But where we see wall frescoes and the like they are painted with what we would call artistic taste and not like the garish reconstructions.

The linked article by Ralph S. Weir critically examines well-known color reconstructions of ancient sculptures (specifically Vinzenz Brinkmann’s "Gods in Color" exhibition). To answer your question: The text reflects current research only in part. It is primarily a polemical essay or a debate contribution rather than a neutral scientific summary. Here is a detailed breakdown of how the article compares to the current state of archaeological research: 1. Points of Agreement with Research * The Fact of Polychromy: The text correctly states that ancient statues were almost exclusively painted. This has been consensus since the 19th century. * Methodological Limitations: The author rightly points out that reconstructions like Brinkmann’s are based on detectable pigment residues. Because organic binders and fine glazes have largely vanished over millennia, these reconstructions often appear flat and garish. Today’s researchers openly admit these models are "working hypotheses" meant to show distribution of color, not necessarily final aesthetic masterpieces. 2. Where the Text Diverges or Simplifies * Aesthetic Criticism vs. Function: The author relies heavily on modern taste ("it looks awful"). Archaeology, however, emphasizes that ancient coloring was often signaling—designed for visibility from a distance, under bright Mediterranean sun, or atop high pedestals. What looks "tacky" in a neon-lit museum was often a functional necessity in antiquity. * The "Trolling" Hypothesis: The claim that archaeologists intentionally make statues "ugly" to generate headlines is a subjective provocation. In reality, current research (such as the Tracking Colour project at the Ny Carlsberg Glyptotek) is working hard to understand ancient layering and encaustic techniques to move away from the "plastic look." * Outdated Focus: The article focuses heavily on Brinkmann’s early reconstructions from the early 2000s. The field has moved on since then. Newer reconstructions use authentic binders and multi-layered techniques to achieve much more nuanced and naturalistic results (e.g., the recent reconstructions of Caligula). 3. Classification of the Article The article is a classic piece of reception criticism. The author uses his background as a philosopher to question how science is presented to the public. Summary: * If you are asking if statues were painted: Yes, the text is accurate. * If you are asking if the "garish" look is the final word in science: No. Modern research is moving away from flat primary colors toward complex, naturalistic painting techniques—exactly what the author demands in his essay. The text is more of a critique of museum communication than an up-to-date report on archaeometric analysis. Would you like me to find examples of more recent, "naturalistic" reconstructions that address the author's concerns?