Chp. 5: The Art of Ancient Greece -...

[Chp. 5: The Art of Ancient Greece] P A G E | 1

Learning GoalsAfter reading the chapter, you should be able to do the following:

Label a map of ancient Greece Explain what is meant by "Man is the measure of things," and relate it to the

development of Greek art Compare the New York Kouros with the Egyptian sculptures of Menkaure and his Queen Describe the position of women in ancient Greece Identify Plato, Socrates, and Aristotle and describe the essential features of their

philosophy List the Greek gods, discussing their functions and attributes Draw and label the plan of the Parthenon Draw and label the Doric and Ionic orders of architecture Identify all the works and define the terms featured in the chapter Describe the development of Greek pottery styles and their techniques, from Geometric

to White Ground Describe the development of Greek sculptural styles from Orientalizing through

Hellenistic Describe the style, technique, and iconography of the Battle of Issos mosiac Describe the techniques of lost-wax bronze casting, encaustic painting, and pottery Compare the Greek canon of Polykleitos with the Egyptian proportional grid Compare and contrast the temple of Zeus at Olympia with the Parthenon, from the point

of view of style and iconography Identify the twelve Labors of Herakles Draw and label the plan of the Athenian Acropolis Compare the depictions of males and females in Greek sculpture Identify the leading figures of Greek history

The Art of Ancient Greece (c. 800–1st CENTURY B.C.)Geometric Period (1000 BCE – 700BCE)

Greek alphabet introduced (c. 750 B.C.) Homeric epics composed (c. 750-700 B.C.) Delphic oracle; Olympian gods Battle of Marathon: Persian defeat (490 B.C.) Philosophy: Plato; Socrates; Aristotle Theater: Aeschylos; Sophokles; Euripides; Aristophanes "Man is the measure of all things" Vase painting; mosaics; monumental sculpture Orders of architecture: Doric; Ionic; Corinthian

Periklean Athens (c. 450–400 B.C.) The Parthenon; canon of Polykleitos Herodotos ("father of history") Peloponnesian War: Sparta defeats Athens Alexander the Great dies (323 B.C.)

Hellenistic period

OverviewThe ancient Greeks are known as a self aware people. No other culture in western civilization history was quite as introspective as the Greeks. They prided themselves as the most civilized society in the world. In fact the term “barbarian” basically meant non Greek. The development of


Greek civilization rises from the ashes of the ancient Mycenaean and Minion cultures. From After the decline and eventual fall of the Mycenaean culture in 1100 BCE, the Aegean Islands would experience a “dark age” period for about 200 – 300 years. By 800 BCE Greece would begin to show growth and stability in their government, economy and culture. This period is referred to as the Homeric Age. The writer Homer would write the stories of prehistoric Greek history (If you have not had to read The Iliad or The Odyssey in your academic career thus far, just wait, it is coming.) It is the Greek culture that would be the basis for western cultures for art, architecture, music, theater, philosophy, literature and politics.

Key Termsabacus the flat slab that forms the topmost unit of a Doric column and on which the architrave rests.

acanthus a Mediterranean plant with prickly leaves, supposedly the source of foliage-like ornamentation on Corinthian columns.

agora the open space in an ancient Greek town used as a marketplace or for general meetings.

Alexander the Great

amphora an ancient Greek two-handled vessel for storing grain, honey, oil, or wine.

Archaic smile

architrave the lowest unit of an entablature, resting directly on the capital of a column.

Arête excellence + more

Athenian Acropolis

Athens and Sparta

balustrade a series of balusters, or upright pillars, supporting a rail (as along the edge of a balcony or bridge).

Battle of Salamis

black-figure style describing a style of Greek pottery painting of the sixth century B.C., in which the decoration is black on a red background.

canon a set of rules, principles, or standards used to establish scales or proportions.

canon of proportions

caryatid a supporting column in post-and-lintel construction carved to represent a human or animal figure.

cella the main inner room of a temple, often containing the cult image of the deity.

colonnade a series of columns set at regular intervals, usually supporting arches or an entablature.

contrapposto a stance of the human body in which one leg bears the weight, while the other is relaxed, creating an asymmetry in the hip-shoulder axis.

Corinthian see Order.

cornice the projecting horizontal unit, usually molded, that surmounts an arch or wall; the topmost member of a Classical entablature.

Delian League

Dorian and Ionian Greeks

Doric see Order.

drum (a) one of the cylindrical blocks of stone from which the shaft of a column is made; (b) the circular or polygonal wall of a building surmounted by a dome or cupola.

echinus in the Doric Order, the rounded molding between the necking and the abacus.

encaustic a painting technique in which pigment is mixed with a binder of hot wax and fixed by heat after application.

entablature the portion of a Classical architectural Order above the capital of a column.


entasis the slight bulging of a Doric column, which is at its greatest about one third of the distance from the base.

entasis

finial a small decorative element at the top of an architectural member such as a gable or pinnacle, or of a smaller object such as a bronze vessel.

flutes, fluting a series of vertical grooves used to decorate the shafts of columns in Classical architecture.

fluting

foreshortening the use of perspective to represent a single object extending back in space at an angle to the picture plane.

frieze (a) the central section of the entablature in the Classical Orders; (b) any horizontal decorative band.

geometric (a) based on mathematical shapes such as the circle, square, or rectangle; (b) a style of Greek pottery made between c. 900 and 700 B.C., characterized by geometric decoration.

“golden mean”

Greek panel painting

Greek theaters

Greeks vs. Persians

hydria an ancient Greek or Roman water jar.

Ionic see Order.

isocephaly, isocephalic

the horizontal alignment of the heads of all the figures in a composition.

kore (korai) Greek word for maiden; an Archaic Greek statue of a standing female, usually clothed.

kouros (kouroi) Greek word for young man; an Archaic Greek statue of a standing nude youth.

krater a wide-mouthed bowl for mixing wine and water in ancient Greece.

kylix an ancient Greek drinking cup with a wide, shallow bowl.

lekythos an ancient Greek vessel with a long, narrow neck, used primarily for pouring oil.

