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Dossier : Des vases pour les Athéniens

Dossier : Des vases pour les Athéniens (vie-ive siècles avant notre ère)


Towards an understanding of the choices made by the producers and consumers of Attic pottery

Robin Osborne

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Extrait du texte

It is a mark of the success that late nineteenth- and early twentieth-century scholars had in turning Greek pots into works of art, that accounts of Greek vase painting put neither the circumstances of pot production nor the relationship between production and consumption at the centre of their story. Although the technical processes of pot production, and in particular of the red- and black-figure techniques, are generally explained, and although some remarks about workshops may be made to explicate problems of attribution, none of the standard textbooks regards how pots were produced, or how they were marketed, as playing any significant part in explaining what got painted, in what ways, at what time. The debates about whether pots were cheap or expensive, and whether or not they took more than passing inspiration from work in silver and gold, have proved simply distractions which have, if anything, reinforced and confirmed the narrow focus of the conventional narrative.1

Of course...


University of Cambridge, Faculty of Classics, King’s College, Cambridge

© Éditions de l’École des hautes études en sciences sociales, 2014

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