This document provides an overview of ancient Greek art from 900 BCE to 480 BCE. It covers the Geometric, Orientalizing, and Archaic periods. Key points include:
- During the Geometric period, ceramic vessels featured linear motifs and figurines used elemental shapes. This included the Funerary Krater depicting mourning figures.
- The Orientalizing period saw pottery move away from linear decoration towards large motifs influenced by Eastern styles, like animals on a Corinthian olpe.
- The Archaic period was innovative, including the Treasury of the Siphnians at Delphi with caryatids and relief sculpture on its frieze and pediments depicting gods and giants.
A slideshow connected to a lecture of Roman and Etruscan Art available at Art History Teaching Resources (http://arthistoryteachingresources.org/), written by Christina McCollum.
A slideshow connected to a lecture of Greek Art available at Art History Teaching Resources (http://arthistoryteachingresources.org/), written by Alexis Culotta.
A slideshow connected to a lecture of Roman and Etruscan Art available at Art History Teaching Resources (http://arthistoryteachingresources.org/), written by Christina McCollum.
A slideshow connected to a lecture of Greek Art available at Art History Teaching Resources (http://arthistoryteachingresources.org/), written by Alexis Culotta.
The Acropolis_ A Timeless Marvel of Ancient Greece.pdfCIOWomenMagazine
Explore Athens' The Acropolis: a UNESCO marvel. Learn its history, surprising facts & top things to do. Plan your visit & discover the Parthenon, Erechtheion & more!
The Aegean (Bronze Age) (Presentation) Author De Anza CollegeJoão Ramos
The Aegean (Bronze Age) (Presentation) Author De Anza College
Para compreender melhor a idade do Bronze, com base científica, para trabalhos académicos
This is a booklet made by Greek students of 4th Geniko Lykeio Zografou, Greece within the frame of the Erasmus + KA229 2018-2020 project named " Cultural Heritage as a Catalyst of Creative Entrepreneurship"
2137ad Merindol Colony Interiors where refugee try to build a seemengly norm...luforfor
This are the interiors of the Merindol Colony in 2137ad after the Climate Change Collapse and the Apocalipse Wars. Merindol is a small Colony in the Italian Alps where there are around 4000 humans. The Colony values mainly around meritocracy and selection by effort.
Explore the multifaceted world of Muntadher Saleh, an Iraqi polymath renowned for his expertise in visual art, writing, design, and pharmacy. This SlideShare delves into his innovative contributions across various disciplines, showcasing his unique ability to blend traditional themes with modern aesthetics. Learn about his impactful artworks, thought-provoking literary pieces, and his vision as a Neo-Pop artist dedicated to raising awareness about Iraq's cultural heritage. Discover why Muntadher Saleh is celebrated as "The Last Polymath" and how his multidisciplinary talents continue to inspire and influence.
Hadj Ounis's most notable work is his sculpture titled "Metamorphosis." This piece showcases Ounis's mastery of form and texture, as he seamlessly combines metal and wood to create a dynamic and visually striking composition. The juxtaposition of the two materials creates a sense of tension and harmony, inviting viewers to contemplate the relationship between nature and industry.
2137ad - Characters that live in Merindol and are at the center of main storiesluforfor
Kurgan is a russian expatriate that is secretly in love with Sonia Contado. Henry is a british soldier that took refuge in Merindol Colony in 2137ad. He is the lover of Sonia Contado.
6. ANCIENT GREECE
The cultural heartland of ancient Greece consisted of the Greek mainland, the islands of
the Aegean, and the west coast of Asia Minor, but colonies on the Italic peninsula and the
island of Sicily extended Greek cultural influence farther west into the Mediterranean.
[Map 05-01]
15. OLPE (PITCHER)
From Corinth. c. 650-625 BCE. Ceramic with black-figure decoration, height 12-7/8" (32.8
cm). J. Paul Getty Museum, Villa Collection, Los Angeles, California.
[Fig. 05-04]
32. PLAN OF COMPLEX OF THE TEMPLE OF APHAIA, AEGINA
c. 500 or c. 475 BCE. [Fig. 05-12]
33. WEST PEDIMENT OF THE TEMPLE OF APHAIA, AEGINA
c. 500-490 or 470s BCE. Width about 49' (15 m).
Surviving fragments as assembled in the Staatliche Antikensammlungen und Glyptothek,
Munich (early restorations removed). Staatliche Antikensammlungen, Munich.
[Fig. 05-13]
34. DYING WARRIOR
From the right corner of the west pediment of the Temple of Aphaia, Aegina.
c. 500-490 or 470s BCE. Marble, length 5'6" (1.68 m).
Staatliche Antikensammlungen und Glyptothek, Munich. Staatliche Antikensammlungen,
Munich/Studio Koppermann. [Fig. 05-14]
36. DYING WARRIOR
From the left corner of the east pediment of the Temple of Aphaia, Aegina.
c. 490-480 or 470s BCE. Marble, length 6' (1.83 m).
