Reconstructioniats say that they only show th colours they can prove existed.
The article suggests they obstinately do this because they know it creates a spectacle.
I think there's another explanation - if they use their own judgement to fill in the gaps (making the statues more classically beautiful) then everyone will accuse them of making it all up, even if they were to base it on fairly rigorous study of e.g. the colour pallets used in preserved Roman paintings etc.
Yes, the suggestion that they're trolling goes too far.
However, I did a tiny bit of investigating, and according to this write-up it does seem like Brinkmann presents his work as resembling the originals
https://www.smithsonianmag.com/arts-culture/true-colors-1788...
But they still don't add anything without direct evidence - where there's evidence in later statues for more subtle colouring, they include that.
I’m reminded of a Reddit thread long ago about a reconstruction of Roman garum by some American scientists. In their paper they conclusively declared that it tasted foul and a Filipino Redditor replied saying “This actually sounds a lot like the fish sauce we use in SE Asia. I wonder if people from a different culinary tradition would find it less off putting or even tasty?” Cue a bunch of Redditors downvoting the poor sap to hell for daring to disagree with the scientists’ assessment of the flavor.
There might even be a directish connection, one way or the other, between garum and SE Asian fish sauce, since Roman coins have been found in Vietnam.
Can't find the better source on that specifically now but this is a nice article about the Roman trade with India and mentions the coins found in Vietnam and even Korea about half way down
https://www.thecollector.com/why-was-the-roman-indian-ocean-...
On the other hand, it's not implausible that maritime societies come up with their own fish sauce independently
I read that what's now 'soy sauce' also started off as a kind of fish sauce originally.
Worcestershire sauce is also considered a descendent of the fish sauces from ancient Rome.
That's funny, I thought Worcestershire sauce was based on some Asian fish sauce because it has the colonial ingredients like tamarind etc. I had a look on wiki and seems it's not known where the recipe comes from but it dates from the 19th century
love me some red boat fish sauce!
It is possible for Brinkmann to be guilty of showboating, while other researchers are simply being fastidiously proper in what they communicate.
The problem is that there is no "missing data" color, so that discipline would default to marble white, which is just as made up as the rest.
I think the Augustus statue is a good example of that: Part of the garish effect comes from the contrast between the painted and nonpainted areas. The marble of his face and harness work well if everything is marble - but in contrast to the strong colors of the rest, the face suddenly seems sickly pale and the harness becomes "skin-colored". The result is a "plastic" or "uncanny valley" effect.
If the entire statue were painted, the effect would be weaker.
>The problem is that there is no "missing data" color
they should use "green screen green" and give you viewing glasses that fill in the colors to your own historical preference (e.g. rose colored? blood-soaked?). then if you point a finger with your "anhistorical" complaints, there will be 3 fingers pointing back at you!
How about “missing texture magenta”?
Architectural restoration often solves this by using an inoffense, but still visibly detectable, "new material color". Some British castles have been rebuilt this way.
They're making it up no matter what they do, since we don't know how these things were originally painted and have no way of knowing. They should just present the reconstructions as interpretations and actually try to do a good job painting them. I agree with the article that what they're doing now is harmful to the public understanding.
I mean, we kind of do though? We could assume that the surviving images of statues showing how they were painted are accurate. If you know the colour of the underlayer, this actually lets you determine exactly what the colouration of the paint on top of that is despite it not being present whatsoever
This gives you a general trend of how brightly underlayed statues tended to be painted afterwards to finish them, and lets you infer how other statues without surviving coloured pictures of them would have appeared based on the likely prevailing style at the time
That is how scholarship works. It’s like a math proof: they’re interested in proving the base case. If someone else wants to do more speculative work to theorize what a well-painted version would look like, that would be super cool, but it wouldn’t be scholarship.
And that's a fine standard to maintain when you're writing an academic paper.
When you are instead putting together a museum exhibition intended for the general public, and you observe over and over again that they will interpret your work as representing what the statues actually looked like, it is irresponsible to keep giving them that impression.
It's not an either/or question. They could do some of the statues with just the pure archaeological approach of only using the paints they found in the crevices, and do others in a layered approach that is more speculative but probably closer to how they actually looked. If they did that, this article would not be necessary.
Imagine if we refused to publish any material or exhibit recreations of dinosaurs because the only evidence we have are fossilized skeletons and a few skin texture impressions.
You've highlighted a very cogent comparison!
Dinosaurs in the first Jurassic Park were fairly well represented considering what we knew in the late 80s. But our knowledge of dinosaurs has grown, with feathers being the most emblematic change. Yet the Jurassic Park movies steadfastly refuse to put feathers on their 3D monsters in the current movies, because viewers do not expect feathers on the T-Rex.
We might be at that point with repainted statues. Museum visitors are now starting to expect the ugly garish colours.
I've not seen the latest Jurassic Park movie, but I've seen a clip with velociraptor's with feathers, and maybe quetzlcoatalus too? Along with colourful skin on eg compsagnathus.
They seem to have moved on a bit, they're balancing audience expectations with latest research, I expect.
This guy had feathers and they made him the right size https://jurassicpark.fandom.com/wiki/Oviraptor
They didn't revisit any of the previously featured dinosaurs. The T-Rex in the latest film looks like the best science can ascertain ... in 1990.
