Book contents
- Seeing Color in Classical Art
- Seeing Color in Classical Art
- Copyright page
- Dedication
- Contents
- Acknowledgements
- Introduction
- Chapter 1 Material Color, Language, and Khrōma
- Chapter 2 Additive Colors, Kosmēsis, and Care
- Chapter 3 Khōra, Relief, AND Landscape
- Chapter 4 Inlaid Eyes, Effluences, and Opsis
- Chapter 5 Atoms, Lithoi, and Animacy
- Epilogue
- Select Bibliography
- Index
Chapter 1 - Material Color, Language, and Khrōma
Published online by Cambridge University Press: 25 November 2022
- Seeing Color in Classical Art
- Seeing Color in Classical Art
- Copyright page
- Dedication
- Contents
- Acknowledgements
- Introduction
- Chapter 1 Material Color, Language, and Khrōma
- Chapter 2 Additive Colors, Kosmēsis, and Care
- Chapter 3 Khōra, Relief, AND Landscape
- Chapter 4 Inlaid Eyes, Effluences, and Opsis
- Chapter 5 Atoms, Lithoi, and Animacy
- Epilogue
- Select Bibliography
- Index
Summary
An artist painted the scene of a painter and a workshop assistant adding colors to a statue of Herakles on the outer surface of a large terracotta bowl used for mixing wine and water.1 Found in Apulia (in southern Italy) in the fourth century bce, the scene included an image of the living Herakles approaching the painter and his assistant in the middle of painting his statue. (Figures 15 and 16).2 In the scene, the statue stands on a plinth and the painter works on the statue’s body in situ, while his assistant warms several implements on a brazier for applying pigments blended with beeswax known as the encaustic technique. This depiction is regularly cited as evidence that ancient Greek sculptures were painted.3
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- Information
- Seeing Color in Classical ArtTheory, Practice, and Reception, from Antiquity to the Present, pp. 31 - 89Publisher: Cambridge University PressPrint publication year: 2022