commenting upon visual documents

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Commenting upon visual documents Slaves and slavery

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Commenting upon visual documents. Slaves and slavery. A servant. Red-figure vase painting  is one of the most important styles of figural Greek vase painting. It developed in Athens around 530 BC and remained in use until the late 3rd century BC. It replaced Black-figure vase painting. - PowerPoint PPT Presentation

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Page 1: Commenting upon visual  documents

Commenting upon visual documents

Slaves and slavery

Page 2: Commenting upon visual  documents

A servantRed-figure vase painting is one of the most important styles of figural Greek vase painting. It developed in Athens around 530 BC and remained in use until the late 3rd century BC. It replaced Black-figure vase painting.The most important areas of production, apart from Attica, were in Southern Italy. Attic red-figure vases were exported throughout Greece and beyond. Of the red figure vases produced in Athens alone, more than 40,000 specimens and fragments survive today.

Page 3: Commenting upon visual  documents

The two red figures stand out against the black background of the vase.

The narrative scene is painted on the swollen belly of an amphora. The neck is narrow and unadorned.

The scene is framed by a geometrical frieze.

The two protagonsits are wearing chitons. The woman on the right is sitting on a chair while the servant, painted on the right, is standing and is holding a box that she presents to her mistress. Though the two heads are on the same level, the mistress is taller than her servant.

ClayA vessel – a containerA pot – a bowl – a jugA kraterThe handlesWater jar (hydria)Wine coolersBe decorated with a narrative scene or geometrical patterns

Page 4: Commenting upon visual  documents

What are the differences between the two vases?

Is it the same type of representation as the amphora?

What do the two objects reveal regarding domestic services in Ancient Greece?

Page 5: Commenting upon visual  documents

• The Greek Slaves by Hiram Potters was first exhibited in the Fine Arts Section of the 1851 Great Exhibition.

• This is a marble sculpture in the round.

• The slave is to be sold at a Turkish slave market. She is standing with her weight on her left leg in a contraposto.

• She is gazing down as if ashamed of her nudity.

Page 6: Commenting upon visual  documents

"This celebrated exhibit stood in the middle of the American Section under a specially erected canopy and background of red plush. . . . As one of the most popular exhibits in the exhibition, the figure naturally gave rise to a wealth of comment. 'The Greek Slave is one of the "lions" of the Exhibition and most deservedly so.' 'One of the most exquisite objects in the museum (sic) . . . a centre of a bevy of admiring spectators.' 'In this work a youthful creature of very delicate form is represented in marble. The figure is studied from life and exhibits an extraordinary refinement of imitation. The treatment of the back, especially, is one of the happiest efforts in modern sculpture.’

VOCABULARYExhibit - An exhibit – an exhibitionDisplay – the displays – be on displayA show – showcaseThe onlookers – the visitorsA pedestal A life-like depiction A well-balanced compositionA graceful pose - stance

Page 7: Commenting upon visual  documents

Jean-Léon Jérôme, The Slave Market, 1860s

Would you say that this work denounces slavery?

Page 8: Commenting upon visual  documents

William Allan, The Slave Market, Constantinople, 1838, National Gallery of Scotland

Page 9: Commenting upon visual  documents

In the (very) backgroundFar (farther) awayIn the distance, white clouds are piling up in the sky.

In the top right-hand corner the painter has painted an Eastern piece of architecture with a gallery and archways. Local people are packed in this space, gazing at the main scene.

The main scene is framed by open archways on the right.

In the middle, a richly-dressed man is mounting a white horse and dominates the scene.

In the bottom right-hand corner, two men are sitting on the ground smoking a pipe after the Oriental fashion. This secondary scene adds to the exoticism of the whole scene.

In the foreground, next to the main figure / In the lower part of the picture a mother and her child are kneeling in an attempt to deter the master from separating them.

Page 10: Commenting upon visual  documents

The painter chooses to depict the slave market as a stage full of passions and violence, after the romantic fashion.

The scene is made up of various groups: men trying to bring away female slaves; a mother and her child who are being separated; servants or slaves begging mercy to an armed soldier.

The impression of violence is heightened / increased by the use of contrasting colors and diagonals. The pyramid-like composition, which was often used by romantic painters, adds to the dramatic impression that prevails.

Eastern countries Arabic countriesSoldiers riding a horse – horesridingA blurred background giving a sense of depthThe hectic – eventful streets of an Eastern cityFree oneself from the grip of

Page 11: Commenting upon visual  documents

GRAMMAIRE: dérivationNOM CONCRET ADJECTIF NOM ABSTRAIT ADVERBE VERBE

LIFE LIVELY LIVELINESS ENLIVEN

MASTER MASTERFUL MASTERY MASTERFULLY MASTER

EVENT EVENTFUL / EVENTLESS

EVENTFULNESSEVENTLESSNESS

EVENTFULLY

PAINT PAINTERLY PAINTERLINESS PAINT

HEIGHT HIGH HIGHLY HEIGHTEN

DARK DARK DARKNESS DARKLY DARKEN

DEPTH DEEP DEPTH DEEPLY DEEPEN

SHAME SHAMEFULASHAMEDSHAMELESS

SHAMEFULNESSSHAMELESSNESS

SHAMEFULLYSHAMELESSLY

Page 12: Commenting upon visual  documents

Traduction

Un maître sans pitié (pity, mercy) fouette un esclave sans défense.

Une femme richement vêtue se tient à côté d’une servante sans chaussures et sans chapeau.

La méchanceté et l’égoïsme des puissants maîtres furent sévèrement punis.

Les rues de l’antique Constantinople étaient vivantes, colorées et attirantes aux yeux des visiteurs occidentaux habitués à la noirceur et à la saleté des capitales européennes.