In the fall of 2022, I had the pleasure of visiting the renowned Metropolitan Museum of Art in New York City with my son, Max. As a budding classicist himself, he was already familiar with the painted history of ancient sculptures. However, it became clear that such knowledge was not universally shared among the visitors we encountered. As we navigated the Chroma: Ancient Sculpture in Color exhibition, we observed a mix of reactions from parents and their children, who were captivated by the vibrant restorations of ancient artworks.
Many adults expressed skepticism, with comments ranging from disbelief to distaste. "This looks so garish," remarked one visitor, while another doubted the authenticity of the colors. In contrast, the younger audience seemed more open-minded, unburdened by preconceived notions of what classical art should resemble. Max and I were fascinated by the vivid details that brought ancient pieces to life, such as the striking red accents on the Quirinal Boxer and the colorful patterns adorning a painted archer's attire.
The Chroma exhibition, which ran from summer 2022 to spring 2023, aimed to uncover the history of polychromy--the practice of applying multiple colors to sculptures--highlighting the work of classical archaeologists Vinzenz Brinkmann and Ulrike Koch-Brinkmann. Their dedication over four decades has led to remarkable reconstructions of Greco-Roman artworks, including a newly restored Archaic-era Sphinx finial.
Accompanying the exhibition is a book titled Chroma: Sculpture in Color from Antiquity to Today, which offers a detailed analysis of the exhibition's themes and includes contributions from numerous scholars. This publication not only showcases colorful illustrations but also expands its scope beyond Greco-Roman art to include polychromy in various cultures, such as those of North America and Mexico.
A scholarly symposium at The Met in March 2023 laid the groundwork for the book, with curators Sean Hemingway and Sarah Lepinski introducing the complexities of ancient polychromy and its historical context. The chapters within Chroma are designed to be accessible, blending technical insights with engaging narratives that appeal to both specialists and general readers alike.
Throughout the book, contributors address the intersection of race and polychromy, challenging the historical narratives that have often overlooked the diversity of ancient peoples. Notably, Najee Olya's essay delves into how ancient Greeks and Romans depicted individuals of different skin tones, emphasizing the need for museums to provide clearer narratives that reflect evolving understandings of race.
One significant takeaway from Chroma is the museum's role in shaping public perception of the past. Shiyanthi Thavapalan highlights the importance of transparency in museum displays, urging institutions to clarify that reconstructions are interpretations rather than definitive truths. This perspective encourages a broader dialogue about color and representation in ancient art.
Ultimately, Chroma serves as a vital resource in reshaping our understanding of ancient artworks, illustrating that color was not perceived as unrefined in antiquity. The exhibition and accompanying book challenge the lingering myths of a monochromatic classical past, paving the way for a more nuanced appreciation of the ancient world's diversity.
The book, edited by Sean Hemingway, Sarah Lepinski, and Vinzenz Brinkmann, is published by Yale University Press and is available for purchase in bookstores.