ART HISTORY 131 Greek: Archaic Pottery & Sculpture 1 Greece: Archaic period (c. 600 – 480 BCE) significance: laid political & cultural groundwork for Greek Classical period scope: 7th century BCE until second Persian invasion of Greece in 480 BCE demographics: massive increase in Greek population context: political established polis  Greek city-states Athens earliest institutions of democracy were implemented under Solon reforms brought in Athenian democracy Sparta institutional reforms introduced region of Messenia brought under Spartan control founding of Peloponnesian League becomes dominant power in Greece. Greek Archaic François Vase (c. 575 BCE) potter & painter: Ergotimos & Kleitias vessel: “krater” w/ volute shaped handles destroyed in 1900 CE by museum guard; smashed into 638 pieces new reconstruction in 1973 CE significance: depicts over 200 figures identifying inscriptions & labels (see Orientalizing period) themes: encyclopedia of mythology exploits of Peleus and son Achilles (hero of Homer’s Illiad) Theseus  legendary king of Athens technique: “black-figure” details incised into “slip” (fired pigment) composition: six (6) registers narrative: limits only one register [lower] to Orientalizing form poses: twisted perspective 3 Detail of “black figure” technique from register on Archaic Greek François Vase (c. 575 BCE) Greek Archaic Dionysos & Two Satyrs (c. 550 BCE) vessel: amphora material: Corinthian (beige clay) decorativeness: limited to extremities (i.e., shoulder) composition: registered narrative: designated to body of vessel technique: “black” figure silhouetted forms filled in w/ color details created by incision effect: decorative & 2-d 5 Greek Archaic Dionysus in a Boat (c. 540 BCE) artist: Exekias vessel: “kylix” diameter: 12” material: Attic (orange clay) technique: “black” figure black glaze details incised decorativeness: organic forms composition: non-registered narrative, forms & figures conform to shape of vessel 6 Greek Archaic Herakles Strangling Nemean Lion date: c. 525 BCE artist: Psiax vessel: “amphora” height: 19.5” technique: “black” figure black glaze details incised material: Attic [orange clay] composition: registered narrative: limited to body of vessel decorativeness: geometric patterns limited to border areas & arms 7 Greek Archaic Death of Sarpedon (c. 515 BCE) artist: Euxitheos and Euphronios vessel: “krater” material: Attic (orange clay) technique: “red” figure inversion of black-figured background around figures painted black details no longer incised; now painted decorativeness: geometric patterns limited to border areas composition: registered narrative: limited to body of vessel figures: depends less on profile view foreshortened & overlapping limbs interest in facial expressions 8 Greek Archaic Lapith and Centaur (c. 490 BCE) artist:.

1. ART HISTORY 131
Greek: Archaic
Pottery & Sculpture
1
Greece: Archaic period
(c. 600 – 480 BCE)
significance: laid political & cultural groundwork
for Greek Classical period
scope: 7th century BCE until second Persian
invasion of Greece in 480 BCE
demographics: massive increase in Greek
population
context: political
-states
Athens
earliest institutions of democracy were implemented
under Solon
reforms brought in Athenian democracy
Sparta
institutional reforms introduced
region of Messenia brought under Spartan control
founding of Peloponnesian League
becomes dominant power in Greece.
Greek Archaic
François Vase (c. 575 BCE)
potter & painter: Ergotimos & Kleitias

2. vessel: “krater” w/ volute shaped handles
destroyed in 1900 CE by museum guard; smashed into 638
pieces
new reconstruction in 1973 CE
significance: depicts over 200 figures
identifying inscriptions & labels (see Orientalizing period)
themes: encyclopedia of mythology
exploits of Peleus and son Achilles (hero of Homer’s Illiad)
technique: “black-figure”
details incised into “slip” (fired pigment)
composition: six (6) registers
narrative: limits only one register [lower] to
Orientalizing form
poses: twisted perspective
3
Detail of “black figure” technique
from register on Archaic Greek François Vase
(c. 575 BCE)
Greek Archaic
Dionysos & Two Satyrs (c. 550 BCE)
vessel: amphora
material: Corinthian (beige clay)

3. decorativeness: limited to extremities (i.e.,
shoulder)
composition: registered
narrative: designated to body of vessel
technique: “black” figure
silhouetted forms
filled in w/ color
details created by incision
effect: decorative & 2-d
5
Greek Archaic
Dionysus in a Boat (c. 540 BCE)
artist: Exekias
vessel: “kylix”
diameter: 12”
material: Attic (orange clay)
technique: “black” figure
black glaze
details incised
decorativeness: organic forms
composition: non-registered
narrative, forms & figures conform to shape of vessel
6

