2. The Geometric period
The roots of Classical Greek art can be traced back to the
Geometric period when dramatic transformations resulted in
the formation of key Greek institutions, the polis or the
Greek city state, the Greek alphabet, as well as great
opportunities for colonization and trade. Along came the
building of huge sanctuaries and temples for the deities
(singular: deity)
3. Geometric krater (c.740
BCE,), Diplyon Cementery,
Athens, Greece
This period in Greek art history is known
for its pottery, with kraters (ancient Greek
vessels for mixing wine and water) and
amphoras (two-handles jars with a narrow
neck used for storing oils or wine). Such
vessels featured angular lines, simple shaped
figures, and rows of strokes and dots that
illustrated a narrative. Art in this period
confines itself largely to depictions and
repetitions of lines, shapes, and patterns- a
characteristic of the horror vacui (fear of
empty space) style.
4. After the Geometric period, Greek artists
started to represent human forms in their
artworks. The kouros (nude youth) statues
became ubiquitous during the Archaic period.
They were created as ornaments of religious
structures or as immortal reminders of the
qualities of a dead person. These statues
followed a formula in sculpture that that
segmented the human form into geometric
entitles that went with proportions.
The Archaic Period
5. Some characteristics of these artworks are
mysterious smiles of the subjects who
seemingly stare at the viewer, arms closed or
attached to the hip, left foots extended slightly
forward, and frontal pose. Theses statues were
influenced by ancient Egyptian sculptures;
however, kuonros statues are lees stiff than the
Egyptian version. They also reflected the
willingness of Greek artist too portray mortal
human beings in their work, instead of their
immortal and powerful gods.
6. The Classical Period
The central maxim in Classical Greek culture was
portrayed in the saying, “Man is the measure of all thing. ”
True enough, early Greek artists examined the human
form to create idealized representations of it in sculpture,
architecture, painting, and other art forms. They also
depicted in detail mythological stories that often
highlighted the human traits of their gods. These artistic
developments came along with new forms of politics (i,.e.,
democracy, which arose in Athens).
7. One of the mayor characteristics of statues
in this period was the cotrapposto, a position
wherein the human form follows an S-curved
shape. The shoulder and hips of the subject
are aligned in opposite angels, thus creating a
realistic and relaxed muscular position. This
can be seen in the statues of nude athletes-
one the favorite motifs in Classical Greek
sculpture.
Kleobis and Biton,
kouroi of the Archaic
period (c. 580 BC)
8. In architecture, Greeks also used the ratios of nature to
make sure that their structure were in unison with their
environment. Undoubtedly, the most famous example of
Classical Greek architecture that used the golden ratio is the
Parthenon. The columns of the example were built using the
entasis technique slightly decreasing in diameter on the way
to the top of the column, which results is a delicate convex
curve in every column. The architects of the temple employed
this technique to make sure that people outside the temple
viewed each column as perfectly straight.
The very structured system of proportions in Classical
Greek architecture was developed according the three styles
or orders: (1) Doric, (2) Ionic, and (3) Corinthian. Each
column was composed of base, shaft, and capital or crown.
The columns supported the entablature composed of the
architrave (lowerst part), the frieze (middle), and the cornice
or roof (top).
A marble copy of the Polykleitos’s
Doryphoros (c. 450-440 BCE) (Note:
The original bronze is lost.)
9. The Doric order is the earliest of the three Classical orders of
architecture and represents an important moment in Mediterranean
architecture when monumental construction made the transition from
impermanent materials (i.e. wood) to permanent materials, namely stone.
The Doric order is characterized by a plain, unadorned column capital and
a column that rests directly on the stylobate of the temple without a base.
The Doric entablature includes a frieze composed
of triglyphs and metopes. The columns are fluted and are of sturdy, if not
stocky, proportions.
