By Ellen D. Reeder
Spotlighting impressive examples of classical Greek artwork including contemporary findings in anthropology, social historical past, psychology, classics, and classical archaeology, Pandora deals a multi-faceted examine ladies in fantasy, ritual, and way of life in classical Greece. during this catalogue, which used to be written to accompany a global touring exhibition prepared by way of the Walters artwork Gallery, Ellen Reeder turns to classical Greek marbles, bronzes, terracottas, and vases to aid illustrate the ways that ladies have been perceived and the way they lived. The dialogue is more advantageous via interpretive essays written for this catalogue by means of a bunch of eminent classicists and historians. Reeder reveals a specific 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 photos of bins and untamed animals as metaphors for ladies; rituals regarding ladies, equivalent to the marriage and the cult of the Little Bears at Brauron; the nature and cult of goddesses; and the shut organization of ladies 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 paintings are drawn from greater than fifty collections in fourteen nations and have either general masterpieces and formerly inaccessible works.
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Extra resources for Pandora: Women in Classical Greece
I0 is shown wearing a stephane and veil while fighting against the giant Phoitos as part of a Gigantomachy. Her garments reflect not only her role as a deity of marriage, but also her place as Zeus' consort and mother of gods. 71 meaning, so that in many cases several different aspects of a figur~ or scene can be implied by its use. The study of Greek poetry has always been attractive and intriguing because of, among other things, its complex and polysemantic nature. Often it offers an alternate thread or possible nuance of interpretat ion that is sometimes clear and more certain than at other times, so that an allusion can be fain t, obvious, or somewhere between.
Detail of a bell kratcr by the Group uf Polygnotos. Stockholm, rhc Nationul Museum, inv. no. 6. cession. Hermes stands off to the side, and Demeter, her mother, waits on the right. Persephone is often shown in bridal attire, which relates on several other levels, since she is the victim of a rape and the bride and wife of I lades. A mid fifth -century volute krater once associated with the Group of Polygnotos (no. 81) provides another example. Inscriptions secure the identity of the figures. On the right Pandora ascends from the earth as Epimetheus, her husband to be, stands ready to assist her.
It is perhaps disheartening to think that much of what we have deciphered in this essay would have been immediately evident to an ancient Athenian looking at one of these vases, for they would know a bride and a reference to a wedding when they saw it. But our knowledge of the wedding has always been hampered by the nature of our sources. No single description of the entire ritual is preserved; rather we have to interpret and collate references to different parts of the ceremony from different parts of the Greek world and from different times.
Pandora: Women in Classical Greece by Ellen D. Reeder