Art appreciation

3. “Classical”

4. State Capital

5. Learning Targets
- Concept of democracy
- Greek humanism: man as the measure of all things
- Evolution, transition, and progression of the ideal human figure
in Greek art: geometric, orientalizing, archaic, severe, classical,
late classical, Hellenistic
- Balance, harmony, beauty, and proportion in man and in art
based on mathematical proportions
- Mythology permeates Greek life and subject matter in art
Golden Age of Pericles
- The Parthenon: geometry and the human form
- Progression of architectural orders: Doric, Ionic, Corinthian
- Hellenism and the spread of Greek art
- Cosmopolitan structure replaces independent city states

6. Official big deal stuff

9. Geometric 900-700 BCE
Warrior vase, Mycenae, ca. 1200
BC Dipylon Vase/Geometric
amphora, Athens, ca. 740
BC

10. Dipylon Amphora

11. Dipylon Amphora

12. Geometric Krater

13. Geometric Krater

15. Orientalizing 700 – 600 BC
- Trade and colonization picks up
- Greeks exposed to more Eastern art
- Motifs borrowed from Egyptian and Mesopotamian
art appear in art

16. Mantiklos Apollo
Statuette – 8”, dedicated by Mantiklos to
Apollo, Thebes, ca 700-680 BC
- probably represents the God, possibly
Mantiklos
- left hand could have held bow
- increased interest in reproducing details of
human anatomy
- long hair, pectoral muscles
Triangular face, body

17. Lady of Auxerre
- ca. 650 – 625 BC, 2’ 1.5”
- limestone
- Auxerre – french town, her earliest
known locations
-Daedalic style – after legendary artist
Daedalus “the skillfull one”
- what else did he build?
- may be mortal or deity
- clothed – typical for all women
depicted in greek art at this time
-no headdress like contemporaneous
goddesses do
- placement of hand is likely gesture of
prayer
- probably a kore (maiden)
- more naturalistic but still abstract
- interest in patterns

18. Archaic 600 – 480 BC
- art freer
- greater observations of the
world
Human figure becoming more life
like
- evolution of female figure
- 2 types of figures
- Kouros – youth – male
- Kore – Female
- Daedulus myth of working with
Egyptians reveals how influential
Egyptian art and architecture was
on Greeks
- Earliest monumental Greek
sculptures show this influence –
follow Egyptian format

19. Kouros from Attica

20. Kouros from Attica
- ca. 600 BC, marble, 6’ ½”
- Egyptian pose
- Funerary statue
- These statues replaced the large vases from
the geometric period, also used as votive
markers in sanctuaries
- Difference – nude, carved in round, no
identifying attributes
- Triangular face, flat, emphasis on patterns
- Egyptians interested in permanence, greeks
with movement

21. Anavysos Kouros

22. Anavysos Kouros
- ca. 530 BC
- 6’4”
- Marble
Actual person named Kroisos, died in battle
and family put up a Kouros statue
-still has egyptian stance, a lot more
naturalistic
- head proportional, rounded face
-more rounded figure

23. Peplos Kore

24. Peplos Kore
- used to think she wore a peplos, a woolen
garment
- now know she wears 4 garments, 1 of which
only goddesses wore
- missing her attribute
- softer treatment of face and form than Korai

25. Kore in Ionian Dress
- 520-510 BC
- Marble, 1’9” high
- missing hand held dress up for
walking, similar to forward foot of korai

26. Eleusis amphora

27. Eleusis amphora

28. Architectural Development
In the sixth century B.C., Greek architects began to build stone temples with gable roofs supported
around the perimeter by regularly spaced stone columns.
A walled interior space or cella, located within the surrounding colonnade on the temple platform, may
have contained additional columns to support the roof beams.
The cella housed one or more cult statues, and the exterior of the temple was decorated with painted
figural sculptures, notably in the friezes and pediments in the upper part of the building.
Two architectural styles developed: the Doric and the Ionic.
Already, in the Orientalizing seventh century BCE, at Prinias, the Greeks had built a stone temple
embellished with stone sculptures.

29. Plan of Temple A, Prinias, Greece, ca.
625 BCE.

30. Lintel of Temple A, Prinias, Greece, ca. 625 BCE. Limestone,
approx. 2’ 9” high; seated goddesses approx. 2’ 8” high.

