Materials and technical processes

Page 3

Another fact of importance, a fact which few are able to keep constantly enough in their thoughts, is that Greek marble sculpture was always more or less painted. This is proved both by statements in ancient authors and by the fuller and more explicit evidence of numberless actual remains. From these sources we learn that eyes, eyebrows, hair, and perhaps lips were regularly painted, and that draperies and other accessories were often painted in whole or in part. As regards the treatment of flesh the evidence is conflicting. Some instances are reported where the flesh of men was colored a reddish brown, as in the sculpture of Egypt. But the evidence seems to me to warrant the inference that this was unusual in marble sculpture. On the "Alexander" sarcophagus the nude flesh has been by some process toned down to an ivory tint, and this treatment may have been the rule, although most sculptures which retain remains of color show no trace of this. Observe that wherever color was applied, it was laid on in "flat" tints, i.e., not graded or shaded.

This polychromatic character of Greek marble sculpture is at variance with what we moderns have been accustomed to since the Renaissance. By practice and theory we have been taught that sculpture and painting are entirely distinct arts. And in the austere renunciation by sculpture of all color there has even been seen a special distinction, a claim to precedence in the hierarchy of the arts. The Greeks had no such idea. The sculpture of the older nations about them was polychromatic; their own early sculpture in wood and coarse stone was almost necessarily so; their architecture, with which sculpture was often associated, was so likewise. The coloring of marble sculpture, then, was a natural result of the influences by which that sculpture was molded. And, of course, the Greek eye took pleasure in the combination of form and color, and presumably would have found pure white figures like ours dull and cold. We are better circumstanced for judging Greek taste in this matter than in the matter of colored architecture, for we possess Greek sculptures which have kept their coloring almost intact. A sight of the "Alexander" sarcophagus, if it does not revolutionize our own taste, will at least dispel any fear that a Greek artist was capable of outraging beautiful form by a vulgarizing addition.

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F. B. Tarbell, A History of Ancient Greek Art

Greek Sculpture - General considerations

Materials and technical processes

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