Lord Elgin and the “Elgin Marbles”

lost-wax bronze casting (cire-perdue)

a technique for casting bronze and other metals.

meander pattern a fret or key pattern originating in the Greek Geometric period.

metope the square area, often decorated with relief sculpture, between the triglyphs of a Doric frieze.

naos the inner sanctuary of an ancient Greek temple.

necking a groove or molding at the top of a column or pilaster forming the transition from shaft to capital.

oenochoe an ancient Greek wine jug.

Order one of the architectural systems (Corinthian, Ionic, Doric) used by the Greeks and Romans to decorate and define the post-and-lintel system of construction.

Panathenaic Festival

pediment (a) in Classical architecture, the triangular section at the end of a gable roof, often decorated with sculpture; (b) a triangular feature placed as a decoration over doors and windows.

Pericles

peripteral surrounded by a row of columns or peristyle.

peristyle a colonnade surrounding a structure; in Roman houses, the courtyard surrounded by columns.

Phidias

Polis city-state


portico (a) a colonnade; (b) a porch with a roof supported by columns, usually at the entrance to a building.

protome, protoma a representation of the head and neck of an animal, often used as an architectural feature.

red-figure style describing a style of Greek pottery painting of the sixth or fifth century B.C., in which the decoration is red on a black background.

Roman copies of Greek statues

scroll (a) a length of writing material, such as papyrus or parchment, rolled up into a cylinder; (b) a curved molding resembling a scroll (e.g., the volute of an Ionic or Corinthian capital).

Severe Style

shaft the vertical, cylindrical part of a column that supports the entablature.

slip in ceramics, a mixture of clay and water used (a) as a decorative finish or (b) to attach different parts of an object (e.g., handles to the body of a vessel).

stylobate the top step of a stereobate, forming a foundation for a column, peristyle, temple, or other structure.

tesserae a small piece of colored glass, marble, or stone used in a mosaic.

triglyph in a Doric frieze, the rectangular area between the metopes, decorated with three vertical grooves (glyphs).

volute in the Ionic order, the spiral scroll motif decorating the capital.

wet drapery

white-ground describing a style of Greek pottery painting of the fifth century B.C., in which the decoration is usually black on a white background.

Study GuideGeometric Period (1000 BCE – 700BCE)Funerary Krater: In 1050 BCE there is evidence of the development of a specific Greek style. This specific style is found first on the vases/ceramic wares. The decoration on the surface is a narrative of a funeral procession. The figures are very simplified; depicted into very simple geometric shapes; torso and hips are triangular. We see a body lying in state (prothesis) which means this vase could have been used as a grave marker. Notice that there is an attempt to display real human emotions. The mourners’ arms are raised over their head as if in distress. It is no surprise that the Greeks would acknowledge real emotional grief in this painting. They were a civilization that was self aware. Their deities were not only human looking but also had very human characteristics. In fact the only difference between the gods and humans was that the gods were omnipotent. Found to be inscribed on the Temple of Apollo were these words “Man is the measure of all things.” The fact that this was written on the temple of a god says an awful a lot about this Greeks.

Dipylon Vase (krater)

from the Dipylon Cemetery, Athens8th century BCE. Terracotta

Greek Geometric StyleMetropolitan Museum of Art. New York CIty,

Photo© LaCour Slide LibraryLiving With Art Slide Set

Ancient Greek Culture can be broken into 4 distinct styles/periods. The Geometric Period (1000 BCE-700BCE) is the oldest. The funerary krater is an example of that style that n painting.


Menkaure and Queen Khamerernebty, Giza, 2490 – 2472 B.C.

Photo© Allan KohlCourtesy of Art Images for College Teaching

The Man and Centaur is an example of geometric style in sculpture. A man is stabbing a centaur which is half man half beast. We classify this statue as geometric partly because of the date of this piece (750 BCE), but also of the simplistic shape of the subjects. This is a small open form cast statue, unlike the statues of the Egyptian and Near East, which are typically closed form. On the left is an example of closed form sculpture. The figure does not break or reach out into space. The man and centaur physically reach out to each other, also we can physically move in and through the statue.

Man and Centaur geometric (750 BCE),

Metropolitan Museum of Art

The Greeks were excellent seamen. They would encounter and do business with other civilizations and countries. The art of the Near East, Asia Minor and Egypt would influence Greek artists. Orientalizing is the style that is an assimilation of Greek taste and Eastern iconography. This style was first seen in Corinth, which was the most powerful city state of the Greek culture, as well as a large and diverse trade center.

The amphora vase displays larger and curvy figures in the neck of this vase. The geometric patterns, first seen in the Geometric style, are also part of the Orientalizing vases. On the neck of the vase are an illustration of Odysseus and his crew fighting the Cyclops Polyphemos. Their rendering is very reminiscent of Minion Cretes figures. There is definitely an elegant and refined quality to these figures. The body of the vase is an illustration of the story of Perseus and Medusa. The Greeks would use the stories about their gods and heroes as metaphors. Medusa and Polyphemos represent the primitive forces of terror and cannibalism, while Odysseus and Perseus represent reason as triumphing over evil.

Proto-Attic amphora, circa 650 BC. Eleusis, Archaeological Museum,

Detail of a Proto-Attic amphora, circa 650 BC. Eleusis, Archaeological Museum,

Archaic Period (600BCE – 480BCE)By the late 6th century Athens will become the leading city state of Greece. This is due partly because of Solon a major political figure in Athens. He is believed to be responsible for the development of the judiciary system and formulating the popular assembly and council. He would also develop the representative government which is the basis of democracy.