31. Basilica/Temple of Hera I

32. Temple of Hera I (“Basilica”),
Paestum, Italy, ca. 550 BCE.
This Doric temple still has the colonnades of the peristyle and part of the central interior
colonnade.
A monumental temple (about 80 x 170 feet), it has nine columns at the ends and eighteen on
the side--a ratio of 1:2.
It was made of local stone, since marble was rare in this part of Italy, and stuccoed. Today it
has lost all of its stucco.
The columns and capitals are characteristic of Archaic Greek architecture--the columns are
squatty with a strong entasis (or bulge)

33. Temple Plan – Hera I
- differs from other temples in the middle row of columns – possibly to support the
ridgeline of the roof
- didn’t allow for interior space for cult statue, also resulted in odd # of columns
- 3 columns on porch did not allow for viewing statue (would be good for 2 statues)
- heavy, closely spaced columns, pronounced entasis – cigar like
- architects still figuring out how to build higher, lighter – like sculpture

34. Basic temple plan

35. Doric/Ionic
©2003 Wadsworth, a division of Thomson Learning, Inc. Thomson Learning™ is a trademark used herein under license.

36. Doric/Ionic/Corinthian

37. West Pediment,
Temple of Artemis

38. West Pediment,
Temple of Artemis
- Corfu, Greece ca. 600-
580 BC, 9’4” at center
- Medusa and 2 panthers –
temple guardians
- smaller scenes at sides
from Trojan war, battle of
gods and giants
- Architects and sculptors
working together
- Corfu – island off western
coast of Greece,
important trade stop,
prosperous, built one of
the first peripteral
temples
- Both pediments identical,
had metopes
- Challenge – design
sculpture to fit into
pediment
What is similar to things we’ve seen before?

39. Achilles and Ajax playing a dice
game

40. Achilles and Ajax playing a dice
game
- ca. 525-520
- black and red figure sides
- red figure technique invented
around 530
- previously vases were all
black figure – dark silhouettes
and incised details
- Andokides painter –
andokides was the potter,
painter was annonymous
- bilingual vases = experimental
- advantages of red figure over
black = soft brush for details
rather than metal graver allows
for greater flexibility, could vary
thickness of lines and build up
glazer or dilute it for shades
- not the best or most skilled
example, but the first and set
the framework

41. Dying Warriors

42. Dying Warriors
Temple of Aphaia, Aegina, Greece,
500-490 BC
- Pediments – painted life-sized
statuary – not reliefs
- west pediment – dying warrior still
archaic
- east pediment – more natural, more
complex pose – angled, he reacts to
his wound, warrior concerned with
himself, not viewer
- archaic – anatomical patterns and
smiles imposed on statues
Classical – statues move as humans,
have a self-consciousness

43. “severe” period = early classical,
525-480 BC
- A certain simplicity or severity of forms, visible in both facial features and the
treatment of drapery;
- a heaviness of traits in open contrast to the lighter features of archaic sculpture;
- a feeling for the tectonics of the human body which conceives of each figure as
composed of certain basic structural sections, as contrasted with the lack of
articulation and the emphasis on outlines in archaic statuary.
- More especially, in the human face the eyelids acquire volume, often appearing
as thick rims around the eyes, and chins become particularly heavy;
- cloth also is made to look heavier and "doughy."

44. Classical Period
Persians v/s Greeks

45. The conflict

46. The Players
Phidias - Sculptor Pericles - Statesman

47. Acropolis

48. Parthenon

49. Plan of Parthenon

50. Metopes

51. Frieze

52. Pediments – Birth of Athena

53. Pediments - Athena

54. Pediment: Contest

56. Phi

57. More phi

58. Bronze Charioteer

59. Bronze Charioteer
- originally a group incl. chariot and horses
- commemorate victory in Pythian games at
delphi
- pose = almost archaic
- Head & feet in opposite direction, twist at waist
= severe style
- Early Classical / Severe

60. Zeus (or Poseidon?)

61. Zeus (or Poseidon?)
- 6.85 ft
- probably held a thunderbolt
- could be a trident
- could also be a javelin
- male human form in motion
- Early Classical
- hollow-cast, lost wax = light &
stable – right heel raised off
ground

62. Doryphoros (Spear
Bearer)

63. Doryphoros (Spear
Bearer)
- best marble copy stood at Pompeii, model for Roman athletes
- Embodiment of Polykleitos’ canon
- was made as a demonstration of his treatise
- pronounced contraposto
- system of cross balance/harmony of opposites
- motion while at rest
- straight arm and leg at left give strength
-opposite limbs are relaxed/flexed
- head turns one way hips turn another

