Abstract
‘An anonymous product of an impersonal craft’: that is how Rhys Carpenter characterized Greek sculpture in 1960, and it's an assessment that has long dominated the field. Carpenter was challenging the traditional workings of classical archaeology, not least its infatuation with individual ‘masters’. While responding to past precedent, however, his comments also looked forward in time, heralding a decidedly postmodern turn. From our perspective in 2020, six decades after his book was first published, Carpenter can be seen to anticipate what Roland Barthes would dub the ‘death of the author’: ‘the birth of the reader must be ransomed by the death of the author’, as Barthes put it.
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