Art 1010 Chapter 5 Ancient Greece

Evolution of Ancient Greek Art
Styles
• Each group has a form of Ancient Greek
Art.
• Use visual analysis only to determine
the correct evolutionary order of the art.
• Use your book for a better image only.
No need to research.
2

Ancient Greek Art
Geometric
And
Orientalizing Art
Orientalizing
Archaic Art Early and High
Classical Art
Late Classical Art Hellenistic Art
3

Kouros (singular), kouroi (plural)
4

Relief sculptures (pediments or friezes)
7

Kore (singular), korai (plural)
9

Timeline: Ancient Greece
Geometric and Orientalizing Periods: 900-600 BCE
• Olympic Games, Homer’s epic poems, increased trade
• Return human figure small bronze statuettes, geometric black-figure vases
Archaic Period: 600-480 BCE
• 1st life-size statues, red-figure vases, 1st Doric and Ionic capital temples
Early and High Classical Period: 480-400 BCE
• Persian sack of Acropolis 480, Athenian defeat of Persia 479
• Canon of Proportions, Parthenon
Late Classical Period: 400-323 BCE
• Peloponnesian War ended 404, Period closed with Alexander the Great
• Humanized sculpture, Corinthian capital order temples
Hellenistic Period: 323-30 BCE
• From death of Alexander to death of Cleopatra when Egypt becomes part of Rome
• Break of Classical design: temples within roofless temples, violent and emotional sculptures
10

Ancient Greece
Dates and Places:
• 900 – 30 BCE
• Greek Mainland and nearby outposts
People:
• Called themselves “Hellenes”
• Patriarchy (father>male line),
(matriarchy-chaos & disorder)
• Democratic independent
city-states “polis”
• Economy based on trade
and industry
• Human-centered
• Worship of gods (polytheistic)
• Poetry, philosophy, Olympic games
11

• Legacy of Ancient Greek culture important
influence on our own ideals and values
• Groundbreakers:
- Individualism
- Humanism
- Democracy
- Olympics
- Science and philosophy
- Literature and Theatre
- Art
- Language
Ancient Greece
12

Ancient Greece contributed
many important concepts
we hold true today:
•Individualism
•Humanism
Ancient Greece and Its Legacy
• Figure 5-34 Kritios Boy, from the Acropolis, Athens, Greece, ca.
480 BCE. Marble, 2’ 10” high. Acropolis Museum, Athens.
13

•Democracy
•Olympics
This is a Kleroteria, a device used in ancient Greek to randomly select judges for trials.
14

•Science and Philosophy
An image of Hippocrates on the floor of
the Asclepieion of Kos with Asklepius (god
of medicine and healng) featured at
center.
Copy of Silanion’s Portrait of Plato, c.
370 BCE. Luni marble, 34” high.
Capitoline Museum, Rome.15

•Literature and Theatre
• “Lysikrates of Kikyna, son of Lysitheides, was
choregos; the tribe of Akamantis won the victory
with a chorus of boys; Theon played the flute;
Lysaides of Athens trained the chorus; Euaietos
was archon.”
Figure 5-74 Choragic Monument of
Lysikrates, Athens, Greece, 334 BCE.
Figure 5-71 POLYKLEITOS THE YOUNGER, Theater, Epidauros, Greece, ca. 350 BCE. 16

• Art: Influence of antiquity pervasive
“Golden Mean”
“Canon of Proportions”
17
“Root Five Rectangle”

•Language
18

Ancient Greece
• Religion
- polytheistic
- belief in afterlife
funeral rituals
Poseidon (or Zeus),460-450 BCE. Found
off the coast of Cape Artemision, Greece.
Bronze,6’10” high. National
Archaelogical Museum, Athens, Greece.
19

Geometric
Orientalizing
900 - 600 BCE
Archaic
600 – 480 BCE
20

Ancient Greece: Geometric & Orientalizing
900-600 BCE
Themes (subjects):
• Humans
• Gods/Goddesses
• Mythology
Forms (stylistic features):
• Return of human figure small bronzes
• Schematic (abstract) figures
(sculpture & vases)
• Geometric black figure vases,
pictorial narratives in bands
• Eastern influence (Mesopotamia, Egypt) 21

Figure 5-3 Hercules and the centaur,
from Olympia,Greece, ca. 750–730
BCE. Bronze, 4 ½” high.
22
Geometric

Figure 5-4 Mantiklos Apollo, statuette of a youth dedicated by Mantiklos to
Apollo, from Thebes, Greece, ca. 700–680 BCE. Bronze, 8” high.
Orientalizing
23

Greek Pottery
Variations of Greek vessels
24
Storing/transport wine/food
Drawing water
Drinking wine/water Cosmetics
jewelery
Oil for rituals
Funerary offeringsMix wine & water
or grave markers

Figure 5-2 Geometric krater, from the Dipylon cemetery,
Athens, Greece, ca. 740 BCE. 3’ 4 ½” high.
Geometric
25
What pictorial conventions do you notice?