Art would develop at a fairly rapid pace: This is the time of great writers of early literature such as Aesop and Sappho. Greek tragedies and comedies would flourish at this time and the visual arts would also experience a growth.

The status of artist will be elevated to a higher level. There are pieces of art that are actually signed by artist. The ancient Greeks seem to enjoy competitive sports (They are the ones who created the Olympic Games). This love of competition was also applied in the fine arts. Writers and artists would compete with each at festivals but also they would compete for art commissions. Athens would initiate monumental building projects for their city.

Probably the earliest example of the archaic style is found on the vases produced at this time.


The Greeks adhered to standard vase shapes. Certain shapes were associated with a certain purpose. Although Athens was a major pottery center; it would be in Corinth that the Black figure vase painting technique would be first developed.

The Greeks adhered to standard vase shapes. Certain shapes were associated with a certain purpose. Although Athens was a major pottery center; it would be in Corinth that the Black figure vase painting technique would be first developed.

Exekias - Achilles and Penthesilea Greek, about

540-530 BC Made in Athens, Greece; found at Vulci (now in Lazio, Italy)

Photo: Wikipedia Commons

Ajax & Achilles: In Black figure painting, the artist paints the figures in silhouette with a slip. The vase is then fired. The firing process changes the slip color black. After the firing the artist goes back into the figure and adds details using a stylus. Exekias was considered one of the finest painters of 6th century.

Achilles and Penthesilea: Exekias mastery as a painter is evident the piece Achilles and Penthesilea. The motif on the neck and bottom register still show an Orientalizing influence, but the center scene of the main characters show that Exekias was observing the human form in action and he tries to replicate the movement. And while he may not have been conscience of it, Exekias uses design principles to strengthen and enhance the composition. The Greeks would be the first people in western civilization to try to capture emotional expressions on the faces of their subjects. The dramatic stories that were illustrated on these vases may serve foreshadowing for the development of the Greek theater.

Exekias -Ajax & Achilles Playing Draughts. c.550- 520 BC,

Height 24", Vatican Mus. ,Rome

Photo: LaCour Slide Library Art Across Time Slide Set

(wncc)

Euphrinios (painter) and Euxitheos (potter)

Euphronios krater (Death of Sarpedon)

Greek, Part of the collection of the Metropolitan

Museum of Art from 1972 to 2008, the vase was

repatriated to Italy under an agreement negotiated in

February 2006.)

By mid 6th century BCE the red figure vase painting technique was developed. This particular style became very popular and would stay in vogue throughout the archaic period. This style allowed the artist to have more control and make more details. This piece to the left, Death of Sarpedon, was created by two artists; Euphrinios (painter) and Euxitheos (potter). As you can see the painter had a keen eye for human anatomy. The detail on the figures even his attempt to foreshorten the knee shows that the painter was trying to create a sense of form on a 2 dimensional surface.


It is during the archaic period that the Greeks would excel at creating monumental sculpture. These life size statues show again the influence of other cultures on the early work of the Greeks. The Greeks learned to carve from the Egyptians sculptors. The Kouros (young man) is a fine example of the Egyptian style on Greek art: the stiff arms, one leg stepping forward, the heavy shaped eyes and the slight smile on the face. However we do see the Greek taste prevailing in the fact that the subject is completely nude and is carved completely away from the stone. This is the earliest known freestanding life size statue. Most kourai (plural spelling) were believed to have been grave markers. There is also evidence that this figure was probably painted.

The Greeks excelled at creating monumental sculpture during the archaic period. These life size statues show again the influence of other cultures on the early work of the Greeks. The Greeks learned to carve from the Egyptians sculptors. The Kouros (young man) is a fine example of the Egyptian style on Greek art: the stiff arms, one leg stepping forward, the heavy shaped eyes and the slight smile on the face. However we do see the Greek taste prevailing in the fact that the subject is completely nude and is carved completely away from the stone. This is the earliest known freestanding life size statue. Most kourai (plural spelling) were believed to have been grave markers. There is also evidence that this figure was probably painted.

New York Kouros (c. 600 BCE) Marble. 6 ft high

Metropolitan Museum of Art. New York City,

Photo: LaCour Slide LibraryArt Across Time Slide Set

(wncc)

Peplos Kore, from Paros (c. 530 BCE) Parian Marble. 3

ft. 11 2/3 in. highAcropolis Museum, Athens

Photo© Allan KohlCourtesy of Art Images for

College Teaching

The Peplos Kore (the garment she is wearing is called a peplos) was the female equivalent of monumental sculpture. Kore were always clothed, but the artist does allude to the figure underneath the garment. The arm may have held flowers, or some other type offering. She too shares the heavy lined eyes and “archaic smile” of the Kouros. Recent evidence has suggested that the Kore may have been a representation of Athena. She may have worn metal crown, earrings and was painted with colored wax.

The skills of Greek sculptures developed to create more lively and rounded forms of Kouros and Kore. This statue (to the right) was found with the inscription “Stop and grieve at the tomb of the dead Kouros, slain by wild Aries in front of the rank of battle”. This suggests that the Kourai were originally grave markers.

Kroisos (Kouros) from Anavysos, marble,

c 540 BC, ( c 540 - 515 BC)apx 6'4" high.

NatArchMus, Athens Photo© LaCour Slide

LibraryLiving With Art Slide Set

Kore from Chiosc. c 510 BC (c 520 BC)

GreekPhoto© LaCour Slide Library

Gardner- Art Through the Ages Set

Kore from Chios: The garment called chiton, found on Chois an island off Asia Minor. The more elaborate hairstyle and garment gives our lady a more elegant appearance. Statues of men were often warriors, athletes or deities, but statues of women were exclusively deities or some other supernatural being.


