{"id":13983,"date":"2022-08-22T13:36:00","date_gmt":"2022-08-22T11:36:00","guid":{"rendered":"https:\/\/stolb01web.ddns.net\/wordpress\/?p=13983"},"modified":"2022-09-13T10:25:00","modified_gmt":"2022-09-13T08:25:00","slug":"the-colors-of-antiquity","status":"publish","type":"post","link":"https:\/\/stolb01web.ddns.net\/wordpress\/?p=13983","title":{"rendered":"Coloring antiquity"},"content":{"rendered":"\n

This NYT<\/em> article<\/a> alerted me to the Metropolitan Museum of Art<\/em> exhibition entitled Chroma: Ancient Sculpture in Color<\/a>; an adaptation it seems of that which I viewed at the Liebieghaus<\/em><\/a> (the home, so to speak, of many of the exhibits) in Frankfurt – there called \u201cGods in Color\u201d <\/a> – in February 2020, and about which I posted here<\/a>. In fact, various versions have been touring the world over the last decade or so, but given the larger space available (not to mention, the budget) it is possible that the Met show is more ambitious. The Met web page is very informative (as was also that during the Frankfurt show) but new is an app <\/a>than encourages virtual recreations and reflects the collaborative work of those behind the polychromy project. (And everybody knows nothing works without an app these days!)<\/p>\n\n\n

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My own photograph of the reconstruction of a marble archer<\/a> – taken at the Liebieghaus<\/em>, Frankfurt, in February 2020.<\/figcaption><\/figure>\n<\/div>\n\n\n

Of course, times being as they are, it is inevitable that the conversation surrounding the content and merits of the show would be dominated by matters of identity. And given the particularities of the project and the issues that arise from the reconstructions of Vinzenz Brinkmann and Ulrike Koch Brinkmann, the pivot is not hard to make. <\/p>\n\n\n\n

And the NYT<\/em> piece certainly doesn’t let down in this respect; pointing out how the Brinkmann team’s reconstructions have led to degrees of disquiet in academic and research circles. It seems some would contend that these particular reconstructions have been afforded such celebrity in recent years that it is often overlooked that they, in fact, represent only the scholarship of one pair of researchers, and should not be seen as a definitive verdict. This further leads to wide-ranging debates (often motivated through self or particular interest) on variations of polychromy and, of course, whiteness – and not just during antiquity. In this respect, the Times <\/em>points to an interesting 2017 blog post<\/a> from the historian, Sarah E. Bond, and this very lengthy and very excellent 2018 New Yorker<\/em> article.<\/a><\/p>\n\n\n\n

The following YouTube video (also on the Met site) is an excellent introduction to the scholarly and technical background to the project.<\/p>\n\n\n\n

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