Figure 5-2 Geometric krater, from the Dipylon cemetery,
Athens, Greece, ca. 740 BCE. 3’ 4 1/2” high. 26

5-2A DIPYLON
PAINTER, Geometric
amphora with
mourning scene, from
the Dipylon cemetery,
Athens, Greece, ca.
750 BCE. 5’ 1” high
PAINTER OF ATHENS 894,
Amphora with funerary
scene terracotta and paint
ca. 720-710 BCE
20 3/16” x 9 7/16”
Geometric
27
Greek Death Beliefs
Hades & Persephone
rule the Underworld

Figure 5.5 Corinthian black-figure amphora with animal
friezes, from Rhodes, Greece, ca. 625–600 BCE. 1’ 2” high.
Ancient Greece: Orientalizing
28
Greek Vase Painting
• Both painters & potters sign work
• Celebrate individual artists as
creative geniuses
• 1st to record artist’s name
(since Imhotep in Egypt)
• Signatures were “brand names” for
export (Italy, France, Russia, Sudan)
• Produced in several parts, handles
applied with slip
• Potters had more prestige - owned
shops & employed painters

Early Greek alphabet on pottery in the
National Archaeological Museum of Athens
Ancient Greece: Archaic 600-480 BCE
29
Events:
• City-state (polis) >
• Construction of
large temples
dedicated to city’s
own patron deity >
• Rise of state religion
• Greek alphabet
• Trade &
colonization

COLONIZATION Archaic Period (outposts)
30
Ancient Greece: Archaic 600-480 BCE

Ancient Greece: Archaic
Themes:
• Humans
• Gods/Goddesses
• Mythology
• Trojan War
Forms:
• 1st life-size statues
“archaic smile”
• 1st Doric and Ionic
capital temples
• Black & Red-figure
vases 32

Exekias,
5-20 Achilles and Ajax playing a
dice game, from Vulci, Italy; ca.
540-530 BCE. Terra-cotta, whole
vessel 2' h i g h , register 8 ½"
high. Gregorian
33

34Exekias,
Achilles and Ajax playing a dice game, from Vulci, Italy; ca. 540-530 BCE. Terra-cotta, whole vesse
2' h i g h , register 8 ½" high. Gregorian
Etruscan Museum, Vatican.

Figure 5-21 ANDOKIDES PAINTER, Achilles and Ajax playing a dice game (Athenian bilingual amphora), from
Orvieto, Italy, ca. 525–520 BCE. Black-figure side (left) and red-figure side (right). 1’ 9” high.
35

Figure 5-21 ANDOKIDES PAINTER, Achilles and Ajax
playing a dice game (Athenian bilingual amphora),
from Orvieto, Italy, ca. 525–520 BCE. Black-figure
side (left) and red-figure side (right). 1’ 9” high.
36

Peplos Kore, from the Acropolis ,
Athens, c.530 BCE. Marble, 4’ high.
Acropolis Museum, Athens.
NY Kouros, from Attica, c. 600 BCE.
Marble, 6' ½" high. Metropolitan
Museum of Art, NYC.
37

Figure 5-7 Kouros, ca.
600 BCE. Marble, 6’
1/2” high.
Kouros from Tenea, c. 550 B.C.Kouros signed by Polymedes of
Argos, from Delphi, c. 600-575
Munich Kouros, ca. 540-530
BC
38
What was the function of a kouros?
Evolution of Kouros over 60 Years

Metropolitan Kouros. c. 600 BCE. Height 6’. Anavysos Kouros. c. 530 BCE. Height 6’ 4”.
39
What were stylistic
features of a kouros?

40What relationship does the kouroi have to the Egyptian statuary?

