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Review Article: The Study of Classical Sculpture at the End of the 20th Century

The year 1993 has marked the centenary of Adolf Furtwingler's influential Meisterwerke der griechischen Plastik, and such an important anniversary should not pass unnoticed.' That book signaled the beginning of a strong current in studies of ancient sculpture, one that is usually known by such German terms as Meisterforschung and Kopienkritik. It was based on the premise that the style of ancient sculptors could, and should, be identified through the Roman replicas of their lost originals, and proceeded on the assumption that attributions could be made not only on the authority of mentions in the ancient sources but also on purely formal and iconographic grounds. In the words of Andrew Stewart, "the continuing spell of Furtwangler's achievement, and of the great sculptors themselves, has ensured that much of the bibliography of Greek sculpture still addresses, one way or another, these basic concerns, often to the detriment of other lines of inquiry."2 It seems therefore fitting to choose this moment to review the status of Greek sculptural studies 100 years later. In particular, it may be appropriate to do so using a 1993 publication as a starting point: Luigi Todisco's Scultura greca del IV secolo. Although restricted to a single century, as contrasted with Furtwingler's ampler coverage,3 this monograph at the same time marks what is newest and what is still the same in our field. I shall start by reviewing Todisco's book, and shall then attempt to define other current trends, in an overview of methodological theories and publications. Needless to say, my selection will be guided by purely personal and subjective criteria necessarily informed by my own preferences and re tricted by the limits of my own knowledge.