Monumental statues were used on the temples of the Greeks. The Dying Warrior is located in the Temple of Aphaia. The warrior would have had bronze armor and actually painted. This warrior could have been an ally or enemy. The Greeks traditionally did not treat the visual representation of their enemies as weak or small unlike other ancient cultures. The warrior is struggling to rise, attempting to pull the arrow out of his side. Since this was for a pediment on a temple there would be some unusual space issue to be addressed. However that problem will be solved by twisting and turning the figures which also will help to heighten the drama of the event that is illustrated.

The Dying Warrior , Temple of Aphaia


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Speaking of architecture the development of the Greek temple finds its origins in the early sanctuaries and outdoor altars/shrines. As time moves forward and the Greek civilization grows so would their architecture. The model of the Greek temple is influenced by the megaron plan that was part of the Mycenaean palace and the monumental architecture of Egypt.

The Temple of Apollo is a considered Doric style because of the column that is used. These temples usually consisted of a naos, pronaos and opisthodomos. As well as a room were the offerings for Apollo was kept.

Temple of ApolloPhoto© Allan Kohl

Courtesy of Art Images for College Teaching

Another Doric style temple is the Temple of Hera I. A single row of Doric columns surrounds a cella or naos. The (elevation) arrangement of the temple. Temple the friezes, pediment and entablatures were decorated with sculptures that told narratives about that particular deity. The Greeks would place their columns on the outside of their temples which actually forms a wall, which is called a peripteral.

Temple of Hera I

The squatty appearance of the Doric column is the most utilitarian of the Greek column orders.

Column Order: In Greece the appearance of columns was considered to be very important. Some art historian would say that the column orders are possibly the Greeks’ best architectural contribution. Each style represents advancement in not just aesthetics but also an achievement in engineering.

Treasury of the Siphnians: Built in Sanctuary of Apollo at Delphi. The caryatids statues stand with one engaged leg on pedestals; with elaborately carved capitals that make these columns Ionic order. A winged sphinx is in the center of pediment that definitely shows a Near East influence. The winged female in the corner is Nike the goddess of victory. The borders are in an egg and dart and egg and leaf pattern to frame out the pediment.


Classical Period (480BCE – 325BCE)By the classical period the Greeks would establish an ideal of beauty that would be based on three general concepts: humanism “Man the measure of all things”, rationalism “Know Thyself’ (inner significance of forms), and idealism. “Nothing in Excess” (produce only essential forms). Sophocles, Plato and Aristotle would philosophies on rational thinking; these fathers of western philosophy basically believed that everything had a purpose, there are no accidents, and it all works in a design.

Artists would also become theoreticians and write books about art. Classical artists would rely more on close observation of the natural world and try to look for the universal idea in each form. It would be especially at this time that the Greek artists would try to create the perfect image. Humanism + Rationalism = Idealism

It is during the classical period that Greece would also begin to experience internal political issues. War between Sparta and Athens would break out. Athens, who just some 40 years earlier defeated the Persian, were defeated by the Spartans in 404 BCE. Shortly following this, the power of the Macedonians would grow and Greece would become united under the kingship of Phillip of Macedonia and his son Alexander the Great. Alexander’s death marks the end of the classical period in Greece.

Most of what is known about Greek paintings is scene on the vases as well as mosaic copies of their paintings. By the end of the 5th century the white ground painting technique became very popular for lekythoi, one of the standard vase shapes used by the Greeks. This technique allowed for even more detail and realism. Vase painters could use a fuller range of colors. Figures are outlined in black on a white painted background, the vase was then fired and other colors would be applied using tempera paint. Because this type of decoration deteriorated quickly, it was used only for votives, funerary or religious ceremonies. While the image in your text is of a warrior, most lekythos in the classical period were paintings were of women. By this time women would begin to make a more prominent appearance in artwork. Traditionally the only women who were portrayed in Greek art were goddesses and less powerful supernatural beings. But by the mid 5th century more images of mortal women would be memorialized on graver and funerary markers.

Battle of Issos: also known as Alexander confronts Darius III or the Alexander mosaic. This is a mosaic copy of a Greek painting by a woman Helen of Egypt. Mosaics made from small tessarae stones that would pressed into grout or cement that would provide a durable surface. This is a dramatic narrative of an actual battle between Alexander and Darius II of Persia. The artist uses foreshortening and modeling techniques to create a realistic and active composition. Alexander and Darius are seen as equals on this battle scene, Alexander swooping in from the left and Darius in armor and clearly leading the battle. Both men are focused on each other. Even though parts of this mosaic are clearly gone, the gaps appear to be clouds of dust that would be kicked up.


The Kritios Boy is considered a transitional piece from archaic to classical style. The Greeks would found less inspiration from Near East and Egypt art and would develop their own aesthetic. This period of self awareness is defined by the Kritios boy. Gone is the Egyptian influenced archaic smile, instead of our boy seems more solemn. Also the Greeks would develop their own artistic aesthetics and move from stylization to a more natural appearance. This statue was found at the site of Acropolis at Athens. More than likely it was a memorial figure. There is some slight idealization, but overall the most impressive fact about this piece is that it is a free standing figure in a contrapposto position. While this is carved from marble by the end of the archaic period hollow casting would be primarily used to create monumental sculpture which would allow for more flexible figures.

Kritos Boyc 480 BC,marble,

Acropolis Mus, Athens Photo© LaCour Slide Library

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Another development in the classical period was the more prevalent use of large scale bronze casting. This is the original bronze statue of either Zeus throwing a thunder bolt or Poseidon throwing a trident. Confirms the Greeks mastery and skill in sculpting, the figure takes up room, projects into space, the tensing of the muscles gives this art life

like qualities. Artists would study athletes as they trained. Poseidon/Zeus’s eyes would be inlaid with glass, and silver for eyelashes. There are not many origin bronze statue left of Greek art. Often the bronze would be recycled for other uses.


