By Ellen D. Reeder
Spotlighting exceptional examples of classical Greek artwork including fresh findings in anthropology, social heritage, psychology, classics, and classical archaeology, Pandora deals a multi-faceted examine girls in delusion, ritual, and lifestyle in classical Greece. during this catalogue, which was once written to accompany a world touring exhibition geared up by means of the Walters paintings Gallery, Ellen Reeder turns to classical Greek marbles, bronzes, terracottas, and vases to assist illustrate the ways that girls have been perceived and the way they lived. The dialogue is superior via interpretive essays written for this catalogue by means of a bunch of eminent classicists and historians. Reeder unearths a selected emphasis on myths facing the single maiden and the trouble of the transition to marriage and motherhood--as exemplified within the tales of Danae, Thetis, Atalanta, and Amymone. She additionally explores pictures of boxes and untamed animals as metaphors for girls; rituals related to girls, corresponding to the marriage and the cult of the Little Bears at Brauron; the nature and cult of goddesses; and the shut organization of girls with textiles. comprises interpretive essays by means of Sally Humphreys, Mary Lefkowitz, Franois Lissarrague, John Oakley, Margot Schmidt, H. A. Shapiro, Christiane Sourvinou- Inwood, Andrew Stewart, and Froma Zeitlin. The examples of artwork are drawn from greater than fifty collections in fourteen international locations and have either typical masterpieces and formerly inaccessible works.
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Additional info for Pandora: Women in Classical Greece
No. 354. Fig. l4. Detail of a volme kratcr by Lhe Painter of the Berlin 1-lydrb. Jw. no. 347. 68 bride with veil and stephane,'just as she is on a contemporary fragment by the Phiale Painter (no. 78). We know that she will later attract the attention and advances of King Polydektes when she lands on Seriphos. Her bridal attire, therefore, is not only related to her role as mother, but also to her future when her attractiveness will be crucial to their survival, just as the bride's allure is crucial to the continuation and therefore the survival of the oikos (family).
These include brides-to-be, several types of pseudo-brides, mothers, and chtbonic figures. And from these groups, certain figures in particular are especially prone to being depicted in this way, including the oftshown figures Helen, Leto, Hera, and Aphrodite, and such less frequently depicted ones as Danae md lprugenia. Not surprisingly, the categories that use bridal motifs are ones that have a relationship to the wedding. Use of the imagery with brides-to-be foreshadows the actual event, a narrative technique used with other types of action in Greek vase-paintings.
Florence, Musco Arcncologico t\azionalc, inv. no. 3790. C. in Florence in the manner of the Lysippides Painter (fig. 1),2 where Peleus and Thetis stand in a four-horse chariot, accompanied by gods and deified heroes afoot. • The mix is clearly meant to raise the status of the bridal couple,5 in a manner similar to that found in ancient Greek wedding songs, where they are often compared to gods and heroes. Very likely a chariot was not actually used in most weddings, since the Literary sources mention only carts in connection with mortal weddjngs.