He states that there is a distinction between encyclopedic and national museums, with national museums being “…important instruments in the formation of nationalist narratives they are used to tell the story of a nation’s culture and past and confirm its present importance”, and encyclopedic museums displaying their collections as representations of the artistic heritage of the world. Paul Getty Trust, in his book Who Owns Antiquity? argues that antiquities should not be returned to their countries of origin. It is now on permanent display in the national Etruscan art museum in the Villa Giulia in Rome.James Cuno, an American art historian and the President and CEO of the J. Although the exportation of antiquities remains a major ethical issue with significant implications for the study of ancient art (see “Archaeology, Art History, and the Art Market,” Chapter 4, page 88), this case found a satisfactory resolution when the museum agreed in 2006 to transfer ownership of the Euphronios krater to the Republic of Italy. Widely suspected at the time to have been clandestinely excavated from an Etruscan tomb and illegally removed from Italy, the vase became the focus of an intense debate between archaeologists and collectors, curators, and dealers about the illicit trade in antiquities. 5-23), to represent men in a variety of foreshortened postures.Įuphronios’s krater achieved international notoriety when the Metropolitan Museum of Art purchased it in 1972 for $1 million, the highest price ever paid for a Greek vase. On the reverse side (not shown) are Greek warriors arming-an opportunity for Euphronios, like Euthymides ( FIG. He also displayed his mastery of drawing human anatomy, effectively distinguishing Sarpedon’s stiff corpse with its left foot seen from the front from the supple bodies of the living figures all around him. 5-22), Euphronios used diluted glaze to expand the chromatic range of the red-figure technique. As on his krater depicting Herakles and Antaios ( FIG.
Sarpedon was a son of Zeus who fought with the Trojans against the Greeks and met his death at the hands of Patroklos, Achilles’s closest friend. Supervising Sleep and Death is Hermes, the Greek god who guides the dead to the Underworld (see “The Gods and Goddesses of Mount Olympus,” Chapter 5, page 107). Signed by Euphronios as painter and EUXITHEOS as potter, this large krater represents the personifications of Sleep (Hypnos) and Death (Thanatos), shown here as twin winged Greek soldiers, carrying the gigantic body of the slain hero Sarpedon off the battlefield.
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