64. Erechtheion

65. Erechtheion

66. Erechtheion

67. Erechtheion

68. Erechtheion

69. Erechtheion
KEKROPS (Cecrops) was an early earth-born
king of Attika and founder of the city of Athens.
He was depicted as a man with a serpent's-tail
in place of legs.
Kekrops was the first man to offer sacrifices to
the goddess Athena following her birth from the
head of Zeus, and he established the ancient
Akropolis shrine. When Poseidon later disputed
her claim to the city, Kekrops was asked to
adjudicate and found in her favour. He was
succeeded on the throne by Athena's foster-son,
the earth-born man Erikthonios.
Another cult of Erechtheus
- Early King of athens, son of Hephaestus, armor of god
Tomb of Cecrops, Legendary yet no remains found.
- Judged a contest between Athena and Poseidon for who would be patron of city
- Tomb in “Porch of Maiden” on the S. side
- 6 Maidens represent his daughter
- All 6 on actual building new are reconstruction
Lord Elgin took the statues when Greece was occupied by Turks-didn’t get permission from Greeks

70. Erechtheion
Caryatid from the Erechtheion
- Athens, Greece 409 B.C.
- One of six served in place of columns in a porch of the temple
contraposto but not much
old fashioned garments and hairstyle - long braids like archaic style
probably wanted them to look old fashioned
braids also helped support neck
- Caryatids are female figures serving as supports
- Mostly likely harkening to the young women of Sparta who danced in honour of Artemis
Karyatis ('Artemis of the Walnut Tree').
- Wore old fashioned clothing-simple pin tucked tunics and long braids.
- Building completed in 405 B.C.
When Ottoman Turks invaded Athens, Erechtheion became a harem location.

71. Temple of Athena Nike

72. Temple of Athena Nike
- on Acropolis, 427-424 BC
- ionic
- same designers as parthenon
- 4 columns on both east and west
facade
- commemorated victory over the
persians
- frieze partially devoted to the battle at
marathon
- parapet around the building w/ reliefs –
images of nike

73. Nike Adjusting her Sandal
-from parapet at temple
of athena nike
- awkward position
rendered gracefully
- wet drapery style –
evolution of style at
parthenon

74. Late Classical
 After defeat in Peloponnesian war
 Sparta, then Thebes led Greece, both
unsuccessfully
 Mid 4th C BC, greeks reunited against external threat
 Lost again, gave up independence to Philip of
Macedonia
 Alexander the Great was his son

75. Late Classical

76. Late Classical

77. Aphrodite of Knidos

78. Hermes and Infant
Dionysus

79. Hermes and Infant
Dionysus
- Ca. 340 BC if by Praxiteles or ca. 320-270 CE
if by a son or grandson
- marble roman copy
- 7’1”
- humanization of gods
-dionysus – wine god – hermes tempting him
with grapes
- s-curve
- very human interaction, tender
- softer, more human

80. Compare

81. Apoxyomenos

82. Apoxyomenos
a. 330, Marble, 6’9”
b. Lysippos = new canon of proportions
c. More slender bodies, 8 heads
d. Not all frontal, wanted to be viewed from multiple sides
e. Athlete scraping oil from body after exercise
f. Nervous energy, not so balanced as before
g. Arm thrust forward, breaks out of plane that sculptures had been confined
to

83. Weary Herakles

84. Weary Herakles
- also by Lysippos
- ca 320 bc, roman statue after greek
original
- marble 10’ 5” “colossal”
- Herakles after getting the golden apples,
1 of the 12 labors
- found in a roman bath, was inspiration to
bathers
- exaggerated muscles – ironic
- rejecting stability and balance
- apples held behind back – requires
viewer to walk around
- humanization of gods and heroes

85. Epidauros Theater

86. Epidauros Theater
- Polykleitos the younger
- ca 350 BC, Epidauros, Greece
- could hold 12,000 people
- built into hill
- plays only performed for sacred
festivals
- drama closely associated with
religious rites, not just entertainment
- still in use

87. Epidauros Theater

88. Corinthian Capital

89. Hellenistic
The Hellenistic period is the period of ancient
Greek and eastern Mediterranean history
between the death of Alexander the Great in
323 BC and the emergence of the Roman
Empire as signified by the Battle of Actium in
31 BC[1] and the subsequent conquest of
Ptolemaic Egypt in 30 BC.[2] At this time, Greek
cultural influence and power was at its peak in
Europe, Africa and Asia, experiencing
prosperity and progress in the arts, exploration,
literature, theatre, architecture, music,
mathematics, philosophy, and science. It is
often considered a period of transition,
sometimes even of decadence or
degeneration,[3] compared to the brilliance of
the Greek Classical era.

