Focus on this artwork and analyze the Exhibition Precedents.
Before the exhibition of Hiram Power’s The Greek Slave, many artists had unsuccessfully attempted to display artwork and sculpture in America that featured nude figures. For example, Horatio Greenough’s Chanting Cherubs depicted two nude figures, which revealed the discomfort Americans felt towards nudity. In Boston, objections to the nudity in the work led to the temporary addition of tiny aprons on the cherubs. In 1829 Greenough disappointedly wrote, “I thought the country beyond that; there is a nudity which is not pure” (Quoted in Pohrt 2016, 188). This was a shocking revelation to the art community and revealed strict perceptions about nudity for American viewers. It is especially surprising because the two figures were putti or baby angels. Despite having religious overtones, the figures were still deemed unacceptable.
Power’s The Greek Slave was designed with the sensitive perceptions of the American public in mind. Powers intentionally designed the sculpture to be a visually acceptable and logistically sound work. The sculpture needed to be practical in shape and size so by making it with reasonable dimensions, it could be easily boxed up and shipped across the country (Pohrt 2016, 189). He designed the sculpture to fit upon and within the diameter of its pedestal. Powers also knew of Americans’ distaste for nude figures after Greenough’s failings. As a result, he chose to design a slender nude female figure, but with a unique and captivating narrative. The work featured a detailed iconography with chains, crucifixes, and a locket. These images solidified the woman’s identity as a Christian and a slave that was being forcefully stripped of her clothes (Pohrt 2016, 187). These features helped set the stage for viewers to be at ease and appreciate the work’s beautiful aesthetic features.
putti Christian Greek