For Lincoln Middle School 6th Grade Art Docent program Ancient Cultures Slideshow produced by Amy Melanson

1. Ancient GreeK
POttery

3. Why is Greek pottery significant?
Who made them?
What stories did they tell about Ancient Greek life?
What were these vessels used for?
How were they made?
What do we use pottery for today?

4. AthenianPottery

5. Greek pottery became
a valuable tool to study
Greek history as Greek
paintings and structures
did not survive as well
as ancient Greek
pottery. The paintings
on Greek pottery have
provided the majority of
what we know about
ancient Greek life and
art.
Significance

6. Potters &
painters

7. Black Figure
White-ground
Red figure
Pottery
techniques

8. BlackFigure

9. RedFigure

10. WhiteGround

11. VideoLink
Making Greek Vases

12. Design

13. Geometricperiod
(850-700BC)
Orientalizing phase
Meander “Greek Key”

14. Orientalizing Phase (700-600
BC)

15. ArchaicPeriod
(650-480BC)

16. ClassicPeriod
(700-600BC)

17. Scenes
& Stories

18. The
Francois
Vase

19.  Vases were mostly functional, made to be
used, not just admired. They were used in
every aspect of daily life: for storage,
carrying, mixing, serving, drinking and as
cosmetic and perfume containers.
 The shape and size of the pot offered a
common sense guide to its use, with the
larger pots used to carry and store more
common liquids needed in large quantities,
and smaller vessels to hold rarer or more
costly substances used in smaller
quantities. Narrow necked pots held liquids
to be poured in a slow stream, and wide
neck for mixing and more rapid pouring.
 Also the décor on the pot often provided
clues to it’s use. For example make up
containers often had scenes or women
holding mirrors.

20. Amphora

21. Krater

22. Oinochoe

23. Hydria

24. Kylix

25. Stamnos

26. Kantharos

27. Loutrophoros

28. Lekythos

29. Alabastron

30. Greek Columns

31. Doric

32. IONIC

33. Corinthian

34. Project

39. ODE ON A GRECIAN URN
By John Keats
Thou still unravished bride of quietness, Thou foster
child of silence and slow time, Sylvan historian, who
canst thus express A flowery tale more sweetly than
our rhyme: What leaf-fringed legend haunts about thy
shape Of deities or mortals, or of both, In
Tempe or the dales of Arcady? What men or gods are
these? What maidens loath? What mad pursuit?
What struggle to escape? What pipes and
timbrels? What wild ecstasy?
Heard melodies are sweet, but those unheard Are
sweeter; therefore, ye soft pipes, play on; Not to the
sensual ear, but, more endeared, Pipe to the spirit
dities of no tone. Fair youth, beneath the trees, thou
canst not leave Thy song, nor ever can those trees
be bare; Bold Lover, never, never canst thou kiss,
Though winning near the goal---yet, do not grieve;
She cannot fade, though thou hast not thy bliss
Forever wilt thou love, and she be fair!
Ah, happy, happy boughs! that cannot shed Your
leaves, nor ever bid the Spring adieu; And, happy
melodist, unweari-ed, Forever piping songs forever
new;
warm and still to be enjoyed, Forever panting,
and forever young; All breathing human passion far
above, That leaves a heart high-sorrowful and
cloyed, A burning forehead, and a parching
tongue.
Who are these coming to the sacrifice? To what
green altar, O mysterious priest, Lead'st thou that heifer
lowing at the skies, And all her silken flanks with
garlands dressed? What little town by river or sea shore,
Or mountain-built with peaceful citadel, Is
emptied of this folk, this pious morn? And, little town, thy
streets for evermore Will silent be; and not a soul to
tell Why thou art desolate, can e'er return.
O Attic shape! Fair attitude! with brede Of marble
men and maidens overwrought, With forest branches and
the trodden weed; Thou, silent form, dost tease us
out of thought As doth eternity. Cold Pastoral! When
old age shall this generation waste, Thou shalt
remain, in midst of other woe Than ours, a friend to man,
to whom thou say'st, "Beauty is truth, truth beauty"---
that is all Ye know on earth, and all ye need to
know.