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II. Masters, Hands and Freestanding Sculpture

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Both in sculpture and in vase-painting, the identity and personality of individual craftsmen still exert a strong attraction. The cult of the creative artist is too deeply ingrained in our own thinking to be jettisoned totally in favour of other, more impersonal considerations, and so there is much scholarship still carried out from the point of view of the individual. The name of the artist may be known to us through the historical tradition as preserved in the literary sources or through the random discovery of names in inscriptions. The absence of a name says nothing about the quality of a work, its presence may tell us much about the posthumous standing of the artist. It is good to be reminded that working with the names of artists that we know, is a very restricting method of proceeding, it is as if we possessed a complete list of sculptors actually at work and had only to pick a name from the list. Connoisseurship has shown that the name may be an unnecessary addition, the very workmanship declares the hand, and with aesthetic sensitivity and stylistic analysis scholars can create lost personalities. Some studies widen the point of view and consider the stylistic elements that go to make up a region, others prefer to think in terms of works, not artists and to consider sculpture as a manifesto that needs to be set against its historical background.

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Copyright © The Classical Association 1991

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42. For the Sosianus temple, see III, nn. 38-40.

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52. Stewart, A. F., Skopas in Malibu (Malibu, 1982)Google Scholar. Stewart now considers the head a modern forgery (see Greek Sculpture (I, n. 8), p. 345).

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55. Dontas, G., ‘La grande Artemis du Pirée: une oeuvre d’Euphranor’, AK 25 (1982), 1534 Google Scholar, pls. 3-6, and ‘Ein verkanntes Meisterwerk im Nationalmuseum von Athen. Der Marmorkopf I. 177 und Überlegungen zum Stil Euphranors’, Himmelmann Festschrift, pp. 143-50, pls. 27-8.

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