Tanagra figurine

From Wikipedia, the free encyclopedia
Jump to navigation Jump to search
"Lady in blue", molded and gilded terracotta figurine, Louvre, Paris

The Tanagra figurines were a mold-cast type of Greek terracotta figurines produced from the later fourth century BCE, primarily in the Boeotian town of Tanagra. They were coated with a liquid white slip before firing and were sometimes painted afterwards in naturalistic tints with watercolors, such as the famous "Dame en Bleu" ("Lady in Blue") at the Louvre. Scholars have wondered why a rural place like Tanagra produced such fine and rather "urban" style terracotta figures.[citation needed]

Tanagra figures depict real women — and some men and boys — in everyday costume, with familiar accessories like hats, wreaths or fans. Some character pieces[1] may have represented stock figures from the New Comedy of Menander and other writers. Others continued an earlier tradition of molded terracotta figures used as cult images or votive objects. Typically they are about 10 to 20 centimetres high.

Tanagra figurine representing woman sitting

The coraplasters, or sculptors of the models that provided the molds, delighted in revealing the body under the folds of a himation thrown round the shoulders like a cloak and covering the head, over a chiton, and the movements of such drapery in action.

Discovery and excavation[edit]

Tanagra was not necessarily as well known as Athens, Sparta or Crete. The city had come to the attention of historians and archeologists during the early 19th century after war broke out between the Turks and their allies, the British and the French, following a warning of a French invasion. Tanagra figures had not been much noted before the end of the 1860s, when ploughmen of Vratsi in Boeotia, Greece, began to uncover tombs ranging in date over many centuries. The main finds especially from the 4th and 3rd centuries BCE were secured in 1874. Inside and outside the tombs of the Hellenistic period — 3rd to 1st centuries BCE — were many small terracotta figures. Great quantities found in excavation sites at Tanagra identified the city as the source of these figures, which were also exported to distant markets. In addition, such figures were made in many other Mediterranean sites, including Alexandria, Tarentum in Magna Graecia, Centuripe in Sicily and Myrina in Mysia.

The figures appealed to 19th century middle-class ideals of realism, and "Tanagra figures" entered the visual repertory of Europeans. Jean-Léon Gérôme created a polychromatic sculpture depicting the spirit of Tanagra, and one French critic described the fashionable women portrayed in the statuettes as "the parisienne of the ancient world". Oscar Wilde, in his novel The Picture of Dorian Gray (1891), has Dorian liken his love, Sybil, to "the delicate grace of the Tanagra figurine that you have in your Studio, Basil." [1] Later, in his play An Ideal Husband (1895), Wilde introduces the character of Mabel Chiltern upon her entrance by stating (amongst further description), "she is really like a Tanagra statuette, and would be rather annoyed if she were told so." [2]

Under the pressure of collectors' demands in the late 1800s, Tanagra terracottas began to be faked.[2]

Initial excavations[edit]

Before the official excavation began, certain events began to bring attention to the city of Tanagra in the early 19th century. In 1806, Col. W.M. Leake visited the city of Tanagra and described the ruins that he had seen in detail in Travels in Northern Greece.[3][4] Cambridge scholar Christopher Wordsworth visited the city in 1832,[4] and in 1837, H.M. Ulrichs, a German scholar, visited the site.[4] During 1852 the French General Staff published the initial map that revealed the location of the first six graves found in the ruins.[4]

Grave robberies[edit]

In 1870 an outbreak of grave robberies had occurred in the ruins of the city of Tanagra.[5][4] This resulted in many of the tombs being ruined due to the robbers' carelessness in excavating the graves in order to steal the Tanagra figurines. Many of the graves had vases placed on them, but the majority of them ended up broken. During 1873, a number of illegal permits had been confiscated from people in nearby villages which would have allowed them to excavate the graves.[4] This led the Archeological Society of Athens to protect the site and begin excavation before anything else could be stolen or destroyed.[5][4]

Excavation of 1874-1879[edit]