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This is a roman copy of the origin Greek sculpture **FYI – chances are that quite a few of the Greek marble statues are Roman copies. The practice of recycling bronze would remain in place for several hundreds of years. ** The artist for this piece is Myron who originally may have done this in bronze. Poseidon/Zeus projects out into space, the discus thrower circles out into space and twists and turns back in. Myron’s subject is a natural looking athlete. Probably was commissioned to commemorate the Olympic Games that started 776 BCE. . In 1972 two original Greek bronzes were recovered from the bottom of the sea. Amazingly well preserved, they are dated about 450 BCE which makes them a transition from early to mid classical period. They are slightly larger than life size which leads historians to believe they were meant to commemorate some important event. The artist obviously paid attention to human anatomy going as far as to include detail of veins on the hands and legs. The positions of the warrior’s arms suggest that he was carrying a shield and maybe a sword or spear. The figure definitely begins to exhibit a more idealized form and therefore some abstraction begins to develop.


Polyklietos –Spearbearer (440 B.C)

Classical Greekmarble sculpture


Polyklietos was art theorist who through mathematics wanted to create the perfect proportion of the figure. He would develop a canon of proportion for the perfect human form. His canon was based on the ratio that the perfect male form is

6-7 heads high. The Spear Bearer/Achilles statue is the result of Polyklietos’ theories. He also used mathematics to balance a more dynamic figure that is more dynamic.

Grave Stele of Hegeso: Wealthy families would use the stele as memorials. Carved in low relief the stelai (plural) that have been recovered were scenes of women in daily life. This figure on this grave stele is identified as Hegeso. She is believed to a wealthy woman because she is shown choosing jewelry from a box presented by her maid. This is an intimate setting; a viewer has a discreet view of the life of mortal women in Greece.

The Acropolis (high city) started construction began in 490 BCE. Located in Athens was the major hub of the city: administrative, religious, commercial and civic activities centrally located on the highest point. The Acropolis was designed to celebrate the civilization and culture of Athens.

The Parthenon: The Parthenon was the symbol of order and rational thought. Created as a temple for Athena, the patron goddess of Athens the Parthenon exemplifies the Greek temple model. Doric order peristyle cella open to the east and an unconnected space opens on the west. The front entrance has an Ionic order colonnade which creates from a distance a lighter and leaner appearance. This lighter appearance creates a sense of movement because the building appearance to become more narrow toward the top.

Parthenon (west facade and north flank)

Classical Greekarchitecture

c. 448-432 B.C. Photo© LaCour Slide Library

Living With Art Slide Set

East Pediment of the Parthenon: The figures fill the pediment are fully sculpted and than secured by metal pins into the cornices and pediment of the Parthenon. The space issue is solved by placing the figures in various positions. Male figures are either Heracles or Dionysus and the females Hestia, Aphrodite and Dione. Probably had gold and silver inlaid through out the temple and an ivory statue of a 40’ Athena.

Photo© LaCour Slide Library



Photo© Allan KohlCourtesy of Art Images for College Teaching

Lapith Fighting a Centaur: The Doric Metope relief is of a Lapith, an ancient warrior race, fighting a centaur. The Lapith is shown thrusting out into the viewer space, while twisting away from the centaur. The figure nearly breaks clear away from the background. The centaur arches his back very dramatically. The Greeks would continue to use legendary stories as metaphors for reason (Lapith) triumphing over passion (Centaur).

Athena: Located in the Naos of the temple of Athena. She wears the armor that is identifies her as the goddess of war. Original statue would have stood approximately 40 feet on a high pedestal. In her right hand she holds statue of Nike.

Temple of Athena Nike: This temple is only 27’ by 19’ that is surrounded by a low wall parapet decorated with relief of Athena and victories. The structure has Ionic order columns in an amphiphostyle which is a porch on each side. A blind porch faces over city. Part of the parapet (low wall) has a sculptural relief of Nike. She wears a very delicate garment and her body is a closer representation of the female form. Notice the attention to detail and twisting of the body.

Erechtheion, Acropolis, Athens

The Erechtheion is the second most important building at the Acropolis. It is an odd temple that instead of the symmetrical plan, this temple is based on an asymmetrical plan and housed several different shrines. The temple is built on the site of the famous Poseidon and Athena competition. The sacred rock with trident imprint is enclosed on north porch.

Erechtheion, Acropolis, AthensPhoto: LaCour Slide Library

Art Across Time Slide Set (wncc)


Porch of Maidens, Erechtheion,

Acropolis, AthensPhoto: LaCour Slide Library

Art Across Time Slide Set (wncc)

The famous Porch of Maidens is located on the south side of the Erechtheion. The columns are placed as such on the porch to appear balanced. The engaged leg is covered by the fluted dress. The maidens have a Doric capital and ionic entablature, however the columns are considered to be Ionic order.

Porch of Maidens, Erechtheion, Acropolis, Athens

Photo: LaCour Slide Library Art Across Time Slide Set (wncc)

Attic Grave Steles: memorials would continue to be built for wealthy and prominent citizens. This stele shows a beginning an aesthetic change in art. The features on the faces of sculptures become more individualized enough that to be a portrait but still some evidence of idealization. On this stele there does seem to appear to be more tolerant older acceptance of maturity over youth and beauty. This is also a monumental stele, stands over 5 feet tall.

PraxitelesHermes and Dionysos ( )

Photo© LaCour Slide LibraryArt Through the Ages Slide Set

By the late classical period there is a shift in the style in Greek sculpture. Aphrodite of Knidos is the first full nude female sculpture. This Aphrodite is a composite of 2 Roman copies. The neck, right forearm and hand, feet and legs restored in the 17th & 18th century. Note the modest gesture of Aphrodite; the figure could be an idealization. She is meant to represent the model of high values. This was placed in open shrine and meant to be viewed from all angles. Praxiteles would modify the canon of proportions that would be applied to the female form. Supposedly Aphrodite would exclaim to Praxiteles “When did you see me, naked.”

