Abstract

Since antiquity, Western thinking about art has known and cultivated the myth of the artist as a unique (male) individual who produces marvellous things. This myth is fed, among other texts, by the Naturalis Historia (Natural History) of the Roman scholar Pliny the Elder (23/24-79 AD). The last five volumes of this encyclopaedia are an essential source for our knowledge about ancient painting, sculpture, etc. Plenty of anecdotes deal with the value of artworks, with problems of mimesis and aesthetic judgement, artistic rivalry, the relationship between artist and beholder, artist and political ruler, etc. For centuries, these minimal narratives have been repeated, retold and adapted to changing situations and interests, triggering theory and history of art. What has not been realised, however, is that they also open the way to a concept quite different from the well-known understanding: to art as a complex reciprocal exchange of gifts between more than two agents. Analysing two of the pertinent anecdotes (NH 35.86-87 and NH 35.140), the paper attempts to show the significance of agonistic gift giving in this art discourse.