Final test slides 3
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  • Simple, stylized, abstract geometric design Amphora shape – popular shape for storing and shipping goods Design reflects Greek cultural obsession with the tension between order and chaos. It was to duty of rational humans to exert order on a chaotic natural world
  • Geometric era involves increasingly complex geometric decoration – notice especially several versions of the meander or “Greek Key” This large amphora was a grave marker, not used for storage or shipping - Funeral scene on the side is an early depiction of the human form – very geometric and conceptual
  • A vase from the Orientalizing Period Human figures still represented in geometric, conceptual ways, but some naturalistic details (muscles on Odysseus—white figure) are being developed - Narrative from the Odyssey—Odysseus and his men blinding the cyclops Polyphemus
  • Black figure pottery Mythological narrative—Dionysos bringing the gift of wine to humanity - Key shift to naturalism—the sail is not conceptual rectangle but is being shaped by the wind
  • Red figure pottery New red figure technique allows for finer details—hair, muscles, clothing Mythological narrative
  • -Red figure pottery Scene from real life, not mythological Notice raised heels of athletes—signs of weight shift or ponderation—physical bodies moving in a physical world
  • Grave site memorial—perhaps influenced by similar statues in Egypt Probably represented the specific person being memorialized - Rigid, unnatural stance, but careful attention paid to naturalistic details like muscles and joints
  • -Female version of Kouros—also a grave site memorial -Broken arm significant—figures starting to break free from rigid, blocky structre and move
  • Grave site marker, like Kouros - Careful relief carving indicates naturalistic details—muscles, joints, beard
  • Represents the final steps to naturalism in the Greek quest to depict the human form Ponderation or weight shift - Contraposto stance
  • Doric Order temple -Temples were typically on a hilltop—closer to gods -Carefully designed to reflect symmetry and order out of chaos
  • -You will need to be able to identify the elements we discuss in class.
  • -Temple exteriors were often richly decorated, often with a narrative -Figure is carefully designed to fit into the left hand corner of the pediment while remaining naturalistic and proportional - Careful attention to naturalistic details—muscles, weight, facial expression

Transcript

  • 1. Proto-Geometric Amphora Dipylon, c.1000 B.C. 16 1/2” high Keramikos Museum, Athens
  • 2. Dipylon Vase (Geometric Amphora) c. 700 B.C. 59” high National Museum, Athens
  • 3. The Blinding of Polyphemus and Gorgons Eleusis, c. 675-650 B.C. 56” high Museum, Eleusis
  • 4. Exekias Dionysos in a Sailboat (interior of a kylix) Vulci, c. 550-525 B.C. 12” diameter Staatliche Antikensammlungen, Munich
  • 5. Andokides Painter Herakles and Apollo c. 530 B.C. 23” high Staaliche Museum, Berlin
  • 6. Brygos Painter Athletes and Trainer 480-470 B.C. Museum of Fine Arts, Boston
  • 7. Kouros from Attica c. 600-590 B.C.
  • 8. Peplos Kore c. 530 B.C. Marble, 48” high Acropolis Museum, Athens
  • 9. Aristokles Stele of Aristion c. 510 B.C. National Archaeological Museum, Athens
  • 10. Kritios Boy Acropolis, Athens c. 480 B.C., 34” high Acropolis Museum, Athens
  • 11. Temple of Hera c. 460 B.C. Paestum, Italy
  • 12. Ionic and Doric Orders
  • 13. Dying Warrior figure from L. angle of E. pediment Temple of Aphaia, Aegina. ca. 500-490 B.C. Staatliche Antikensammlungen, Munich