From Plunder to Prestige: How Rome’s Greek Art Legacy Shapes Modern Collecting

Lessons from Rome’s Cultural Transformation

Modern art collectors can draw valuable lessons from the Roman acquisition of Greek art between 211 and 146 B.C., as explored in Jerome J. Pollitt’s article, "The Impact of Greek Art on Rome" (Transactions of the American Philological Association, 1978). During this period, Rome transformed from a city of "barbaric weapons and bloody spoils" to a cultural center displaying masterpieces by artists like Praxiteles, Pheidias, and Apelles. This shift, driven by conquest, evolving tastes, and debates over public versus private ownership, mirrors today’s dynamic art market. By examining Roman strategies, collectors can refine their approach to building meaningful collections that balance passion, cultural significance, and ethical responsibility.

Strategic Acquisition and Discernment

Roman acquisition of Greek art began with plunder, such as Marcellus’s capture of Syracuse, which brought statues and paintings to Rome to enhance his triumph’s visual impact (Plutarch, Marcellus 21.1). Conquests like Fabius Maximus’s seizure of Tarentum and Mummius’s sack of Corinth introduced works like Lysippos’s Granikos Monument and Aristeides’s painting of Dionysos. Over time, acquisition evolved into selective purchasing, as seen in Cicero’s excitement over acquiring Megarian statues for 20,400 sesterces (Att. 1.8.2). Modern collectors can adopt this strategic approach by researching provenance and authenticity, much like Romans valued works by renowned artists. Using reputable sources like Sotheby’s or Christie’s ensures quality, while diversifying acquisition channels—galleries, online platforms like Artsy, or private dealers—expands access to high-value pieces. Balancing emotional attachment with investment potential, informed by market trends on platforms like Artnet, mirrors the Roman shift toward discernment. For example, a collector eyeing a Banksy piece should verify its auction history to avoid overpaying, similar to Cicero’s reliance on appraisers (Verr. 2.4.12-13).

Aligning Collections with Cultural Values

The integration of Greek art into Roman public spaces transformed the city’s cultural landscape. Augustus’s policy of making art public property, supported by Agrippa’s oration (Pliny, NH 35.26), ensured masterpieces like Apelles’s Aphrodite Anadyomene served ideological purposes, such as reinforcing divine lineage in the Temple of Divus Julius. In contrast, private collections like Lucullus’s signaled political ambition, drawing criticism for extravagance (Plutarch, Lucullus 39). Today, collectors can enhance their collections’ impact by aligning them with societal values like inclusivity or cultural heritage. Loaning works to museums, as Augustus did, mirrors modern practices like lending a Jeff Koons sculpture to MoMA. Curating collections with a narrative, such as focusing on underrepresented artists like those championed by Pamela Joyner, echoes Roman reinterpretation of Greek art to convey messages. Hosting events or partnering with institutions to exhibit emerging artists fosters community engagement, similar to Asinius Pollio’s public library display.

Navigating the Art Market’s Risks

The Roman art market, with dealers, forgers, and inflated prices, resembles today’s global market. Cicero’s frustrations with dealers like Damasippos and Avianius Evander (Fam. 7.23.1-3) and Verres’s use of unscrupulous agents like Tlepolemos (Verr. 2.4.30-31) highlight market risks. Collectors like Gaius Asinius Pollio, who acquired works from trusted sources including contemporary artists like Stephanos (Pliny, NH 36.23-34), offer a model for navigating these challenges. Modern collectors should verify dealer reputations through platforms like Art Basel, be cautious of speculative bubbles (e.g., the 2021 NFT surge), and engage experts for authentication, as Romans relied on appraisers. For instance, a collector purchasing a Basquiat should confirm its inclusion in the artist’s catalogue raisonné to avoid fraud, reflecting Roman caution with unreliable dealers.

Ethical Collecting and Cultural Sensitivity

Ethical considerations were central to Roman debates about Greek art. Cato criticized the moral decay linked to plundered art (Livy 34.4.4), while Scipio Aemilianus returned works to Sicilian owners, showing early restitution efforts (Cicero, Verr. 2.2.86). Augustus’s public art policy prioritized communal benefit. Today, collectors must ensure ethical provenances, avoiding looted artifacts like those repatriated by the Getty Museum to Greece and Italy. Respecting cultural significance, as Cicero noted with Greek attachment to statues (Verr. 2.4.132), involves consulting source communities when acquiring indigenous art. Supporting repatriation, as seen in debates over the Parthenon Marbles, aligns with Roman shifts toward ethical stewardship. For example, a collector acquiring African tribal art should verify legal exportation and consult cultural experts to ensure ethical acquisition.

Cultivating Expertise and Connoisseurship

Roman connoisseurship, contrasting Cato’s disdain, involved cultivating expertise, as seen in Marcellus’s admiration for Greek art and Aemilius Paullus’s philhellenic education of his sons (Plutarch, Aemilius Paullus 6.5). By the 1st century B.C., educated taste was expected, with Vitruvius emphasizing its importance and Pliny discussing artistic merit (NH 36.27-29). Modern collectors can develop expertise through art history studies via museum lectures or platforms like Coursera, consult curators at events like Frieze, and critically evaluate works to distinguish quality, as Pliny criticized uninformed praise of Corinthian bronzes (NH 34.6). For example, a collector studying Monet’s techniques through exhibitions can make informed choices, reflecting Roman connoisseurship.

Balancing Private and Public Ownership

The Roman tension between private and public ownership offers further lessons. Cato and Augustus opposed private collections as symbols of extravagance, while collectors like Lucullus and Nero used art for personal prestige (Pliny, NH 34.84). Vespasian’s restoration of public access in the Templum Pacis reaffirmed communal value (NH 34.84). Modern collectors can loan works to museums, as Eli Broad did, or maintain private collections with curatorial purpose, like Cicero’s villa decorations. Donating collections to institutions, as Mummius did with Aristeides’s Dionysos (Pliny, NH 35.24), ensures lasting impact, as seen in bequests to the Metropolitan Museum. For instance, a collector of Latin American art might loan pieces to the Tate Modern, balancing personal and public value.

Building a Lasting Legacy

The Roman experience with Greek art provides timeless strategies for modern collectors. By adopting strategic acquisition, aligning collections with societal values, navigating market risks, prioritizing ethics, cultivating expertise, and balancing ownership, collectors can build impactful collections. The Roman shift from plunder to sophisticated collecting mirrors today’s art world, where passion, responsibility, and expertise shape a collection’s legacy. Whether acquiring a contemporary piece or a historical artifact, collectors can draw inspiration from Rome’s cultural evolution to navigate the modern art market effectively.

Pollitt, Jerome J. “The Impact of Greek Art on Rome.” Transactions of the American Philological Association (1974-) 108 (1978): 155–74. https://doi.org/10.2307/284245.