In discussing the interconnections of action and character (ethos) in tragedy, Aristotle praises the Greek painter Polygnotos for his “fine depiction of character” (Poetics 1450a27), contrasting his work with that of Zeuxis, who, famous for his realism, does not depict character. The passage leads me to be curious about differences in ancient artistic aims and styles, and I propose inviting Polygnotos to dinner for some conversation about art.

The first question I have concerns whether he agrees with Aristotle’s assessment of his work as revealing character, and if so, whether he tries to depict all kinds of character, especially in light of Aristotle’s previous comment that Polygnotos represents “superior people” (Poetics 1448a5).  Second, if he does intend to focus on the representation of morally good people, does he do so with an aim that the painting move the viewers to try to become like those in the painting? Does painting have an aspirational function, in his view?  In relation to this topic, it would be fascinating to know whether he finds that certain techniques in color or composition lend themselves to the revelation of character more than others. 

Finally, if we may assume that Polygnotos is familiar with the style attributed to Zeuxis, famous for his realistic shading and coloration, I would have him discuss the two, comparing the relative merits of what we might call realism and idealism in artistic production: should art be more concerned with visual accuracy or with character?

Julie Ward is Professor of Philosophy at Loyola University, Chicago, and author of Aristotle on Homonymy, Dialectic, and Science (Cambridge University Press, 2008).