Archaic and Classical Greek Art

by Osborne

Archaic and Classical Greek Art is a revolutionary introduction to the images and sculptures of Ancient Greece from the Geometric period to the early Hellenistic. By carefully examining the context in which sculptures and paintings were produced, author Robin Osborne shows how artists responded to the challenges they faced in the formidable and ambitious world of the Greek city-state, producing the rich diversity of forms apparent in Greek art. Artistic developments of the period combined the influences of the symbolism and imagery of eastern Mediterranean art with the explorations of humanity embodied in the narratives of Greek poetry, while drawings and sculptures referred so intimately to the human form as to lead both ancient and modern theorists to talk in terms of the 'mimetic' role of art. Ranging widely over the fields of sculpture, vase painting, and the minor arts, and offering a wide selection of unusual images alongside the familiar masterpieces, this work discusses
the changing forms of art, and how art was used to define men's relationships with other men, women, slaves, society, nature, and the gods.

Genres: Art, History, Art History, Classics, Nonfiction, Greece, Reference

270 pages, Paperback

First published November 19, 1998

Reviews

[Czarny Pies · Rating 2 out of 5]

Author Robin Osborne makes his intentions very clear on the opening page of his book as he writes: "This book tries to show how the art of archaic and classical Greece can be understood in terms not derived from the Renaissance and the study of Renaissance Art." (p. 9) In other words he rejects the notion that developed following the excavation in 1506 and putting on public display by the Vatican of the Laocoön Group whereby the art of classical Greece showed that man is made in God's image, sharing in his divine essence and infinite perfectibility. Osborne's aim in other words is to remove the art of classical Greece from the grips of institutionalized Christianity where it has been held prisoner for over 500 years. Being personally in the camp of Pope Julius II, I read Osborne's book primarily for detecting the flaws in it.
The fact that the Laocoön Group and many of the other famous sculptures (the Venus de Milo and the Victory of Samothrace) that have been cited as examples of Greek sculpture showing the divine nature of man) belong to the Hellenistic period helps Osborne who is able to build his case using the works of the archaic and classical eras that preceded Hellenism.
Osborne argues first that during the archaic and classical eras that Greek art did not have artists. Rather the objects "worked" that is to say that they performed tasks or functions: "Works of art worked: they worked in public in public conveying messages about the dead, helping construct relations between humanity and the gods, marking sporting or political achievements; and they worked in private, entering into the discourse of highly discursive private gatherings to compete in the wit, wisdom, self-control and sexual conquest of symposia." (12)
The objects that Osborne analyzes were public and private funerary objects, monuments of gods whose support was solicited by cities and most importantly party crockery (i.e. bowls and cups used at symposia which Osborne insists were both philosophical and orgiastic).
The key chapter of the book, entitled "Gay Abandon" is devoted to the erotic images on the red-figure and black-figure pottery that was examined and manipulated by the guests at the symposia. The most important object is the Bomford Cup fabricated in Attica in the last quarter of the 6th century BCE which is endowed with a tripod base in the form of male genitalia. The Bomford is just one of many pottery objects with images of sexually-aroused males and lascivious actions that Osborne presents to the reader. His argument that Greek art was both erotic and homoerotic is in fact well supported.
Osborne unlike art historians of previous generations does not show Greek art evolving to a stage where it superbly represented Platonic and Christian ideals. Instead he shows how the artists were able to present richer detail and became more masterful at directing the gaze of the viewer. The supplanting of the black-figure pottery by red-figure pottery was a major advance. The marble statues of Hermes with the infant Dionysos and the Aphrodite of Knidos are presented as superb examples of the ability of Greek sculptures to control the regard and engage the viewer emotionally.
Osborne predictably insists that the Aphrodite does not represent the ideal of beauty but rather connects to the person observing her on an erotic level.
By the end of the Classical era, Osborne argues the art no longer worked or performed functions. Rather it presented the artist to the viewer. Greece had reached the end of the era of art without artists. It was at this moment that they story of Pygmalion the story of his statue that came to life was elaborated. Art objects lived. They ceased to be objects with uses.
I do not buy any of this. I think that the Renaissance and the Hellenistic era both understood correctly the essential achievement of Classical Greece. Osborne's thesis constitutes a step in the wrong direction.

[Daniel Rothwell · Rating 3 out of 5]

Works best as detailed descriptions of some interesting features of pieces - the overall argument (against a post-renaissance understanding of greek art) is uninteresting to me, or probably wrong.

A cool second-hand find, but ultimately not worth reading as a non-art specialist

[Zac Sigler · Rating 4 out of 5]

This was good, but some of the massively important elements of Greek art (ie. red figure) seemed too brief. This would have been a good companion for the art history class it was originally purchased for. Unfortunately, the Roman art book was unavailable, so we ended up not using either book for the course.

[Scott Cox · Rating 4 out of 5]

This work describes Greek art during the period between 800 and 300 BC. Osborne provides a good introduction to the various styles and differences during this period. He discusses the differences in style between black and red figure pottery, Doric temples and their construction plans, and many other well-illustrated examples of how culture, religion and myth impacted Greek art.

[Jonathan · Rating 5 out of 5]

A meaty and very readable introduction to Greek art of the archaic and classical ages. The last 4 chapters are inspired. Highly recommend as a starting point on Greek culture. Can't wait to read the others in the series.

[Caracalla · Rating 5 out of 5]

Very erudite