Abstract

A key question in the art debate in the eighteenth and nineteenth centuries was whether color should be used for sculpture. Recent archaeological research had shown that the sculpture in ancient Greece was polychrome, but skepticism about applying paint to one’s own work was widespread among modern sculptors. Some scholars explain this reluctance as a consequence of racial prejudice: the Greek athlete was an image of white Europeans. This article will try to show that a re-reading of Johann Gottfried Herder’s book on sculpture can give us a different and more probable explanation. Herder shared Roger de Piles’s view that the essence of sculpture was form, while color was most characteristic of painting. What set Herder apart from his predecessor, however, was his attempt to give the theory a scientific rationale. He found this in contemporary accounts of visually impaired persons’ relationship to the sensory world and not least in empiricist philosophy’s distinction between primary and secondary sensory properties.