Art Appreciation ‘Treasures Of Antiquity’ Shows Beginnings Of Classical Beauty

Much ado has been made about the recent opening of the “Treasures of Antiquity” show at the Cheney Cowles Museum. The coverage has been extensive, and the public’s attention riveted. But with such a roaring debut, one has to wonder what this show really intends to accomplish, and if it meets all expectations.

There are several levels on which one can analyze this exhibition. First of all, the program is the result of a collaboration with the Museum of Fine Arts, Boston, which has generously loaned out antiquities from its permanent collection. This type of collaboration is exciting and reveals worlds of potential. Traveling exhibitions have certainly found their way to Spokane in the past, but what about the direct programming and exchange that could bring other major museum treasures to our doorsteps? This exhibit does much to foster such possibilities.

In form, the exhibit also does a fine job. These Greek and Roman artifacts are literally the material on which much of Western civilization is founded, and the selection of objects brings the everyday reality of these cultures to light. The small oil lamps and other domestic artifacts illustrate the lives of people who were using these now-revered treasures as utilitarian objects. The wealth of mythology and lore inherent in these cultures is also captured in the items and conveyed through appropriate text.

“Classical beauty” is a standard phrase often used for descriptive purposes, and visitors can appreciate why. Although no longer surrounded by monumental temples or architectural settings, fragments such as the black basalt bust take one’s breath away. The unique presentation of these artifacts plays on sheer aesthetics, as can be seen in the display of a marble torso of an athletic young man. Set apart in its own case and lit dramatically from above, the sculpture can be viewed from all sides for its lifelike and masterful carving.

Despite the strengths in the content and presentation of this exhibit, there are some areas that do not achieve as intended. For instance, this show spans over seven centuries and touches upon several civilizations, including Egyptian, Greek and Roman. Perhaps the inclusion of so much history is an over simplification and minimizes the fact that in the span of these years civilizations rose and fell, and that cultures such as the Egyptians held their own distinct artistic traditions for thousands of years.

The accompanying materials strive to link classical civilization to modern times, through textual mentions of contemporary artists. This approach seems distracting and not always a useful reference. Although classical influences have pervaded the arts since their origins, the citations and selection of artists seem questionable. For instance, wouldn’t it be important to also allude to the decorative arts, perhaps by illustrating decorations on selected modern furnishings and comparing them to the Greek red-figure vase bearing the same motifs?

One could conclude that this show is the equivalent of a Cheney Cowles “Blockbuster Exhibition.” This museum catch phrase became popular some years ago as museums planned shows with wide appeal in order to liven up programming and increase public enthusiasm. The Cheney Cowles has set high attendance goals, and judging from the crowds up to this point, their desired numbers might be achieved. Therefore, this exhibit has a practical function.

One hopes that this show will succeed in drawing many visitors, and one also hopes that this energy will be reinvested in the areas that make most sense. Consequently, the most exciting day will be when we see more of the Cheney Cowles’ own permanent collection, and this exhibit should provide a means for that end. In other words, let us not, while spending so much energy on someone else’s holdings, forget that we can take pride in our own.

MEMO: This sidebar appeared with the story: ART REVIEW “Treasures of Antiquity: Greek and Roman Art from the Museum of Fine Arts, Boston” at the Cheney Cowles Museum through Dec. 31.