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GREECE part 3 de Beaufort
The document summarizes major developments in Greek art and thought during the Late Classical period (404-338 BCE) following the Peloponnesian War. It discusses how Greek art began to focus more on realism and individual subjects rather than idealism. Key artists from this period like Praxiteles and Lysippos are mentioned for introducing naturalism, emotion, and contrapposto poses into their sculptures. The Hellenistic period that followed is summarized as a time of cultural blending and the rise of new dynastic states after Alexander the Great's conquests.
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GREECE part 3 de Beaufort
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- 2. The Late ClassicalPeriod 404-338 BCE Political upheaval: Peloponnesian War SPARTA VS. ATHENS Sparta defeats plague weakened Athens in 404 BC
- 3. Chaos and Disorder Greeceis much weaker after War But good for philosophy and art 3
- 4. Major change inGreek thought and Art Greek art began to focus more on the individual and on the real world of appearances rather than on the community and the ideal world of perfect beings and perfect buildings.
- 5. 5 PRAXITELES(?), Hermes andthe 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. Archaeological Museum, Olympia
- 6. 6 PRAXITELES(?), Hermes andthe 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. Archaeological Museum, Olympia Notice S-curve of the body (pronounced contrapposto)
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- 9. Praxiteles: 8+ heads not7 End to serene idealism New focus on the individual Body forms S curve Dreamy expression Smooth modeling No strength and rationality Instead languor and sensuousness 350 BCE Praxiteles Hermes and Dionysus 450 BCE Polykleitos Spear bearer(Doryphoros)
- 10. 10 PRAXITELES, Aphrodite ofKnidos. Roman marble copy of an original of ca. 350–340 BCE. 6’ 8” high. Musei Vaticani, Rome.
- 11. 11 PRAXITELES, Aphrodite ofKnidos. Roman marble copy of an original of ca. 350–340 BCE. 6’ 8” high. Musei Vaticani, Rome. • A big “first” and a bold step to render a goddess in the nude • Sensuous and humanizing qualities – different from the cold, aloof gods and athletes of the High Classical • But not openly erotic, pelvis shielded • “Welcoming look” slight smile • Softness of face and eyes
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- 13. Female nudity was consideredbase 340 BCE530 BCE
- 14. Venus Pudica A classicfigural pose in Western art. In this, an unclothed female (either standing or reclining) keeps one hand covering her private parts. (She is a modest lass, this Venus.) The resultant pose - which is not, incidentally, applicable to the male nude - is somewhat asymmetrical and often serves to draw one's eye to the very spot being hidden. The word "pudica" comes to us by way of the Latin "pudendus", which can mean either external genitalia or shame, or both simultaneously. 14
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- 17. 17 Grave stele ofa young hunter, found near the Ilissos River, Athens, Greece, ca. 340–330 BCE. Marble, 5’ 6” high. National Archaeological Museum, Athens.
- 18. 18 Grave stele ofa young hunter, found near the Ilissos River, Athens, Greece, ca. 340–330 BCE. Marble, 5’ 6” high. National Archaeological Museum, Athens. Grave stele influenced by the work of Skopas of Paros (sculptor) Known for including intense emotionalism in his work
- 19. Emotional bridge toviewer Sympathy and mourning High relief Living vs. dead
- 20. 20 LYSIPPOS, Apoxyomenos (Scraper).Roman marble copy of a bronze original of ca. 330 BCE, 6’ 9” high. Musei Vaticani, Rome.
- 23. 23 LYSIPPOS, Apoxyomenos (Scraper).Roman marble copy of a bronze original of ca. 330 BCE, 6’ 9” high. Musei Vaticani, Rome. Out of the box Into the viewers space New canon Smaller head Thinner body Front not dominant Nervous energy Fig leaf?? (Catholic addition)
- 26. 26 LYSIPPOS, Weary Herakles(Farnese Herakles). Roman marble copy from Rome, Italy, signed by GLYKON OF ATHENS, of a bronze original of ca. 320 BCE. 10 ‘ 5” high. Museo Archeologico Nazionale,Naples.
- 27. Contradiction? Attributes? Exaggerated Musculature Rejection ofstability and balance Figure in Space? Humanization of Greek god
- 28. Hubris The history ofGreece is a tale of glory and folly, of inordinate success and incalculable waste. Perhaps because our strengths as humans almost invariably come from the same sources as our weaknesses—to wit, the blindness that leads many to be taken in by others also makes them brave in the face of overwhelming danger—the same things that had fostered the civilization of the ancient Greeks precipitated its fall, their unwavering belief in themselves and the conviction that their ways were the right ways, the best ways, and finally the only ways. In particular, the greed that drove the Peloponnesian War and fomented all its disasters for Athens and Greece alike was part and parcel of the Athenians' determination to improve themselves and their way of life. That is, the fire that sparked the Classical Age also incinerated it. 28
- 29. The Greeks builttheir civilization, a culture outstripping all previous ones in Western Europe, from the thin soil of their homeland, and then threw it all away fighting among themselves over those same dusty stones. In the end, their sense of self-worth was both their triumph and their downfall. It makes sense, then, that tragedy is one of their most enduring achievements. Below- ill fated Sicilian Expedition 29
- 30. 30 Head of Alexanderthe Great, from Pella, Greece, third century BCE. Marble, 1’ high. Archaeological Museum, Pella.
