Ancient Greek Art Analysis
In Rhetoric, Aristotle says that humor “arises when it is unexpected”. Classical Greek Art is one context in which humor is certainly unexpected. By reputation, it is taken quite seriously, and has permanently been held to the highest esteem for over two millennia. Not only has it been revered since its time, but it has also inspired some of the most well regarded works of the centuries to follow. Much of Ancient Rome’s most celebrated works were inspired by Greek creations. As well, many of the brilliant masterpieces of the Renaissance were accredited to their creators’ finding inspiration in the art of the ancient world. Seen as a highpoint of culture and innovation, the art produced in Greece between the 9th and 1st century BC is treasured
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Because of the large amount of wine consumed at these parties, it is understandable that depictions of this scene would be fitting for the paintings that adorned the very vases serving such wine. Most paintings of these parties idealized them, showing them as leisurely and sophisticated. However, one attic red figure cup by the Brygos painter (Figure 2) shows us an entirely different perspective. His painting, called “After the Party”, depicts a youthful male being held up by a heterai as he stumbles and vomits. This comical illustration reminds its owner, who most likely participated in Symposia, of the consequences of overindulging. While this could be seen as critical of this lifestyle, we must look more specifically at the placement of this painting. Unlike vases on which paintings decorate the outside, the painting on this cup is actually found on the bottom, inside the cup. The intention of this is that it is only seen once the consumer has finished drinking the contents of the cup. Placing the image here is clever as it presents an irony: the drinker sees the consequences of his actions the moment it is too late to change them. The Brygos painter, here, makes a joke of the very thing his creation is used for. Simultaneously, he mocks the high-class youthful males and their customs. This clever, and playful …show more content…
However, the volume of vases similar in subject and tone suggests that they were popular among ancient Greek homes. From this, we can gather that the ancient Greeks were not only tolerant of this crass humor, but even had an appreciation for it that modern societies would not have. This idea is proven by Greek vase paintings showing mocking scenes of their own heroes and gods. In David Walsh’s book, “Distorted Ideals in Greek Vase-Painting: The World of Mythological Burlesque” , he examines vase painting scenes depicting the parodying of Gods and Heroes, attempting to understand the social and cultural significance of this trend. In a review of Walsh’s book for the journal Phoenix, Robert F. Sutton describes “the willingness of Greek vase painters to caricature and ridicule gods and heroes in ways that would seem unthinkably blasphemous today if applied to Christian or Moslem figures.” We can see this in a black figure amphora from c. 520-530 B.C. (Figure 3), which depicts the scene of Herakles’ task to capture the Erymanthian boar and return it to the king of Mycenae, Eurystheus. The scene shows Herakles hauling the boar over his shoulder, as is common for depictions of this scene. However, while the Eurystheus typically is shown standing with his arms waving, this painter makes one particular change to this scene. Instead,
Because of the large amount of wine consumed at these parties, it is understandable that depictions of this scene would be fitting for the paintings that adorned the very vases serving such wine. Most paintings of these parties idealized them, showing them as leisurely and sophisticated. However, one attic red figure cup by the Brygos painter (Figure 2) shows us an entirely different perspective. His painting, called “After the Party”, depicts a youthful male being held up by a heterai as he stumbles and vomits. This comical illustration reminds its owner, who most likely participated in Symposia, of the consequences of overindulging. While this could be seen as critical of this lifestyle, we must look more specifically at the placement of this painting. Unlike vases on which paintings decorate the outside, the painting on this cup is actually found on the bottom, inside the cup. The intention of this is that it is only seen once the consumer has finished drinking the contents of the cup. Placing the image here is clever as it presents an irony: the drinker sees the consequences of his actions the moment it is too late to change them. The Brygos painter, here, makes a joke of the very thing his creation is used for. Simultaneously, he mocks the high-class youthful males and their customs. This clever, and playful …show more content…
However, the volume of vases similar in subject and tone suggests that they were popular among ancient Greek homes. From this, we can gather that the ancient Greeks were not only tolerant of this crass humor, but even had an appreciation for it that modern societies would not have. This idea is proven by Greek vase paintings showing mocking scenes of their own heroes and gods. In David Walsh’s book, “Distorted Ideals in Greek Vase-Painting: The World of Mythological Burlesque” , he examines vase painting scenes depicting the parodying of Gods and Heroes, attempting to understand the social and cultural significance of this trend. In a review of Walsh’s book for the journal Phoenix, Robert F. Sutton describes “the willingness of Greek vase painters to caricature and ridicule gods and heroes in ways that would seem unthinkably blasphemous today if applied to Christian or Moslem figures.” We can see this in a black figure amphora from c. 520-530 B.C. (Figure 3), which depicts the scene of Herakles’ task to capture the Erymanthian boar and return it to the king of Mycenae, Eurystheus. The scene shows Herakles hauling the boar over his shoulder, as is common for depictions of this scene. However, while the Eurystheus typically is shown standing with his arms waving, this painter makes one particular change to this scene. Instead,