4. Greek Archaic
Herakles Strangling Nemean Lion
date: c. 525 BCE
artist: Psiax
vessel: “amphora”
height: 19.5”
technique: “black” figure
black glaze
details incised
material: Attic [orange clay]
composition: registered
narrative: limited to body of vessel
decorativeness:
geometric patterns
limited to border areas & arms
7
Greek Archaic
Death of Sarpedon (c. 515 BCE)
artist: Euxitheos and Euphronios
vessel: “krater”
material: Attic (orange clay)
technique: “red” figure
inversion of black-figured
background around figures painted black

5. details no longer incised; now painted
decorativeness: geometric patterns limited to
border areas
composition: registered
narrative: limited to body of vessel
figures: depends less on profile view
foreshortened & overlapping limbs
interest in facial expressions
8
Greek Archaic
Lapith and Centaur (c. 490 BCE)
artist: “Foundry Painter”
vessel: “kylix”
material: Attic (orange clay)
technique: “red” figure
decorativeness: geometric patterns limited
to border areas
composition: non-registered
narrative: conforms to body of vessel
figures:
foreshortened & overlapping limbs
interest in facial expressions
9
Greek Archaic

6. New York Kouros (c. 600 BCE)
scale: life-size (6’)
quality of naturalism: schematic
synthesizes lessons from Egyptians and Ancient Near East
Egyptian
left foot forward
clenched fists
Ancient Near Eastern
bulging, lg. eyes
arching eyebrow
stylized coiffure
facial features: triangular shape
spatial order: negative space
figure: nude
musculature: broad planes
slim waist
rib cage
pointed arch echoes V-shaped ridge of hips
10
(Left) Archaic Greek New York Kouros (c. 600 BCE)
vs.
(right) Egyptian Menkaure and Wife (c. 2500 BCE)
11

7. Archaic Greek New York Kouros (c. 600 BCE)
in profile, frontal, and rear views
12
Greek Archaic
Calf Bearer (c. 560 BCE)
site: found in fragments on Athenian Acropolis
pose: left foot forward
facial features: bearded
large bulging eyes
stylized coiffure
Archaic “smile”
indicates living vs. dead
drapery: noble perfection of nudity indicated by sheer
fabric
composition: dynamic
calf’s legs and figure’s arms form an X
unites two bodies both physically and formally
13
Greek Archaic
Rampin Head (c. 550 BCE)
site: found on Acropolis in 1877 CE

8. part of a fragmentary equestrian group
purchased by Georges Rampin, who left it to Louvre in 1896
CE
facial features: stylized
stylized coiffure & beard
eyes (influence of ANE)
almond shaped
bulging
high cheek bone and pointed chin
“archaic” smile
corresponds to optimistic culture & society
characteristic of Archaic period
asymmetrical neck
equestrian group is thought to have comprised two horsemen
forming a pair
14
Greek Archaic
Kouros (c. 525 BCE)
scale: life-size (6’4”)
function: funereal
inscription on base:
"Stop and show pity beside the marker of Kroisos, dead, whom
once in battle's front rank raging Ares destroyed"
quality of naturalism: idealized
retains Egyptian conventions
left foot forward
clenched fists
planar division of lower leg
abandons ANE facial features
musculature: refined mass & proportions
shorter neck

9. broader shoulders
thicker waist
more massive thighs
15
Details of face from Greek Archaic “Kroisos” Kouros
(c. 525 BCE)
16
(Left) Greek Archaic “Kroisos” Kouros (c. 525 BCE)
vs.
(right) Greek Archaic New York Kouros (c. 600 BCE)
17
Greek Archaic
Peplos Kore (c. 525 BCE)
term: “peplos”
simple, long woolen belted garment
function: votive
facial features: naturalistic

10. Archaic “smile”
stylized coiffure
spatial order: extended arm
departs from frontal compression of arms at sides (see
Egyptian)
drapery: columnar effect
conceals weight, mass & volume of lg. muscle groups
underneath
18
(Left) Greek Orientalizing Lady of Auxerre (c. 625 BCE)
vs.
(right) Greek Archaic Peplos Kore (c. 525 BCE)
Greek Archaic
Chiton Kore (c. 500 BCE)
clothing: “chiton”
light, soft linen material
worn in conjunction w/ heavier mantle
function: votive
facial features: naturalistic
Archaic “smile”
stylized coiffure
drapery: intricate pattern
asymmetrical arrangement
softens stiff frontal pose of body
spatial order: extended arm

