Pintor de los Nióbidas que se data en los años centrales de la cen‑ turia ofrece el mejor ejemplo que lo que pudo haber sido el estilo de Polignoto. Aquí aparecen por primera vez las figuras dispuestas en dis‑ tintas líneas de tierra y se introducen detalles paisajísticos tales como colinas, rocas, árboles, así como figuras parcialmente tapadas por los accidentes del terreno, ambiciosos escorzos y caras frontales. Existen también ciertos detalles peculiares en esta pieza que indican que muy probablemente el pintor de vasos estaba copiando una obra de otro pintor, tales como la incorrecta representación del paquete abdominal de Heracles, dividido en cuatro secciones, rasgo anatómicamente in‑ • 40 correcto, pero que no parece ser un error involuntario puesto que se representa en hasta seis ocasiones en esta pieza y aparece también en una cratera del Pintor de los Sátiros Lanudos (BAPD 207099). Es más, se cree que esta última pieza copia más o menos fielmente la centau‑ romaquia y la amazonomaquia del Teseion. Otra innovación que se suele entender también como resulta‑ do de la influencia de la pintura mural sobre fondo neutro es el cambio en las líneas de contorno que se produce en este momento en la pintura de vasos. La delicada y lujosa línea de relieve usada profusamente durante el arcaísmo tardío para marcar contornos y otros detalles de las figuras se sustituye ahora por una línea mucho más plana, lo que contribuye a suavizar ligeramente los contornos de las figuras. Finalmente, el auge de la técnica de
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