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- [Host] When we think of the ancient world,
I think of Pompeiian wall paintings
that are brightly colored of mosaics
from the Greek world that are full of different colors.
It was a world of Technicolor.
So, what did sculpture look like in antiquity?
Because when we walk through the hollowed halls of museums,
we see all this white sculpture that looks somehow pristine,
where in fact marble sculptures and bronze sculptures
in the classical world,
that is in the Greek and Roman world,
and of course also in the as Syrian world,
also in the Egyptian world were brightly colored.
And as it turns out,
antiquity has a lot to teach us about our own values
and who we've excluded from art history.
This idea that ancient sculpture
was not painted started in the Renaissance,
and there were some challenges to that
as people started to pull sculpture
up in the 18th and 19th century.
But there were very important art historians.
One in particular, Johann Winckelmann,
who's often considered to be almost the founder
of art history as a discipline.
Johann Winckelmann liked his sculpture white and pure.
In fact, Winckelmann wrote,
"The whiter the body is,
the more beautiful it is."
And so we have the development of this connection
between whiteness and ideas of purity, of nobility,
and an association of those things specifically
with Western culture.
And this is where we are so fortunate
to have modern science and technology
and the working together of archeologists
with conservationists and other types of material scientists
to study the marble, to look for traces of paint,
because we know when sculpture was pulled up from the ground
that in fact painting survived on many of these sculptures.
And so one of the statues we're looking at
is a reconstruction of the so-called small Herculaneum woman
from the island of Delos.
And she was excavated in the late 19th century.
And we actually have descriptions of how colorful she was
when she came out of the ground.
So, the first thing we should say is we
can never reconstruct these sculptures
with absolute certainty.
We absolutely know it was painted
how exactly the colors look.
There's always a little bit of guesswork.
One of the things that the color does
is it allows us to really understand her clothing.
And what we can see very clearly is that she's wearing silk.
The silk is crinkling, as you can see down by her feet.
And then she has this lovely mantle wrapped around her.
She is the so-called small Herculaneum woman type,
because a statue almost identical to this
was found at Herculaneum in about 1706.
This type of sculpture was very popular
among the ancient Romans who adopted so much
of Greek culture as their own.
I believe there are 160 examples of this portrait type,
both from the ancient Greek world
and the ancient Roman world.
In the ancient Roman world, you'd purchase the body
and you'd have a separate head or portrait done
and that head would be put into the statue.
So, now we're looking at a sculpture of a sphinx.
And what's so wonderful is that in this gallery,
we can compare it to the sculpture as it looks today,
and a plaster cast of it showing us how it would've looked
on the original stele.
This is an archaic stele.
Stele is a grave marker.
That means this monument marked the grave of an individual.
In all likelihood, the youth that it's depicted
and possibly his younger sister who stands next to him.
One of the things that's so remarkable
about the stele is its preservation of color
in both the stele and in the original sphinx
that stood on top of it.
There is a lot of color surviving that
is visible still to the naked eye.
In the case of the stele, we can see a lot of red,
but when we go up and look at the sphinx closely
we can see that on the sphinx's breast,
there was a very detailed pattern
that almost looks like scales,
as if she was a bird or having feathers.
And that we can even also start to see
that pattern and decorating on her wing
that is clear that she was polychrome.
And so in this reconstruction we see oranges
and yellows and golds and blues,
and not seeing the stone itself feels shocking.
If you think about this stele
being erected in a graveyard,
all those steles are competing for your attention.
Having something bright, shining, and gold
meant that people walking by would look at your grave,
look at your stele, and remember you.
We may not be looking at exactly what this sculpture
looked like in antiquity,
but in a way, art history is an attempt
to understand these objects the way
that they were originally intended to be seen.
And we can only do that imperfectly.
But what we do have to acknowledge
is that the aesthetic that we often ascribe
to works of art as objects in museums,
their audience who would've seen them
in antiquity in a different way
and interacted with them in a different way.
And that is a world that by using science and technology,
we can understand is part of the "Western tradition."
We are a part of this larger conversation
about art and color,
and that we need to embrace those changes
and rethink the way we look at art.
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