Vase Painting, Gender, and Social Identity in Archaic Athens
by Mark D. Stansbury-O'Donnell
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Book Summary Information
Author: Mark D. Stansbury-O'DonnellEdition: Hardcover
Audio: English (Original Language); English (Unknown); English (Published)
Published: 2006-03-27
ISBN: 0521853184
Number of pages: 330
Publisher: Cambridge University Press
Book Reviews of Vase Painting, Gender, and Social Identity in Archaic Athens
Book Review: the significance of the spectators on ancient Greek vases
Summary: 5 Stars
Stansbury-O'Donnell makes up for the "little systematic study of spectator figures on Greek vases"; which vases have long been recognized as important artifacts from the beginnings of Western culture. He begins his exemplary study by "looking at the chronological distributions of all 742 vases in the CVA census, with a comparison to the vases in the Athens census." CVA is the abbreviation for Corpus Vasorum Antiquorum, an international project begun in 1919 to record and compare the large numbers of vases in museums around the world. The "spectators" on Greek vases--sometimes referred to with the comparatively weaker word "onlookers"--are not simply secondary characters to fill in bare spots around the warriors, mythological figures, artists, or athletes who are the main characters and focus of attention. For it is the spectators with their gestures, postures, expressions, and placement who signify the regard or standing of the main characters in the Greek society, the polis. The professor of art history at the U. of St. Thomas in St. Paul, MN, engages in an extended, meticulous, scholarly study of all of the meaningful variables of gesture, etc., and related variables of regard and standing of the characters on Greek vases. Focusing especially on the spectators, he makes inferences and conjectures regarding what they are signifying about the primary characters and Greek society. The author distinguishes four main types of spectators ranging from "invested spectators [who are] catalysts in the narrative [of what is being portrayed on a particular vase]" through interested spectators and detached spectators to pure spectators who are "not catalysts in the narrative." The work establishes a new standard of study and level of knowledge for its field.
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