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Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
Art of classical greece upload
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Art of classical greece upload

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  • This is Nereas, demon of the watery element who was continually changing shape.  It's portrayed here as a winged, three bodied demon with a serpent's tail on the right extremity of the same pediment at left.  Each of the three demons holds a symbol in its hands, water, fire and a bird (a symbol of air).
  • 490-430 BCE
  • Transcript

    • 1. Art of Classical Greece
      • Reading:
      • Stokstad , 119-146
      • Range:
      • 480-323 BCE
      • Early Classical, High Classical, Late Classical
      • Terms/Concepts:
      • “ Golden Age,” acropolis, Persian War, Delian League, Athena, Poseidon, Panathenaic Procession, Panathenaic Festival, symmetria, canon of proportions, contrapposto, caryatid, agora.
      • Monument List:
      • Kritios Boy, Early Classical, c. 480 BCE
      • Polykleitos, Doryphoros (Spear Bearer), High Classical c. 5 th Century CE
      • Erechtheion, Acropolis, Athens. High Classical 421-406 BCE.
      • Iktinos and Kallikrates. The Parthenon. Acropolis, Athens, High Classical 447-438 BCE.
      • Lysippos, Apoxyomenos (The Scraper), Late Classical, 4 th century CE
    • 2. Chronological Overview
    • 3. Chronological Overview
    • 4. Remember the Persians? Darius and Xerxes Receiving Tribute, Apandana (Audience Hall), Persepolis, c. 500 BCE Xerxes Darius
    • 5.  
    • 6.  
    • 7.  
    • 8.
      • Kritios Boy, Early Classical, c. 480 BCE
    • 9. Myron, Diskobolos (Discus Thrower), Roman copy of an Early Classical, 470-440 BCE
    • 10. Eadweard Muybridge, Man Throwing Discus , Collotype from glass negative, 1883-1886
    • 11.  
    • 12. Different Roman copies (1 st -2 nd centuries CE) of Myron’s 5 th -century CE bronze original.
    • 13. Warrior, Found in the sea off Riace, Italy, Early Classical, 460-450 BCE
    • 14. Warrior (Detail), Found in the sea off Riace, Italy, Early Classical, 460-450 BCE
    • 15. Warrior (Detail), Found in the sea off Riace, Italy, Early Classical, 460-450 BCE
    • 16. The Athenian Acropolis Aerial View of Athens with the Acropolis High (Acro) + City (Polis) = High City
    • 17. The Archaic Athenian Acropolis Dimitri Tsalikanis, Reconstruction of the Archaic Acropolis c. 600-500 BCE
    • 18. Destroyed Pediment from the Old Temple of Athena, Acropolis, Athens, Archaic, 600-550 BCE
    • 19. Athena from the pediment of the Old Temple to Athena, Archaic, c. 600-550 BCE
    • 20. Pediment Sculpture from an unknown Athenian temple, found buried on the acropolis, Archaic, c. 600 BCE
    • 21. Pericles and the Rebuilding of the Acropolis Kresilas. Pericles. Roman copy after bronze original of c.429 BCE. The Aegean
    • 22. Panathenaic Procession
    • 23. The Classical Acropolis Parthenon Picture Gallery Propylaia Statue of Athena Promachos Erechtheion Temple of Athena Nike Panathenaic Procession
    • 24. The Classical Acropolis Parthenon Picture Gallery Propylaia Statue of Athena Promachos Erechtheion Temple of Athena Nike Panathenaic Procession
    • 25. Leo von Klenze. Ideal View of Athens. 1846. Neue Pinakothek, Munich. Propylaia
      • Entrance, or Propylaia , of the Acropolis, Athens. (Stokstad 5-36)
      • Propylaion: Monumental entrance to a sacred space or citadel
    • 26. *Propylaion: Monumental entrance to a sacred space or citadel Mnesikles. Propylaia (view from the east and northeast). Acropolis, Athens. 437-432 BCE.
    • 27. Mnesikles. Propylaia (view from the east and northeast). Acropolis, Athens. 437-432 BCE.
    • 28. The Classical Acropolis Parthenon Picture Gallery Propylaia Statue of Athena Promachos Erechtheion Temple of Athena Nike Panathenaic Procession