The Doric order emerged on the Greek mainland during the course
of the late seventh century B.C.E. and remained the predominant order for
Greek temple construction through the early fifth century B.C.E., although
notable buildings of the Classical period—especially the
canonical Parthenon in Athens—still employ it. Doric is the oldest, most
massive, but simplest order. Doric column featured a circular capital with a
square on top. The shaft, which was sculpted with flutes or concave
curves, is plain and has no base. The frieze also features simple triglpyhs
(vertically channeled tablets) and metopes (architectural element that fill
that space between triglyghs) that often had statues of gods or heroes in
them. The cornice is slant.
DORIC ORDER
10. icONIC ORDER
The Ionic Order originated in Ionia, a coastal region of central Anatolia
(today Turkey) where a number of ancient Greek settlements were located.
Volutes (scroll-like ornaments) characterize the Ionic capital and a base
supports the column, unlike the Doric order. The Ionic order developed in
Ionia during the mid-sixth century B.C.E. and had been transmitted to
mainland Greece by the fifth century B.C.E. Among the earliest examples of
the Ionic capital is the inscribed votive column from Naxos, dating to the end
of the seventh century B.C.E.
The ancient Roman architect Vitruvius compared the Doric module to a
sturdy, male body, while the Ionic was possessed of more graceful, feminine
proportions. The lonic order is more ornamental than the Doric order. Its capitals feature volutes or
scrolls, and the shafts are taller and appear slenderer than Doric shafts. The columns are often
flute, and they have also large bases that resemble a set of rings stacked on top of one another.
The columns are often fluted, and they have also large bases that resemble a set of rings stacked
on top of the another. The entablature is also tighter than that of the Doric order, and its frieze
normally features a continuous band of relief sculpture. The Ionic roof is slant like the Doric cornice.
11. The Corinthian order is both the latest and the most elaborate
of the Classical orders of architecture. The order was employed in
both Greek and Roman architecture, with minor variations, and gave
rise, in turn, to the Composite order. As the name suggests, the
origins of the order were connected in antiquity with the Greek city-
state of Corinth where, according to the architectural writer Vitruvius,
the sculptor Callimachus drew a set of acanthus leaves surrounding
a votive basket (Vitr. 4.1.9–10). In archaeological terms, the earliest
known Corinthian capital comes from the Temple of Apollo Epicurius
at Bassae and dates to c. 427 B.C.E. The canonical Greek
architectural orders have exerted influence on architects and their
imaginations for thousands of years. While Greek architecture
played a key role in inspiring the Romans, its legacy also stretches
far beyond antiquity. The Corinthian is most ornate. Its entablature,
column, and base are similar to that of the Ionic order. Its well-known
capital, however, is more decorative; it was carved with two levels of
curly flowers and leaves. Unlike the Doric and Ionic roofs, the
Corinthian are flat.
CORINTHIAN ORDER
12. "These are the three architectural orders of
classical Greek"
13. The Hellenistic Period
Works od art from the Hellenistic age became
more emotional; they displayed more dramatic
movement. In this period, Greek artist explored a
wider range of themes and made the modeling even
more naturalistic. They also began considering the
environment. Landscape painting became important,
as evidenced by the Odyssey Landscape series
(c.150 BCE) found at the Esquiline Hill in Rome in
1848. these set of landscape painting are ruled by the
setting, highlighted by competently sketchy
brushwork, stylish spatial illusionism, and strong light
and shade. In addition to painting, the Hellenistic
produced mosaics that normally imitated paintings. “Laestry gonians preparing for battle”- another
Odyssey landscape the Esquiline Hill, Rome
14. Since the beginning, the Romans had sensed
the influence of Greek art. When Rome conquered
Greece in 14 BC, Romans were immediately
inspired by Greek art. Commenting on the triumph
of interweaving Greek art with that of Rome, the
poet Horace expressed, “Greece, conquered, led
her conqueror captive.” However, the Romans did
not just extent, art in the Roman Empire developed
from that of the Etruscans who had been heavily
influenced by the Greeks. While their art was
largely borrowed, the Romans expressed and
reflected in them their originality and practical
spirit.
