Abstract

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 124.2 (2003) 306-309 [Access article in PDF] Philippe Rouet. Approaches to the Study of Attic Vases: Beazley and Pottier. Trans. Liz Nash. Oxford Monographs on Classical Archaeology. Oxford: Oxford University Press, 2001. xiii + 167 pp. 21 black and white plates. Cloth, $74. This monograph examines the development of two major approaches in the study of Greek vase painting by focusing on a comparison of the work of Sir John D. Beazley with that of Edmond Pottier. Beazley, an English scholar, spent his scholarly life attributing vases to various formerly unnamed artists based on [End Page 306] their style of drawing, thereby ascertaining for the first time the artistic history and stylistic development of Attic black-figure and red-figure vase painting. Pottier, a French scholar, founded the Corpus Vasorum Antiquorum, an international series whose original goal was to publish all ancient clay vases. Each scholar's interests contrasted with the other's in many ways. Beazley's work focused more on the object and Athens, while Pottier was opposed to the study of individual artists and was particularly interested in the relationship of the origins of Greek civilization to the East and the broader context of the vessels.The book's introduction sets the historical and intellectual background of Beazley and Pottier. Areas covered include the early history of collecting, initial attempts at defining the works of individual Greek vase painters, some influential early catalogues of Greek vases (e.g., those of Hamilton's collection), and the role that the copying of motifs from ancient pottery had in spreading the interest in Greek vase painting in the late eighteenth and early nineteenth centuries, particularly the part played by the Wedgwood workshop. I miss here any reference to the fine work of Brian A. Sparkes on these subjects (The Red and the Black: Studies in Greek Pottery[London and New York, 1996] 34-63).The first chapter considers the most influential, immediate predecessors of Beazley and shows how their work formed the intellectual framework for his accomplishment. They are Wilhelm Klein, whose important study of and signatures on Attic vases still serves as the basis for our interpretation of them; Paul Hartwig, who was the first to attribute vases to an anonymous master; and Adolph Furtwängler, who in collaboration with Karl Reichhold initiated the monumental three-volume work, Griechische Vasenmalerei, which featured exceptionally accurate drawings of vase paintings. The author astutely notes that Furtwängler's work on attributing Roman copies of Greek sculpture to artists was likewise influential in augmenting the interest in style and artistic personalities. The intertwined relationship between connoisseurship, collectors, and the art market is touched on briefly in the discussions of Hartwig and Edward Warren. It might also have been noted here that the wording and style of Beazley's earliest work on the Kleophrades Painter clearly owes its inspiration to Hartwig.Pottier's early life and career are the focus of the next chapter. This was the time when museum catalogues and encyclopedic dictionaries were for many the signs of significant national scholarship. Indeed, after France's loss in 1870 in the Franco-Prussian War, Pottier and many of his contemporary compatriots sought to affirm the intellectual vitality of their nation by initiating and completing such projects. Pottier's contribution was to publish Vases antiques du Louvre, in which photography was used for the first time on a large scale to illustrate the vases, and to serve as one of the editors of the Dictionnaire des antiquités grecques et romaines, in which he was also responsible for many of the entries on vases.Chapter 3 returns to the subject of connoisseurship and the two non-classical archaeologists whose methodology bear clear resemblances to Beazley's. The first of them, Giovanni Morelli, was the first to attempt a scientific methodology for attributing paintings to unknown artists by examining the minor details [End Page 307] of drawings in order to discover the artistic language of the painters. Rouet concludes that Morelli paved the way for Beazley's work, for...