Praxiteles was active in Athens between 370-335 BCE, his canon would be leaner and taller. The body would become 8-9 heads tall, giving the figure a more heroic proportion. The facial expressions are more introspective, minor deities in happier and lighter moments.

Copy of Praxiteles. Cnidus Aphrodite. Marble, Roman copy after a Greek original of the 4th century. Marble; original elements: torso and thighs;

restored elements: head, arms, legs and support (drapery and jug). National

Museum_of Rome - Palazzo AltempsWikipedia Commons. Public Domain.

Apoxyomenos (Scraper) Roman

copy of a bronze original by Lysippos (c. 320 B.C.E.) Marble.

The Scraper (Apoxyomenos): Another well known sculptor of the late 4th century was Lysippos. Lysippos claimed to be a self taught artist, would say that nature as his teacher. Probably was influenced Praxiteles and may have even incorporated Praxiteles’ canon of proportions. Even an athlete is a typical subject matter in Greek, this one is a little different in the fact that athlete is not shown in an athletic endeavor. Our scrapper projects himself into the viewers’ space and there is some curvature in spine; an overall a very sedate composition.


6'8.75" high. Musei Vaticani, Museo Pio Clementino, Rome.


Alexander the Great: Lysippos was best known for the monumental sculptures of Zeus. Could be why he was chosen to do a statue of Alexander the Great. Head was part of a full size statue. Not believed to be a generic portrait but an actual likeness. Eyes deep sets, meditative, upturned slightly. This also leads viewers to assume that Alexander may have been a benevolent and generous ruler.

Head of young Alexander the Great by Lysippos,

from Pella, Greece, 3rd century BCWikipedia Commons. Fair Use.

Hellenistic Period (480BCE – 325BCE)

Hellenistic period is defined by Alexander’s death in 323 BCE to the beginning of Roman Empire. Alexander would unite Greece and conquer Persia, Syria and Phoenicia, occupy Egypt, established the Alexandria seaport, and would continue to March as far east as India. Alexander’s death in 323 BCE would cause a split of his kingdom (one story is that as Alexander lay dying on his bed, his generals asked him who should succeed him as king, and with his last breath he gasped “The strongest”). By early 3rd century Alexander’s generals would divide the empire into thirds: The Ptolomies would rule Egypt, Antigonids would have Macedonia & mainland Greece, and the Seculids would control Asia Minor, Persia & Mesopotamia. Within 2 centuries the divided kingdoms would be under Roman rule, with Egypt holding out the longest.

In the Hellenistic period the Egyptian city of Alexandria became the center of learning due to the great library that Alexander would build. This library which held over 700,000 papyrus and parchment rolls would benefit rulers of ancient civilization for the next 100-200 years.

The Hellenistic Theatre would continue to grow. Theatres were not just for entertainment, but also religious communal ceremonies that involved dance, music and poetry. Stage would face the hill that created a natural stadium seating. Most theatres were built in the 4th century and would be continually updated. The theatre at Epidauros is a classical example of a Greek theatre: semis circle/tiered seating, orchestra performance area. Backdrop and backstage area consisted of proskenion that separated orchestra from skene ramp. Seats created out of wedge shapes.

Photo: LaCour Slide Library Art Across Time Slide Set (wncc

Temple of the Olympian Zeus was originally built on a Doric temple. Started Base foundation measures 135 ft x 354 but would not be completed until reign of the Roman emperor Hadrian. Commissioned by Antiochus and designed by Cossutius. Located at the foot of the Acropolis, Olympian Zeus is a larger traditional Greek temple. The columns are a composite if Corinthian capitals and Ionic shafts. This creates an elegant and more refined look.

Nike of SamothraceLouvre Museum, Paris

Nike of Samothrace is a fine example of Hellenistic sculpture. This statue was possibly meant to commemorate a sea victory, or to be placed on the bow of a ship. But more than likely it was placed on a cliff or in an artificial hillside niche. The artist used canon, pose and drapery to create a powerful all around dramatic effect. The stance of Nike spirals upward, her garment is shear and accentuates the curves of her figure. The heavy dramatic pose of Nike is a typical characteristic of Hellenistic art. In the Hellenistic period the taste moves from harmony and balance to more character driven portraits and dramatic events. Aphrodite of Melos sometimes known as Venus de Milo is one of the most famous sculptures in art. She is a little heavier and rounder even though the artist may have Venus de Milo


Photo© LaCour Slide LibraryArt Through the Ages Slide Set

used Praxiteles canon of proportion. Her body does have a stronger twist and more prominent knee projection which is Hellenistic. Scholars’ debate about what she was doing with her hands: holding an apple, looking into a shield of Ares, or just hands covering body.

c 480 BC,marble,

Louvre Museum, Paris Photo© LaCour Slide Library

Art Through the Ages Slide Set

The Hellenistic Ruler is the best example of the classical Hellenistic style of art. This is a larger than life size sculpture that was favored by Hellenistic audience. But we see that the abstraction of the human form is apparent. The artist shows an over development of the musculature of the ruler. The facial features though are more individualize and seem to convey an actual personality of a ruler who saw himself as divine and all powerful.

The Lacoon is a based on the story of the Trojan priest who tried to warn the king of Troy about the wooden horse. The Hellenistic taste for extreme drama motivated their art production. The skill of artist not only conveys emotion and movement of figures but also stability of figures in a dynamic composition.