Staatliche Antikensammlungen und Glyptothek, Munich. Staatliche Antikensammlungen,
Munich/Studio Koppermann. [Fig. 05-15]
38. Vinzenz Brinkmann and Ulrike Koch-Brinkmann
RECONSTRUCTION OF ARCHER
From the west pediment of the Temple of Aphaia, Aegina. 2004 CE.
Staatliche Antikensammlungen und Glyptothek, Munich. Staatliche Antikensammlungen,
Munich/Studio Koppermann. [Fig. 05-16]
39. ARCHER ("PARIS")
From the west pediment of the Temple of Aphaia, Aegina. c. 500-490 or 470s BCE.
Marble. Staatliche Antikensammlungen und Glyptothek, Munich. Staatliche
Antikensammlungen, Munich/Studio Koppermann. [Fig. 05-17]
54. Amasis Painter
DIONYSOS WITH MAENADS
c. 540 BCE. Black-figure decoration on an amphora.
Ceramic, height of amphora 13" (33.3 cm).
Bibliothèque Nationale, Paris, France. Bibliothèque nationale de France [Fig. 05-25]
71. Douris
A YOUTH POURING WINE INTO THE KYLIX OF A COMPANION
c. 480 BCE. Red-figure decoration on a kylix. Ceramic, height 12-3/4" (32.4 cm).
The Soprintendenza Speciale per i Beni Archeologici di Napoli e Pompei. Courtesy
Ministero dei Beni e delle Attività Culturali e del Turismo - Museo Archeologico Nazionale
di Napoli. [Fig. 05-32]
89. YOUNG WOMEN AND MEN
Detail of the Procession, from the Ionic frieze on the east side of the Parthenon.
c. 447-432 BCE. Marble, height 3'6" (1.08 m). Musée du Louvre, Paris.
Bridgeman Images. [Fig. 05-41]
96. THE MONUMENTAL ENTRANCE TO THE AKROPOLIS, ATHENS
The Propylaia (Mnesikles) with the Temple of Athena Nike (Kallikrates) on the bastion at
the right. c. 437-423 BCE. Studio Kontos Photostock. [Fig. 05-44]
113. HELLENISTIC GREECE
Alexander the Great created a Greek empire that extended from the Greek mainland and
Egypt across Asia Minor and as far east as India.
[Map 05-02]
126. Gnosis
STAG HUNT
Detail of mosaic floor decoration from Pella, Macedonia (in present-day Greece).
c. 300 BCE. Pebbles, central panel 10'7-1/2" × 10'5" (3.24 × 3.17 m).
Signed at top: “Gnosis made it.” Archaeological Museum, Pella.
Studio Kontos Photostock. [Fig. 05-58]
ANCIENT GREECEThe cultural heartland of ancient Greece consisted of the Greek mainland, the islands of the Aegean, and the west coast of Asia Minor, but colonies on the Italic peninsula and the island of Sicily extended Greek cultural influence farther west into the Mediterranean. [Map 05-01]
OLPE (PITCHER)From Corinth. c. 650-625 BCE. Ceramic with black-figure decoration, height 12-7/8" (32.8 cm). J. Paul Getty Museum, Villa Collection, Los Angeles, California.[Fig. 05-04]
BATTLE BETWEEN THE GODS AND THE GIANTSFragments of the north frieze of the Treasury of the Siphnians, Sanctuary of Apollo, Delphi. c. 530-525 BCE. Marble, height 26" (66 cm).Archaeological Museum, Delphi. [Fig. 05-08]
PLAN OF the TEMPLE OF HERA I, POSEIDONIA (ROMAN PAESTUM) Southern Italy. c. 550-540 BCE. [Fig. 05-09a]
PLAN OF COMPLEX OF THE TEMPLE OF APHAIA, AEGINAc. 500 or c. 475 BCE. [Fig. 05-12]
WEST PEDIMENT OF THE TEMPLE OF APHAIA, AEGINAc. 500-490 or 470s BCE. Width about 49' (15 m).Surviving fragments as assembled in the Staatliche Antikensammlungen und Glyptothek, Munich (early restorations removed). [Fig. 05-13]
DYING WARRIORFrom the right corner of the west pediment of the Temple of Aphaia, Aegina.c. 500-490 or 470s BCE. Marble, length 5'6" (1.68 m).Staatliche Antikensammlungen und Glyptothek, Munich. [Fig. 05-14]
DYING WARRIORFrom the left corner of the east pediment of the Temple of Aphaia, Aegina.c. 490-480 or 470s BCE. Marble, length 6' (1.83 m).Staatliche Antikensammlungen und Glyptothek, Munich. [Fig. 05-15]
Vinzenz Brinkmann and Ulrike Koch-Brinkmann RECONSTRUCTION OF ARCHERFrom the west pediment of the Temple of Aphaia, Aegina. 2004 CE.Staatliche Antikensammlungen und Glyptothek, Munich. Staatliche Antikensammlungen, Munich/Studio Koppermann. [Fig. 05-16]
ARCHER ("PARIS")From the west pediment of the Temple of Aphaia, Aegina. c. 500-490 or 470s BCE. Marble. Staatliche Antikensammlungen und Glyptothek, Munich. [Fig. 05-17]
BERLIN KOREFrom the cemetery at Keratea, near Athens. c. 570-560 BCE.Marble with remnants of red paint, height 6'3" (1.9 m).Staatliche Museen zu Berlin, Antikensammlung, Preussischer Kulturbesitz, Berlin.[Fig. 05-19]
ANAVYSOS KOUROSFrom the cemetery at Anavysos, near Athens. c. 530 BCE.Marble with remnants of paint, height 6'4" (1.93 m).National Archaeological Museum, Athens. [Fig. 05-20]
Amasis Painter DIONYSOS WITH MAENADSc. 540 BCE. Black-figure decoration on an amphora.Ceramic, height of amphora 13" (33.3 cm).Bibliothèque Nationale, Paris, France. Bibliothèque nationale de France [Fig. 05-25]
CHARIOTEERFrom the Sanctuary of Apollo, Delphi. c. 470 BCE.Bronze, copper (lips and lashes), silver (hand), onyx (eyes), height 5'11" (1.8 m).Archaeological Museum, Delphi.