    • 29. Aerial view of the Acropolis, Athens. The Erechtheion
    • 30.
      • Erechtheion (view from the southeast), Acropolis, Athens. 421-406 BCE.
    • 31. Porch of the Maidens, Erechtheion (view from the southeast), Acropolis, Athens. 421-406 BCE. Caryatid
    • 32. Caryatid from the south porch of the Erechtheion. High Classical, 421-406 BCE. “ Peplos” Kore , from the Acropolis, Athens. Archaic c.530 BCE.
    • 33. Iktinos and Kallikrates. The Parthenon (seen from northwest). Acropolis, Athens, 447-438 BCE.
    • 34. Doric Ionic Parthenon Cross-Section of the Parthenon
    • 35. Plan of the Parthenon and its sculptural program.
    • 36. Diagram of the Doric Order. Metope
    • 37. Lapith and Centaur Metope, Parthenon, Acropolis, Athens, High Classical, 450-430 BCE
    • 38. Lapith and Centaur Metope, Parthenon, Acropolis, Athens, High Classical, 450-430 BCE
    • 39. “ Old Men” Frieze, Parthenon, Acropolis, Athens, High Classical, 450-430 BCE Riders Frieze, Parthenon, Acropolis, Athens, High Classical, 450-430 BCE
    • 40. Birth of Athena, East Pediment, Parthenon, Acropolis, Athens, High Classical, 450-430 BCE Contest between Athena and Poseidon, West Pediment, Parthenon, Acropolis, Athens, High Classical, 450-430 BCE
    • 41. The Proportions of Phidias
    • 42. = (phi) = 1 = .6180
    • 43.  
    • 44. Phidias, Kallikrates, and Iktinos, Frontal View of the Parthenon, Acropolis Athens, 447-432 BCE
    • 45. Phidias, Kallikrates, and Iktinos, Frontal View of the Parthenon, Acropolis Athens, 447-432 BCE
    • 46. Floor Plan of Parthenon, Interior of the Parthenon is a Golden Rectangle. 1 .618
    • 47. Diagram of Parthenon with exaggerated curves
    • 48. Phidian Proportions and the Human Form
    • 49. Athena, Attributed to Phidias, High Classical, c. 5 th century CE
    • 50. Athena, Attributed to Phidias, High Classical, c. 5 th century CE
    • 51. Cult Statue of Athena (Reconstruction), Parthenon, Acropolis, Athens, c. 5 th Century CE
    • 52. a b Cult Statue of Athena (Reconstruction), Parthenon, Acropolis, Athens, c. 5 th Century CE
    • 53. The Canon of Polykleitos Polykleitos, Doryphoros (Spear Bearer), Roman Copy from Greek Original, High Classical c. 5 th Century CE
    • 54. “ but beauty, he thinks, does not reside in the proper proportion of the elements but in the proper proportion of the parts, such as for example that of finger to finger and all these to the palm and base of hand, of those to the forearm, of the forearm to the upper arm and of everything to everything else, just as described in the Canon of Polykleitos. For having taught us in that work all the proportions of the body, Polykleitos supported his treatise with a work of art, making a statue according to the tenets of the treatise and calling it, like the treatise itself, the Canon. So then, all philosophers and doctors accept that beauty resides in the due proportion of the parts of the body.”
    • 55.  
    • 56.  
    • 57.  
    • 58. Contrapposto Pythagorean Table of Opposites Finite Infinite Odd Even One Many Right Left Rest Motion Straight Crooked Light Darkness Good Evil Square Oblong
    • 59. The Canon of Lysippos Lysippos, Apoxyomenos (The Scraper), Roman Copy of a Greek Original, Late Classical, 4 th century CE
    • 60. Doryphoros Apoxyomenos
    • 61. Critical Thinking Questions
      • What place does the “High Classical” have in the field of art history? How is this place problematic?
      • What was the impact of the 480 BCE sack of Athens on the sculpture and architecture of the 5 th century CE?
      • Describe the difference between the canons of Polykleitos and Lysippos.
      • How is the practice of Roman copying both a help and a hindrance to archaeologists?

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