• Torso is perfect geometrical triangle
• Vertical alignment in form/bilateral symmetry
• a central axis running vertically between the
legs, through the navel, the cleft of the chest
and between the eyes (both sides mirror
images of one another)
• Parallel shoulders, hips, knees, legs and arms
• Placement of legs, left in front and right
behind helps to achieve the triangularity of the
torso
• Width of figure=1/4 total height
• Entire design based on patterns, proportions
and relationships
NY Kouros, from Attica, c. 600 BCE. Marble, 6' ½" high.
Metropolitan Museum of Art, NYC.
41

Figure 5-6 Lady of
Auxerre, ca. 650–625
BCE. Limestone, 2’ 1
1/2” high.
Figure 5-10 Peplos Kore, from
the Acropolis, Athens, Greece,
ca. 530 BCE. Marble, 4’ high.
5-11 Kore, from the
Acropolis, Athens,
Greece, ca. 520–510
BCE. Marble, 1’ 9” high.
Reconstruction of a painted
Kore,Archaic style.
Glyptothek, Munich
42
How are these korai similar or different from the
kouroi?

1st temples resembled Minoan megaron
43

Plan of a typical peripteral Greek temple.
44
• Image of deity placed in cella, average people would not be allowed in temple—only
priests and priestesses
• Altars placed outside the temple and on feast days or festivals, worshippers stand
outside

ARCHITRAVE
STYLOBATE
FRIEZE
PEDIMENT
RAKING CORNICE
CORNICE
Greek Architecture: Structural Features
COLUMNS
CAPITALS
45

Greek Architecture: Stylistic Features
Doric and Ionic Orders
46

The Orders
Doric Ionic Corinthian
47

49
5-17 Temple of Hera I “Basilica” Paestum, Italy, ca. 550 BCE.
9
18
RATIO
1:2
What feature
helps
distinguish the
‘type’ of
temple?
What was a
problem with
this plan and
how was it
resolved?

Figure 5-18 Reconstruction drawing
of the Siphnian Treasury, Delphi,
Greece, ca. 530 BCE
50
Remember sculptures and
temples were painted!
caryatid

Figure 5-24 Temple of Aphaia, Aegina, Greece, ca. 500–490 BCE. 51

5-25 Model of the Temple of Aphaia,
Aegina, Greece, ca. 500-490 BCE,
showing internal elevation
Figure5-26 GUILLAUME-ABEL
BLOUET’S 1828 restored view of the
façade of the Temple of Aphaia,
Aegina, Greece, ca. 500–490 BCE.
52
How did this temple solve the
problems of the Temple of Hera I
from 50 years earlier?

West pediment of the Temple of Aphaia, Aegina, Greece, ca. 500-490 BCE. Marble, approx. 5’ 8”
high at center. 53

Figure 5-28 Dying
warrior, from the
west pediment of
the Temple of
Aphaia, Aegina,
Greece, ca. 500–
490 BCE. Marble,
5’ 2 1/2” long.
Figure5-29
Dying warrior,
from the east
pediment of the
Temple of Aphaia,
Aegina, Greece,
ca. 480 BCE.
Marble, 6’ 1” long.
54

Figure 5-30 East pediment from the Temple of Zeus, Olympia, Greece, ca. 470–456 BCE. Marble, 87’ wide.
Archaeological Museum, Olympia.
Figure 5-32A West pediment from the Temple of Zeus, Olympia, Greece, ca. 470–456 BCE. Marble
55
These would fit in the pediment of the temple.
What is unique about the various positions of the sculptures’ forms?

56
Ancient Greece: Early and High Classical

Humanism, Rationalism, Idealism
“Man is the measure of all things.”
“Know thyself.”
“Nothing in excess.”
57

Themes:
• Humans
• Gods/Goddesses
• Mythology
• Persian
Forms:
• Canon of Proportions
• Contrapposto, no emotion
• Parthenon – optical illusions
• White-ground vases
• Painting: Figures placed
different levels, landscapes
• 1st human events on temple 58

Contrapposto
59Kritios Boy, from the Acropolis, Athens, c. 480 BCE.
Parian marble, 33 7/8.” Acropolis

Ancient Greece: Evolution of Greek Sculpture
Kouros 600 BCE Kroisos 530 BCE Kritios Boy 480 BCE Riace Warrior 460 BCE Doryphoros 450 BCE
60

• Pericles (495 BCE-429 BCE)
was the most prominent and
influential proponent of
Athenian democracy
• “First citizen of Athens”
• Military leader during the first 2
years of the Peloponnesian War
“Age of Pericles” 461- 429 BCE
• Promoter of art and literature
• Architect of Acropolis
Bust of Pericles bearing the
inscription "Pericles, son of
Xanthippus, Athenian.” Marble,
Roman copy after a Greek original
from ca. 430 BC
62

