The Frescoes
Jean-Claude Poursat
Abstract
Jean-Claude Poursat
Abstract
T he remodelling of the knossos palace , following the arrival of the Mycenaeans, goes hand in hand with the implementation of a new wall painting programme. Some frescoes from the previous period could perhaps have survived. Others, probably damaged, were removed from walls (two dumps have been found) and replaced with new ones. Hence the chronological differences between specialists, with some thinking that the frescoes in place at the time of the 1370 bc destruction date to the Knossian Mycenaean occupation, while others imagine them to be frescoes from the Neopalatial period. The large Procession fresco is a case in point. It is likely that there was continuity in the pictorial tradition at Knossos before and after 1450 bc . According to M. Cameron’s classification (Evely 1999), the fresco painters (Groups E and G) would be the successors of those who painted the Partridge fresco (see above, p. 190).
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T he remodelling of the knossos palace , following the arrival of the Mycenaeans, goes hand in hand with the implementation of a new wall painting programme. Some frescoes from the previous period could perhaps have survived. Others, probably damaged, were removed from walls (two dumps have been found) and replaced with new ones. Hence the chronological differences between specialists, with some thinking that the frescoes in place at the time of the 1370 bc destruction date to the Knossian Mycenaean occupation, while others imagine them to be frescoes from the Neopalatial period. The large Procession fresco is a case in point. It is likely that there was continuity in the pictorial tradition at Knossos before and after 1450 bc . According to M. Cameron’s classification (Evely 1999), the fresco painters (Groups E and G) would be the successors of those who painted the Partridge fresco (see above, p. 190).
Key concepts: Fresco, Painting, Procession, Period (music), Art, Visual arts, Ancient history, History