Hellenistic artists and patrons would also produce and support a more realistic approach in sculpting. The subject matter of more realistic art was often children and working class people. . The other trend is called anti classical. The subject matter is not gods, heroes or royal portraiture, but rather of

Laocoon and His Sonsc.2nd-1st Century BC,

Vatican Museums, RomeHellenistic Greek


Sleeping Eros

The Sleeping Eros shows a child in complete repose. Even though Eros is a god, this portrayal of him as a child would become more identified with this deity (his roman name is Cupid). This bronze sculpture of Eros gives him a sweet expression on his sleeping face and no tension apparent in his body.

Old Market Woman: On the other side of this sweet child is the old woman sculpture. This type of image is relatively rare in Greek art. She stands only 4 feet tall and as you can see she is definitely not idealized. Who she is supposed to be is very debatable: some scholars believed she is an aging follower of Dionysus. Dionysus is the god of fertility and wine, so is she drunk? Is she on her way to “worship” or did she just finished “worshipping”? Or is she a market woman, who has had a rough and hard life. One thing is for sure, and that is Hellenistic sculptors would try to appeal across class lines and do more genre (art of everyday people and/or life)

Old Market WomanPhoto© LaCour Slide Library



The Boxer

The Boxer is another example of genre art. While the figure is somewhat idealized, but the face shows a man who has seen and experienced the pain of his profession both physically and emotionally.

Altar of Zeus and Athena, Pergamon, c 175 BC. Staatliche Museen, Antiken-Sammlung, East Berlin (West front restored)



Altar from Pergamon

Pergamon was the Hellenistic capital in Asia Minor. The kingdom of Pergamon became the new hub of artistic activity. A much more dramatic style identified as the Pergamonese style is display in the Altar of Zeus. This altar was built for the to commemorate their victory over the Gauls. Originally placed in an enclosure, in the open courtyard, sits on a high podium with ionic colonnade. The frieze is decorated in high relief. The story is the traditionally gods versus titans. The interior of the altar is the story of how Pergamon was founded.

King Attalous defeated the Gauls in 238 BCE. Since it was prohibited to show current events in memorials the Battle of Gods and Giants again serves as a metaphor. The Pergamonese would try to reassert their independence and Greek superiority much like the Athenians did in building the Parthenon. However the frieze figures on the altar seem to more than likely to reflect the current uncertainness that surrounds the Greek empire. Over 200 figures in a variety of poses literally crawl, run, scoot and fly off the surface of the podium. On the faces of these figures show a wide range of emotions, from fear to arrogance to even disbelief.

The Greeks keen sense of observation and ability to reproduce and expand on the human form would cause them to be admired and imitated in western cultures. While Greeks admired art, they did not necessarily admire artists. While the work is to be admired, artists were merely copying the greatness of the human form, not for creating it.

Chapter Five Web resources http://www.pbs.org/empires/thegreeks/ http://www.agathe.gr/ Athena Agora excavations

Study GuideGeneral

1. Describe the basic characteristics of each of the following periods, talk a little about politics and give one example of an artwork from each: Geometric, Orientalizing, Classical, High-Classical, Hellenistic

http://www.agathe.gr/

http://www.pbs.org/empires/thegreeks/


2. How does Greek art reflect a rational observation of the world? 3. Greek Orders of Columns (most important terms circled—your text also has a diagram):

Ceramics1. For what purposes did the Greeks use ceramics? How did the design and painting of these vessels reflect their

function? What changes may be seen in Greek vase painting of the High Classical Period as compared to earlier periods?

Geometric Art Geometric krater, from the Dipylon cemetery, Athens, Greece, ca. 740 BCE. 3’ 4 1/2” high.

Orientalizing Period Lady of Auxerre, ca. 650–625 BCE. Limestone, 2’ 1 1/2” high.

Archaic Period Kroisos, from Anavysos, Greece, ca. 530 BCE. Marble, 6’ 4” high. Temple of Hera I (“Basilica”), Paestum, Italy, ca. 550 BCE. Exekias, Dionysus in a Sailboat, c.540BC

Classical Period Temple of Hera II, Paestum, Italy, ca. 460 BCE. Kritios Boy, from the Acropolis, Athens, Greece, ca. 480 BCE. Marble, 2’ 10” high. Warrior, from the sea off Riace, Italy, ca. 460–450 BCE. Bronze, 6’ 6” high. Charioteer, from the Sanctuary of Apollo at Delphi, c.470BC MYRON, Diskobolos (Discus Thrower). Roman marble copy of a bronze original of ca. 450 BCE, 5’ 1” high. POLYKLEITOS, Doryphoros (Spear Bearer). Roman marble copy from Pompeii, Italy, after a bronze original of ca. 450–

440 BCE, 6’ 11” high.

Athenian Acropolis IKTINOS and KALLIKRATES, Parthenon, (Temple of Athena Parthenos, looking southeast), Acropolis, Athens,

Greece, 447–438 BCE. Plan of the Parthenon, Acropolis, Athens, Greece, with diagram of sculptural program (after Andrew Stewart),

447–432 BCE. PHIDIAS, Athena Parthenos, in the cella of the Parthenon, Acropolis, Athens, Greece, ca. 438 BCE. Model of the

lost chryselephantine statue. Royal Ontario Museum, Toronto. Three goddesses (Hestia, Dione, and Aphrodite?), from the east pediment of the Parthenon, Acropolis, Athens,

Greece, ca. 438–432 BCE. Marble, greatest height 4’ 5”. MNESIKLES, Propylaia (looking southwest), Acropolis, Athens, Greece, 437–432 BCE.


Erechtheion (looking northwest), Acropolis, Athens, Greece, ca. 421–405 BCE. Caryatid from the south porch of the Erechtheion, Acropolis, Athens, Greece, ca. 421–405 BCE. Marble, 7’ 7”

high. Plan of the Erechtheion, Acropolis, Athens, Greece, ca. 421–405 BCE. KALLIKRATES, Temple of Athena Nike (looking southwest), Acropolis, Athens, Greece, ca. 427–424 BCE.