Figure 5-42 Aerial view of the Acropolis looking southeast, Athens, Greece.
63

5-43 Restored view of the Acropolis, Athens, Greece. (1) Parthenon, (2)
Propylaia, (3) pinakotheke, (4) Erechtheion, (5) Temple of Athena Nike.
5-43 Restored view of the Acropolis, Athens, Greece (John Burge). (1) Parthenon, (2) Propylaia,
(3) pinakotheke, (4) Erechtheion, (5) Temple of Athena Nike.
64

Figure 5-44 IKTINOS and KALLIKRATES, Parthenon, (Temple of Athena Parthenos,
looking southeast), Acropolis, Athens, Greece, 447–438 BCE. 65

• Doric Temple of
Athena on Acropolis
• Symmetria from
numerical ratios
• Adjusted for viewer
Iktinos and Kallikrates, detail Steps of
Parthenon, ca. 447-438BCE. Acropolis,
Athens. 66

Figure 5-58 ACHILLES PAINTER,
Warrior taking leave of his wife
(Athenian white-ground lekythos),
from Eretria, Greece, ca. 440 BCE.
Approx. 1’ 5” high.
Figure 5-59 NIOBID
PAINTER, Artemis
and Apollo slaying the
children of Niobe
(Athenian red-figure
calyx krater), from
Orvieto, Italy, ca. 450
BCE. 1’ 9” high
Figure 5-60 PHIALE PAINTER, Hermes
bringing the infant Dionysos to Papposilenos
(Athenian white-ground calyx krater), from
Vulci, Italy, ca. 440–435 BCE. 1’ 2” high.
68

http://mapsofwar.com/ind/imperial-history.html
69
Ancient Greece: Late Classical

Themes:
• Humans
• Gods/Goddesses
• Mythology
• Persian War
Forms:
• Humanized Sculpture
• Corinthian capitals interior
• “skiagraphia” in mosaics,
painting
• Real world of appearances
• 1st female nude sculptures 70

71

72
Figure 5-70 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”. Museo Archeologico
Nazionale, Naples.

Figure 5-70 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”.
73

PHILOXENOS OF ERETRIA, Persian king Darius III – detail of 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”.
75

PHILOXENOS OF
ERETRIA, Persian king
Darius III – detail of
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”.
76

Figure 2-25 Persepolis (apadana in the background), Iran, ca. 521–465 BCE.77

Praxiteles, Aphrodite of Knidos, ca.
350-340BCE. Roman copy after
Figure 5-64 Grave stele of a young hunter, found near the
Ilissos River, Athens, Greece, ca. 340–330 BCE. Marble, 5’
6” high. National Archaeological Museum, Athens. Figure 5-66 LYSIPPOS, Weary Herakles (Farnese
Herakles). Roman marble copy from Rome, Italy,
signed by GLYKON OF ATHENS, of a bronze
78

Ancient Greece: Hellenistic
Themes:
• Humans
• Gods/Goddesses
• Mythology
• Victory over Gauls
Forms:
• Artist break from classical ideals
• Sculptures violent movement &
emotion > more realism
• Hippodamian urban plans
• Mix of ionic and doric ,Corinthian
capitals exterior 79

Figure 5-85 Seated boxer, from Rome, Italy, ca.
100–50 BCE. Bronze, 4’ 2” high.
Figure 5-86 Old market woman, ca. 150–100
BCE. Marble, 4’ 1/2” high.80

Figure 5-88 ATHANADOROS, HAGESANDROS, and POLYDOROS OF RHODES, Laocoön and his sons, from Rome,
Italy, early first century CE Marble, 7’ 10 1/2” high.
81

Figure 5-76 Restored view of the city of Priene, Turkey, fourth century BCE and later
(John Burge). 82

Figure 5-71 POLYKLEITOS THE YOUNGER, Theater, Epidauros, Greece, ca. 350 BCE.
83

Figure 5-77 Stoa of Attalos II, Agora, Athens, Greece, ca. 150 BCE
(with the Acropolis in the background). 84

85
Figure 5-67 Head of Alexander the
Great, from Pella, Greece, third
century BCE. Marble, 1’ high.
Archaeological Museum, Pella.

Curate an Art Exhibit
What does an art curator do?
Research, acquire, authenticate, & display
artwork
• Your group will choose 5-10 works of art from
chapters 1-7 grouped by time period, theme,
forms, or other related idea.
• Be ready to explain:
- how artwork is related
- why you chose the 5-10 artworks
86

Art 1010 Chapter 5 Ancient Greece

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