Summary Johann Joachim Winckelmann (1717–1768) has traditionally been praised as a pioneering Hellenist whose important studies on ancient Greek and Roman sculpture influenced generations of students in various academic fields, ranging from classical philology to archaeology and the history of art. From the late eighteenth century to the early twentieth century, Winckelmann’s important books on ancient art were generally assessed positively. Since the interwar period, however, opinions have been more divided. A new tendency arose in the 1930s, when some critics pointed to Germany’s over-exposure to Greek culture and focus shifted to authoritarian regimes’ abuse of Winckelmann’s classicist aesthetics. Since the 1980s, it has also been common to see his ideas as prefiguring the rise of racism in nineteenth century Europe. But is the dominant contemporary view of Winckelmann misunderstood? In this article I seek to show that some of Winckelmann’s statements concerning the use of colour in art – which some have used as evidence that he preferred white skin to dark – were actually part of a quite different debate. In my view, they must be seen as belonging to a discussion that had its origins in the Italian controversy on disegno and colorito and reached its climax with the French Querelle du coloris of the seventeenth century.

中文翻译：

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温克尔曼的色彩折旧和近代批评

总结约翰·约阿希姆·温克尔曼（Johann Joachim Winckelmann，1717年至1768年）历来被誉为希腊文化的开创者，他对古希腊和罗马雕塑的重要研究影响了从古典语言学到考古学和艺术史等各个学科领域的学生。从十八世纪末到二十世纪初，温克尔曼关于古代艺术的重要著作得到了积极的评价。但是，自两次世界大战以来，人们的意见分歧更大。1930年代出现了一种新趋势，当时一些批评家指出德国对希腊文化的过度曝光，并将关注点转移到专制政权对温克尔曼古典主义美学的滥用上。自1980年代以来，将他的思想预示着种族主义在19世纪欧洲的崛起已经很普遍了。但是，温克尔曼的主流当代观点是否被误解了？在这篇文章中，我试图证明温克尔曼关于色彩在艺术中的使用的某些说法，实际上是另一番辩论的一部分，其中一些证据已经证明了他更喜欢白皮肤而不是深色皮肤。在我看来，它们必须被视为属于这样一种讨论的起源，该讨论起源于意大利关于歧义和色度的争论，并在17世纪的法国Querelle du coloris达到了高潮。