11. departs from strict frontal compression of arms at sides (see
Egyptian)
20
IMAGE INDEX
Slide 3: François Vase (c. 570 BCE), Kleitias and
Ergotimos, Athenian black-figure
volute krater, 2’ 2” high, from Chiusi,
Italy; Museo Archeologico, Florence, Italy.
Slide 4: Detail of “black figure” technique from register
on Archaic Greek François Vase (c. 575
BCE)
Slide 5: Dionysos and Two Satyrs (c. 650 BCE),
Corinthian black- figured
amphora.
Slide 6: Exekias, Dionysus in a Boat (c. 540 BCE),
interior of an Attic black-figured kylix,
diameter 12”, Staatliche
Antikensammlungen, Munich, Germany.
Slide 7: Psiax, Herakles Strangling the Nemean Lion (c.
525 BCE), in an Attic black-figured amphora
from Vulci, Italy, Height 19 ½ in., Museo
Civico, Brescia.
Slide 8: Euxitheos and Eupronios, Death of Sarpedon (c.
515 BCE), calyx krater, red-figure style,
The Metropolitan Museum of Art, New
York.
21

12. IMAGE INDEX
Slide 9: The “Foundry Painter,” Lapith and Centaur (c.
490-480 BCE), interior of an Attic red-
figured kylix, Staatliche
Antikensammlunen, Munich.
Slide 10: Kouros (c. 600 BCE), Marble, height 6’4”, The
Metropolitan Museum of Art, New York.
Slide 11: (Left) Archaic Greek Kouros (c. 600 BCE); and
(right) Egyptian
Menkaure and Wife (c. 2500 BCE).
Slide 12: Details of Kouros in profile, frontal, and rear
views.
Slide 13: Calf Bearer (c. 560 BCE), Marble, restored
height 5’ 5”; fragment 3’ 11 ½ in.;
Acropolis Museum, Athens, Greece.
Slide 14: The Rampin Head (c. 560 BCE), Marble, height
11 1/2”, Musée du Louvre,
Paris.
Slide 15: Archaic Greek Kouros (c. 525 BCE), Marble,
height 6’4”, National
Archaeological Museum, Athens.
Slide 16: Details of face from Archaic Greek “Kroisos”
Kouros (c. 525 BCE)
Slide 17: (Left) Archaic Greek Kouros (c. 600 BCE); and
(right) Archaic Greek
Kouros (c. 525 BC).
22
IMAGE INDEX
Slide 18: Peplos Kore (c. 525 BCE), from the Acropolis,
Marble, approx. 4’ high, Acropolis
Museum, Athens, Greece.

13. Slide 19: (Left) Greek Orientalizing Lady of Auxerre (c.
625 BCE); and (right) Archaic Greek Peplos
Kore (c. 525 BCE)
Slide 20: Kore (c. 500 BCE), from the Acropolis, Marble,
approx. 1’ 9 ½ in. high, Acropolis Museum,
Athens, Greece.
23
ART HISTORY 131
Etruscan
1
Etruscan
(c. 750-450 BCE)
context: geographic
fusion of native and immigrant (e.g., Lydian) populations
by 6th century BCE, controlled northern and central Italy
context: political
lack of political cohesion
cities never united to form a state
context: economic
highl
ports
policy of expansion rivaled Greeks
context: cultural

14. contemporary w/ Orientalizing & Archaic periods in Greece
common linguistic ties & religious beliefs
Etruscan
architecture: temples
plan: similar to Greek stone gabled- roofed temples
-tiled wooden
columns: Tuscan order (Doric w/ base)
wooden; unfluted
3x human scale
restricted to front
plan: rectangular, brick walls
staircase at center
steps only on south side
raised podium
deep, front porch
rooms
Etruscan
Apollo (c. 500 BCE)
sculptor: Vulca
site: discovered in 1916 CE
scale: life-size (5’ 11”)
media: painted terracotta
narrative: labors of Herakles
pose: dynamic
right foot forward
supported by volute-like base
figure: refined musculature (e.g., calves) & proportions
face:
large bulging eyes (Mesopotamian)

15. “Archaic” smile
stylized coiffure
drapery: tunic and short cloak
reveals weight, mass & volume of forms underneath fabric
schematic/stylized pleats & hem
parallel
flame-like
Details of face from Etruscan Apollo
(c. 500 BCE)
Etruscan
Sarcophagus from Cerveteri
date: c. 500 BCE
site: tomb
function: funerary
media: painted terra cotta vs. stone
scale: life-size
narrative: husband and wife
mood: convivial
figures: schematic
lower torso summarily modeled
unnatural transition to torso at waist
facial features:
almond-shaped eyes
benign smiles
long, braided hair
poses: full-length & reclining on banquet couch

16. 6
(Left) Detail of upper torsos; and (right) view from rear of
Sarcophagus w/ Reclining Couple
(c. 500 BCE)
Etruscan
Tomb of the Shields and Chairs
date: c. 550 BCE
function: necropolis
form: mound (“tumulus”)
see Mycenaean Treasury of Atreus
cut out of local limestone (tufa)
arranged along network of streets
scale: colossal (130’ diameter)
plan: subterranean multi-chambered
resembled domestic interior
axial sequence of rooms
central entrance
smaller chambers
large, central space
beds & armchairs
ceiling beams
framed doorways
windows
Etruscan
Tomb of the Reliefs
date: c. 3rd century BCE