- 31. Hellenistic Period 323 BCE(Death of Alexander)- 30 BCE Roman Annexation Hellenistic civilization represents a fusion of the Ancient Greek world with that of the Near East, Middle East and Southwest Asia, and a departure from earlier Greek attitudes towards "barbarian" cultures. The extent to which genuinely hybrid Greco-Asian cultures emerged is contentious; consensus tends to point towards pragmatic cultural adaptation by the elites of society, but for much of the populations, life would probably have continued much as it had before. 31
- 32. Alexander the Great’sEmpire
- 33. The Antigonid dynastyin Macedon and central Greece; The Ptolemaic dynasty in Egypt based at Alexandria; The Seleucid dynasty in Syria and Mesopotamia based at Antioch; The Attalid dynasty in Anatolia based at Pergamum. 33
- 34. Alexander encouraged inter-culturalmarriages. Cosmopolite: citizen of the world. 34
- 35. GNOSIS, Stag hunt,from Pella, Greece, ca. 300 BCE. Pebble mosaic, figural panel 10’ 2” high. Archaeological Museum, Pella. Skiagraphia (shadow painting) 35
- 36. Hades abducting Persephone,detail of wall painting from tomb 1, Vergina, Greece, mid-fourth century BCE, 3’ 3 ½ ” 36
- 37. The “turning point”of the game Battle of Issus
- 40. 40 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.
- 42. The Alexander Mosaic Battleof Issus Tesserae- tiny stones/glass Subjective Psychological Intensity Looking at the king, not who he killed Darius in retreat Objective ¾ view of horse Foreshortening Reflection on the shield
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- 54. 54 POLYKLEITOS THE YOUNGER,Theater, Epidauros, Greece, ca. 350 BCE.
- 55. Orchestra “dancing place” Locatedon a hill, with a nice view Perfect acoustics Still used today Plays performed only once Tragedies in verse Aeschylus, Sophocles, Euripides Vehicle of communal expression of religious belief
- 59. 59 Stoa of AttalosII, Agora, Athens, Greece, ca. 150 BCE (with the Acropolis in the background).
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- 62. Pergamon Attalid Dynasty “rump state” Wealthyand opulent court cities Altar of Zeus: Defeat of Gauls Architecture: large scale and diversity theatrical break the rules development of the interior, instead of the focus on the building as a refined and perfect sculpture
- 63. 63 Reconstructed west frontof the Altar of Zeus, Pergamon, Turkey, ca. 175 BCE. Staatliche Museen, Berlin.
- 68. 68 Athena battling Alkyoneos,detail of the gigantomachy frieze, from the Altar of Zeus, Pergamon, Turkey ca. 175 BCE. Marble, 7’ 6” high. Staatliche Museen, Berlin.
- 75. 75 EPIGONOS(?), Gallic chieftainkilling himself and his wife. Roman marble copy of a bronze original of ca. 230–220 BCE, 6’ 11” high. Museo Nazionale Romano–Palazzo Altemps, Rome.
- 76. Facial features ofGauls Kills wife and himself Lysippan tradition- must walk around to appreciate it Hellenistic Sculpture: Theatrical, twisting body, exaggerated musculature Individual, specific Melodramatic Theatrical, multi-media Realism, caricature
- 77. 77 EPIGONOS(?), Dying Gaul.Roman marble copy of a bronze original of ca. 230–220 BCE, 3’ 1/2” high. Museo Capitolino, Rome.
- 78. Gaul in defeat Baroque Dramatic Expressive Inthe round Battles fought heroically in the nude
- 80. 80 Nike alighting ona warship (Nike of Samothrace), from Samothrace, Greece, ca. 190 BCE. Marble, figure 8’ 1” high. Louvre, Paris.
- 81. Theatrical effect Balance offorward body and backward wings Site-combination of art and nature Placed on prow of stone ship high on a hill spray of the fountain Visual and auditory drama
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- 85. 85 ALEXANDROS OF ANTIOCH-ON-THE-MEANDER,Aphrodite (Venus de Milo), from Melos, Greece, ca. 150–125 BCE. Marble, 6’ 7” high. Louvre, Paris.
- 89. 89 Sleeping satyr (BarberiniFaun), from Rome, Italy, ca. 230–200 BCE. Marble, 7’ 1” high. Glyptothek, Munich.
- 96. 96 Seated boxer, fromRome, Italy, ca. 100–50 BCE. Bronze, 4’ 2” high. Museo Nazionale Romano–Palazzo Massimo alle Terme, Rome.
- 97. Older man fromlowest social strata Athlete Battered and defeated Broken nose, teeth, and ears Emotional 97
- 103. Aphrodite, Eros, andPan, from Delos, ca. 100 B.C. Marble, 4' 4" high.
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- 105. 105 Old market woman,ca. 150–100 BCE. Marble, 4’ 1/2” high. Metropolitan Museum of Art, New York.
- 106. Why would someonewant to look at this? Social realism Portrait study Elegant dress Untidy hair Unfocused stare Dionysis? EXPRESSIONISTIC Into viewers space Demand emotional response from viewer Technical virtuosity in form and texture 106
- 108. 108 POLYEUKTOS, Demosthenes. Romanmarble copy of a bronze original of ca. 280 BCE. 6’ 7 1/2” high. Ny Carlsberg Glyptotek, Copenhagen.
- 109. 109 ATHANADOROS, HAGESANDROS, andPOLYDOROS OF RHODES, Laocoön and his sons, from Rome, Italy, early first century CE Marble, 7’ 10 1/2” high. Musei Vaticani, Rome.