Phidias’ workshop in Olympia. Image: www.panoramio.com
It’s very humbling to look back through 2.500 years to the workshop of the greatest of all classical sculptors and read the inscription on his cup that says ‘I belong to Pheidias’. His workshop had been represented, purely through imagination, by artists like Lawrence Alma Tadema and Hector Le Roux long before the discovery of the location in the 1950′s.
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Es vertiginoso retroceder con la mirada a través de 2.500 años al taller del más grande de los escultores clásicos y leer la inscripción en su taza que afirma ‘Yo pertenezco a Fidias’. Su taller había sido representado, puramente mediante la imaginación, por artistas como Lawrence Alma Tadema y Héctor Le Roux años antes del descubrimiento del emplazamiento en los años 50 del siglo pasado.
L. Alma-Tadema, Phidias Showing the Frieze of the Parthenon to his Friends, 1868. Image: www.karenessex.com
Hector Le Roux, Visite à l’atelier de Phidias. Image: www.muzeo.fr
All schools should be art schools.
4 comments
Gustavo says:
abr 16, 2013
Aun en ruinas parece más ordenado que lo mío…
Simon Zabell says:
abr 16, 2013
Ja ja ja, el mío es que es una ruina Gustavo.. además de estar desordenado, claro.
Lee Henkel says:
abr 19, 2013
Very interesting Simon – to put art within the context of history and to get a true sense of place – in this case an artists studio from such a long time ago.
Simon Zabell says:
abr 19, 2013
Thank you Lee! Yes, I really like the idea that all art is one and I don’t want to separate contemporary art from art from other times (and places). As you say, I thinks its useful to get a sense of place, and not lose sight of the broader context.