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American Focus > Blog > Culture and Arts > How White Elites Drained Ancient Art of Its Color
Culture and Arts

How White Elites Drained Ancient Art of Its Color

Last updated: February 16, 2026 1:10 pm
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How White Elites Drained Ancient Art of Its Color
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Another key theme in Chroma is the idea of challenging preconceived notions and embracing the complexity of the past. The colorful reconstructions featured in the exhibition force viewers to confront the fact that ancient sculptures were not the pristine white marbles we often see in museums. The vibrant hues and intricate details reveal a more dynamic and nuanced understanding of the ancient world. By presenting these sculptures in color, the exhibition encourages us to rethink our assumptions about classical art and to appreciate the artistry and skill of ancient artisans.

The debate over the authenticity of polychrome reconstructions continues to be a contentious issue in the field of classical archaeology. Some purists argue that adding color to ancient sculptures is a form of modern interference that distorts the original intent of the artists. However, proponents of polychromy believe that these reconstructions provide valuable insights into the aesthetics and cultural practices of the ancient world. By bringing ancient sculptures to life with color, we can better appreciate the craftsmanship and creativity of the artists who created them.

As Max and I made our way through the exhibition, we were struck by the beauty and complexity of the polychrome sculptures on display. The vivid colors and intricate patterns transformed these ancient works into vibrant pieces of art that captured our imagination. While some visitors may have been taken aback by the colorful reconstructions, we found them to be a refreshing and enlightening perspective on classical art.

Chroma: Ancient Sculpture in Color challenges us to look beyond the monochrome facade of classical art and to embrace the rich history of polychromy in ancient sculpture. By exploring the vibrant world of color in antiquity, we can gain a deeper understanding of the cultural practices and artistic traditions of the past. As we left the exhibition, Max and I were filled with a newfound appreciation for the colorful legacy of ancient sculpture, and a sense of wonder at the enduring beauty of the art of the past.

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The Metropolitan Museum of Art’s recent publication of “Chroma” marks a significant shift towards acknowledging the importance of polychromy and its historical ties to white supremacy. This groundbreaking book, edited by Seán Hemingway, Sarah Lepinski, and Vinzenz Brinkmann, brings together 40 contributors to delve into the complexities of ancient race, class, ethnicity, gendered colors, and status as reflected in art.

The book challenges the myth of whiteness in classical sculpture, a narrative that has long dominated our understanding of ancient art. By highlighting the diverse spectrum of skin tones and vibrant colors that adorned sculptures in the ancient world, “Chroma” aims to dispel misconceptions and provide a more accurate portrayal of antiquity.

In a society where white marble has been idealized and revered, the book confronts the inherent racism and chromophobia that have perpetuated the myth of classical whiteness. Through both image and analysis, “Chroma” presents a compelling argument for embracing the polychromatic nature of ancient art and recognizing the multicultural influences that shaped it.

As an academic who has long advocated for a more inclusive and diverse interpretation of the classical world, I applaud the efforts of “Chroma” to challenge traditional narratives and elevate the voices of marginalized communities. The book serves as a powerful tool for educating the public and reshaping perceptions of antiquity.

In a world where elitism and white supremacy continue to dictate cultural norms, “Chroma” stands as a beacon of progress and enlightenment. By celebrating the beauty and diversity of polychromy, the book paves the way for a more inclusive and accurate understanding of the ancient Mediterranean world.

See also  Call for Proposals: Covington Landmark Art Installation

“Chroma: Sculpture in Color from Antiquity to Today” is a must-read for anyone interested in the intersection of art, history, and identity. Available online and in bookstores, this groundbreaking publication is a testament to the power of color in shaping our perceptions of the past.

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