Nearly seventy years ago Wilhelm Worringer first wrote that ‘ultimately all our definitions of art are definitions of classical art’ (Worringer, 1953, 132). Today, the study of Western European art history, old or modern, the products of peasant craft-centres or urban ‘schools’, has in the course of time developed its own methodology and, almost, mystique. In contrast, the study of many branches of prehistoric art in Europe and elsewhere is all too often seen as a mere extension of the skilled but subjective approaches of classical archaeology without considering the suitability of the latter's application. The use of the classical art-historian's intuitive methods built up not just from visual exprience but a detailed background of literary, historical and philosophical studies must in fact be almost entirely denied the student of prehistoric or primitive art. It is perhaps only natural that principles of classical art history should be applied to later European prehistory, though it is often difficult to arrive at a precise definition of these principles. It was Johann Joachim Winckelmann who made the first systematic application of categories of style to the history of art (Gombrich, 1968, 319). Sir John Beazley, the greatest of all modern classical art historians followed in this tradition basing attributions ‘on the grounds of tell-tale traits of individual mannerisms’ (Carpenter, 1963, 115 ff.) a scheme first applied to painting less than a century ago by the Italian physician Giovanni Morelli (Gombrich, 1968, 309 ff.) and followed at the turn of the nineteenth century in the study of Italian painting (Lermolieff, 1892–3). With Beazley it is, however, difficult to follow step by step his methods of work.
The grotesque as it appears in Western art history and in Ian Marley’s creative creatures