17. site: Cerveteri, Italy
function: accommodated several generations of single
family
form: domestic interior
walls and piers of tomb gouged out of tufa bedrock
walls: painted stucco reliefs
motifs: utilitarian & mythology
main funerary couch
household items
weapons, armor
busts of the dead
(Left) interior of Etruscan Tomb of the Reliefs (c. 3rd century
BCE)
vs.
(right) interior of Egyptian Middle Kingdom rock-cut tomb at
Beni Hasan (c. 2000 BCE)
10
Etruscan
Tomb of the Leopards (c. 475 BCE)
site: Tarquinia, Italy
motifs: guardian figures
depicted on pediment of rear wall
narrative: banqueting couples
pitcher-and-cup bearers
musicians

18. tone: celebratory
color scheme: vibrant
figures: conventional
skin tones
hands
Etruscan
Double-Flute Player (c. 475 BCE)
site: “Tomb of the Leopards” in Tarquinia
motif: musician/entertainer
narrative: banqueting
tone: celebratory
color scheme: vibrant
figure: conventional
outlined by dark contour
hands
Etruscan
Tomb of the Lionesses c. 500-475 BCE
site: Tarquinia
subject matter: banquet & revelry
motif: guardian figure (pediment)

19. narrative: registered
figures: conventional skin tones
poses: rhythmic, spirited, exuberant
colors: vibrant
retain original freshness
harmonizing effect
Mural from Tomb of Hunting and Fishing
(c. 525 BCE)
Tarquinia, Italy
(Left) mural from Etruscan Tomb of Hunting & Fishing (c. 525
BCE)
vs.
(right) mural from Minoan “Queen’s Megaron” at Palace of
Knossos (c. 1500 BCE)
Etruscan
Capitoline Wolf (c. 500 BCE)
scale: larger than life-size
medium: hollow-cast bronze
motif: mythological “she-wolf”
Romulus & Remus
founders of Rome
abandoned, twin sons of Mars (figures added 15C)
suckled by she-wolf
forms: naturalistic physiognomy and musculature
spare flanks

20. gaunt rib cage
taut, powerful legs
tone: psychic intensity
lowered neck and head
alert ears
glaring eyes
decorativeness:
incised fur
es
Details of the Capitoline Wolf
(c. 500 BCE)
IMAGE INDEX
Slide 2: Map of Italy, c. 500 BCE.
Slide 3: Plan (left) and elevations (right) of an Etruscan
temple (after Vitruvius).
Slide 4: Apollo, from Veii (c. 5o0 BCE), Terracotta, height
69”, Museo Nazionale di Villa Giulia, Rome.
Slide 5: Details of face from Etruscan Apollo (c. 500 BCE)
Slide 6: Sarcophagus with Reclining Couple, from Cerveteri
(c. 520 BCE), Terracotta, length 6’ 7”, Museo Nazionale
di Villa Giulia, Rome.
Slide 7: (Left) Detail of upper torsos; and (right) view from
rear of Sarcophagus w/ Reclining Couple
Slide 8: Plan of The Tomb of the Shields and Chairs (c. 550
BCE), Cerveteri, Italy.
Slide 9: Burial Chamber from Tomb of the Reliefs (3rd
century BCE), Cerveteri, Italy.

21. IMAGE INDEX
Slide 10: (Left) interior of Etruscan burial chamber from Tomb
of the Reliefs (3rd century BCE); and (right) hall
interior of rock-cut tomb at Beni Hasan, Egyptian
Middle Kingdom (c. 2000 BCE), Egypt.
Slide 11: Interior of the Tomb of the Leopards (c. 475 BCE),
Tarquinia, Italy.
Slide 12: Double-Flute Player (c. 475 BCE), detail of a mural
painting in the “Tomb of the Leopards”, detail
3’ 3 ½ “ high, Tarquinia, Italy.
Slide 13: Musicians and Two Dancers (c. 475 BCE), detail of
wall painting, “Tomb of the Lionesses,” Tarquinia, Italy.
Slide 14: Mural from Tomb of Hunting and Fishing (c. 525
BCE), Tarquinia, Italy.
Slide 15: (Left) Mural from Etruscan Tomb of Hunting and
Fishing (c. 500 BCE); and (right) mural from Minoan
“The Queen’s Megaron” (c. 1500 BCE), Palace
of Knossos, Crete.
IMAGE INDEX
Slide 16: Capitoline Wolf (c. 500 BCE), bronze, 2’ 7½“ high,
Museo Capitolini, Rome.