The Romans queduct Pont du Gard (c.
19 BCE) built by Marcus Vipsanius
Agrippa
15. ROMAN architecture
Perhaps the greatest contribution of the
Roman to art history is in architecture. Roman
architects basically built on the legacy left by
Greek architects. They respected the tradition
that came before them, and their admiration for
Greek architectural orders was reflected in their
numerous public building. But, as mentioned
earlier, originality was one of the virtues of the
Romans. For example, they created their own
variety of the Corinthian cornice and capital,
which was more decorative. They also developed
the Tuscan column- a modification of the Doric
column, which had smaller capital and a leaner
shaft without flutes.
The interior of the Pantheon with
the dome and its oculus
16. The Roman builders rapidly discovered
new materials as colored varieties of marble,
white limestone, concrete rubble, stucco, and
black brick. They developed new construction
techniques such as the arch, the vault
(extended arches, usually forming a roof or
ceiling), and the dome. The Roman architects
also came up with creative and practical
designs. These enabled them to build never
before seen architectural structures such as
basilica, amphitheater, bath houses,
monumental aqueduct, triumphal arch,
residential houses, and granary building.
These architectural innovations were largely aa
result of the need to satisfy the changing
demands of Roman society.
Remains of the Baths of Caracalla was built
during the reigns Septimius Severus
17. Roman Sculpture
Roman sculpture has four types: (1) historical
reliefs, (2) statues and busts, (3) funerary
sculptures (tomb sculptures and sarcophagi), and
(4) imitations of works by ancient Greek artists.
These works of the art were created primarily to
impress the public, as well as to display Rome’s
power and splendor. One can observe in these
sculptures the expression of seriousness and the
absence of contemplation common in Greek art.
The facial expression, mood, and pose, for
example, were somewhat firm and unsmiling. The
accurate representation of the world was another
major characteristic of Roman sculpture. The
detailed relief in the Column of Marcus Aurelius
are excellent illustrations of this type realism.
Detail of the Column of Marcus
Aurelius built in horror of Marcus
Aurelius
18. Roman Painting
The ancient Romans also appreciated painting.
Unfortunately, many of the painting with Greek influences
have perished. Roman painters usually painted the images
straight to the walls of homes. The Roman painted their
interior walls of a room that do not have windows could be
painted with an open garden scene or perhaps a
landscape or an outdoor scene. Scenes from daily life
were often depicted in Roman paintings. Some scenes of
special occasions, such as wedding, were sometimes
painted similar to Greek art, some Roman painting
depicted erotic scenes. Many painting also portrayed
historical events such as Roman battles. This was one of
their ways of telling their young about Rome’s glorious
past. Overall, Roman painting closely imitated life because
of the Romans; appreciation of the concept of realism.
Fresco (detail) discovered at the
Villa of the Mysteries in
Pompeii, southern Italy (80 BC)
19. Roman Mosaics
Mosaics were also popular during
the Roman Empire. These art forms
were used to embellish walls and
floors in some temples and homes.
These intricate and striking art wealth
of the villa owners. Floor mosaics
were common across the empire,
indicating how important or popular
they were. Detail of a mosaic depicting Alexander
the Great (c. 100 BC)
20. 1. This period in Greek art history is known for its pottery with____?
2. Two handled jars with a narrow neck used for storing oils or wine.
3. The (Nude youth) statues became ubiquitous during the Archaic
4. The central maxim in classical Greek culture was portrayed in the
saying____?
5. Greek artist specifically discovered several ratios, such as the well-
known____?
6. Classical Greek architecture that used the golden ratio is the____?
7. One of the major characteristics of statues in this period was the____?
8. Landscape painting became important, as evidenced by the_____? Series
9. The 3 architectural orders of the classical Greek.
10.These art forms were used to embellish walls and floors in some temples
and order.
