Etruscan Art

              and ivory works were imported from the Caucasus, Syrian, and Phoenician areas
in the VII Century B.C. preluding the later masterworks of the Etruscan gold­smiths.
The figures on early Canopic Urns of Chiusi are similar to forms in the
Cyprus Museum. Bucchero pottery was decorated with mythical creatures of the
nether world related to funerary customs such as sphinxes, winged horses, griffins,
maneads, etc. Orientalizing traditions were spread widely by the Corinthians from
about 625 to 575 B.C., after which the Archaic style took over exemplified by the
distinctive stone carvings of Greek youths (Kouroi) with their enigmatic smiles
and Egyptian stances. This was an Ionian Greek development embraced by the
Etruscans and utilized to create some of their most significant masterpieces in clay,
stone, and fresco painting. [onic and Attic black-figured vases spread through
Italy with their refined crisp illustrations of animals, mythological scenes, and flora.
Attic red-figured ceramics followed in the early V Century B.C. ushering in Classi­cal
influences. Archaic traditions lingered longer in Etruria than in other parts due
to more limited contacts with Greece during the V Century and to the fact that
this style fitted more closely to their aesthetic needs. They never seriously followed
the Greeks into their classic period of art and philosophy.
From the end of the V Century B.C. the Empire declined due to the success of the
Greeks on the sea, the loss of Latium and Campania to the Romans and Samrites,
and the Po valley to the Gauls. After 400 B.C. the principal centers of Etruria
were overcome one by one until all were under Roman domination. The art of this
period reflects late classic and hellenistic Greek. There is, however, a provincial
charm and vigour, sometimes crude in comparison, but seldom dull. The Greek
pantheon of Gods had been adopted, with emphasis on Dionysus, and were in­vested
with attributes of their older dieties. However, it would seem that some of
their basic divinities were never personified. Robust expressive modeling on works
such as the Chiusian type cinerary urns led to the emergence of a portraiture that
no doubt influenced Roman art. To this time belong the unique elongated bronze
figures so akin to contemporary aesthetic concepts, and also some of the greatest
existing examples of classic bronzes.
If nothing remained of the civilization but the painted tomb frescoes these alone
would assure its art of a prominent place in history. Examples still exist from circa
600 B.C. to the 1st Century A.D. following the outlined style periods. They are
a delight to behold and the only examples of large-scale paintings remaining from
pre-Roman times outside of Egypt. Jllustrations depicting allegorical scenes, games,
dancing, banqueting, hunting and fishing, etc., are executed in a bold and lively
style brilliantly colored. These sensitive and exuberant renderings that at times
show strong tendencies toward realism probably illustrate most clearly the free
and expressive spirit of Etruscan art.
Although there are fine Etruscan collections in the British Museum, Metropolitan,
Louvre, Berlin, and Copenhagen, the full impact of their works and the diversity
of regional expressions can only be experienced by visiting the Italian museums.
First in importance is the Archaeological Museum of Florence followed by the
Villa Giulia and the Vatican in Rome where one can also visit other collections
such as the Pigorini, Communal Antiquarium, and Capitoline. The Museum tour
is not complete without including Chiusi and Tarquinia. However, many other
towns have fine local displays such as Bologna, Volterra, Viterbo, Orvietto, Pales­trina,
and Perugia.
ALFRED E. STENDAHL
Stendahl Art Galleries
Los Angeles, California
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