Grave stele of Hegeso, from the Dipylon cemetery, Athens, Greece, ca. 400 BCE. Marble, 5’ 2” high.

Late Classical Period PRAXITELES(?), Hermes and the infant Dionysos, from the Temple of Hera, Olympia, Greece. Copy of a statue by

Praxiteles of ca. 340 BCE or an original work of ca. 330–270 BCE by a son or grandson. Marble, 7’ 1” high. LYSIPPOS, Apoxyomenos (Scraper). Roman marble copy of a bronze original of ca. 330 BCE, 6’ 9” high. PHILOXENOS OF ERETRIA, Battle of Issus, ca. 310 BCE. Roman copy (Alexander Mosaic) from the House of the Faun,

Pompeii, Italy, late second or early first century BCE. Tessera mosaic, approx. 8’ 10” X 16’ 9”. Tomb at Halikarnassos for Mausolus, destroyed

Hellenistic Period Reconstructed west front of the Altar of Zeus, Pergamon, Turkey, ca. 175 BCE. Nike alighting on a warship (Nike of Samothrace), from Samothrace, Greece, ca. 190 BCE. Marble, figure 8’ 1” high. ALEXANDROS OF ANTIOCH-ON-THE-MEANDER, Aphrodite (Venus de Milo), from Melos, Greece, ca. 150–125 BCE.

Marble, 6’ 7” high.

Hellenistic Period under Roman patronage ATHANADOROS, HAGESANDROS, and POLYDOROS OF RHODES, Laocoön and his sons, from Rome, Italy, early

first century CE Marble, 7’ 10 1/2” high.

Potential Exam Essay Questions 1. What are some of the connections between the Minoan-Mycenaean and Greek civilizations?

Discuss the mythology and the art.2. Compare the Archaic with the Classical style. Give examples of sculpture and vase painting.3. Compare Classical and Hellenistic sculptural style. Give three examples of each.4. Describe the development of Greek pictorial style as it evolves in vase painting. Begin with the Geometric period

and continue through White Ground.5. Compare Greek Archaic and Early Classical sculpture with Egyptian sculpture, particularly the life-size standing

males and females.6. Describe the development of Greek temple architecture from the Mycenaean megaron to the temples at

Corinth, Olympia, and the Parthenon.7. Discuss the techniques used by Iktinos and Kallikrates, and by Phidias, to achieve formal and narrative unity in

the Parthenon architecture and sculpture.8. Compare the three Classical temples on the Acropolis with respect to style, function, and iconography.9. Compare the New York Kouros (c. 600 BCE) and Kritios Boy (c. 480 BCE)

100 years separate these two statues. Compare and contrast the ways in which the human body is shown in these two statues. Among other traits, consider the stiff posture and archaic smile of the Kouros as compared to the graceful contrapposto of the early classical Kritios Boy.

10. What culture produced Three Goddesses from the Parthenon Frieze. Discuss the formal problems of filling architectural space and the ways in which those problems were solved here. AN important part of your response should include an explanation of how reclining figures were used to fill in each side of a triangulated pediment.

11. Nike Adjusting Her Sandal (FIG.2-41). Question: “Identify this relief and its sculptor. How does this relief use drapery to establish a sense of the human body?” (5 minutes)Students should recognize this masterpiece as a Phidian relief, and discuss how the stone drapery seems to flow over and around the human body to reveal what lies beneath.

12. Parthenon (Greek, 447 BCE.) (FIG. 2-32 and 2-33)Question: “Where is this building located? For what purpose was it built? What architectural elements reflect the desires of the culture that built it?” (8 minutes)


Students should be very familiar with this building and be able to discuss its use as a temple devoted to Athena and describe its classical balance and proportion.

13. Compare the Aphrodite of Knidos and Laocoön What cultures produced these two sculptures? Compare and contrast the ways in which the human body is shown in these two scenes. For example, the Greek Classical Aphrodite illustrates classical calm repose while the Laocoön exhibits the frenetic energy of the Greek Hellenistic.

14. Considering both techniques and motifs used, discuss the changes in vase decoration from early Minoan times through the fifth century BC in Greece. Be sure to cite specific examples to illustrate your discussion.Include:

Minoan-2 examplesGreek GeometricGreek OrientalizingGreek Archaic (Red and Black figure)Classical

15. Discuss the development of the Greek temple and the contributions from the following sources:EgyptMycenaePre-Archaic wood and mud brick architecture

Discuss the development of the female figure in Greek sculpture from Archaic through the Hellenistic periods,. Select three figures that you think best demonstrate the development - one each from the Archaic, the Classical, and the Hellenistic periods. Pay particular attention to the amount of motion given to the figures, the degree of realism, the use of drapery, and the means used by the sculptors to achieve these effects. How does each illustrate the stylistic characteristics of her period.?

Discuss the development of the standing male nude in Greek sculpture. Note particularly the changing proportions, the depiction of motion, and the conception of the figure in space. Cite specific examples to illustrate your discussion

Potential Exam Essay Questions 1. What are some of the connections between the Minoan-Mycenaean and Greek civilizations? Discuss the mythology

and the art.2. Compare the Archaic with the Classical style. Give examples of sculpture and vase painting.3. Compare Classical and Hellenistic sculptural style. Give three examples of each.4. Describe the development of Greek pictorial style as it evolves in vase painting. Begin with the Geometric period and

continue through White Ground.5. Compare Greek Archaic and Early Classical sculpture with Egyptian sculpture, particularly the life-size standing males

and females.6. Describe the development of Greek temple architecture from the Mycenaean megaron to the temples at Corinth,

Olympia, and the Parthenon.7. Discuss the techniques used by Iktinos and Kallikrates, and by Phidias, to achieve formal and narrative unity in the

Parthenon architecture and sculpture.8. Compare the three Classical temples on the Acropolis with respect to style, function, and iconography.

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