The Archeological Society of Athens sent Panayotis Stamatakis, a senior official, to excavate the graves that had been left intact. Before he began, he confiscated antiquities from people in nearby villages. The grave robberies had led historians to excavate the city to learn more of its culture and history, and also to discover why the figurines were mainly found in graves, and what they might have represented for the deceased. The excavations would be on and off because of the possibility of damaging any art that might be left in the intact sites. Most of the Tanagra figurines were discovered to be buried with the dead. From the excavations a large number of figurines had been found among the ruins, but no details of the exact number of figurines were released.[4] Many were missing or had been given away.[4] While Stamatakis and the others sent from the Archeological Society of Athens would dig during the day, the people living near the ruins would dig during the night due to the lack of guards.[4]

Figurines[edit]

Purpose[edit]

The Tanagra figurines would serve as religious statues. The figures were posed in various ways to correspond to the life of the deceased.[4] The figurines that were buried in the graves led to a theory that the small figures represented the person's possessions.[4] They were believed by historians to bring comfort to the dead, sending them to the next world in peace as they took something from their old lives with them. It is speculated that though it was usual to place the figurines in the graves, it was not essential, as a vase would have been.[4][6]

Subject matter[edit]

(Tanagra figurine) A young man seated on a rock. Back roughly modelled; square vent. Red on hair and boots; orange-pink on rock; pink on skin; rose-madder with blue border on cloak. British Museum 1874

These figurines represented moments in everyday life, such as a woman taking care of her children, or a child playing, as well as men and young children sitting and women playing games with other women or by themselves.[7]

  • Seated women and girls
  • Women leaning against a column
  • Crouching woman
  • Pickaback
  • Men and young men
  • Eros
  • Aphrodite
  • Grotesques
This terracotta figurine of a woman demonstrates some thematic elements that are common to these statuettes. Walters Art Museum, Baltimore.
Molded terracotta nude of a goddess, Alexandrian (Greco-Roman Museum, Alexandria)

References[edit]

  • Besques-Mollard, Simone, 1950. Tanagra (Paris: Braun)
  • Tanagra - Myth and Archaeology Exhibition, Paris, 2003; Montreal, 2004.
  • Thompson, Dorothy (1966) " The origin of Tanagras". American Journal of Archeology.70 (1): 51-63
  • Bell, Malcolm III (2014) Morgatina Studies: The Terracotas. Princeton University Press.
  • Dillon, Sheila (2010). The Female Portrait Statue in the Greek World. Cambridge University Press.
  • Higgins Reynolds (1985). Tanagra and the Figurines. Princeton University Press.

Notes[edit]

  1. ^ The head and torso of an actor in comedy wearing a grotesquely grinning satyr's mask is at the Musée du Louvre.
  2. ^ Zink and Porto 2005 report that 20 percent of the Tanagra terracottas in the British Museum have been identified as fakes.
  3. ^ Leake, William Martin (1835). Travels in Northern Greece. 2. p. 454-461. Retrieved 13 April 2018.
  4. ^ a b c d e f g h i j k l m Higgins, Reynold Alleyne (1986). Tanagra and the Figurines. Princeton University Press. ISBN 9780691040448.
  5. ^ a b Thompson, Dorothy (1966). "The Origin of Tanagras". American Journal of Archeology. 70 (1): 51–63.
  6. ^ Bell, Malcolm (2014). The Terracottas. Morgantina Studies. Princeton University Press. ISBN 9780691614755.
  7. ^ Dillon, Sheila (2010). The Female Portrait Statue in the Greek World. Cambridge University Press. ISBN 9780521764506.

External links[edit]

Further reading[edit]

  • Minna Lönnqvist (1997) "Nulla signa sine argilla" - Hellenistic Athens and the Message of the Tanagra Style, in Early Hellenistic Athens, Symptoms of a Change, ed. by Jaakko Frösén, Papers and Monographs of the Finnish Institute at Athens, Vol. VI, Vammala, 147-182+ 14 illustrations + sources.