The setting of a work of art affects the impression it makes. Today, the Charioteer is exhibited on a low base in the peaceful surroundings of a museum, isolated from other works and spotlighted for close examination. Its effect would have been very different in its original outdoor location, standing in a horse-drawn chariot atop a tall monument. Viewers in ancient times, tired from the steep climb to the sanctuary and jostled by crowds of fellow pilgrims, could have absorbed only its overall effect, not the fine details of the face, robe, and body visible to today’s viewers. [Fig. 05-29]
Douris A YOUTH POURING WINE INTO THE KYLIX OF A COMPANIONc. 480 BCE. Red-figure decoration on a kylix. Ceramic, height 12-3/4" (32.4 cm).The Soprintendenza Speciale per i Beni Archeologici di Napoli e Pompei. Courtesy Ministero dei Beni e delle Attività Culturali e del Turismo - Museo Archeologico Nazionale di Napoli. [Fig. 05-32]
RECONSTRUCTION DRAWING OF THE TOMB OF THE DIVER, POSEIDONIA (ROMAN PAESTUM)c. 480 BCE. Illustration: Peter Bull. [Fig. 05-33]
YOUNG WOMEN AND MENDetail of the Procession, from the Ionic frieze on the east side of the Parthenon.c. 447-432 BCE. Marble, height 3'6" (1.08 m). Musée du Louvre, Paris.Bridgeman Images. [Fig. 05-41]
THE MONUMENTAL ENTRANCE TO THE AKROPOLIS, ATHENSThe Propylaia (Mnesikles) with the Temple of Athena Nike (Kallikrates) on the bastion at the right. c. 437-423 BCE. Studio Kontos Photostock. [Fig. 05-44]
HELLENISTIC GREECEAlexander the Great created a Greek empire that extended from the Greek mainland and Egypt across Asia Minor and as far east as India.[Map 05-02]
Praxiteles or his followers HERMES AND THE INFANT DIONYSOSProbably a Hellenistic or Roman copy after a Late Classical 4th-century BCE original.Marble, with remnants of red paint on the lips and hair, height 7'1" (2.15 m). Archaeological Museum, Olympia.
Discovered in the rubble of the ruined Temple of Hera at Olympia in 1875, this statue is now widely accepted as an outstanding Roman or Hellenistic copy. Support for this conclusion comes from certain elements typical of Roman sculpture: Hermes’s sandals, which recent studies suggest are not accurate for a fourth-century BCE date; the supporting element of crumpled fabric covering a tree stump; and the use of a reinforcing strut, or brace, between Hermes’s hip and the tree stump. [Fig. 05-53]
Praxiteles APHRODITE OF KNIDOSComposite of two similar Roman copies after the original marble of c. 350 BCE.Marble, height 6'8" (2.04 m).Vatican Museums, Museo Pio Clementino, Gabinetto delle Maschere, Rome.
The head of this figure is from one Roman copy, the body from another. Seventeenth- and eighteenth-century CE restorers added the nose, the neck, the right forearm and hand, most of the left arm, and the feet and parts of the legs. This kind of restoration would rarely be undertaken today, but it was frequently done and considered quite acceptable in the past, when archaeologists were trying to put together a body of work documenting the appearance of lost Greek statues. [Fig. 05-54]
Epigonos (?) DYING GALLIC TRUMPETERRoman copy (found in Julius Caesar's garden in Rome) after the original bronze ofc. 220 BCE. Marble, height 36-1/2" (93 cm). Museo Capitolino, Rome.
Pliny the Elder described a work like the Dying Gallic Trumpeter, attributing it to an artist named Epigonos. Recent research indicates that Epigonos probably knew the early fifth-century BCE sculpture of the Temple of Aphaia on Aegina, which included the Dying Warriors (SEE FIGS.5–14, 5–15), and could have had it in mind when he created his own works.
[Fig. 05-62]