My knowledge of dinosaurs is a few decades old really - any good sources for a summary of T-rex developments in particular or dinosaurs more generally?
I could imagine there's some great videos out there? I'd be keen to have scientific basis given rather than speculative artwork.
“The reason I’m totally misleading you with a speculative example is because of scholarship.”
No way. When they engage the public, they are not longer exclusively scholars. They responsible for conveying the best truth they can to non-experts.
A journal paper can be misunderstood when the reader lacks the context to interpret it. Out in the public square, that is not the reader’s fault anymore.
Give the scholars full editorial control of the newspaper the public is getting their news from, and you might get better public understanding of their scholarship.
You generally can't hold someone responsible for what someone else says about them.
"Dance your PhD" exists for several reasons, but one of them is to point out that the divorce between scholarship and art in some academic fields isn't "required" but an accident of how we separated colleges and how hard it can be to do multi-disciplinary work.
You can do both: prove the base case and reach across the aisle to the art college next door to see if someone is interested in the follow up "creative exercise". You can present both "here's what we can prove" and "here's an extrapolation by a skilled artist of what additional layering/contouring might have done".
I would agree with you, but archeologists often classify finds as "for ritual purposes" without any proof or evidence that it was used in a ritual, without specifying what ritual is involved, or how the find would be used in the ritual.
Likewise archeologists will classify finds as tools when they don't have nearly enough knowledge about the craft in question to be able to do this properly (see the extensive mis-classification of weaving swords/beaters as weapons [0], but there are many other cases).
So I'm a little reluctant to cut them some slack and say "this is how scholarship" works when they get all petulant about including colours that we know the ancients had, in ways we know they used them, for this kind of reconstruction.
[0] https://www.academia.edu/67863215/Weapon_or_Weaving_Swords_a...
This is crucial. From the article:
>As a result, we internalized a deep-seated attachment to an unblemished white image of Greek and Roman art. We became, to use David Bachelor’s term, chromophobes. It is this accidental association between Greek and Roman art and pristine white marble, we are told, that accounts for the displeasure we feel when we see the statues restored to color.
And there's indeed been quite a bit of push-back since the story first broke. Unspoken is the reason. Primacy bias is probably a part of it, but what really accounts for the intensity of the attachment to the idea of white marble finishes? I'm sure you can imagine.
>Bond told me that she’d been moved to write her essays when a racist group, Identity Evropa, started putting up posters on college campuses, including Iowa’s, that presented classical white marble statues as emblems of white nationalism. After the publication of her essays, she received a stream of hate messages online. She is not the only classicist who has been targeted by the so-called alt-right. Some white supremacists have been drawn to classical studies out of a desire to affirm what they imagine to be an unblemished lineage of white Western culture extending back to ancient Greece. When they are told that their understanding of classical history is flawed, they often get testy.
https://archive.is/qTreQ#selection-1695.0-1695.693
So, yes, it was important to categorically falsify the notion that the statues, frescoes, etc., were unpainted. Anything that left it open would have been something for the worst sorts of people to latch onto. Now that that's out of the way, possibly even more accurate explanations can be given the time of day, instead of being stuck having to hash out, "Oh, but were they even colored at all?"
Maybe it's just me, but this "We have to fudge the truth because nuance would support the alt-right" business just seems to drive a bigger wedge into the political divide than would just being reasonable. Folks closer to center see it as controlling the narrative, lies, and conspiracy when the full truth comes out. I'd prefer not driving more people into the fringes.
They didn't fudge the truth. They reported exactly what the scientifically-supportable findings at the time were. Even if they had a notion that they were only looking at underpainting that was covered by more intricate work, they couldn't prove it. And, at the point, when they were trying to draw a distinction between objective fact and subjective sentiment, it was paramount that they come down solidly on the side of objective fact. Which they did. They proved that there was originally a weathered-away chroma layer above the base marble on these statues.
>Folks closer to center see it as controlling the narrative, lies, and conspiracy when the full truth comes out.
And this, I reject. The people who think this way aren't in the center, and they were never interested in the truth. Their aim has always been promoting the primacy of Western classical art (often as part of larger notions of white supremacy). They fought hard for the debunked no-chroma interpretation until another angle presented itself: that the chroma scientists were trying to purposely make the statues seem ugly, in order to devalue Western classical art, or to dictate its value outside of their control and terms. It's the same tack as right-wing gamers claiming that female characters are being made purposely "ugly" in order to alienate male heterosexual gamers.
And while the reason for changes in female representation in games are less objective and more complicated than the scientific inquiry that produced the knowledge of painted statues, most of the people driven to the fringes by the evolution of these topics, as knowledge and circumstances develop, are people who share their fringe (and incorrect) ideas. Implicit there is that there's no "full truth coming out", just a developing collective understanding.
If you want narrative control, lies, and conspiracy, look at Wall Street.
I would be curious to know if the treatment of statues in terms of "making them ugly and ridiculous to the point of being insulting" is roughly uniform across the different historical cultures being treated to this "reconstruction" procedure.
i.e. is there evidence that there is comfort in trolling using Roman or Greek vs Assyrian, Nubian etc. Or do they just like to make everything bright and blocky.