The Image of the Artist in the Archaic and Classical Greece -2016 PDF
Preview The Image of the Artist in the Archaic and Classical Greece -2016
Free ebooks ==> www.Ebook777.com www.Ebook777.com Free ebooks ==> www.Ebook777.com THE IMAGE OF THE ARTIST IN ARCHAIC AND CLASSICAL GREECE ThisbookexploresthepersonaoftheartistinArchaicandClassicalGreek art and literature. Guy Hedreen argues that artistic subjectivity, first expressed in Athenian vase-painting of the sixth century BCE and inten- sively explored by Euphronios, developed alongside a self-consciously constructed persona of the poet. He explains how poets like Archilochos andHipponaxidentifiedwiththewilyHomericcharacterofOdysseusasa prototype of the successful narrator, and how the lame yet resourceful artist-god Hephaistos isemulatedbyArchaic vase-painters such asKleitias. Inlyricpoetryandpictorialart,Hedreentracesawidespreadconceptionof the artist or poet as socially marginal, sometimes physically imperfect, but rhetorically clever, technically peerless, and a master of fiction. Bringing together in a sustained analysis the roots of subjectivity across media, this bookoffersanewwayofstudyingtherelationshipbetweenpoetryandart in ancient Greece. GuyHedreenisProfessorofArtatWilliamsCollege.HeisauthorofSilens inAtticBlack-figureVase-painting:MythandPerformance(1992),andCapturing Troy:TheNarrativeFunctionsofLandscapeinArchaicandEarlyClassicalGreek Art (2001). He has also published essays on Dionysiac myth and ritual, choral poetry, drama, the Trojan War, primitive life, the worship of Achilles, and the nature of visual narration. His awards include the Rome Prize, aGuggenheim Fellowship, and theArltAward for his first book. www.Ebook777.com Free ebooks ==> www.Ebook777.com THE IMAGE OF THE ARTIST IN ARCHAIC AND CLASSICAL GREECE ART, POETRY, AND SUBJECTIVITY GUY HEDREEN Williams College,MA www.Ebook777.com 32AvenueoftheAmericas,NewYork,ny10013-2473,usa CambridgeUniversityPressispartoftheUniversityofCambridge. ItfurtherstheUniversity’smissionbydisseminatingknowledgeinthepursuitof education,learning,andresearchatthehighestinternationallevelsofexcellence. www.cambridge.org Informationonthistitle:www.cambridge.org/9781107118256 ©GuyHedreen2016 Thispublicationisincopyright.Subjecttostatutoryexception andtotheprovisionsofrelevantcollectivelicensingagreements, noreproductionofanypartmaytakeplacewithoutthewritten permissionofCambridgeUniversityPress. Firstpublished2016 PrintedintheUnitedStatesofAmericabySheridanBooks,Inc. AcatalogrecordforthispublicationisavailablefromtheBritishLibrary. LibraryofCongressCataloginginPublicationData Hedreen,GuyMichael,1958– TheimageoftheartistinarchaicandclassicalGreece:art,poetry,andsubjectivity/ GuyHedreen(WilliamsCollege,MA). pages cm Includesbibliographicalreferences. isbn978-1-107-11825-6(Hardback) 1. Vase-painting,Greek–History. 2. Vase-painting,Greek–Themes,motives. 3. Greekpoetry–Historyandcriticism. 4. Greekpoetry–Themes,motives. 5. Artand literature–Greece–History–To1500. 6. Subjectivityinart. 7. Subjectivityin literature. 8. Arts,Greek–History. 9. Greece–Intellectuallife–To146b.c. I. Title. nk4645.h352016 738.30820938–dc23 2015027414 isbn978-1-107-11825-6Hardback CambridgeUniversityPresshasnoresponsibilityforthepersistenceoraccuracy ofurlsforexternalorthird-partyInternetWebsitesreferredtointhispublication anddoesnotguaranteethatanycontentonsuchWebsitesis,orwillremain, accurateorappropriate. Free ebooks ==> www.Ebook777.com To my parents, with love and gratitude. www.Ebook777.com Free ebooks ==> www.Ebook777.com CONTENTS List of Illustrations page viii Preface xiii INTRODUCTION: “I AM ODYSSEUS” 1 1 SMIKROS AND EUPHRONIOS: PICTORIAL ALTER EGO 22 2 ARCHILOCHOS, THE FICTIONAL CREATOR-PROTAGONIST, AND ODYSSEUS 59 3 HIPPONAX AND HIS MAKE-BELIEVE ARTISTS 101 4 HEPHAISTOS IN EPIC: ANALOG OF ODYSSEUS AND ANTITHESIS TO THERSITES 135 5 PICTORIAL SUBJECTIVITY AND THE SHIELD OF ACHILLES ON THE FRANÇOIS VASE 164 6 FRONTALITY, SELF-REFERENCE, AND SOCIAL HIERARCHY: THREE ARCHAIC VASE-PAINTINGS 204 7 WRITING AND INVENTION IN THE VASE-PAINTING OF EUPHRONIOS AND HIS CIRCLE 233 EPILOGUE: PERSUASION, DECEPTION, AND ARTISTRY 280 Notes 294 References 330 Index 349 Plate section between pages 176 and 177 vii www.Ebook777.com LIST OF ILLUSTRATIONS plates I Brussels, Musées royaux d’Art et d’Histoire, A717, red-figure stamnos signed by Smikros as painter. Obverse. Smikros as symposiast. II Madrid, Museo del Prado, Diego Rodriguez Velázquez, painting, Las Meninas, 1656. The painter and the royal family. III Munich, Antikensammlung, 8935, red-figure krater, attributed to Euphronios. Obverse. Smikros as symposiast. IV Arezzo, Museo Archeologico, 1465, red-figure volute krater, attributed to Euphronios. Herakles and the Amazons. V Munich, Antikensammlung, 8935, red-figure krater, attributed to Euphronios. Detail of Thodemos. VI Paris, Musée du Louvre, G30, red-figure neck amphora, attributed to Euphronios. Reverse. Symposiast. VII Berlin, Antikensammlung, 1966.19, red-figure neck amphora, signed by Smikros. Obverse. Silen dancing a pyrrhic. VIII Paris, Musée du Louvre, G103, red-figure calyx krater, signed by Euphronios. Obverse. Herakles and Antaios. IX Paris, Musée du Louvre C11071, red-figure neck amphora, signed by Smikros. Athlete. X Paris, Musée du Louvre G110, red-figure calyx krater, attributed to Euphronios. Obverse. Herakles and the Nemean Lion. XI Paris, Musée du Louvre G110, red-figure calyx krater, attributed to Euphronios. Reverse. Drinkers cavorting. XII Malibu, J. Paul Getty Museum, Villa Collection, 82.AE.53, red-figure psykter, attributed to Smikros. Euphronios making a pass at Leagros. XIII New York, Metropolitan Museum of Art, 07.286.47, Rogers Fund, 1907, red-figure on coral red ground cup, Hegesiboulos Painter. Tondo. Old man walking his dog. XIV Florence, Museo Archeologico Etrusco, 4209, black-figure volute krater, signed by Kleitias and Ergotimos. Reverse. XV Florence, Museo Archeologico Etrusco, 4209, black-figure volute krater, signed by Kleitias and Ergotimos. Obverse. XVI New York 1997.388a-eee, 56, and 493, fragmentary black-figure krater. Detail: Oukalegon or “I don’t care.” viii
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