90. Hellenistic World
- Began with Death
of Alexander the
great in 323 BC
- lasted ~300 years
- ended with suicide
of Cleopatra and
Marc Antony in 30
BC after defeat by
Augustus, Roman
- cultural centers in
Syria, Egypt, Asia
Minor
- international
culture, greek
language
- old idea – heroic
city state
- new idea –
cosmopolitan “citizen
of the world)”

91. Athena Battling Alkyoneos

92. Athena Battling Alkyoneos
- detail frokm frieze at Alter of Zeus,
Pergamon, Turkey
- Ca. 175 BC
- Marble, 7’6”
- violent movement, swirling drapery,
vivid depictions of suffering
- from west front, shown as
reconstruction below, frieze ~ 400’
- ~ 100 larger than life figures
- battle of Zeus and gods against
giants
- represented victory over barbarians
- Gaia emerges from ground, looks
on in horror
- athena grabs hair of a giant
-nike flies down to grown her
- deep relief creates strong shadows
- “baroque”

93. The Baroque period of artistic style
that used exaggerated motion and
clear, easily interpreted detail to
produce drama, tension, exuberance,
and grandeur in sculpture, painting,
architecture, literature, dance, and
music. The style began around 1600
in Rome, Italy and spread to most of
Europe.[1]

94. Gallic Chieftan Killing Himself
and His Wife

95. Gallic Chieftan Killing Himself
and His Wife
- roman copy of a bronze statue
- pergamon, turkey, Alter of Zeus
- Ca. 230-220 BC, marble, 6’11”
-Defeat of Gauls
- careful study and reproduction of gallic
features
- bushy hair, mustaches, neckbands
- if wife had been captured she would have
been sold as a slave
- mist walk around the group to fully see it
- twisting posture, theatrical gestures =
baraoque

96. Dying Gaul

97. Dying Gaul
- ca 230-220 BC
- marble, roman copy,
of bronze statue
- 3’ ½”
- Pergamon, Turkey,
Alter of Zeus
- shown as both
barbarians and noble
opponents
- trumpeter collapsed
on shield
- pained expression
- recalls dying warrior,
but pathos are more
pronounced
- exaggerated
musculature

98. Compare

99. Nike of Samothrace

100. Nike of Samothrace
Ca. 190 BC, marble, 8’ 1”
- moment of landing, wings still beating,
wind blowing drapery
- missing arm raised to crown naval victor
- clothing shows sense of forward
movement
- setting – in fountain – water = illusion of
waves, reflection of sculpture adds to sense
of lightness = art and nature combined
- interacts with environment
- rejects Polykleitos’ concept of statue as
ideally proportioned and self-contained

101. Aphrodite

102. Aphrodite
- aka Venus de Milo
- Melos, Greece, ca. 150-125 BC
- marble, 6’7”
- slipping garment – more sexualized
- followed earlier development of showing
aphrodite unclothed, but heightened the
sexuality of the form
- left hand (preserved) held apple she
received when judged most beautiful goddess
- right hand possibly grasped drapery
- intentionally teasing
- this is milder than other Hellenistic
sculptures of Aphrodite

103. Sleeping Satyr

104. Sleeping Satyr
- Aka Barberini Faun
- ca. 230-200 BC. From rome, italy
- drunken satyr – half human
- opposite of classical ideals of
rationality and discipline
- classical statues are always awake
and alert
- sleeping state – altered
conciousness – interested hellenistic
sculptors
- Uneartherd in Rome in 17th c,
aquired by cardinal Barberini
- Baroque sculptor Gianlorenzo
hired to restore
- nude male form is not new
- sexualized nude male form is new
(spread legs, relaxed form)

105. Seated Boxer

107. Seated Boxer
- from rome, italy
- ca. 100-50 BC, bronze, 4’2”
- traditional theme of athletes
- treatment of subject changes
- ORIGINAL, possibly was part
of a group
- defeated, battered, older
person, possibly looking up at
the victor
- distorted face from boxing (no
padded gloves)
- - broken nose and teeth
- smashed ears
- appeal to intellect and
emotions

108. Old Market Woman

109. Old Market Woman
- Roman copy (?) of marble statue
- ca 150-100 BC, 4’ 1 5/8”
- realism v/s idealism
- hellenistic v/s classical
- series of statues showing people
from lower levels of social status
- shepherds, beggars, etc
- had previously been shown on
red figure vases, but not important
enough for monumental statuary
- no idea of purpose of these
statues
- elite would have mixed with non-greek
(barbarians) and poor daily

110. Laocoon and His Sons

111. Laocoon and His Sons
- early 1st c
- 7’ 10”, marble
- writhe in pain, cry out as
bitten by serpent